Theatre Seminar “Before the Curtain Rises” — Exploring the Theatre from Behind the Scenes of Creation — Vol. 02: Event Report
Once again, the Theatre Seminar “Before the Curtain Rises” Vol. 02 was held at P.O. Minamiaoyama Hall, managed by Theatre Workshop.Despite the unfortunate weather on the day of the event, the auditorium was packed to capacity—so much so that our representative, Mr. Ito, had to stand in the aisles to guide attendees to empty seats. The scene resembled that of a “small theatre,” and the conversations taking place all around conveyed a sense of anticipation: “I wonder what kind of stories we’ll hear today?”
The theme for this session was “The Theatre Nurtures the Production, and the Production Nurtures the Theatre.” The guest speaker was Shuichiro Koike, who has worked on numerous productions with the Takarazuka Revue and currently serves as a special advisor. Returning as hosts were Kazuhisa Tobe, a Kabuki playwright and director, and Miho Nakai, who loves the theatre from an audience perspective.Mr. Koike introduced his career at Takarazuka as “Ken 50,” using the terminology employed by Takarazuka performers, and instantly lightened the mood in the venue with his humor.
The discussion began with the similarities between Kabuki theatres and Takarazuka theatres. Noting that the Takarazuka Grand Theatre was equipped with a revolving stage and stage extensions from an early stage, Mr. Koike remarked, “There are certainly aspects that were modeled after Kabuki theatres.”He also shared an anecdote from a visit to the former Konpira Grand Theatre (Kanamaruza), describing how the stage platform was rotated by hand and how lighting was ingeniously used to darken the stage in the past. This made me realize that the essence of theatre professionals lies in their commitment to continuously devising “waysto captivate the audience,” even as times change.
On the other hand, Mr. Koike also touched on the current reality that it has become increasingly difficult to create productions tailored to the specific mechanisms of individual theatres. He explained that, since conditions vary from theatre to theatre during nationwide tours, there has been a rise in “portable” stage productions designed to be performed anywhere. He presented the perspective that the way productions tour is actually changing the very nature of how theatres are used.
The discussion also turned to the strict time constraints of Takarazuka performances—including the balance between drama and show segments, intermissions, and the logistics between matinee and evening performances.How should the script and direction be structured to ensure scene changes can be completed within the limited time available? The statement, “If we just add something because the scene change won’t be ready in time, the production loses its substance. That’s why we need to find ways to make it ‘inevitable, ’” conveyed a deep sense of how closely technical aspects and direction are intertwined.
When Mr. Tobe cited a scene from the Takarazuka version of the musical “Elisabeth” and asked about the use of revolving stages and smoke effects, Mr. Koike carefully explained how to “present” these stage mechanisms. He revealed that the sensation of “the bed sinking” is created by the overlap between the smoke and the scene change—a revelation that drew gasps of surprise from the audience.The explanation—that memorable moments are created not by using dangerous mechanisms, but by carefully crafting the flow of the audience’s gaze and emotions—offered a fascinating glimpse behind the scenes of the stage’s “magic.”
The conversation also turned to the practical ingenuity involved in stage mechanics. When machinery moves, it makes noise. In scenes where the sound of the machinery is prominent, the timing of the movement is adjusted slightly earlier, or the overlap with music and dialogue is fine-tuned to ensure the audience’s concentration remains unbroken.“How many seconds does it take to rise? At what exact moment should it move?” The depth of theatre production shone through in the statement that the accumulation of these minute decisions determines the quality of the production.
When discussing dry ice, it was noted that while producing thick smoke enhances the atmosphere, depending on the theatre’s design, carbon dioxide can easily accumulate, making safety precautions essential.It is necessary to adjust the production while reading the conditions specific to each theatre, such as the presence or absence of an orchestra pit and the airflow in the front rows of the audience. The theatre’s conditions shape the production, and the expression required by the work prompts ingenuity in the theatre’s operations. That“two-wayrelationship” emerged vividly through familiar production elements like sound and smoke.The discussion on advances in lighting equipment was also memorable. The anecdote about how both the backstage crew and the performers instinctively gasped when a moving light was used for the first time to illuminate a figure at a height that a pinspot could not reach really brought home how new technology transforms the very foundations of artistic expression.
Toward the end of the seminar, Mr. Koike shared his formative experiences related to theatres. He said that the excitement he felt when he first visited the Imperial Theatre and the Nissay Theatre in his youth remains vivid in his memory to this day. However, when he actually faced those theatres he had long admired as a director, he began to see a different reality—such as the fact that “bright walls make it difficult for lighting to be effective.”He also touched on the groundbreaking nature of the first PARCO Theatre’s adoption of “blackwalls,” highlighting how the audience environment is a crucial element that helps viewers focus on the stage and effectively brings the director’s vision to life.
When asked, “What kind of theatre would you like to work in going forward?” the conversation turned to the appeal of theatres with a capacity of500 to 600 seats. He explained that the close proximity to the audience changes the perception of depth, making the outlines of the set more distinct even with the same scenery.They expressed a genuine sense that even without elaborate stage mechanisms, the theatre itself enhances the density of the production.While names such as the Takarazuka Bow Hall, the Galaxy Theatre, the Setagaya Public Theatre, the currently closed Theatre Cocoon, and the former Shin-Kobe Oriental Theatre were mentioned, Mr. Koike noted that the “Nakaza”—a theatre that once stood in Osaka—was particularly memorable.At Nakaza, the saying “even the same props look different when performed in a different theatre” was emblematic; in a theatre where the audience is close to the stage, not only is the movement “clear as day, ” but even the way actors stand and the timing of pauses come across differently,The idea that the content feels significantly richer—even without adding extra sets or stage mechanisms—truly embodied the theme that “the theatre nurtures the work.”
And now, our gaze turns to the future. In response to Mr. Tobe’s idea — " What if we staged the works Mr. Koike created for the Takarazuka Revue at the Kabukiza ? "—Mr. Koike laughed and replied, "If I could adapt them into traditional Japanese-style productions."The sense of reality expressed throughout the evening—that “changing the venue changes how a production is perceived”—naturally permeated the atmosphere of the room. As we envisioned a Koike production being staged at the Kabuki-za, it was a moment that signaled the evolving relationship between the theatre and the work as it moves toward the future.
Finally, Mr. Nakai, saying, “So that today’s discussion doesn’t end here,” suggested to the audience that they pay a little attention to the stage mechanisms the next time they attend a performance. “Just by noticing the mechanisms that support the stage—such as the movement of the baton and the revolving stage—your usual theatre experience should look a little different,” he said.Mr. Tobe also spoke of the tangible sense that today’s discussion would inform his own creative work, concluding by emphasizing that this was “a place where we all learn together.” Amid the lingering echoes of applause, it was a passionate evening that left attendees eagerly anticipating the next theatre seminar.
Reflections on “Before the Curtain Rises” Vol. 02
The theatre is a place that hosts productions, but it is also a space whose usage and appearance change depending on the production. In Vol. 02, drawing on his wealth of experience, Shuichiro Koike spoke in concrete terms about how various elements essential to stage production—such as the movement of stage sets, ingenious set changes, the use of time, safety considerations, lighting effects, and the audience environment—connect to the audience’s experience.
For those involved in theatre, this provided insights for daily decision-making and creative inspiration; for theatregoers, it offered new perspectives; and for those in architecture and urban planning, it highlighted the realization that “space creates experience.” We hope this was a time when everyone could take something away that resonated with their own perspective.
Moving forward, this series will continue to listen to the “voicesfrom thefield” —those at the intersection of the theatre and the performance—as we reflect together on the future of the theatre.