Tetsuya Kobayashi

The rationale for taking on board a theater specialist

What makes a good theater? Essential conditions include stage size and functionality that can accommodate performances of diverse forms of entertainment. Also necessary is special stage equipment for enhancing the impressiveness and sensory appeal of productions. Seating capacity, composition and sightlines also require due consideration, as does user-friendliness of dressing rooms. These are just a few of the multifarious elements that determine the quality of a theater. Finding optimal solutions for each and every one of these spatial and equipment requirements is not easy, even for a highly competent architect. This is where theater consultants like Theatre Workshop come in, bringing their expertise in theater architecture, access to vast amounts of data, and a wealth of experience.

The role of the “hard” consulting team of Theatre Workshop’s consulting department is to provide to the theater architect information necessary for realizing a facility plan that takes into consideration the intended theater/hall’s concept and usage, and to offer advice. At times, the hard consulting team itself designs special stage equipment such as stage mechanisms and lighting. It also provides technical support and information, as well as support for expanding spatial design ideas. Over the years, the hard consulting team has helped create pioneering performing arts facilities by assembling materials that inspire design ideas, by offering ideas, and by thoroughly discussing with the architect aspects ranging from design concept to realization. Our efforts have contributed positively to the evaluation of the architecture of the facilities we have worked on, many of which have received architectural awards such as from the Architectural Institute of Japan Awards and the United States Institute for Theatre Technology (USITT) Architecture Awards.

Proposal skills honed by practical experience

At Theatre Workshop, even our newest staff members take part in making proposals. This is because at the planning stage innovative ideas free from preconceptions are just as necessary as in-depth knowledge about theater architecture or technical backing. Ever since joining, I have on numerous occasions been assigned the tasks of putting together materials that would serve as the basis of discussion and making proposals to well-established architects. This practice is of course only possible because Theatre Workshop employees share their experiences of being fascinated with performing arts, and have consistently explored the world of performing arts. Being an enthusiastic theatergoer has helped me significantly in my career. In addition to the experience of its staff, Theatre Workshop draws extensively from the wealth of know-how obtained through its work to date as a theater/hall specialist, which constitutes our shared corporate heritage. The company’s track record creates a positive feedback loop, where past work feeds staff improvement, and new professional knowledge and experience gained by staff feed the body of corporate know-how.

Because of the trust we enjoy as theater architecture experts, our work is wide-ranging and therefore requires problem-solving skills and all-rounder qualities to match. In order to fulfill the expectations of the client and the architect we are working with, we closely examine what is proposed and painstakingly prepare numerous materials. In addition to obtaining expert information we also attend workshops organized to obtain user views from the general public. No compromises are made when it comes to creating the best possible theatre.

Tetsuya Kobayashi

Manager, Business Development Department

Kobayashi studied architecture first at the Department of Science and Engineering, Waseda University and subsequently at the graduate school of the same university. His love of musicals led to his composing original scores for the university’s musical society, and frequenting New York and London theaters while working part-time at theaters specializing in shogyo engeki (lit. commercial theater). He joined Theatre Workshop to pursue a career in theater architecture. He has been involved in the “hard” consulting of many projects, and his proposals, which draw on his rich theatergoing experience, have won the trust of clients and architects alike. He has applied his composing experience to composing the background music for Shibuya Hikarie Hall, for which Theatre Workshop provides operation services.