BroadwayWorld.com Japan Stories

Interview : From Argentina to the Oceans: Natalia Saulo’s 13-Year Journey at the Forefront of Cruise Line Entertainment

Fri, 12 Jun 2026 12:26:09 PST

Natalia Saulo: A production singer who captivates audiences every night in the grand theaters of luxury cruise ships traveling the globe. Hailing from Argentina, this talented artist has spent over 13 years at the forefront of the spectacular yet demanding world of maritime entertainment.

Since launching her global career in 2013, Natalia has toured the world’s oceans and refined her craft in New York as a Broadway scholarship recipient. With an impressive and versatile vocal range, she boasts incredible versatility, with extensive experience performing in multiple languages. Until very recently, she was bringing audiences to their feet as a lead vocalist in six main stage shows onboard the massive cruise ship, *”MSC Bellissima.”

*MSC Bellissima is a large cruise ship measuring approximately 315 meters (=1,033 feet) in length, with a gross tonnage of around 170,000 gross tons. It primarily operates in regions such as the Mediterranean, the Middle East, and Asia, including Japan.

Could you tell me about yourself?

I was born and raised in Argentina. I discovered my passion for music and singing when I was five years old. I had a few relatives who were into music, so every holiday, they would play music and we would put on a show. So I think it was born with me and I knew since I was very little that music and performing was my place in the world.

I would take every opportunity to perform in front of people. When I turned 12, there was a tournament in my province. That was when I started to take some singing lessons. It was great because I won in my county.

Natalia Saulo

By the time I was in my 20s, I heard about cruise ships. Somehow, back then, I didn't feel that I was fully prepared for that. It was demanding and challenging, and I needed more training in order to be able to perform.

A few years passed by in between, and I had been doing different things. I had been singing professionally and had been part of many different projects in my country, like different bands. I had a disco music band, and then I created some shows of my own. One of them was called Piel de Tango, which means "tango skin.”

Slowly, I was stepping into music and performance in a more professional way until I reached the point where I felt mature enough to take my career to international stages. That's when I started to look for cruises.

My first step into that world was not in the theater as I am now; I was part of a duo. I auditioned for a guitar player, so we formed a duo together, and that's when I started to work internationally.

That contract ended in Spain, and I was ready for more adventure. I stayed in Spain and met my ex-husband. He was a guitar player, so we formed a different duo together.

It was very interesting because I got to perform in Spain. In Spain, they have a lot of show bands they call "Orquesta." With those show bands, you tour around Spain.

Year after year, I was getting chosen for bigger ones, which are very similar to a cruise ship show in the theater because you have dancers and different costumes. It was a great experience to get me ready for this job.

At some point, I felt that I was ready to be on the main stage. It took a couple of years until I got my first opportunity as a production cast singer.

One day, I got my first cruise ship theater production cast job, and since then—which was like three years ago—all my next contracts and assignments have always been in the theater, which I enjoy a lot.

That was so interesting. What is it like to work in a large-scale international production on a cruise ship?

It's amazing. First of all, it's very demanding. It’s also challenging and exciting at the same time. I think there are many different things about working in a large-scale production at sea than on land. On the other hand, there are some similar things. But basically, every night we perform between two and three shows. So you need to take care of your rest, and vocal technique to make sure that you're going to be able to perform that amount of shows for seven or eight months. So it's like a marathon.

There are a lot of things that need to happen to make that show possible. When we start the project, we will rehearse all the shows mostly on land for a month. We receive the material before that so we arrive with everything studied because the time is very limited. At least in Spain, the rehearsal period will be two months for that one show. But in our case, we have one month to rehearse six shows, so it's very demanding.

And then we will present every show in an "office run" to the owners of the production company. Once the rehearsal is over, we fly to the ship and we have an install period which is another three weeks.

Basically, we take everything we did on land and rehearse it in the actual theater. We need to start taking care of the blocking, in which number on the stage you need to be on for each part of each song. We are many people on stage, so that needs to be very organized. On some ships, you will also have automation, so you need to practice that. There are just so many things going on.

During that period, the stitchers will also come on board to adjust all the costumes, and we will have sound checks—there are just many, many things. It's amazing how everyone on the team takes care of their part, so at the end of the day, we have an amazing product to show to the audience.

Once the install is over, the show keeps running. The install team goes back home, and only the cast remains on board. We always have someone assigned to take care of things, such as a dance captain who is in charge of the choreographies and maintaining the show. It needs to look clean and perfect until the end of the contract.

Now that everything is installed, the fun part begins—we start to perform the shows. It's very interesting because we perform so many times, so you can feel it in your body how you become more confident and start to enjoy it more. By the end of the contract, you can close your eyes and still dance.

Wow! That's so cool. How was working for MSC Bellissima compared to other ships? It is a huge ship.

The experience was amazing. First of all, because we have more shows. Compared to my previous ships where I was performing only three shows, now we have six. This was also the first time that I had a live band in the theater, which was amazing.

And the concept of some of the shows was different because we were six singers. On my previous ships, we were only two, so having more singers means that you need to harmonize. It was very interesting in terms of learning different harmonies for different songs. It was a very nice experience.

The way everything was planned in rehearsals and the way the shows were created was very professional. I had to dance more in comparison to other companies. I felt that I grew a lot as a performer.

Working for the company itself was a great experience as well. I felt so well taken care of. The cabin was amazing. It's the first time that I had a window, and I really enjoyed that.

It was especially memorable since Bellissima was my first MSC ship, and everyone was so friendly and welcoming. I got to make friends in different departments. Most of my days off, you would see me around the lounges singing with the bands.

Did the atmosphere on Bellissima feel different from other ships you’ve worked on?”

Every ship and contract is different. Itinerary and ship size can change the whole experience, and bigger ships are usually more stressful because everybody is busier. You have more guests and more places to attend.

At the end of the day, the crew is your family, and we live together in the same place we work. So if you are stressed in your job, that will translate later on into how you relate with your fellow crew members around the ship.

However, Bellissima is a big ship, but my experience with both the crew and the passengers was wonderful. Dealing with the Japanese guests was very nice and people were very friendly. My experience with the crew, with the passengers, and with everybody was amazing.

Also, as part of the cast, we have many privileges and access to public areas. That makes our life very easy and I had a very enjoyable contract.

So what do you think is the most important thing when it comes to working and performing on a cruise ship?

Definitely discipline. I always say that the most challenging part about working on cruise ships is that you live in the same place you work. For eight months, you are only at work. Even if you go outside, you always have a time that the ship is departing, so your head is never completely outside of the job.

For that reason, you need to take care of many things, like trying to build a routine; when you go to sleep and eat, to emulate a little bit of the real, normal life that you would have outside the ship.

Also, because your friends are there all the time, it's very easy to go to the bar and go to bed late at night. But if that keeps happening night after night, your voice will suffer, and we need to be ready to be on stage. There is a lot of temptation. So you need to be very disciplined in making the right choices for yourself to be ready to deliver what you need to deliver, which in our case is a great performance. Without that discipline, I think it would be impossible.

I see. Makes sense. It's easy to imagine because you showed me around the whole ship, so I can think of, "Oh, that's what you are talking about."

Yes! And another thing is to remember that we are there for work. It's not only discipline, but it's also balance, because you need to enjoy yourself. Since we live in the place we work, we also need to find ways to have some leisure time outside the workplace.

What do you think your next step is?

I was recently selected to be the lead singer of the launch cast of a new cruise line, which was a very meaningful milestone in my career. Being chosen to launch a new company after many years working at sea felt like a recognition of my professional journey and experience.

But also, I am starting a talent agency. With my experience, I want to help other musicians and artists start their careers at sea. At the beginning of the year, I started this project, and now I'm working on my agency. So I'm very happy with that.

Congratulations!

Thank you so much. And in the future, there are a few things that I'm thinking about. One of them is to build my own show as a headliner. All these years at sea gave me the experience to see how shows are built. So, I'm really looking forward to having my own solo show. And at some point, I would love to tour with a show on land as well.

Nice! For the next ship, where would you be traveling?

It is going to depart from Spain, so it will basically visit Spain, France, Italy, and also Tunisia in Africa. And then, we are going to do a crossing to Brazil as well.

Thank you. Is there anything else that you would like to share?

I would love to say that this has been an amazing journey. There have been many good things about this job, but the thing that I would love to highlight is being able to sing for the most varied audiences.

I performed for the Japanese, and for about eight years for the Americans when I worked in Norwegian Cruise Line. I performed for people from Spain, Italy, and South America. It's very interesting how as an artist you need to develop the capacity to adapt to different audiences. Through the years, that allowed me to read the audiences very quickly and know how to please them. In fact, I had to sing in Japanese during my last contract, which was amazing.

Working on a cruise ship is also amazing in terms of how you become a more adaptable and flexible person, because you are surrounded by people from 60 different nationalities all the time. Suddenly your mind expands, and you learn many things from other cultures, and you have friends all around the world. That's not only as a professional, but as a person—it's very interesting. I think my personality has changed a lot since I started to travel.

Any advice for future performers, for future cruise ship performers?

Yes, there are a few. If you are not an English speaker, please make sure that you learn English. I remember my first contract, I barely spoke English, so I was struggling a little bit.

Second is something that I said before: enjoy, find balance, be disciplined, and remember that you are traveling but you're working. So put the focus on your work while you enjoy yourself. Take the opportunity of being on board as an opportunity to upgrade your professional skills, because you will be surrounded by performers from all over the world and you can learn something from everybody. It's a great opportunity to grow and to challenge yourself.

And if that's your dream, pursue it. Sometimes it can look challenging and demanding, but it's worth it. If you put the work in that you have to put in, I'm sure you can make it.

Photo Credit :[Andres Felipe Melo　HS Alan Cianfagna]

MRS. GREEN APPLE’S CEREMONY RETURNS FOR AN EXPANDED TWO-DAY EVENT

Fri, 12 Jun 2026 12:56:05 PST

Mrs. GREEN APPLE’s entertainment event, “Mrs. GREEN APPLE presents CEREMONY, opened on June 10 at K Arena Yokohama. First launched in 2025, the event returns for its second edition and expands to a two-day format for the first time.

CEREMONY was created as an event that differs from traditional concerts, music festivals, and awards ceremonies. Blending music, fashion, and culture, it is built around the concept of “PRAISE,” encouraging artists and audiences to celebrate one another’s creativity and expression.

A distinctive feature of the event is its Artist Lounge, where performers can watch one another’s sets throughout the evening. CEREMONY was conceived as a place where artists can appreciate and celebrate one another’s creative expression.

DAY 1 featured performances by Mrs. GREEN APPLE, AI, asmi, Cho Tokimeki♡Sendenbu, ORANGE RANGE, s**t kingz, and TOMORROW X TOGETHER. Returning from the inaugural edition, Sascha served as a host alongside actress and model Ayami Nakajo, who joined the event as co-host.

Cho Tokimeki♡Sendenbu

Prior to the main program, participating artists appeared on the event’s GREEN CARPET. Set against a backdrop decorated with greenery and flowers inspired by Mrs. GREEN APPLE’s signature color, the artists shared their thoughts on the event and discussed the inspirations behind their outfits.

Speaking about this year’s theme, Motoki Omori explained that he wanted to express the concept of the “Hero’s Journey.” For DAY 1, Mrs. GREEN APPLE appeared in costumes inspired by The Wizard of Oz. Motoki commented, “I want us to return to the idea that music is something to be enjoyed from the heart. I hope this becomes a place where everyone can discover new music and cultures.”

Discussing the philosophy behind CEREMONY, Motoki said, “One thing that’s important to us is that CEREMONY is neither a festival, nor a joint concert event, nor an awards show.” He emphasized that the event was founded on the idea of moving away from competition and instead celebrating one another.

In addition to musicians, this year’s event welcomed actors, athletes, comedians, and other guests as presenters and attendees, further highlighting CEREMONY’s borderless approach to entertainment.

DAY 1 opened with s**t kingz and also featured performances by asmi, Cho Tokimeki♡Sendenbu, ORANGE RANGE, AI, and TOMORROW X TOGETHER. Beyond the live performances, presenters shared personal reflections on the role of music in their lives before introducing the next act, creating a unique flow throughout the evening.

Mrs. GREEN APPLE closed the first day of the event with a set that included “ANTENNA,” “Columbus,” “Wind and Town,” “Heaven,” and “GOOD DAY.”

Mrs. GREEN APPLE

Following the performance, Motoki reflected on the event’s mission, saying, “People may think celebrating one another sounds idealistic, but we started this event because we wanted to wholeheartedly pursue that ideal.”

He also announced that CEREMONY will return in 2027, telling the audience, “See you again next year!”

As CEREMONY continues to grow, the event aims to further develop a next-generation entertainment community where artists, guests, and audiences can connect through music, culture, and mutual appreciation.

Photo Credit[Photo by @ogata_photo　撮影：田中聖太郎写真事務所]

Mrs. GREEN APPLE主催『CEREMONY』開幕　音楽・ファッション・カルチャーが交差する2日間の祭典

Fri, 12 Jun 2026 12:56:15 PST

Mrs. GREEN APPLEが主催するエンターテインメントイベント「Mrs. GREEN APPLE presents『CEREMONY』」が6月10日、Kアリーナ横浜で開幕した。昨年誕生した同イベントは今年で2回目を迎え、初の2日間開催となる。

『CEREMONY』は、一般的なライブや音楽フェス、授賞式とは異なるコンセプトを掲げるイベントとしてスタートした。音楽に加え、ファッションやカルチャーを融合させながら、「PRAISE（称賛）」をテーマに掲げているのが特徴だ。

また、出演者がステージパフォーマンスを披露するだけでなく、会場内に設けられたアーティストラウンジから他の出演者のステージを鑑賞できることも本イベントならではの試み。アーティスト同士が互いの表現を楽しみ、称え合う場として企画されている。

DAY1にはMrs. GREEN APPLEをはじめ、AI、asmi、超ときめき♡宣伝部、ORANGE RANGE、s**t kingz、TOMORROW X TOGETHERが出演。MCは昨年に続いてサッシャが務め、中条あやみが新たに加わった。

TOMORROW X TOGETHER

開演前には出演者が参加する「GREEN CARPET」を実施。Mrs. GREEN APPLEのシンボルカラーであるグリーンや草花で彩られた空間で、それぞれがイベントへの思いや衣装のこだわりを語った。

今回のテーマについて大森元貴は、「ヒーローズジャーニー（英雄の旅）」を表現したかったと説明し、『オズの魔法使い』をモチーフにした衣装を着用。「音を楽しむと書いて“音楽”ということに立ち返って、お客様と一緒に本当に心の底から楽しみたい。すべての人にとって、いろんな音楽やカルチャーとの出会いの場所になると嬉しい」とコメントした。

また、『CEREMONY』について大森は、「フェスでもなければ対バンイベントでもなくて、授賞式でもない」と説明。「闘争心や競争心とは離れて、互いを讃え合う」という思いから立ち上げたイベントであることを改めて語った。

超ときめき♡宣伝部

今年はアーティストだけでなく、俳優やスポーツ選手、お笑い芸人などもプレゼンターやゲストとして参加。ジャンルを超えた交流も『CEREMONY』の特徴の一つとなっている。

初日では、s**t kingzがトップバッターとして登場したほか、asmi、超ときめき♡宣伝部、ORANGE RANGE、AI、TOMORROW X TOGETHERがパフォーマンスを披露。イベントではライブパフォーマンスだけでなく、プレゼンターが自身と音楽との関係について語り、次の出演者へとバトンをつなぐ演出も行われた。

フィナーレではMrs. GREEN APPLEがステージに登場。『ANTENNA』『コロンブス』『風と町』『天国』『GOOD DAY』などを披露した。

Mrs. GREEN APPLE

終演後、大森は「お互いを讃え合うとか、そういうのって綺麗事に聞こえるかもしれませんが、綺麗事を一生懸命やりたいなと思って始めました」と語り、参加したアーティストや観客への感謝を述べた。

さらに、「また来年お会いしましょう！」と呼びかけ、『CEREMONY』の2027年開催も発表。新たなエンターテインメントコミュニティーの創出を目指すイベントは、来年へ向けて歩みを進めることとなった。

Photo Credit[Photo by @ogata_photo　撮影：田中聖太郎写真事務所]

Around The BroadwayWorld: Top News, Reviews, Interviews & More from May 2026

Tue, 09 Jun 2026 12:03:21 PST

Around the BroadwayWorld is our monthly snapshot of the biggest stories making waves across the global theatre community. In this May 2026 edition, we're bringing you a fresh batch of standout reviews from regional stages across the country - from Brigadoon at Pasadena Playhouse in Los Angeles to The Phantom of the Opera at Seattle's Paramount Theatre and Pippin at Signature Theatre in DC.

Diane Paulus directs an immersive, David Bowie-inspired Life on Mars at American Repertory Theater, the producers of Japan's Gypsy revival walk back a planned title change, and we go behind the scenes with interviews spanning Adam Fields of the Beetlejuice national tour, The Muny's casting director Michael Baxter, Richard Kind on finally taking on Edna in Hairspray, and BWW's Kid Reporters chatting with the touring Von Trapp kids of The Sound of Music. Plus, get a first look at exciting new productions through performance videos and photos, including Anastasia at La Mirada Theatre, Dear Evan Hansen at Arden Theatre, Pippin at Signature Theatre, and the Manila cast of Jesus Christ Superstar - and so much more from across the BroadwayWorld.

Diane Paulus Will Direct Immersive David Bowie Inspired LIFE ON MARS at American Repertory Theater

Joshua Wright | Boston

Diane Paulus will direct Life on Mars, an immersive theatrical production set to David Bowie's music, as the inaugural production at the Goel Center for Creativity & Performance in May.

GYPSY in Japan: Producers Walk Back Title Change Ahead of 2026 Revival

Joshua Wright | Japan

The Japanese revival of GYPSY will retain its original title when it returns to the stage in 2026, reversing an earlier decision to present the production under the name 'Rose.'

Interviews

Interview: Adam Fields of BEETLEJUICE National Tour

Brock Mills | Jacksonville

For Adam Fields, returning to Jacksonville with the national tour of Beetlejuice the Musical isn’t just another stop, it’s a full-circle moment. The production will play in Jacksonville from May 12–17 at the Jacksonville Center for the Performing Arts.

Interview: BWW’s 'Kid Reporters' Chat With THE SOUND OF MUSIC’s Touring Von Trapp Kids

Melissa Heckscher | Los Angeles

BroadwayWorld Los Angeles' kid reporters talk with the young touring cast of THE SOUND OF MUSIC to find out what it's like to be part of one of Broadway’s most iconic shows and what actually happens behind the curtain.

Interview: Chatting with The Muny's Casting Director Michael Baxter

James Lindhorst | St. Louis

Michael Baxter’s work will shine on The Muny stage during all 50 performances this summer. He led the efforts and had a hand in hiring every one of the 194 actors who will fill the principal and ensemble roles.

Interview: Richard Kind Talks Finally Taking on Edna in The Muny's HAIRSPRAY

James Lindhorst | St. Louis

When The Muny opens their production of Hairspray on June 15, 2026, the legendary Richard Kind will don Edna Turnblad’s housecoat and step into her fuzzy house slippers. Kind, star of stage, screen and film, calls it bucket list moments to get to perform at The Muny and play Edna all at the same time.

Reviews

Review: BRIGADOON at Pasadena Playhouse

Andrew Child | Los Angeles

Brava to Alexandra Silber for capturing all the heart and humor of Lerner’s original book with her thoughtful new adaptation and brava to Katie Spelman for dreaming up a Brigadoon that is as ebullient and spirited as it is deeply human.

Review: THE PHANTOM OF THE OPERA at Paramount Theatre

Shelley Dean | Seattle

It’s almost unbelievable for me to admit that this was my first time seeing The Phantom of the Opera. Of course, I knew the iconic songs and had seen countless clips over the years, but experiencing the production live on stage for the first time was entirely different, haunting, and spine-chilling in the best way possible. From the chandelier drop to the monumental set pieces, the show truly lives up to its legendary reputation. The 2026 tour, directed by Harold Prince, serves as a revitalized version of the original production, featuring Maria Björnson’s iconic designs, musical staging, and choreography by Gillian Lynne. It is absolutely ravishing, and Seattle audiences are lining up hours early to witness the spectacle for themselves.

Review: PIPPIN at Signature Theatre

Aidan O'Connor | Washington, DC

Certain facets of the human condition are foundational to our very existence – change, connection, desire. One such particularly toxic universal truth is a constant need to be something more than we currently are. To search for happiness in external achievement rather than within ourselves, in our simple joys. Pippin at Signature Theatre breathes within that precise virulence, relatively orchestrated by a troupe of impeccably costumed and choreographed players. A feast for the eyes in all senses, Matthew Gardiner’s production surpasses even the highest of expectations.

Videos

Video: Watch La Mirada Theatre's ANASTASIA Star Lena Ceja Perform 'Journey to the Past'

Michael Major | Los Angeles

La Mirada Theatre has released new video footage of Lena Ceja rehearsing 'Journey to the Past' from their upcoming production of Anastasia. The production features Dillon Klena as Dmitry, a role first played on Broadway by his brother Derek Klena.

Photos/Video: DEAR EVAN HANSEN At Arden Theatre

A.A. Cristi | Philadelphia

Arden Theatre Company is now presenting DEAR EVAN HANSEN as the final production of its 2025/26 season, with performances continuing through July 5. New production photos and video have been released from the Philadelphia production, including footage of Evan A. Kaushesh performing “Waving Through a Window.”

Video: Watch 'Corner of the Sky' From Signature Theatre's PIPPIN

Michael Major | Washington, DC

Watch a video of Brayden Bambino performing 'Corner of the Sky' in Signature Theatre's production of Pippin. The in-the-round production is now running through July 26 with tickets available now.

Photos

Photos: Get a First Look at JESUS CHRIST SUPERSTAR in Manila

Oliver Oliveros | Philippines

The 2017 Olivier Award winner for Best Musical Revival, Tim Rice and Andrew Lloyd Webber’s rock opera 'Jesus Christ Superstar,' has officially opened at The Theatre at Solaire.

Review: DETECTIVE CONAN SPECIAL CONCERT 2026 at GLION ARENA KOBE

Mon, 08 Jun 2026 10:45:11 PST

In the spring of 2026, celebrating the monumental 30th anniversary of the TV anime broadcast, the Detective Conan Special Concert returns, grander and more powerful than ever before.

This performance is a special stage that retraces the brilliant 30-year journey of the anime series. Filled with deep gratitude to the fans and a pledge for an even greater leap into the future, the event blends heart-stirring special video footage with live, immersive performances by a specially assembled orchestra and band.

Furthermore, Mai Kuraki joins this year's stage as a special guest. Along with the new ending theme for the Detective Conan anime series, "TOWA ~Towa ni kaze ni noru~," a multitude of masterpiece theme songs that have graced the series over the years will fill the venue with her breathtaking vocals. Great expectations were raised for this long-awaited, monumental moment for fans.

The evening opened with performances by Rainy。, who delivered a lively set accompanied by dancers, followed by Leon Niihama and a group of child dancers performing “Fun! Fun! Fun!” Reflecting on his connection to the franchise, Leon shared that he had grown up alongside Detective Conan, having turned 30 the same year the anime celebrates its milestone anniversary.

As the host officially declared the start of the concert, a buzzer sounded throughout the venue and the orchestra members took their places onstage. Moments later, the voices of Conan, Ran, and the Detective Boys echoed through the hall, announcing, “The concert starts now!”

Anniversary logos marking the anime’s 10th, 15th, and 20th anniversaries appeared on the screen alongside memorable scenes from the series. The familiar main theme soon followed, and when Conan’s iconic narration, “I’m Shinichi Kudo, a high school detective...,” filled the venue, audiences were instantly transported back into the world of Detective Conan.

Footage from Episode 1 and scenes featuring Professor Agasa’s inventions highlighted the origins of the series, while a medley of classic theme songs, including “Nazo” and “Unmei no Roulette Mawashite,” brought back memories from across the anime’s three-decade history.

During the soundtrack medley, footage featuring the Black Organization was paired with powerful drum arrangements and dramatic lighting effects, creating an atmosphere of suspense. The excitement grew even further when Kid the Phantom Thief’s voice echoed from all directions throughout the hall. Blue searchlight-style beams swept across the audience, creating the illusion that Kid himself was flying through the venue. The immersive staging drew enthusiastic cheers from the crowd.

The Kobe performance also featured special dialogue from Heiji Hattori and Kazuha Toyama, a regional touch that delighted local fans. During the movie highlights segment, films set in the Kansai region, including The Lost Ship in the Sky, received particular attention on screen.

Later, Mai Kuraki made her entrance in a pink dress as “SAWAGE☆LIFE” began to play. Audience members and orchestra performers alike moved to the rhythm, creating a joyful sense of unity throughout the hall. Encouraging everyone to “sing, dance, and have fun,” Mai then delivered a heartfelt performance of the new ending theme, “TOWA ~Towa ni kaze ni noru~.”

During her cover of “Kimi ga Ireba,” lyrics appeared on the screen, allowing the audience to sing along. Her comment, “Let’s keep supporting Conan together until the 100th anniversary,” was met with warm applause throughout the venue.

For the final song, “always,” Mai invited the audience to join her once again. Waving light sticks and singing together, fans transformed the venue into a sea of voices and light. For many in attendance, sharing that moment with Mai became one of the evening’s most unforgettable memories.

As the concert entered its closing moments, the orchestra members were introduced before the entire audience joined together in Conan’s famous catchphrase: “There is always only one truth!”

The final main theme medley showcased each instrumentalist under individual spotlights, earning rounds of applause from the audience. Gold streamers filled the air during the finale, and the concert concluded with messages from the characters thanking fans for their continued support.

Combining unforgettable music, iconic scenes, live orchestral performances, and special guest appearances, Detective Conan Special Concert 2026 offered a celebration worthy of the anime’s 30th anniversary. It was a powerful reminder of why Detective Conan continues to captivate audiences across generations.

公演レポート：名探偵コナンスペシャルコンサート 2026

Mon, 08 Jun 2026 10:45:20 PST

2026年春、TVアニメ放送30周年の節目を祝し、『名探偵コナンスペシャルコンサート』がさらなる進化を遂げて帰ってきた。

本公演は、アニメが歩んできた30年の輝かしい軌跡をたどる特別なステージである。ファンへの深い感謝を込め、次なる未来への飛躍を誓う本イベントでは、胸を熱くするスペシャル映像と、特別に編成されたオーケストラ・バンドによる臨場感あふれる生演奏が融合する。

さらに、今回のステージにはスペシャルゲストとして倉木麻衣が出演。アニメ『名探偵コナン』の新エンディングテーマ『TOWA ～永久に風に乗る～』をはじめ、これまで作品を彩ってきた数々の名曲たちが、彼女の圧倒的な歌声とともに劇場の空間を満たす。ファン垂涎の記念すべき瞬間に、大きな期待が寄せられた。

オープニングアクトではRainy。がダンサーを従えた華やかなパフォーマンスを披露。続く新浜レオン、キッズダンサーとともに『Fun! Fun! Fun!』を届け、「30歳でコナンと共に歳を重ねてきた」と作品への思いを語った。

MCの開幕宣言とともにブザーが鳴り響き、オーケストラメンバーが登場。さらにコナン、蘭、少年探偵団たちの声が会場に響き渡り、「コンサートスタートです！」の掛け声で幕を開けた。

モニターには10周年、15周年、20周年と歴代アニバーサリーロゴが映し出され、名場面の数々とともにおなじみのメインテーマが流れる。「俺は高校生探偵、工藤新一…」というお決まりのナレーションが始まると、観客は一気に“コナンの世界”へ引き込まれていった。

第1話の映像や阿笠博士の発明品のシーンも登場し、シリーズの原点を振り返る構成に。『謎』、『運命のルーレット廻して』など歴代主題歌メドレーでは、当時の記憶が鮮やかによみがえった。

劇伴メドレーでは、黒ずくめの組織の映像に重厚なドラムサウンドと照明演出が重なり、緊張感あふれる空間を演出。さらに怪盗キッドの声が四方から響き渡ると、青いサーチライトのような照明が会場を包み込んだ。まるでキッドが実際に劇場内を飛び回っているかのような没入感のある演出に、観客からは大きな歓声が上がった。

平次と和葉による関西らしい掛け合いも飛び出し、神戸公演ならではの演出に観客も大盛り上がり。映画ハイライト映像では、『天空の難破船』をはじめ関西も舞台となった作品も印象的に映し出された。

そして、『SAWAGE☆LIFE』とともに倉木がピンクのドレス姿で登場。オーケストラメンバーや観客も一緒に身体を揺らし、会場は一体感に包まれた。「歌って踊って楽しんで」と呼びかけた彼女は、新エンディングテーマ『TOWA ～永久に風に乗る～』を気持ちを込めて披露した。

倉木がカバーした『キミがいれば』では、スクリーンに映し出された歌詞に合わせ、観客も一緒に歌唱。「100周年くらいまでみんなで応援していきましょうね」という言葉に会場からは大きな拍手が送られた。

ラストの『always』では、「みんな歌ってくれるよね？」という呼びかけに応えるように、観客の歌声とペンライトが会場を包み込む。観客の胸には、“倉木麻衣と一緒に歌った”という特別な思い出が刻まれたことだろう。

終盤にはオーケストラメンバー紹介に続き、観客全員で「真実はいつもひとつ！」をコール。メインテーマメドレーでは、各奏者にスポットライトが当たり、惜しみない拍手が送られた。フィナーレでは金テープが華やかに舞い、最後はキャラクターたち全員による「これからもよろしくお願いします！」の挨拶で幕を閉じた。

名曲、名場面、生演奏、そしてゲストアーティストによる歌唱が融合した『名探偵コナンスペシャルコンサート 2026』。30年にわたり愛され続けるTVアニメ『名探偵コナン』の魅力を、全身で体感できる濃密なステージだった。

YOASOBI Unveil Tracklist for New Album Featuring Songs from TV, Movie, and Video Game Projects

Fri, 05 Jun 2026 15:59:18 PST

J-pop duo YOASOBI has revealed the tracklist for their fourth album, The Book For, which marks the conclusion of the "The Book" series that has carried on since the group's formation. The album will arrive on June 26 and is available to pre-order/pre-save HERE.

The title The Book For,, is a play on "4" and "for," and aims to convey the heartfelt message “for everyone who receives our music." The comma (,) added to the very end of the title is a symbol that YOASOBI’s story is far from over and will continue to unfold into the future.

The Book For,, Tracklisting

"Orion": newly written as a collaboration track for the video game Overwatch
"Adrena": opening theme for the TV anime "Hana-Kimi"
"BABY": ending theme for "Hana-Kimi"
"UNDEAD": theme song for the anime "Monogatari Series Off & Monster Season"
"PLAYERS": from the PlayStation® 30th Anniversary campaign Project: MEMORY CARD
"Monotone": theme song for the movie Fureru
"Watch me!": opening theme for the TV anime "Witch Watch"
"Biri-Biri": inspired by Pokémon Scarlet and Violet
"New me": as seen in The Recruit television ad campaign)
"HEART BEAT": theme song for NHK's "YOASOBI 18Fes"
"Butai ni Tatte": the 2024 NHK sports theme
"Gekijo": theme song for the Fuji TV drama "If this World Were a Stage, Where Would the Dressing Room Be?", which is their first TV drama theme song and garnered significant attention as Ayase’s first vocal performance.

Following the album release, YOASOBI are heading back to North America this summer for their much-anticipated Never Ending Stories headline tour. They’ll be performing at massive venues including the Barclays Center in Brooklyn, TD Garden in Boston, the Hollywood Bowl in Los Angeles, Climate Pledge Arena in Seattle and more, with festival performances at Lollapalooza in Chicago and their first-ever show at OSHEAGA in Montreal. Tickets are available HERE

YOASOBI has performed at Coachella and Lollapalooza, as well as headlining New York City’s Radio City Music Hall. The duo has also played in London at OVO Arena Wembley, in addition to taking the stage at Primavera Sound in Barcelona.

YOASOBI is comprised of composer Ayase and vocalist ikura. Their first song, “Into The Night (Yoru ni Kakeru),” was released in November 2019, reaching #1 on numerous streaming charts in Japan and appearing on viral charts in several countries. It was #1 on the 2020 Billboard JAPAN Combined Song Chart and Streaming Song Chart, and in January 2023 the total plays surpassed 900 million streams, marking a first in Japan.

Their global smash hit song “Idol” was named the #1 Song of the Year in 2023 on the Billboard Japan Hot 100 chart. The song also broke the record for the fastest single to reach 100 million streams on the Billboard Japan chart and surged to #1 on the Billboard GlobalExcl. U.S. chart.

Never Ending Stories Tour

July 31—Montreal, QC—OSHEAGA*

August 2—Chicago, IL—Lollapalooza*

August 4—Boston, MA—TD Garden

August 6 —Brooklyn, NY—Barclays Center

August 8—Hamilton, ON—TD Coliseum

August 12—Seattle, WA—Climate Pledge Arena

August 14—Oakland, CA—Oakland Arena

August 16—Los Angeles, CA—Hollywood Bowl

*Festival Date

BroadwayWorld Launches Producer Fantasy Game

Tue, 09 Jun 2026 11:00:05 PST

Ever watched the weekly Broadway grosses roll in and thought you could pick the winners? Now you can put it to the test. BroadwayWorld has launched the Producer Fantasy Game, a free, season-long competition that lets theatre fans build a roster of Broadway shows and earn points based on how those productions actually perform at the box office. The draft window is open now.

How It Works

The setup is simple. During the draft window, you pick any six Broadway productions that opened this season. Drafting is non-exclusive, so there is no need to race a rival for a hot title. Any number of players can roster the same show.

From there, your shows go to work for you. Every week, each production on your roster earns fantasy points based on its reported box office grosses and capacity percentages. When Tony, Drama Desk, Drama League, and Outer Critics Circle nominations and wins are announced, your shows bank bonus points on top of that. And each week you can answer our Fantasy Forecast prediction questions for up to five bonus points per correct call.

Weekly Scoring

Each week, a show earns one base point for every $50,000 it grosses, so a $1 million week is worth 20 base points. On top of that, shows can earn bonuses: up to five points for filling seats (based on how close to full capacity the house ran), six points for grossing $2 million or more (or three points for grossing between $1 million and $2 million), and eight points if its gross jumped at least 15 percent from the week before. A show loses four points if its gross dropped at least 15 percent. If a show goes dark and reports no gross for a week, it scores zero for that week with no penalty.

The Fantasy Forecast

The Producer Fantasy Game is really two games in one. The first is the box office game: drafting shows and earning points from their weekly grosses and awards. The second is the Fantasy Forecast, a weekly set of prediction questions about what's happening on Broadway, where each correct answer is worth up to five points. You can play one or both.

We track them separately so you can shine at either. Your Producer score covers the box office game, your Forecast score covers your prediction results, and your Combined score adds the two together for the overall championship ranking. The leaderboard lets you toggle between Overall, Producers, and Forecasters, so a sharp predictor can top the Forecasters board even during a rough season for their roster, and a roster powerhouse can lead the Producers board without answering a single question.

Managing Your Roster

Your lineup stays at six shows all season, and you have plenty of room to maneuver. You get one free drop every week, three additional season drops to use anytime before the trade deadline, and free replacements whenever a show on your roster closes. New productions open throughout the season and become available the moment they start reporting grosses, so it pays to keep a transaction in your pocket for that buzzy new opening.

Join the Game

The Producer Fantasy Game is free for all BroadwayWorld users, and you can join any time the draft window is open. Draft within the first two weeks of the season and your roster is scored from opening week, so the earlier you get in, the more weeks you bank. Build your roster, make your predictions, and start climbing the leaderboard today.

Review: FRIEREN COMES TO LIFE AT UNIVERSAL STUDIOS JAPAN

Mon, 08 Jun 2026 22:57:31 PST

As the grand finale of “Universal Cool Japan 2026” (Read the article: Universal Studios Japan’s Universal Cool Japan 2026), “Frieren: Beyond Journey's End Story Walk -- Echoes of Adventure” will debut at Universal Studios Japan for a limited time beginning May 30, 2026. Marking the park’s first-ever collaboration with the TV anime “Frieren: Beyond Journey’s End,” the new attraction introduces an immersive walkthrough experience enhanced by large-scale visual and audio effects, inviting guests to step into the world of Frieren and embark on a journey alongside the beloved characters.

In addition to the walkthrough attraction, a themed restaurant and story ride attraction will also be available. At the May 29 opening ceremony, Atsumi Tanezaki, the voice of Frieren, and Nobuhiko Okamoto, who plays Himmel, appeared on stage to celebrate the launch of the event.

[Want to see more exclusive photos from our coverages? Follow us on Instagram and X for behind-the-scenes content!]

“Frieren: Beyond Journey’s End Story Walk – Echoes of Adventure”

It places guests directly into the role of a traveler, inviting them to journey through treasured memories alongside Frieren and her companions.

The moment guests enter the attraction, they are transported into the enchanting world of “Frieren: Beyond Journey’s End.” Even visitors unfamiliar with the series are likely to be captivated by its mystical atmosphere and breathtaking beauty. The attraction’s massive screens and projection-mapping effects are remarkably detailed, extending beyond the walls to the very ground beneath guests’ feet. The result is an impressive level of immersion, creating the sensation of having stepped directly into the story itself.

As the journey unfolds, guests encounter Frieren, Fern, and Stark while revisiting memorable moments from the series. Spectacular visuals are paired with an evocative musical score, allowing visitors to experience both the warmth and emotional depth that have made the anime so beloved. For longtime fans, it is a moving tribute to the story. For newcomers, it serves as a compelling introduction to the world of Frieren.

Frieren: Beyond Journey's End -- Restaurant of Memories

Frieren’s Plate

Equally worth experiencing is “Frieren: Beyond Journey's End -- Restaurant of Memories,” a themed dining venue designed to resemble a restaurant that could exist within the anime’s world.

From the moment guests step inside, they are surrounded by the atmosphere of Frieren. Beautiful stained-glass windows and floral decorations fill the space, while thoughtful design details evoke memories from the characters’ travels. The restaurant also features ambient character dialogue, making it feel as though Frieren and her companions are dining nearby.

The stained-glass artwork is particularly impressive. Each piece appears to tell its own story, encouraging guests to imagine the memories and adventures behind the imagery. Fans will appreciate the references, while newcomers can simply enjoy the restaurant’s warm and dreamlike atmosphere.

Among the menu offerings, the “Frieren’s Plate” stands out. The slow-braised beef is exceptionally tender, practically falling apart with each bite. The omelet from “Himmel’s Plate” is equally satisfying, while the fluffy bread, refreshing salmon, and light salad create a well-balanced meal that remains enjoyable from start to finish.

The “Fragrant Flower Frieren's White Soda” (comes with Frieren's Coaster) is as beautiful as it is refreshing, offering a crisp and clean flavor that feels perfect for the warmer months ahead. For dessert, the “Fern's Cherry and Blueberry Parfait” (comes with Butterfly Parfait Spoon) is generously portioned yet surprisingly light. Its balanced sweetness makes it easy to enjoy even after a full meal.

More than simply a collection of themed menu items, the restaurant offers an opportunity to experience the story through taste and atmosphere. Combined with the Story Walk attraction, it provides an even deeper connection to the world of “Frieren: Beyond Journey’s End.”

Detective Conan: The Escape
– Prologue to the Highway

After immersing yourself in Frieren’s enchanting world and enjoying the themed dining experience, be sure to check out “Detective Conan: The Escape – Prologue to the Highway” and “JUJUTSU KAISEN: The Real 4-D — Clock Tower of Recurrence” as well. Together, these experiences showcase the diverse appeal of “Universal Cool Japan 2026,” making it a celebration of Japanese entertainment that can easily fill an entire day. For a closer look at “Detective Conan: The Escape,” be sure to read our separate Universal Studios Japan’s Universal Cool Japan 2026.

Photo Credit :[©K.Y,T.A/S/FP　Detective Conan by Gosho Aoyama (published in Shogakukan's Weekly Shonen Sunday magazine)　© 2026 GOSHO AOYAMA/DETECTIVE CONAN COMMITTEE　TM & © 2026 Universal Studios. All rights reserved.　Ayaka Ozaki]

USJ体験レポ：『葬送のフリーレン』の世界へ没入！新アトラクション＆レストランを徹底体験

Wed, 03 Jun 2026 11:04:09 PST

『ユニバーサル・クールジャパン 2026（参照 USJ体験レポ：日本発エンターテインメントの最前線 - ユニバーサル・クールジャパン 2026）』のフィナーレを飾る『葬送のフリーレンストーリー・ウォーク～追憶の旅～』が、2026年5月30日より、ユニバーサル・スタジオ・ジャパンに期間限定で登場。TVアニメ『葬送のフリーレン』とパーク史上初のコラボレーションとなる本企画では、映像や音響演出を駆使した新ウォークスルー型アトラクションを展開。ゲストはフリーレンたちと共に、作品世界を巡る冒険を体験できる。

さらに、テーマ・レストランやライド・アトラクションも登場。5月29日の開幕セレモニーには、フリーレン役の種﨑敦美、ヒンメル役の岡本信彦も登壇し、イベント開幕を華やかに彩った。

〈記事では紹介しきれなかった”レアな瞬間”や”未公開写真”はSNSで続々公開中！フォロー必須！〉
→instagram / X

『葬送のフリーレンストーリー・ウォーク～追憶の旅～』

『葬送のフリーレンストーリー・ウォーク～追憶の旅～』は、ゲスト自身が物語の旅人となり、フリーレンたちと共に思い出を巡るウォークスルー型アトラクションだ。

会場内に一歩足を踏み入れると、そこには幻想的な『葬送のフリーレン』の世界が広がる。作品を知らなくても、その神秘的で美しい世界観に思わず引き込まれるはずだ。巨大スクリーンやプロジェクションマッピングによって再現された景色は非常に繊細で、壁面だけでなく足元にまで丁寧な演出が施されている。まるで自分自身が物語の中へ迷い込んだかのような没入感が印象的だった。

旅の途中では、フリーレン、フェルン、シュタルクたちと出会いながら数々の名場面を辿っていく。壮大な映像表現と美しい音楽が融合し、作品の持つ温かさや切なさを全身で感じられる体験となっている。ファンにとってはもちろん、作品に初めて触れるゲストにとっても、『葬送のフリーレン』の魅力を体感できる入り口となるだろう。

『葬送のフリーレン～追憶のレストラン～』

フリーレンのビーフプレート
～赤ワイン香るデミグラスソース～

アトラクションと合わせて訪れたいのが、『葬送のフリーレン～追憶のレストラン～』だ。店内は作品世界に存在する町のレストランをイメージしており、足を踏み入れた瞬間から『葬送のフリーレン』の世界観に包まれる。

特に印象的なのは、店内を彩る美しいステンドグラスや花々の装飾。温かみのある空間には旅の記憶を感じさせる意匠が散りばめられ、眺めているだけでも心が和む。また、店内ではフリーレンたちの会話が聞こえてくる演出も用意されており、まるで彼らと同じ世界で食事をしているかのような気分を味わえる。

ステンドグラスにはそれぞれ物語が込められており、細かな背景設定に思いを巡らせながら鑑賞するのも楽しみ方のひとつ。作品ファンはもちろん、初めて『葬送のフリーレン』に触れる人も、その優しく幻想的な世界観に浸ることができるだろう。

「フリーレンのビーフプレート～赤ワイン香るデミグラスソース～」は、じっくり煮込まれた肉が驚くほど柔らかく、口の中でほろりとほどける仕上がり。「ヒンメルのオムレツプレート」のオムレツはもちろん、パンはふんわりとした食感で、添えられたサーモンやサラダもさっぱりとしており、最後まで飽きずに楽しめた。

「花香るフリーレンのホワイトソーダ」は見た目も涼やかで、爽やかですっきりとした味わい。これからの季節にぴったりの一杯だ。さらに、「フェルンのチェリー＆ブルーベリーパフェ」はボリュームがありながらも軽やかな口当たりで、甘さがしつこくないため食後でも食べやすかった。

美しい空間で作品の世界観に浸りながら食事を楽しめる『追憶のレストラン』は、単なるコラボフード企画に留まらない、“物語を味わう”体験を提供してくれる。アトラクションと合わせて訪れることで、『葬送のフリーレン』の旅をより深く楽しめるはずだ。

名探偵コナン・ザ・エスケープ
～ハイウェイへの序幕（プロローグ）～

『葬送のフリーレン』の幻想的な世界に浸り、美味しいコラボフードを味わった後は、『名探偵コナン・ザ・エスケープ～ハイウェイへの序幕（プロローグ）～』や『呪術廻戦・ザ・リアル 4-D ～廻る時計台～』へ足を運ぶのもおすすめだ。作品ごとに異なる没入体験を楽しめる『ユニバーサル・クールジャパン 2026』は、日本発エンターテインメントの魅力を一日で堪能できる特別なイベントとなっている。『名探偵コナン・ザ・エスケープ』の詳細は別レポート（USJ体験レポ：日本発エンターテインメントの最前線 - ユニバーサル・クールジャパン 2026）で紹介しているので、ぜひあわせてチェックしてほしい。

YOSHIKI Joins as Headliner for Global Citizen Music Event in Tokyo

Tue, 02 Jun 2026 12:01:27 PST

YOSHIKI has joined the lineup as a headliner for Global Citizen Live: Tokyo, the upcoming music event from the advocacy organization that seeks to end poverty worldwide. The composer joins previously announced performers &TEAM, Ai, and Yuki Chiba on 18 June 2026 at the Tokyo International Forum. The event will be hosted by Chris Peppler.

“I’m very happy to perform at Global Citizen’s first-ever concert event in Japan,” said YOSHIKI. “Their mission of joining music and philanthropy is something I connect to in a deeply personal way.”

The final batch of tickets to Global Citizen Live: Tokyo were made available starting Saturday, May 30. Tickets can be purchased from eplus and Lawson Ticket. Proceeds from tickets sold to Global Citizen Live: Tokyo will contribute to the FIFA Global Citizen Education Fund, an international initiative to raise ¥16 billion to provide at least 100,000 children with access to quality education in over 150 countries, including in Japan, by the 2026 FIFA World Cup.

27 grassroots organizations from 10 countries around the world, including two programs in Japan, have been selected to receive awards ranging from USD $50,000–$250,000 to further their vital work providing access to quality education and sports to children in underserved communities.

Additionally, a limited number of free tickets to Global Citizen Live: Tokyo can be earned by taking action on the Global Citizen app. Every action taken on the app generates points, which can be used to enter the draw for free tickets or exchanged for other rewards. Learn more here.

Since 2008, Global Citizen has grown to become the world’s largest movement to end extreme poverty. Almost ¥8 trillion in commitments announced on Global Citizen platforms have been deployed, impacting 1.3 billion lives. Artists who have performed at Global Citizen’s music events around the world include Beyoncé, Coldplay, BTS, Blackpink, Rihanna, Ed SHeeran, Mariah Carey, Stray Kids, Billie Eilish, Red Hot Chili Peppers, and many more.

YOSHIKI is a composer, classically-trained pianist, rock drummer, and the leader of the rock groups X Japan and The Last Rockstars. Following sold-out performances in Tokyo, YOSHIKI will perform two exclusive classical concerts at Walt Disney Concert Hall in Los Angeles on July 16 and 17.

Disney’s FROZEN Make Its Osaka Debut in 2027

Wed, 03 Jun 2026 11:06:55 PST

On June 1, Shiki Theatre Company held a press conference in Osaka to announce that Disney's FROZEN will begin a long-run engagement at Osaka Shiki Theatre on June 20, 2027.

Based on Disney's 2013 animated feature film, “FROZEN” was adapted into a stage musical that premiered on Broadway in 2018. Since then, the production has expanded internationally, with performances staged in cities including London, Sydney, and Hamburg.

In Japan, Shiki Theatre Company premiered the musical in Tokyo in June 2021 (See : Review: Disney's FROZEN in Tokyo). The production continues to run at JR East Shiki Theatre [HARU] and, as of May 31, 2026, has reached 1,561 performances and welcomed more than 2.1 million audience members.

The upcoming Osaka production will mark the second Japanese city to host the musical following Tokyo. It will also be the first Disney musical long-run engagement at Osaka Shiki Theatre in five years, following “The Little Mermaid,” which played there from 2018 to 2021.

[Want to see more exclusive photos from our coverages? Follow us on Instagram and X for behind-the-scenes content!]

The press conference featured prospective cast members Utano Nakahara, who is in consideration for the role of Elsa, and Chiaki Kainuma, who is in consideration for the role of Anna.

The event also included live performances of songs from the musical. Chiaki performed "For the First Time in Forever," while Utano sang the iconic anthem "Let It Go," offering attendees a glimpse of the production's world and building anticipation for the Osaka engagement.

View on Instagram

Reflecting on her first experience with the show, Utano said, "I still clearly remember getting goosebumps when I heard 'Let It Go.'" She added that Elsa's determination to overcome seemingly insurmountable challenges continues to inspire her personally. As a native of the Kansai region, which includes Osaka, Utano also expressed her excitement about bringing the story to a theatre that holds special meaning for her.

Chiaki shared that she draws strength from Anna's unwavering devotion to her sister, even in the face of repeated rejection. Chiaki commented that she hopes to portray Anna's sincerity and straightforward spirit with great care. She also encouraged audiences to enjoy the production with family and friends, noting that the musical appeals to people of all generations.

It was also announced that auditions for the child performers who will portray Young Elsa and Young Anna in the Osaka production will be held in September 2026. As these roles play an important part in establishing the story's emotional foundation, attention will undoubtedly turn to the young talents selected for the production.

The snow-and-ice fantasy that has captivated audiences around the world is set to open a new chapter at Osaka Shiki Theatre in 2027.

Performance Information

Production: Disney's FROZEN
Opening Date: June 20, 2027
Venue: Osaka Shiki Theatre
Run: Open-ended long-run engagement
Tickets on Sale: February 2027

Photo Credit :[Masaaki Noda　Ayaka Ozaki]

劇団四季『アナと雪の女王』大阪公演が決定　2027年6月より大阪四季劇場でロングラン上演

Tue, 02 Jun 2026 10:57:23 PST

劇団四季は6月1日、大阪市内で製作発表会を開催し、ディズニーミュージカル『アナと雪の女王』を2027年6月20日より大阪四季劇場でロングラン上演することを発表した。

『アナと雪の女王』は、2013年に公開されたディズニーの長編アニメーション映画を原作とするミュージカル作品。2018年にブロードウェイで初演された後、ロンドンやシドニー、ハンブルクなど世界各地で上演されている。

日本では劇団四季が2021年6月に東京で初演（参考：公演レポート：ディズニーミュージカル『アナと雪の女王』）。JR東日本四季劇場［春］での上演を継続しており、2026年5月31日時点で公演回数は1,561回、総入場者数は210万人を突破している。

今回の大阪公演は、日本国内では東京に続く2都市目の上演となる。また、大阪四季劇場におけるディズニーミュージカルのロングラン公演は、2018年から2021年まで上演された『リトルマーメイド』以来、およそ5年ぶりとなる。

〈記事では紹介しきれなかった”レアな瞬間”や”未公開写真”はSNSで続々公開中！フォロー必須！〉
→instagram / X

発表会には、エルサ役出演候補キャストの中原詩乃、アナ役出演候補キャストの海沼千明が登壇した。

会見ではキャストによる劇中ナンバーの披露も行われ、海沼が「生まれて初めて」、中原が「ありのままで」を歌唱。大阪公演への期待を高めた。

View on Instagram

中原は、「『ありのままで』のナンバーに鳥肌が立ったことを今でもはっきりと覚えています」と作品との出会いを振り返り、「抱えきれないほどの大きなものを乗り越えようとするエルサの姿に、私自身も勇気をもらっています」と語った。さらに、「関西出身の私にとって思い入れのある劇場で、この物語をお届けできることを嬉しく思います」と大阪公演への思いを明かした。

海沼は、「何度拒絶をされても寄り添っていくアナの心の強さに、私も元気をもらえます」と話し、「真っ直ぐに生きるアナの魅力を存分に感じていただけるよう、丁寧に演じたい」とコメント。「ぜひご家族やご友人と一緒に劇場にお越しください」と観客へメッセージを送った。

さらに、大阪公演に出演するヤング・エルサ役、ヤング・アナ役の子役キャストを選出するオーディションを2026年9月に開催することも明らかになった。物語の冒頭を彩る重要な役どころだけに、どのような才能が選ばれるのかにも注目が集まりそうだ。

世界中の観客を魅了してきた雪と氷のファンタジーが、2027年、大阪四季劇場で幕を開ける。

公演概要

作品名：ディズニーミュージカル『アナと雪の女王』
開幕日：2027年6月20日（日）
会場：大阪四季劇場
上演形態：ロングラン公演
チケット発売：2027年2月予定

Photo Credit :[撮影：野田正明　Ayaka Ozaki]

Review: TUBE LIVE AROUND 2025-2026 KEEP ON SAILIN’

Sun, 31 May 2026 09:20:06 PST

TUBE : Formed by vocalist Nobuteru Maeda, guitarist and keyboardist Michiya Haruhata, bassist Hideyuki Kakuno, and drummer Ryoji Matsumoto, TUBE is a four-piece band that has long defined the sound of Japanese summer. Since their debut in 1985, the group has built an enduring legacy through sun-drenched songs. Launched in July 2025, their nationwide tour TUBE LIVE AROUND 2025-2026 Keep On Sailin’ spanned an extraordinary ten months, traveling from Hokkaido in the north to Okinawa in the south. Now that this passionate journey, befitting the band’s 40th anniversary, has reached its triumphant conclusion, this review looks back on one of its highlights: the January 11, 2026 performance at Grand Cube Osaka.

Even before the show began, spontaneous “TUBE” chants and rhythmic clapping rippled through the venue, steadily building anticipation. At the scheduled time, silhouettes appeared behind a white curtain as a quiet a cappella passage filled the air. The moment the curtain rose and TUBE stepped into view, the atmosphere instantly ignited.

The opening number, “onajisoranoshitade (同じ空の下で),” set the tone from the first note. As the audience swayed from side to side, moving instinctively with the rhythm, Nobuteru raised his fist and delivered a powerful, emotionally charged vocal. Each phrase drew the crowd closer, forging a strong sense of unity right from the start.

“Smile Flower (スマイルフラワー)” followed, bathing the stage in rainbow-colored lights. Nobuteru’s gentle, conversational delivery was met with perfectly synchronized hand movements from the audience, creating a different kind of exhilaration, warm, shared, and deeply communal.

During the first banter, Nobuteru joked, “There isn’t a single song that matches today’s weather,” drawing laughter with a comment that only a band synonymous with summer could make. He noted that the tour, running through May 30, had reached its midpoint. Sharing behind-the-scenes stories from appearances at the NHK “Kohaku Uta Gassen (紅白歌合戦)” and the Japan Record Awards, he revealed that practicing choreography with FRUITS ZIPPER had been so intense that he dreamed of being scolded by them, an anecdote that delighted the crowd. He also explained that the setlist was designed as a countdown, tracing TUBE’s releases from their most recent songs back to their debut era.

Reflecting on 2011 and the Great East Japan Earthquake, Nobuteru spoke candidly about the conflict he felt continuing to sing songs about the sea during such a difficult time. Encouragement from people in the affected areas, however, became a source of strength. That experience gave birth to “A Day In The Summer – Omoide wa Egao no Mama – (A Day In The Summer～想い出は笑顔のまま～),” performed with heartfelt sincerity. The emotion carried seamlessly into “syakunetsu love (均熱らぶ),” leaving a lasting impression.

A natural singalong emerged during “Minna no Umi (みんなのうみ),” as the expansive vocals and instrumentation painted a vast seascape before the audience’s eyes, earning a wave of applause throughout the hall.

With “Namida wo Niji ni (涙を虹に),” the venue literally shook as fans jumped in unison. The thunderous guitar from Michiya and the driving bass lines from Hideyuki during the instrumental break further amplified the song’s energy. “Miracle Game” followed, featuring light, playful steps that added a visual spark to the performance.

For the second half, the band returned in jackets, trading their aloha shirts for a more refined look. Opening with a beautifully seamless introduction, “Melodies & Memories” unfolded under deep blue lighting. The emotionally rich vocal performance held the audience in rapt silence.

“Glass no Memories (ガラスのメモリーズ)” came next, with Nobuteru sharing that the song had once been used as the theme for the long-running TV program “Sekai Fushigi Hakken! (世界ふしぎ発見！)”. As soon as he began singing “Natsu wo Machikire Nakute (夏を待ちきれなくて),” the crowd’s excitement surged, as if to say, “This is it.” Every lyric landed with weight and resonance.

Eyes closed, Nobuteru delivered “Shonan My Love (湘南My Love)” with a crystal-clear voice. The song painted vivid images of Enoshima, mirrored by a crowd swaying like waves and handclaps rippling softly like the sound of the shore.

When the iconic intro of “Ah Natsuyasumi (あー夏休み)” rang out, the biggest reaction of the night erupted. Thunderous clapping, jumping fans, and a visibly shaking venue marked the peak of the celebration, with Nobuteru’s voice cutting straight to the soul.

As “Beach Time” began, silver streamers burst into the air, wrapping the venue in a festive glow. The audience’s energy hit its absolute maximum as the band briefly exited the stage amid unrelenting cheers.

Responding to nonstop “TUBE” calls, the encore began. Wearing a white T-shirt emblazoned with “TUBE” in blue lettering, Nobuteru reflected, “If this song hadn’t existed, I wonder where I’d be now,” before launching into “Season in the Sun (シーズン・イン・ザ・サン).” The line “I want to stay like this a little longer” echoed the shared feelings of both the band and their fans. In the final moments, Nobuteru altered the lyrics to “I want to stay ‘with you’ forever,” bringing the audience to an emotional high point.

“Thank you for following a band that’s only about summer for 40 years. Thank you for loving us for 40 years,” Nobuteru said with heartfelt sincerity. The four members lined up at the front of the stage, removed their microphones, and called out together, “Thank you very much!” This simple gesture that said everything.

It was a night where TUBE’s desire to stand by their listeners and lift their spirits came through with absolute clarity. The passionate vocals, lyrics filled with warmth, and moments of dance-driven fun showcased the band’s versatility. A deliberately simple stage design only highlighted their performance power, while the overwhelming enthusiasm of the audience stood as undeniable proof of the show’s impact.

Photo Credit :[N/A]

公演レポート：TUBE LIVE AROUND 2025-2026 KEEP ON SAILIN'

Sun, 31 May 2026 09:19:54 PST

TUBE：ヴォーカル前田亘輝、ギター・キーボード春畑道哉、ベース角野秀行、ドラム松本玲二からなる４人組バンド。1985年にデビューし、夏の代名詞で知られている。2025年7月に幕を開けた全国ツアー『T TUBE LIVE AROUND 2025-2026 Keep On Sailin’』は、北は北海道から南は沖縄まで、10ヶ月に及ぶ長き航海を無事に完走した。デビュー40周年の節目を飾るにふさわしい、情熱に満ちた全行程の幕が閉じた今、こちらではそのハイライトの一つとなった2026年1月11日のグランキューブ大阪公演の模様をお届けする。

開演前から会場には自然と「TUBE」コールと手拍子が広がり、期待感が高まっていく。定刻、白幕にシルエットが浮かび上がり、アカペラが静かに響いた。幕が開いた瞬間、TUBEが姿を現すと、場内の空気は一気に熱を帯びる。

幕開けを飾ったのは『同じ空の下で』。左右に身体を揺らしながらリズムに身を委ねる観客に向け、前田は拳を掲げ、想いをぶつけるような力強い歌声を放つ。その一声一声が客席を巻き込み、冒頭から会場は強固な一体感に包まれた。

続く『スマイルフラワー』では、虹色の照明がステージを染め上げる。語りかけるような柔らかな歌唱に、観客の振り付けは見事に揃い、温度の異なる高揚感が会場を満たしていった。

最初のMCで前田は「今日の気候に合う曲はない（笑）」と冗談を交え、夏を象徴するバンドらしい言葉で早くも笑いを誘う。5月30日まで続く今回のツアーは、ちょうど中間地点に差しかかったという。紅白歌合戦やレコード大賞の裏話では、FRUITS ZIPPERとダンスの練習をした影響で、夢の中で彼女たちに怒られたというエピソードを披露し、客席を沸かせた。さらに、今回のセットリストが最新曲からデビュー当時までをカウントダウン形式で辿る構成であることも明かされた。

2011年、東日本大震災の際には、海をテーマにした楽曲を歌い続けてきたことへの葛藤があったという。しかし被災地から寄せられた言葉に励まされた経験が、大きな支えとなったことを語り、その想いから生まれた楽曲として『A Day In The Summer～想い出は笑顔のまま～』を披露。続く『均熱らぶ』まで、真摯で誠実な歌声が深く胸に刻まれた。

『みんなのうみ』では観客との合唱が自然と生まれ、壮大な海原が目前に広がるような歌声と演奏に、場内から大きな拍手が送られる。

『涙を虹に』では、飛び跳ねる観客の熱気で会場が大きく揺れた。間奏で轟いた春畑のギターと角野のベースが、楽曲のエネルギーをさらに増幅させる。続く『Miracle Game』では軽快なステップも披露され、視覚的な楽しさが加わった。

後半はアロハシャツからジャケット姿へと衣装を替えて登場。美しい導入が印象的な『Melodies & Memories』は、ブルーの照明に包まれながら情感豊かに歌い上げられ、その姿に観客は静かに聴き入った。

そして奏でられた『ガラスのメモリーズ』。この楽曲が『世界ふしぎ発見！』のテーマ曲として親しまれてきたことが、前田の口から語られた。続く『夏を待ちきれなくて』を歌い始めると、「これこれ！」とばかりに観客のボルテージが一気に跳ね上がる。言葉の一つひとつが、重みをもって心に響いた。

目を閉じ、透き通る声で届けられた『湘南My Love』。歌声が描き出す江ノ島の風景、波のように揺れる客席、さざなみのように重なる手拍子が、情景を鮮明に浮かび上がらせる。

『あー夏休み』のイントロが流れると、この日最大の手拍子とジャンプが巻き起こり、会場は大きく揺れた。魂に直接響く歌声が、祝祭のピークを告げる。

『Beach Time』のイントロとともに銀テープが舞い、観客の熱量は最高潮に達する。鳴り止まぬ声援の中、メンバーはいったんステージを後にした。

止まない「TUBE」コールに応え、アンコールがスタート。青字で“TUBE”と記された白Tシャツ姿で再登場した前田は、「この曲がなかったら、今頃どこで何をしていたか…」と語り、『シーズン・イン・ザ・サン』を披露する。「もう少しこのままでいたいのさ」という歌詞は、前田とファン双方の想いを代弁するかのように響き、最後は「いつまでも “みんなと” いたいのさ」と歌詞を変え、客席を深い感動で包み込んだ。

「40年間、夏だけのバンドについて来てくれて感謝している。40年間、愛してくれてありがとう」。そう語り、４人はステージ先端に横一列で並ぶ。マイクを外し、地声で届けられた「どうもありがとう！」が、すべてを物語っていた。

聴く人に寄り添い、元気を届けたいという想いが、歌唱と歌詞からまっすぐに伝わる一夜だった。情熱あふれる歌声に加え、ダンスでも楽しませる構成が印象的だ。装飾を抑えたシンプルなステージがTUBEの表現力を際立たせ、観客の凄まじい熱量が、このライブの完成度を雄弁に証明していた。

Photo Credit :[N/A]

Ae! group Launches Complete Digital Catalog and New Single 'DEKOBOKO LIFE' Globally

Mon, 18 May 2026 10:43:11 PST

Japanese boy band Ae! group celebrates their debut anniversary with the highly anticipated release of their entire music catalog on global streaming services, along with the music video for their newest single "DEKOBOKO LIFE“ also available to download and stream worldwide!

Watch the Official Music Video for newest single “DEKOBOKO LIFE(でこぼこライフ)"

Listen from Here
https://lnk.to/ae_stdl

About the Release

Japanese boy band Ae! group has made their entire music catalog available on major global streaming and download platforms, marking a significant transition from their previous Japan-exclusive physical CD distribution.

The group entered the music scene in May 2024 with their debut single "《A》BEGINNING." Their sophomore album "Runway," released this past February, debuted at No. 1 on the Oricon Weekly Album Charts, securing a career-high first-week score of 321,000 points and surpassing the sales of their prior release "D.N.A."With this digital rollout, the group's complete discography is now accessible to both domestic and international audiences on platforms including Spotify, Apple Music, and YouTube Music.

In tandem with the catalog release, the title track from their upcoming fourth single, "DEKOBOKO LiFE," scheduled for physical release on June 17, has also been made available for early download and streaming. The track serves as the theme song for the feature film "Mr. Osomatsu 2," which opens in theaters on June 12. The movie stars the members of Ae! group alongside other acting talent from STARTO ENTERTAINMENT in a live-action sequel based on the popular manga series.

"DEKOBOKO LIFE" Standard Edition

"DEKOBOKO LIFE" First Press Edition A

"DEKOBOKO LIFE" First Press Edition B

"DEKOBOKO LIFE" First Press Edition C

"DEKOBOKO LIFE" Mr. Osomatsu Edition

Ae! group

- Members : 4 (Yoshinori Masakado, Seiya Suezawa, Ken Kojima and Masaya Sano)
- CD Debut: 2024
- More about them (English): https://starto.jp/s/p/artist/157?lang=en

Yoshinori Masakado

Seiya Suezawa

Ken Kojima

Masaya Sano

Official Links

- Youtube: Music videos, performance clips and fun variety videos.
- Instagram
- TikTok
- X (Japanese only)

Additional Solo Accounts

- Yoshinori Masakado’s instagram
- Seiya Suezawa’s instagram
- Ken Kojima’s instagram
- Masaya Sano’s instagram

More Articles About Ae! group

- Interview: Ken Kojima of Ae! group directs 'COME VISIT! MINAMI LAUGHING STREET'
- Photos: The 38th Annual Tokyo International Film Festival Red Carpet
- Review: THANK YOU OSAKA SHOCHIKUZA THEATRE!
- Review: COME VISIT! MINAMI LAUGHING STREET at Osaka Shochiku Theatre
- FEATURE : WE ARE! LET'S GET THE PARTY STARTO!! - 74 IDOLS GATHERED in Kyocera Dome Osaka
- Review: TICK, TICK…BOOM! With a Special Comment from Richard (Ae! group) aka Michael

StageMag Launches Programmable PDF Editor for Digital Theater Programs

Thu, 21 May 2026 10:04:02 PST

StageMag, the digital show program platform from BroadwayWorld, today launched its new PDF Editor to all producers and stage managers using the service. The tool gives editors granular, real-time control over how their digital program renders as a downloadable or printable PDF - the format most often used in lobby printouts, accessibility packets, and press kits.

Until now, the StageMag-to-PDF path was a one-shot export: whatever fit, fit. The new editor turns the export into a configurable surface. Each section of a program including the cast list, song list, director's note, bios, advertisements, sponsor pages, articles, listings and more — can be individually told how to paginate. Editors choose between three strategies per section:

Flow: natural pagination, sections may split across pages.
Own page: start the section on a fresh page.
Fit one page: start fresh and scale the section to occupy the whole page.

A live preview pane re-renders the PDF on every change, so editors see the final printed result as they work rather than guessing and re-exporting.Beyond the strategy picker, the editor exposes a set of advanced controls familiar to anyone who has hand-tuned a long-form print document: hide-element selectors (drop sponsor strips or vestigial nav from the print version), forced page breaks before or after named elements, a draggable section-order list, custom header/footer/watermark text, and a custom-CSS escape hatch for theaters whose programs follow a house style.

The release also includes paper-level controls including US Letter or A4, portrait or landscape, three margin presets, three type scales, and a "booklet" mode that adds a binding gutter for stapled lobby printouts.

The PDF Editor is available now to all StageMag-enabled productions at no additional cost, under the Share PDF tab in the program editor. Existing programs render with sensible defaults; the new controls are opt-in and per-production.

About StageMag

StageMag is BroadwayWorld's digital playbill platform, used by Broadway, Off-Broadway, regional, university, and community theater productions to publish interactive programs that audiences open on their phones from a QR code in the lobby. StageMag is offered as a free service to participating productions.

About BroadwayWorld

Founded in 2003, BroadwayWorld is the largest theater website in the world, covering Broadway, the West End, and theater news, reviews, interviews, and resources across all 50 US states and 45 countries.

Review: “RIPLEY” Brings The World of “PURPLE NOON” To The Japanese Stage For The First Time

Sat, 09 May 2026 06:09:00 PST

Ripley: This stage production is directed by Keiko Miyata, known for her work across a wide range of genres. Drawing on the “Ripley” series, which has inspired numerous screen adaptations over the years, including the 1960 film “Purple Noon (Plein Soleil),” the work is newly staged in Japan with a fresh theatrical interpretation.

Tom Ripley is portrayed by Tatsuya Ueda, who has built his career across both screen and stage. He takes on a character marked by cunning and emotional detachment, yet capable of drawing others in. Richard Greenleaf, whose encounter with Tom alters the course of his life, is played by Ryo Kimura. Marge Sherwood, who shows a sense of wariness toward Tom, is portrayed by Jun Hana, while Richard’s friend Freddie Miles is played by Takeshi Itakura, and Fausto, a boy living in Italy, by Ikuma Nagatomo. Richard’s parents are performed by Maiko Kawakami and Shingo Tsurumi. A notable feature of the production is its structure, in which multiple supporting roles, aside from Tom and Richard, are performed in dual casting by a limited ensemble.

Story

Ryo Kimura, Tatsuya Ueda

Set in early 1950s New York, the story follows Tom, a man drifting through life sustained by habitual lies. He receives an unexpected request from a wealthy man: to travel to Italy and bring back his son, Richard, who has been living a life of indulgence abroad. Tom heads to Italy, gradually gaining Richard’s trust and forming a close bond.

As they move through cities such as Naples, Rome, and Sanremo, the two share a series of seemingly idyllic days. Yet beneath the surface of this glittering life, something begins to shift within Tom. His feelings toward Richard grow increasingly complex, as admiration and fixation intertwine, and he starts to blur the boundaries between himself and the man he has come to observe so closely. In time, Tom begins to believe that he himself is the one truly suited to be “him.”

Review

“Ripley” is not the kind of production that overwhelms audiences with flashy staging or action-driven spectacle. Instead, it unfolds as a restrained psychological suspense piece for mature audiences, gradually exposing the inner lives of its characters through an atmosphere of quiet tension. Precisely because of this approach, the actors’ performances become the driving force behind the production’s intensity.

As Tom Ripley, Tatsuya Ueda carries the production with an immense amount of dialogue. He first appears as a somewhat carefree man, even giving off flashes of superficial charm. Yet as the story progresses, traces of Tom’s hidden madness slowly emerge through subtle shifts in expression, calculated pauses, and the smallest movements around his mouth and eyes. Each new lie alters his demeanor almost imperceptibly, quietly instilling a sense of unease in the audience.

Particularly striking was the gradual way Tom’s fixation on Richard deepened over the course of the play. Rather than portraying the character through explosive emotional outbursts, the production reveals the distortion of Tom’s psyche through restrained performances and carefully controlled tension. Within that framework, Tatsuya’s delicate and highly detailed acting stood out all the more.

Ryo Kimura also left a strong impression as Richard Greenleaf. His relaxed mannerisms and natural presence created the convincing image of a man living freely abroad, making it easy to understand why Tom would become so captivated by him.

Another notable aspect of the production was the way multiple supporting characters were portrayed by the same actors. The seamless transitions between roles became one of the performance’s highlights, allowing the limited ensemble to create a layered theatrical world while maintaining a constant sense of tension and immersion unique to live theater.

Overall, the production moves at a relatively measured pace. Yet within that stillness, the accumulating psychological tension gradually amplifies the unsettling nature of the story. While audiences familiar with ”Purple Noon (Plein Soleil)” may find a sense of nostalgia in its atmosphere, the play also resonates with contemporary viewers through its exploration of human desire, envy, and identity. It is a production that particularly appeals to middle-aged and older theatergoers, drawing them into its quiet intensity.

Photo Gallery

Jun Hana

Shingo Tsurumi

Photo Credit :[Ayaka Ozaki]

ゲネプロレポート：上田竜也主演『リプリー』

Sat, 09 May 2026 05:07:57 PST

リプリー：数々のジャンルを横断してきた演出家・宮田慶子が手がける舞台作品である。1960年公開の『太陽がいっぱい（原題『Purple Noon／Plein Soleil』）をはじめ、長年にわたり映像化されてきた『リプリー』シリーズを新たな演出で日本初舞台化。

主人公トム・リプリーを演じるのは、映像と舞台の両分野で活動を重ねてきた上田竜也。狡猾で冷酷な一面を持ちながら、人を引き寄せる人物像に挑む。彼と出会い運命を大きく変えていくリチャード・グリーンリーフには木村了。さらに、トムに対して警戒心を見せるマージ・シャーウッドを潤花が、リチャードの友人フレディ・マイルズを板倉武志、イタリアで暮らす少年ファウストを長友郁真が演じる。また、リチャードの両親役として川上麻衣子と鶴見辰吾が出演する。トムとリチャード以外の登場人物を複数の俳優が兼ねるという構成も特徴である。

あらすじ

木村了、上田竜也

1950年代初頭のニューヨーク。虚言を重ねながら刹那的な生活を送っていたトムのもとに、ある富豪から一つの依頼が届く。それは、イタリアで放蕩生活を送る息子リチャードを連れ戻してほしいというものだった。トムは現地へ向かい、巧みに彼へ接近し、やがて親密な関係を築いていく。

ナポリやローマ、サンレモといった各地を巡るなかで、華やかな時間を共有する二人。しかし、その充足した日々の裏で、トムの内面には次第に複雑な感情が芽生えていく。リチャードへの憧れと執着が交錯し、自らの存在を重ね合わせるようになるのである。やがてトムは、自分こそが「彼」にふさわしい存在だと考え始める。

レポート

『リプリー』は、派手な演出やアクションで観客を圧倒するタイプの作品ではない。静かな空気のなかで、登場人物たちの心理がじわじわと浮かび上がっていく、大人向けのサスペンスである。だからこそ、本作では俳優陣の演技力が作品の緊張感を大きく左右していた。

主人公トム・リプリーを演じた上田竜也は、膨大なセリフ量を抱えながら舞台を牽引。序盤ではどこか軽薄さすら漂わせる人物として登場するが、物語が進むにつれて、その視線や間の取り方、わずかな口元の変化から、トムの内面に潜む狂気が滲み出していく。嘘を重ねるたびに変化していく表情や仕草も細やかで、観客に不穏さを静かに植え付けていた。

特に印象的だったのは、トムが次第にリチャードへの執着を深めていく過程である。感情を爆発させるのではなく、抑制された演技によって心理の歪みを見せていく構成だからこそ、上田の繊細な表現が際立っていた。

リチャード・グリーンリーフ役の木村了も存在感を放っていた。どこか余裕を漂わせる立ち居振る舞いや自然な空気感が、異国の男性らしい雰囲気を生み出しており、トムが強く惹かれていく理由にも説得力を与えていた。

また、本作ではトムとリチャード以外の複数の登場人物を、俳優が演じ分ける構成となっているが、その切り替えも見どころの一つだった。限られた人数で物語世界を立体的に構築していくことで、舞台ならではの緊張感と没入感を生み出していた。

全体を通して、作品のテンポは比較的穏やかである。しかし、その静けさのなかで少しずつ積み重なっていく心理描写が、本作独特の不気味さを際立たせていた。『太陽がいっぱい』世代にとっては懐かしさを感じられる一方で、現代の観客にも人間の欲望や羨望の危うさを改めて突きつける作品となっている。中高年層を含め、幅広い世代がじっくりと楽しめる舞台であった。

フォトギャラリー

潤花

鶴見辰吾

Photo Credit :[Ayaka Ozaki]

GYPSY in Japan: Producers Walk Back Title Change Ahead of 2026 Revival

Fri, 08 May 2026 17:15:24 PST

The Japanese revival of GYPSY will retain its original title when it returns to the stage in 2026, reversing an earlier decision to present the production under the name 'Rose.'

BroadwayWorld previously reported the change was announced out of consideration for the term's history as a discriminatory descriptor for Roma and Sinti peoples, including its association with persecution during the Holocaust. The production's official website now lists the show as GYPSY, with a February 22 notice posted regarding the change in title notation.

In a statement on the production's official site, organizers note that the musical is a stage adaptation based on the memoirs of American burlesque entertainer Gypsy Rose Lee, and that the title is based on a proper noun.

Their statement reads:

Regarding the Change of Title Notation: This work is one of the masterpieces representing Broadway musicals, and has been beloved around the world for many years.

Until now, we had been preparing to stage this production under the Japanese title "Rose". However, after carefully reconsidering the original work, its background, and its proper context, we have decided to change the title notation to its original title, GYPSY.

The musical GYPSY is a stage adaptation based on the memoirs of American burlesque entertainer Gypsy Rose Lee, and the title is based on a proper noun.

We will continue to strive to deliver the work in the best possible form, and we humbly ask for your understanding.

The musical tells the story from the perspective of Lee's mother, Rose, often described as the ultimate stage parent. The 2026 production reunites director Christopher Luscombe with actress Shinobu Otake, following their acclaimed 2023 run.

Otake stars as Rose, a determined vaudeville stage mother who pushes her daughters Louise and June toward stardom while touring the country with their act. When June unexpectedly leaves the troupe, Rose shifts her focus to Louise, whose path ultimately leads her to a burlesque theater.

The cast also includes Meimi Tamura as Louise, Suzuka Tomita as June, Mizuki Inoue as Tulsa, and Kiyotaka Imai as Herbie, alongside an extensive ensemble.

The production will premiere at Nippon Seinenkan Hall in Tokyo in May 2026, with additional performances planned for Aichi, Fukuoka, and Osaka in June.

See performance highlights from the 2023 revival below!

Interview : Kazuya Ohashi & Takuto Teranishi Lead “AmberS” Inaugural Production at EX THEATER ARIAKE

Wed, 06 May 2026 10:44:36 PST

"AmberS" is currently being staged as the inaugural production of the newly opened EX THEATER ARIAKE in Tokyo’s Ariake district. Bringing together some of Japan’s most distinguished creative talents, including creative producer, original creator, and playwright Shigeaki Kato, director Masahiko Kawahara, music director Taisei Iwasaki, and character design supervisor Isao Tsuge, the production presents a visually and emotionally compelling theatrical experience. Centered on Kazuya Ohashi’s spirited youth Evel and Takuto Teranishi s enigmatic pianist Alan, the story follows a cast of characters navigating a world on the brink of transformation. This review takes a closer look at the dress rehearsal held on April 24.

Click here to read [Review: “AMBERS” STARRING KAZUYA OHASHI & TAKUTO TERANISHI]

First, may we ask each of you to give a brief greeting?

Shigeaki: I’m Shigeaki Kato. Thank you all for coming today despite your busy schedules. As this production marks the opening of EX THEATER ARIAKE, I feel a strong sense of responsibility, but I’m truly happy that we’ve been able to reach this day. It will be a short time, but thank you again for coming.

Kazuya Ohashi

Masahiko: Thank you all for gathering today. I’m Masahiko Kawahara, the director. I’ve been working hard with the hope that Shigeaki will be praised for this piece. Thank you very much.

Kazuya: Hello! I ate too much pudding, now my butt’s all jiggly! (This is his signature gag, which he always uses as a greeting.) I’m Kazuya Ohashi, leader of Naniwa Danshi! Thank you all so much for being here today. I’ll do my best to make this a fun press conference with everyone. Thank you!

Takuto: I’m Takuto Teranishi, playing Alan. Thank you for taking the time to be here today… um… this is kind of awkward to follow (laughs).

Takuto Teranishi

Kazuya: Sorry, sorry! That’s on me!

Takuto: Opening night is tomorrow, and I’m just really excited. Thank you for being here today.

Soya: I’m Soya Igari from KEY TO LET, playing Orucca. Thank you very much. Starting from Shigeaki’s script to Mr. Kawahara’s direction, I’ve worked hard hoping to support our two leads in any way I can. We’ll make it through opening night safely! It’s already been the best days…!

All: (laugh)

Kazuya: It starts tomorrow! (laughs)

Soya: I’ll tighten my focus even more and give it my all (laughs).

Toa: I’m Toa Shimasaki, playing Louis, Evel’s younger brother. I hope my presence can add color to this production, and I’ll do my best throughout the run for a month. Thank you.

Koki: I’m Koki Kawasaki, playing Enrique. My character belongs to an organization called Juralylis, and I’ve been excited since the moment I was offered the role. Now that it’s taken shape and we’re finally opening tomorrow, I’m still full of excitement. I’ll give it my all until the end. Thank you.

Tatsuru Matsuo

Tatsuru: I’m Tatsuru Matsuo, playing Wolf. Thank you. My character is the strongest Padzhari soldier, so I hope to bring out my full potential and add something impactful to the stage. Looking forward to it starting tomorrow.

Rena: I’m Rena Yamasaki, playing Noah. Opening night is tomorrow, and I’m really excited to enjoy every moment with the company and make it all the way to the final performance. Thank you very much.

Gota: I’m Gota Watabe, playing Ken. My role is… an AI robot. I’m nervous. I’m paired with Rena Yamasaki… no, that’s not quite right…I exist as an AI robot who protects her. It’s a very entertaining production with many things happening. I think it has a lot of charm and highlights, so I hope many people will come see it. Thank you.

Suzuho: I’m Suzuho Makaze, playing Hilda. I’m thrilled that this production we’ve carefully built together will finally reach audiences starting tomorrow. I’ll do my best to live as Hilda until the final performance. Thank you.

Udanji: I’m Udanji Ichikawa, playing Vingas. I’m clearly a villain, someone whose face doesn’t suit a smile at all.

All: (laugh)

Udanji: But deep down, he’s actually a good person, so I’m curious how audiences will perceive him. I’m very happy to be part of this opening production at EX THEATER ARIAKE. Thank you very much.

Could you tell us about your thoughts and particular focus on this production?

Shigeaki Kato

Shigeaki: This project began about three years ago, when the effects of the pandemic were still very present. Even then, we were talking about building a new theater and staging its inaugural production. The early 2020s were a difficult time for the entertainment industry, but I believed that a hopeful era would eventually come.

“Ariake” itself carries an auspicious meaning, connected to the idea of dawn breaking. I wanted to create entertainment that feels like the arrival of morning.

Especially for younger audiences who may feel that theater has become less accessible, I hoped to create a production that is easy to enjoy, both for those watching and those performing.

We’ve spent three years moving forward with that idea, and thanks to the support of so many people, we’ve reached this day. I truly feel that this vision has taken shape.

Masahiko: Watching everything from the director’s seat, the sound in this theater is truly remarkable. The second and third floors also feel very close to the stage, which makes it an excellent venue. I think I’ve realized that sooner than any other director, so I’m very happy (laughs).

I hope many people will come, and that the it becomes lively, like the restaurants on other floors.

All: (laugh)

Masahiko: The building itself, I mean!

Shigeaki: Yes, Ariake as a whole.

Masahiko: I always aim to create productions that make the theater itself happy. This time, it’s full of spectacle and theatrical flair appropriate for an opening production, and everyone is overacting…

Kazuya: “Overacting” (laughs)?

Soya: That makes it sound like a bad thing! Don’t say it like it’s embarrassing (laughs)!

Masahiko: But truly, I think we’re taking a step forward with something that will make this theater very happy. Everyone is delivering passionate performances.

Shigeaki: The theater is wonderful. Now it’s up to the actors.

Kazuya: We’ll do our best!

Kazuya, as the lead, how do you feel about performing in an opening production?

Kazuya: This is my first time being part of an opening production, and I didn’t even know what that meant, so I looked it up. It basically said, “It’s a big deal”…

Soya: It says “it’s a big deal”!?

Kazuya: No, no! I mean, I felt that it was big deal. Since this is a once-in-a-lifetime moment, I want to deliver the “now” of “AmberS” to everyone. I hope audiences can enjoy it together with us, the cast, the staff, and everyone involved. I’ll do my best.

You mentioned feeling nervous. How do you feel now?

Kazuya: The “pudding” joke earlier was honestly to calm my nerves… but now I feel even more nervous (laughs)! We have the dress rehearsal after this, and I’m really nervous. But I want to enjoy it.

How about you, Takuto, as co-lead?

Takuto: As Kazuya said, being part of an opening production is a rare opportunity in a lifetime. I want to enjoy that moment, and I’m simply excited for audiences to finally see this original work by Mr. Kato starting tomorrow.

As Shigeaki mentioned, were the roles written with specific actors in mind?

Shigeaki: It’s a bit complicated… I had the story in mind first, then we went through casting, and after that I began writing the script. So I wrote the lines while imagining the actors.

Did either of you feel the roles reflected yourselves?

Kazuya: Evel is very devoted to his family, and I also value family a lot, so I’m really happy if that aspect was seen in me when writing the role (laughs).

Takuto: Well, I also care about family (laughs). But Alan is a character with great depth, so I feel I need to fully face him both mentally and physically.

Udanji, how do you feel about this opening production?

Udanji: I’ve experienced opening productions a few times, but I’m very happy to present such a wonderful piece as “AmberS” here. I’m nervous, but as the sole representative from the Kabuki, I’ll do my best.

You’ll also be singing again after some time, correct?

Udanji: Me!? (bursts into loud laughter)

All: (laughter) Vingas appeared!

Kazuya: That startled me (laughs).

Udanji: Yes, indeed. It’s quite a challenge (laughs), but I’m enjoying it.

How about you, Suzuho?

Suzuho: As everyone has said, it’s a rare experience. Since it’s a theater we’ve never performed in before, we won’t know the atmosphere until audiences are present. I’m very excited.

Soya, how is it working with your seniors?

Soya Igari

Soya: Watching these two experienced leads, I learn something every day. But honestly… even though both leads carry the same responsibility, it feels like the cast’s trust is overwhelmingly on Mr. Teranishi’s side… (laughs).

Kazuya: Hey, hey, hey! (laughs)

Soya: It’s hard to deny (laughs). Yesterday during the final run-through, when Mr. Ohashi got flustered on stage, his Kansai dialect slipped out…

All: (laugh)

Soya: It’s really funny—he suddenly says things like “~yanna?” (laughs).

Kazuya: Mr. Kato didn’t know that… (laughs)!

Soya: Oops, I said it!

Shigeaki: Should we cast someone else? (laughs)

Kazuya: Please don’t! I’ll do my best!!

Shigeaki: Maybe call Shunsuke Michieda (Member of Naniwa Danshi, same as Kazuya)? (laughs)

Kazuya: Please no~!

Soya: He’s like the mood-maker.

Shigeaki: Yes, the mood-maker.

Kazuya: I support everyone!

Soya: We’re truly being led by the two of them.

Toa, as another Kansai district member?

Toa Shimasaki

Toa: Since I play his younger brother and we worked together as Kansai Jr., he’s always felt like a real older brother. I think that natural bond will come across on stage.

Um… Mr….Teranishi…

Takuto: Did you forget my name? (laughs)

All: (laughter)

Kazuya: No! He didn'! He didn't!

Toa: I did for a second… (laughs)

Takuto: I knew it…

Kazuya: No, no!

Toa: It’s my first time working with him, but he’s very kind and easy to talk to backstage. I hope we can grow closer… I mean, we will!

All: (laughter)

Soya: So you’re not yet? (laughs)

How about you, Koki?

koki Kawasaki

Koki: I’ve rarely had the chance to work with either of them. I briefly worked with Mr. Teranishi when I was in elementary and middle school, so I’m happy to reunite.

As mentioned earlier, the way Mr. Ohashi creates the atmosphere is really remarkable. Not just in settings like this, but even in the rehearsal room, when everyone gathers for the first time, with all the staff and managers present, he’ll start things off with “pudding joke” (laughs). Moments like that really soften the mood, and as a junior, it made me realize how much the company is shaped by the presence of its lead. I’ve learned so much from watching him.

How about you, Tatsuru?

Tatsuru: I worked with Mr. Teranishi in “Endless SHOCK,” and he memorizes everything incredibly fast. Even though he’s busy, he comes fully prepared.

As for Mr. Ohashi…

Soya: Mr. Ohashi quietly says “Me too! Me too!” (laughs)

Tatsuru: No matter how much time passes, the lines just don’t stick… (laughs)

Kazuya: They do stick!! I’ve got them, I swear (laughs)!! Look forward to the dress rehearsal (laughs)!

Shigeaki: Hey!

Kazuya: I really do have them!

Soya: Saying “no matter how much time passes” is a bit harsh (laughs).

Tatsuru: Yesterday’s “~yanna?” was hilarious (laughs).

Toa: We were secretly talking among the cast about who would be the first to forget their lines, and it was unanimously Mr. Ohashi (laughs).

Shigeaki: Hey! Come on!

Kazuya: That’s not true! (laughs) I’ll nail it perfectly!

Tatsuru: According to him, he’s never messed up once in an actual performance.

Kazuya: That’s right! Not during the real show! I’ll be fine. Please look forward to it!

Rena, your character is drawn to Takuto’s piano performance?

Rena Yamasaki

Rena: Singing alongside Mr. Teranishi’s smooth piano playing is really enjoyable. The songs are different from what I’ve performed in musicals before, and I get to explore various genres.

Every day feels like, “This is so much fun!” I’m also the only teenager in the company, so I want to bring 100 times the energy all the way to the final performance.

Kazuya: She really helps us a lot with her energy. She’s like the sun.

Rena: No, no… I can’t compete with Mr. Ohashi (laughs).

All: (laugh)

Kazuya: Then we have two suns!

Rena: I’ll do my best to keep shining like the sun.

Takuto, you’ll also play piano?

Takuto: Please don’t focus on that too much (laughs). But I’ll try to make it feel natural as a pianist.

Shigeaki: I hope audiences also enjoy the singing.

Gota, how about singing as an AI?

Gota: It comes from here (points to back)!

All: (laughter)

Shigeaki: Design flaw! (laughs)

Gota: As an actor, I project from my back.

How about your role?

Gota: I’m written as an AI robot, but the lines Shigeaki wrote are filled with very delicate emotion. And there’s a stage direction that says “sigh.” I kept wondering what a sigh would even mean for an AI, and I thought about it so much I couldn’t sleep for three days…

Soya: So what did you decide?

Gota: I still don’t know.

Soya: Wait, you still don’t? (laughs)

All: (laughter)

Soya: So you didn’t figure it out, just got sleepy and went to bed? (laughs)

Gota: I did end up sleeping. I’m hoping I might figure it out during the dress rehearsal, and since Shigeaki is here today, I’d like him to see my “sigh” and tell me what he thinks.

Shigeaki: Apparently, AI these days can actually sigh. They even intentionally make breathing sounds to help put people at ease. So feel free to sigh however you like!

Gota: Got it. I’ll sigh freely.

What should audiences look out for in the action scenes?

Shigeaki: Which part?

Kazuya: All of it, really…

Takuto: The stage is used to its full extent, with large-scale action involving many performers, so I think there’s so much happening you won’t be able to take it all in at once.

Kazuya: The set is incredible as well, and I’d love for audiences to pay attention to the sword fight scenes that make use of it.

Shigeaki: There are also things that aren’t human appearing… not AI, though. I think you’ll understand if you take a close look at the poster.

Soya: That really surprised me! When I got to the rehearsal, the actual “thing” was there, I was honestly shocked.

Shigeaki: There are quite a few moments like that. I wrote them thinking, “How on earth are we going to stage this?” (laughs) Like, “Mr. Kawahara, what are you going to do with this?”

Masahiko: Well, I am a first-class director, after all.

All: (laughter and applause)

Kazuya: As expected!!

Masahiko:Bringing those freely imagined ideas to life takes not just me, but the strength of an exceptionally talented team. There are many moments where we’re determined to make it work, no matter what. As a result, it’s become a production packed with highlights, naturally so.

Finally, a message from Kazuya and Takuto for audiences looking forward to the show.

Takuto: As I mentioned earlier, this is both the inaugural production of a new theater and a completely original work. I believe a new chapter begins here starting tomorrow. I hope audiences will witness that very moment of its birth. All of us will give everything we have through to the final performance. Thank you very much.

Kazuya: As I said earlier, since this is the opening production… our "AmberS" is kind of like an opening too, you could say… so—

All: (a ripple of confusion spreads through the room)

Kazuya: Huh? No? Sorry, that’s not right (laughs). Let me try that again! I’m really nervous… but I hope that through “AmberS,” we can move the hearts of many people. I want this production to convey the importance of “now” to everyone watching. Together with the cast, the staff, and everyone involved, we’re creating something that can truly stir emotions. So we’ll give it our all…uh, we’ll do our best! (laughs)

Shigeaki: Ah… now I’m a bit worried (laughs).

Kazuya: I’m sorry! I’m really sorry! I’m just so nervous (laughs)!

Masahiko: …I just realized I said I was “first-class” earlier…

All: Now!? Now you’re thinking about that? (laughs)

Masahiko: I’ve been reflecting on it ever since I said it.

All: (laugh)

Kazuya: ou are first-class Truly!

Masahiko: And I said everyone is “overacting”… I’m really sorry…

All: (burst into laughter)

Kazuya: Don’t be so hard on yourself (laughs).

Masahiko: They’re just doing exactly what I asked of them…

All: No, no… (laughs)

Masahiko: That’s all.

All: (laugh)

AmberS Story

Set in Mitokio City, a provincial city within a vast nation, the land remains contaminated. The Romero Tank Company, led by Vingas (Udanji Ichikawa), oversees its purification, allowing citizens to enjoy a seemingly prosperous life. At a bar run by the cheerful young Evel (Kazuya Ohashi) and his wheelchair-bound younger brother Louis (Toa Shimasaki), various figures gather. Among them are Orucca (Soya Igari), leader of an anti-government group, and its member Enrique (Koki Kawasaki), as well as Noah (Rena Yamasaki), an heiress to the Romero Tank Company, along with her AI butler Ken (Gota Watabe). The space is filled with music performed by the mysterious pianist Alan (Takuto Teranishi).

One day, Louis collapses from his wheelchair and utters a prophecy: “The tiger has roared. A storm is coming.” After the storm passes, Evel sets out in search of the legendary amber elixir “AmberS,” said to grant eternal youth. Meanwhile, Hilda (Suzuho Makaze), the Supreme Commander of the military, visits Vingas accompanied by her subordinate Wolf (Tatsuru Matsuo), aiming to obtain and seize the rumored elixir. As ambitions and intentions intertwine, the question remains: who will ultimately claim “AmberS,” and what truth lies behind it? Thus begins a story leading toward a turning point in the world.

Click here to read [Review: “AMBERS” STARRING KAZUYA OHASHI & TAKUTO TERANISHI]

Photo Credit :[Ayaka Ozaki]

インタビュー：「AMBERS -アンバース-」大橋和也&寺西拓人登壇記者会見ノーカットレポート

Fri, 01 May 2026 14:45:15 PST

東京・有明に開業した新劇場EX THEATER ARIAKEのこけら落とし公演として上演されている舞台AmberS -アンバース-。クリエイティブプロデューサー・原作・脚本に加藤シゲアキを迎え、演出の河原雅彦、音楽監督の岩崎太整、人物デザイン監修の柘植伊佐夫ら日本屈指のクリエイター陣が結集した。大橋和也が演じる青年イヴルと寺西拓人演じる謎多きアランを中心に、世界の転換期を生きるキャラクターたちの運命を熱演する。新たな劇場の幕開けを飾るにふさわしい圧巻の物語を、会見の様子から紐解く。

「AmberS -アンバース-」ゲネプロレポートはこちら！

まずは、皆様から一言ずつご挨拶をいただきます。

加藤：加藤シゲアキです。本日はお忙しい中、お越しいただきありがとうございます。この公演がEX THEATER ARIAKEのこけら落としということで、本当に責任を感じておりますが、こけら落としとして今日を迎えられたこと、とても嬉しく思っています。短い時間ですが、どうぞよろしくお願いいたします。

大橋和也

河原：本日はお集まりいただきありがとうございます。演出の河原です。シゲアキくんが褒められるといいなと思って、頑張ってきました。よろしくお願いいたします。

大橋：どうも！プリン食べ過ぎてお尻プリンっプリンっ。なにわ男子のリーダー大橋和也です！本日は皆さんお集まりいただき、本当にありがとうございます。皆さんで楽しい会見にできるように頑張りたいと思います。よろしくお願いします。

寺西：アラン役の寺西拓人です。本日はお忙しい中ありがとうございます。…あのー…やりづらい、やりづらい（笑）。

寺西拓人

大橋：ごめんごめん（笑）！俺が悪いわ、俺が悪い！

寺西：明日初日ということで、とにかくワクワクしております。今日はよろしくお願いします。

猪狩：オルッカ役を務めさせていただきます、KEY TO LETの猪狩蒼弥です。よろしくお願いします。本当にシゲアキさんの脚本に始まり、河原さんの演出、主演のお二人を少し支えられるように頑張りました。明日の本番も怪我なく！最高の日々でした..！

一同：（笑）

大橋：明日からやで（笑）

猪狩：より一層気を引き締めて頑張ります（笑）

嶋﨑：大橋くん演じるイヴルの弟役、ルイを演じる嶋﨑斗亜です。この舞台を少しでも僕の存在で彩れるように、精一杯明日から１か月近く頑張っていけたらなと思います。よろしくお願いします！

川﨑：エンリケ役をさせていただきます、川﨑皇輝です。役としてはユラリリスという組織のメンバーになるんですけれども、お話いただいた段階からすごくワクワクしてて、このように形になって、そしてやっと初日を明日迎えるということで、まだまだずっとワクワクしております！最後まで頑張りたいと思いますので、よろしくお願いいたします！

松尾龍

松尾：ウォルフ役を務めさせていただきます、松尾龍です。よろしくお願いします。役としては、最強のパジャーリ兵士ですので、自分のポテンシャルを最大限に生かして、舞台に花を添えられたらいいなと思います。明日からよろしくお願いします。

山﨑：ノア役を務めます、山﨑玲奈です。明日は初日なんですけれども、カンパニーの皆さんと全力で楽しんで、千秋楽まで上げ抜けたいなと思っております。本日はよろしくお願いいたします。

渡部：ケン役を務めさせていただきます、渡部豪太です。私は役所としては、AIロボットです。緊張しています。私の役所は山﨑玲奈さんと相棒…です…違います、山﨑玲奈さんを守りするAIロボットとして、存在させていただいております。楽しい舞台です。色々なことも起こります。すごい魅力、見どころのある作品に仕上がってると思うので、是非たくさんの方々に見ていただきたいと思います。本日はよろしくお願いいたします。

真風：ヒルダ役の真風涼帆でございます。このカンパニーの皆様と大切に作ってきたこの作品が、いよいよ明日から皆様のもとに届くかと思うと、とてもワクワクしております！精一杯、千秋楽までヒルダとして生きづけるように頑張りますので、本日はよろしくお願いします！

市川：ビンガス役の市川右團次でございます。最も笑顔に似合わない、どう見てもヒール役です。

一同：（笑）

市川：でも根はすごくいい人なんで、皆様にどういうふうに映るのか、楽しみでございます。まずもってEX THEATER ARIAKEのこけら落とし公演に出演できることを、大変嬉しく思っています。ありがとうございました。

この作品の想い、こだわりをお聞かせいただけますか。

加藤シゲアキ

加藤：このお話が立ち上がったのはだいたい3年くらい前で、その頃はまだコロナの名残が強く残っていて。そんな中でも新設の劇場を作るというお話、こけら落としということで、当時2020年前半はエンタメ業界がすごく虐げられた時代でもあったと思うんですけど、そこからいつか希望にあふれた時代がやってくると信じて。

この土地が”有明”というすごく縁起の良い名前、この土地有明自体もそういう名前の由来だそうでなので、本当に夜が明けるような、そういうエンターテインメントを作りたいという思い。

特に若い世代で観客の方々にとっても演劇というものが、だんだん敷居高くなっている方がいるかもしれませんけど、気兼ねなく来て楽しんでいただける、見る側も演じる側も楽しい舞台を作りたいというのが、そもそもの気持ちでしたね。

実際そういう思いのまま３年走ってきて、本当にたくさんの方の協力があってこの日を迎えられましたね。その想いが形になっとと信じておりますし、非常に喜びを感じています。

河原：ずっと演出席で全部見させてもらっていると、本当に音がすごくいいですね。あと２階と３階もすごくここ（舞台）から距離が近いから、やはりすごいいい劇場だなって実感しています。どの演出家さんよりも早く実感しているので、すごく嬉しいですね（笑）。

あといっぱいお客さんが来て、他のフロアの飲食店みたいに、いっぱいに賑わうといいな…

一同：（笑）

河原：建物自体がね！

加藤：そうですね、有明自体も。

河原：常々、僕は劇場が喜ぶような芝居を作りたいっていうのを毎回思っていて。だから今回はこけら落としに相応しい外連味も仕掛けもいっぱいあって、みんな熱演”しちゃってる”ので

大橋：しちゃってる（笑）？

猪狩：悪いことみたいなね（笑）。恥ずかしいことみたいに言わないでくださいよ（笑）！

河原：本当にこの劇場が大喜びするような、一歩を踏み出せるんじゃないかと思って。熱演しちゃってくれてるので。

加藤：劇場も素晴らしいんで。あとは俳優たちが頑張るしかない。

大橋：頑張ります！

主演の大橋さんどうですか？こけら落とし公演ということですが。

大橋：こけら落とし公演っていうのが初めてで、”こけら落とし”っていう言葉も全然わからなくて調べたら、「すごいことや」って書いてたんで…

猪狩：「すごいことや」って！？

大橋：ちゃうちゃう（笑）！「すごいことやなぁ」って感じて、やっぱり今しかないこのこけら落とし、そして『AmberS -アンバース-』をやらせてもらうということで、『AmberS -アンバース-』の”今”を皆さんに届けられるように、僕らキャスト、そしてスタッフの皆さん、携わってくださっている皆さんと一緒に楽しんでみていただけていたらなと思っております！頑張ります。

緊張されてるとおっしゃっていましたが、今はどうですか？

大橋：「お尻プリンプリン」ってやってたのは、マジで緊張を解すためにやったんですけど…余計に緊張してきてます（笑）！この後ゲネプロなんですけど、めっちゃ緊張してます！でも楽しんでできるように頑張りたいです。

W主演の寺西さんはいかがですか？

寺西：大橋くんも言ってましたけど、こけら落とし公演にも携わることができるのって、人生で考えてもなかなかない機会だと思うので、その機会を楽しみつつも、加藤くんの原案・脚本のオリジナル作品を明日からたくさんの皆さんに見てもらえるということが、今はとにかく楽しみです。

加藤さんのお話にありましたが、皆さんはちょっと“当て書き”っぽい形なんでしょうか？

加藤：難しいんですけど…元々考えていた話があって、そこからキャスティングを渡って、決まってから書き起こす作業に入ったんで、その段階でイメージしながらセリフを書いたという感じです。

お二人はどうですか？その役、セリフを言ってみて、「あ、自分らしいな」っていうところにもありましたか？

大橋：結構イヴルも家族想いっていうところもあって、僕も家族好きなんで、そういうところも加藤さんは見てくださってたのかなと思うと、大変嬉しゅうございます（笑）

寺西：それを言うと僕も家族想いではあるんですけれども（笑）。この役はそんなにそこまで語る人はないんですけど、でもすごく奥行きがある役を頂いているので、とにかく心身向き合っていかないとなという思いですね。

右團次さん今回のこけら落とし公演についてはいかがでしょうか？

市川：こけら落としは、私も数回経験させていただいたことがあるんですけれども、この『AmberS -アンバース-』という素晴らしい作品でここで、皆さんお芝居をご覧いただけるというのがとても嬉しくて。緊張しておりますけれども、歌舞伎界からは一人ですので、なんとか頑張りたいなと思っております。

今回は久しぶりに歌も披露されるんですよね？

市川：私ですか！？あっはっはっはっは！（大声で突如笑い出す）

一同：（笑）ビンガスがいた（笑）

大橋：びっくりした（笑）

市川：そうなんです。大変です（笑）。でも楽しんでおります！

真風さんはいかがですか？

真風：皆様が仰っているように、なかなかできない経験だなと思っています。立ったこともない劇場でお客様が入ったら、どんな空気になるのかっていうのは、本当に開けてみないと分からない部分もあると思うので、すごく楽しみです！

猪狩さんは先輩たちとの共演、どうですか？

猪狩蒼弥

猪狩：本当、日々勉強ですね。経験豊富なお二人の背中を見ながら日々成長を感じるんですけど。ちょっとなんでしょうね…もちろん、ダブル主演で同じ重量が肩にのしかかっているんでしょうけど、キャストの信頼がやっぱ圧倒的にこっち（寺西）に乗ってる…（笑）

大橋：おいおいおいおい（笑）

猪狩：それが否めないというか（笑）。大橋くんは、昨日最終通しだったんですけど、ステージ上でちょっとテンパると関西弁が出てきちゃうんですよ（笑）。昨日も何回かバレないようにちょっと関西が出ちゃってて…ごめんなさい、まだ不安です（笑）

一同：（笑）

猪狩：めっちゃ面白いんですよ。急に、「～やんなぁ？」とか（笑）

大橋：加藤くんそれ知らんから…（笑）！！

猪狩：あー！言っちゃった（笑）！

加藤：違う俳優呼ぶ（笑）？

大橋：やめてください、頑張ります！！

加藤：道枝呼ぶ（笑）？

大橋：お願い～（泣）！

猪狩：空気担当みたいな（笑）

加藤：ムードメーカーね。

大橋：寄り添ってますよ！

猪狩：お二人に本当に引っ張れられながらやれているなと感じています。

同じ関西からの参戦ですけれども、嶋﨑君はどうですか？

嶋﨑斗亜

嶋﨑：僕は今回（大橋と）兄弟という役柄ですし、実際関西Jr.で一緒に活動させていただいていた時も、本当にお兄ちゃんのような存在だったので、その兄弟らしい関係性は、すごく自然に皆さんに見てもらえるのかなと思うので、それも楽しみですね。

あのー…...っ寺西くんは、

寺西：名前忘れた（笑）？

一同：（笑）

大橋：違う、そんなことない、そんなことない！

嶋﨑：ちょっと忘れてました…（笑）

寺西：..やっぱり…！

大橋：そんなことないやん（笑）！

嶋﨑：寺西くんは僕今回の作品で、初めて関わらせていただいたんですけども、本当に優しい人で。裏では気さくににすごい色んな話をしてくださったりするので、それからもどんどん仲良くなれたらなと思っております。…仲良くなっておきます！

一同：（笑）

猪狩：まだなってないんだ（笑）

川﨑くんはどうですか？

川﨑皇輝

川﨑：本当にお二人とお仕事をするのもなかなか機会がなくて、寺西くんは僕が小学生、中学生くらいの時に一瞬ドラマでご一緒したりとか…それくらいの機会しかあまりなかったので、今回ご一緒できて嬉しいなと。

大橋君の空気の作り方っていうのもさっき言ってましたけど、こういう場もそうですけど、稽古場で初めて全員が集まっって、全スタッフさんが来て、他のマネージャーさんがたくさんいらっしゃる場所で、「お尻プリンプリン」で始まる（笑）。ああいうところで空気が柔らかくしていただけるというか、座長の雰囲気でカンパニーが変わるっていうのは本当なんだなって、後輩の立場としても感じていて。本当に勉強させていただいています。

松尾くんはいかがでしょうか？

松尾：僕は『Endless SHOCK』という作品で寺西君とご一緒させてもらったことがあるんですけど、寺西君が覚えるのが全てにおいて早すぎて。お忙しいはずなのに台本に完璧に入れてくるんですよ。それで僕たち後輩もヒヤヒヤしちゃって、手に汗握りながら必死に覚えてたんですけど、大橋くんは…

猪狩：ちっちゃい声で（大橋が）「俺もやで！俺もやで！」って（笑）

松尾：いつまで経っても、セリフが入らない…（笑）

大橋：入るんですよ！！入ってますから（笑）！！ゲネ楽しみにしといてください（笑）！

加藤：おーい！

大橋：入ってますって！！

猪狩：良くないね、「いつまで経っても」とか（笑）

松尾：昨日の「～やんな？」はめっちゃおもろかったですよ（笑）

嶋﨑：こっそり、キャストの間で誰が一番最初にセリフ飛ばすかなって話をしてたら、満場一致で大橋くんでした（笑）。

加藤：お～い！頼むよ！

大橋：そんなことないです！（笑）ビシッと決めます！

松尾：本人曰く、本番では一回も外したことないらしいです。

大橋：そうなんですよ！本番ではないんですよ。大丈夫です。皆さん楽しみにしておいてください！

山﨑さんは今回、寺西さん演じる役のピアノの生演奏に惹かれていくような女性ということですが？

山﨑玲奈

山﨑：毎回寺西さんの滑らかなピアノとともに、歌わせていただいているというのもすごく楽しくて。楽曲も今までミュージカルとかで歌わせていただいていた楽曲とは、また違ったジャンルを歌わせていただいています。

私は他にも違う曲があったりもするんですけど、本当にいろんなジャンルの歌も歌えるし、色んな方と色んなお芝居できるし、「めちゃくちゃ楽しい！！」って感じの毎日です。

このカンパニーの中で唯一の10代ということで、最後の千秋楽まで皆さんの100倍ぐらい元気で、舞台駆け抜けていきたいなと思ってます。

大橋：ホンマに玲奈ちゃんに助けてもらってることがいっぱいあって、その元気の良さに。本当に太陽みたいな存在です。

山﨑：いやいやいや…大橋さんには負けてしまうんですけど（笑）

一同：（笑）

大橋：太陽と太陽が２つあります！

山﨑：太陽のまま居続けれるよう頑張りたいと思います。

寺西さんは、ピアノの演奏も披露するんですね。

寺西：あんまりそこツッコまないでください（笑）。でもピアニスト役ということで、より自然にお見せできたらなと思ってます。

加藤：皆さんの歌声にも注目していただけたらと思います。

AIの渡部さんの歌はどうするんですか?

渡部：この辺（背中）から出ます！

一同：（笑）

加藤：設計ミスだろ（笑）

渡部：やはり俳優として背中から声を出すというか。

実際、役柄としてはいかがでしょう?

渡部：AIロボットとして書れてるんですけれども、シゲアキさんが書かれた本当に細かい情がこもっているセリフなんですけども、”ため息”って書いてあるんですよ。AIロボットのため息って何なんだろってすごい考えて、３日寝られず...

猪狩：結局どうなったんですか？

渡部：わからないんです。

猪狩：え、まだ？（笑）

一同：（笑）

猪狩：じゃあ、わかんないけど、眠くて寝たんですね（笑）。

渡部：寝ちゃったんです。ゲネプロをやったらわかるんじゃないかなというのと、今日はシゲアキさんもいらっしゃるので、私のため息を見ていただいて、どうなんだろうなと。

加藤：でも今のAIって本当にため息ついたりするらしいですよ。呼吸音とかわざと吐いたりするんですよ。人間を安心させるために。なので好きにため息ついてもらって大丈夫です！

渡部：わかりました。好きにため息つけさせていただきます。

色々なアクションもありますよね。どの辺を見どころとして見ていただきたいと思いますでしょうか？

加藤：どこ？

大橋：全部ですよねー…

寺西：舞台を大きく使って、たくさんの人数で立ち回りが行われるので、本当に目が足りないと思います。

大橋：セットもすごいので、そこを使った殺陣とかも、ぜひ皆さんに見ていただきたいなと思います。

加藤：人間じゃないものも出てきたりとか。AIとかではなく。ポスターをよく見てもらったら分かると思います。

猪狩：あれマジでびっくりしました！現場来て実際”物”出てくるわけですよ。結構本当にびっくりしました。

加藤：そういうのめっちゃある、俺。書いたけど、これどうやるんだろうって（笑）。河原さん、どうするんだろう？って。

河原：一流演出家ですから。

一同：（笑いと拍手）

大橋：さすがです！！

河原：自由に描いてくれたものを形にするのは、僕をはじめ優秀なスタッフのみんなの力を借りながら、意地でも、意地でもやってやるということがいっぱいあります。なので、見どころいっぱいの舞台にしちゃってるっていう感じです。そうなってます、自ずと。

最後に大橋さんと寺西さんから、本作を楽しみにされているお客様へメッセージをお願いします。

寺西：先ほども言わせていただいたんですけれども、この新劇場のこけら落とし公演、完全オリジナル作品ということで。ここから明日からまた新しい歴史が始まると思います。その誕生の瞬間を皆さんに見届けていただけたらなと思います。全員で千秋楽まで駆け抜けたいと思います。よろしくお願いします。

大橋：先ほども僕も言わせてもらったんですけど、こけら落としっていうことで、初めての僕たちの『AmberS -アンバース-』も、まぁ言うたらこけら落としみたいな感じじゃないですか。だから...

一同：（ざわつく）

大橋：ん？違う？ごめん、違うな（笑）。すいません、もう一回お願いします（笑）！緊張しちゃってるんですけど…やっぱりこの『AmberS -アンバース』-を見てたくさんの人に心を動かしてもらえるような、この皆さんの今を皆さんに"今"っていう大切さを皆さんに知ってもらえるように僕たちキャスト、スタッフの皆さん、そして関わってくださっている皆さんと一緒に作っていって、皆さんの感情を揺さぶれるような公演にしたいと思っておりますので、頑張っていき”たり”ます！...頑張ります（笑）！

加藤：あー、不安だわ（笑）。

大橋：すいません（笑）！ホンマにごめんなさい！緊張してるんですよ（笑）！

河原：…さっき自分のこと一流とか言っちゃったよなって…

一同：今！？今（笑）？

河原：ずっと言い終わった後から反省しちゃった。

一同：（笑）

大橋：すごい一流ですよ、一流！！

河原：「熱演しちゃってる」とか言っちゃって…本当ごめん…

一同：爆笑

大橋：そんな詰めんでも（笑）

河原：俺が言ったこと、やってくれてるだけだもんね…

一同：いやいやいや…（笑）

河原：以上です。

一同：（笑）

〈「AmberS -アンバース-」あらすじ〉

巨大国家地方都市ミトキオシティ。この地ではヴィンガス（市川右團次）率いるロメロタンク社が土地の浄化を担い、市民は豊かな生活を享受していた。酒場を営む青年イヴル（大橋和也）と車椅子の弟ルイ（嶋﨑斗亜）の店には、反政府活動グループのリーダーであるオルッカ（猪狩蒼弥）やメンバーのエンリケ（川﨑皇輝）、ロメロタンク社の令嬢ノア（山﨑玲奈）とAI執事のケン（渡部豪太）が集い、謎多きピアニスト・アラン（寺西拓人）が奏でる音楽が店内に響いていた。

ある時、ルイが車椅子から崩れ落ち、「虎が鳴いた。嵐が起こる。」と予言する。嵐が過ぎ去ると、イヴルは永遠の若さを手に入れられるという伝説の琥珀の秘薬「AmberS」を求めて店を飛び出した。一方、軍最高司令官のヒルダ（真風涼帆）は右腕の兵士ウォルフ（松尾龍）を従え、ヴィンガスのもとを訪れる。噂の「AmberS」を入手し、奪い取るためである。それぞれの野望と思惑が複雑に絡み合う中で、最後に秘薬を手にするのは誰なのか。そして「AmberS」に隠された真実とは。世界の転換期へと向かう物語が動き出す。

「AmberS -アンバース-」ゲネプロレポートはこちら！

Photo Credit :[Ayaka Ozaki]

Review: “AMBERS” STARRING KAZUYA OHASHI & TAKUTO TERANISHI

Fri, 01 May 2026 14:46:04 PST

AmberS is currently being staged as the inaugural production of the newly opened EX THEATER ARIAKE in Tokyo’s Ariake district. Bringing together some of Japan’s most distinguished creative talents, including creative producer, original creator, and playwright Shigeaki Kato, director Masahiko Kawahara, music director Taisei Iwasaki, and character design supervisor Isao Tsuge, the production presents a visually and emotionally compelling theatrical experience. Centered on Kazuya Ohashi’s spirited youth Evel and Takuto Teranishi s enigmatic pianist Alan, the story follows a cast of characters navigating a world on the brink of transformation. This review takes a closer look at the dress rehearsal held on April 24.

Here’s the full, uncut report from the cast press conference! (Coming Soon…)

Story

Udanji Ichikawa

Kazuya Ohashi

Review

To avoid spoilers, this review focuses solely on Act One.

At the center stands Evel, played by Kazuya Ohashi, whose presence is striking. The character’s boundless optimism and pacifist nature align seamlessly with Kazuya’s own persona, and his immense energy drives the entire production forward. His portrayal shifts convincingly from lighthearted exchanges to a desperate urgency following Louis’s sudden collapse, demonstrating a finely controlled emotional range.

Equally compelling is Takuto Teranishi as Alan, who leaves a strong impression both musically and physically. His live piano performances are visually captivating, creating moments of stillness that anchor the narrative. Takuto subtly conveys the shadows within Alan while also showcasing remarkable physicality in dynamic action sequences.

The harmonies shared by Kazuya and Takuto stand out as one of the production’s key musical highlights. Their blended voices add depth to the score and enrich the emotional landscape of the story.

Rena Yamasaki, Takuto Teranishi

Rena Yamasaki’s Noah, particularly in her duet with Alan, provides a fleeting sense of calm amid the unfolding tension. Rena’s vocal strength is noteworthy; her clear, resonant tone brings conviction to each number, and her refined emotional expression lends elegance and dimension to Noah as a character.

In contrast, the figures representing the established order leave a powerful impression. Udanji Ichikawa’s Vingas exudes authority, grounding the role as a central figure within the societal structure. Meanwhile, Suzuho Makaze’s Hilda commands the stage with overwhelming presence, her dominance expressed not only through performance but also through her commanding vocals.

Tatsuru Matsuo

The production also excels in its action sequences. High-level stunts are integrated throughout, heightening the tension of the narrative. Tatsuru Matsuo, as Wolf, delivers agile and dynamic movements that contribute to the visual intensity.

Toa Shimasaki’s portrayal of Louis is equally impactful, marked by a wide emotional range that shifts between fragility and intensity. His performance underscores the character’s significance within the story.

From a staging perspective, the use of projected visuals in flashback scenes proves highly effective, seamlessly blending with live performance to deepen the audience’s understanding of past events.

Toa Shimasaki

Additionally, the theater’s sound design is particularly impressive. The vibrations are so powerful that they create the illusion of the seats shaking, allowing the audience to physically experience the sound itself.

Above all, the story stands out as exceptionally engaging. Its meticulously constructed world and unpredictable developments feel expansive enough to translate seamlessly into a cinematic format.

Each character’s individuality and motivations are clearly defined, offering a layered narrative that invites repeated viewing from different perspectives. Focusing on individual characters reveals entirely new facets of the story, adding to its depth.

Act One only begins to unravel the competing ambitions surrounding “AmberS,” yet even at this stage, the characters’ desires and positions are clearly established. The narrative builds momentum toward what promises to be a major turning point. With audiences already calling for a revival, it is easy to understand the enthusiasm. One can only hope to see this production return in the near future.

Photo Gallery

Soya Igari, Koki Kawasaki

Photo Credit :[Ayaka Ozaki]

ゲネプロレポート：大橋和也×寺西拓人主演「AMBERS -アンバース-」

Thu, 30 Apr 2026 12:33:07 PST

キャスト登壇記者会見ノーカットレポートはこちら！

〈あらすじ〉

市川右團次

大橋和也

本編レポート

本稿ではネタバレ防止のため、第一幕のみのレポートとなる。

まず舞台の中心に立つイヴルを演じる大橋和也の存在が際立つ。底抜けに明るく平和主義なキャラクターは、大橋自身との親和性が高く、その膨大なエネルギーが作品全体を牽引する。軽快なやり取りから一転、ルイの異変をきっかけに見せる焦燥と決意の表現には説得力があり、感情の振幅を的確に描き出していた。

音楽面とアクション面で強い印象を残すのがアラン役の寺西拓人である。舞台上での弾き語りは視覚的にも美しく、静謐な空気を創出する象徴的なシーンとなっていた。寺西はアランの内面に潜む影を繊細に滲ませると同時に、高い身体能力を活かしたアクションでも観客を惹きつけた。

また、大橋と寺西によるハーモニーは本作の大きな魅力の一つである。二人の声が重なり合うことで楽曲に奥行きが生まれ、物語の情緒をより豊かにしている。

山﨑玲奈、寺西拓人

さらに、山﨑玲奈演じるノアとアランのデュエットは、緊張感の続く物語の中で一瞬訪れる安らぎを象徴する印象的な場面となっている。山﨑の歌唱力の高さも特筆すべき要素である。伸びやかで芯のある声は楽曲に確かな説得力をもたらし、デュエットにおいても存在感を失わない。繊細な感情表現と安定した技術が両立しており、ノアというキャラクターに気品と奥行きを与えていた。

対照的に、支配構造を体現するキャラクターたちも強烈な印象を残す。市川右團次演じるヴィンガスは、その確かな演技力により社会の中枢に位置する人物としての説得力を築き上げた。一方、真風涼帆演じるヒルダは舞台を掌握するかのような存在感を放ち、歌唱においてもその支配力を余すことなく示している。

松尾龍

アクション面においても本作は高い水準にある。随所に盛り込まれたスタントシーンは迫力に富み、物語の緊張感を押し上げる要素となっている。ウォルフを演じる松尾龍は軽やかな身のこなしでダイナミックな動きを見せ、視覚的な躍動感を生み出した。

さらに、ルイ役の嶋﨑斗亜は繊細さと激しさを行き来する感情表現で観客の印象に強く残る。物語の鍵を握る存在として、その振り幅の広い演技が作品に深みを与えていた。

嶋﨑斗亜

演出面では映像を用いた回想シーンが効果的に機能している。過去の出来事を視覚的に補完しつつ、舞台上の演技と融合することで物語理解を助けていた。

加えて、劇場の音響の迫力も見逃せない。座席が揺れていると錯覚するほどの振動が身体に伝わり、音を“体感する”感覚が生まれていた。

そして何より、本作のストーリーは極めて魅力的である。緻密に構築された世界観と先の読めない展開は、舞台の枠を超え、映像作品としても観てみたいと感じさせる完成度に達している。

登場人物それぞれの個性や抱える想いが明確に描かれている点も特筆に値する。視点を変えれば異なる物語が立ち上がる構造となっており、特定のキャラクターに焦点を当てながら何度でも見返したくなる奥行きを備えている。

第一幕では、「AmberS」を巡る思惑が交錯し始めた段階に過ぎない。しかし、その段階で既に各キャラクターの欲望と立場は明確に提示され、物語は加速度的に展開していく予感を強く残す。早くも再演を望む声が上がるのも頷ける完成度であり、その期待は高まるばかりである。筆者自身もまた、その実現を強く望みたい。

フォトギャラリー

猪狩蒼弥、川﨑皇輝

Photo Credit :[Ayaka Ozaki]

Play Broadway Games Every Day in May and Win a Merch Prize Pack

Wed, 29 Apr 2026 08:30:20 PST

Broadway fans, your daily warm-up just got a whole lot more rewarding. BroadwayWorld is launching the May 2026 Games Challenge - a month-long streak competition open to fans across the U.S., with a $250 merch prize pack featuring merchandise from popular Broadway shows up for grabs.

The challenge runs all 31 days of May 2026 (Eastern Time), and all you need to enter is a free BroadwayWorld account.

How It Works

The rules are simple: play at least one BroadwayWorld game every day in May. That's it. Complete all 31 days and you'll earn one entry to win the prize pack. Tracking is automatic once you're logged in - your progress populates on the challenge page as you play, no manual check-ins required.

Any of these six games count toward your daily credit:

Make-Up Days: Because Life Happens

Miss a day? You're not out of the running. Play all six games in a single day and you'll earn a make-up credit, which automatically forgives your earliest missed day. You can bank up to three make-up credits over the course of the month - so a skipped Tuesday or a busy weekend doesn't have to end your streak. Credits are applied to your missed days in order, oldest first.

Ready to Start Your Streak?

The May 2026 BroadwayWorld Games Challenge runs May 1-31 (Eastern Time) and is open to U.S. residents only.

Click here to get started. Sign in with your free BroadwayWorld account and your tracking begins automatically - no registration beyond that required.

See full rules and regulations here.

NEWSIES Unseats LES MISÉRABLES to Win BroadwayWorld's 2026 Ultimate Movie Musical Bracket

Wed, 22 Apr 2026 13:26:32 PST

After six weeks of voting, BroadwayWorld readers have crowned Newsies the Ultimate Best Movie Musical in the 2026 edition of BroadwayWorld's Annual Bracket. The 1992 Disney film, directed by Kenny Ortega and featuring music by Alan Menken and lyrics by Jack Feldman, defeated Les Misérables in the final round, ending the Tom Hooper-directed film's two-year winning streak.

In both 2024 and 2025, Les Misérables was voted as the Ultimate Best Musical of all time, making it the title to beat heading into this year's competition. Newsies, a perennial fan favorite that developed a devoted following after its theatrical release and has since been adapted for the Broadway stage, advanced through six rounds of head-to-head matchups before claiming the title.

Now in its third year, BroadwayWorld's Bracket invites readers to debate, defend, and ultimately crown the greatest movie musical of all time from a field selected by BroadwayWorld editors. Voting in the 2026 edition opened on Tuesday, February 24 and concluded on Sunday, April 12, with new matchups released each week.

Review: HARRY POTTER AND THE CURSED CHILD in Tokyo

Sun, 19 Apr 2026 09:25:21 PST

"Harry Potter and the Cursed Child" takes place 19 years after the conclusion of the original film series. This original story was co-created by J.K. Rowling and playwright Jack Thorne, with Rowling herself praising it as "the magic that can only be experienced in the theater."

Having premiered in six major cities worldwide, including London and New York, Tokyo marks the production's first Asian venue. This multi-award-winning show, including the Tony Awards, features a talented Japanese cast selected through rigorous auditions. Since its 2022 opening, the production has reached a significant milestone of over 1.4 million audience members.

The production's primary draw is the immersive experience of the wizarding world. From the inventive musical score and intricate set designs to the seamless stage magic, every element leaves the audience in awe. The Tokyo run is scheduled to conclude on December 27, 2026.

Nineteen years have passed since Harry, Ron, and Hermione brought peace to the wizarding world. However, a series of unsettling incidents reminiscent of the dark era of the past has begun to occur, causing widespread anxiety.

Now a father of three and working at the Ministry of Magic, Harry struggles with his new role. His second son, Albus, who is about to enter Hogwarts, rebels against the heavy burden of being the "son of a hero." Having grown up without parents himself, Harry finds it difficult to connect with his son, and the rift between them only deepens.

Amidst this tension, Albus has a fateful encounter on the Hogwarts Express. He meets Scorpius, the son of Harry’s longtime rival, Draco Malfoy. Their unexpected bond becomes the catalyst for a gathering darkness that threatens to consume the world once again.

The performance begins with the sound of a train, instantly transporting the audience into the world of magic. In a striking early moment, characters dressed in everyday clothing transform into Hogwarts robes in the blink of an eye. This seamless quick-change sets the tone for a production that never allows the audience a moment to look away. The pacing remains consistently brisk, with no wasted movement, drawing viewers deeper into the narrative. The precision of the direction creates an experience that feels less like watching a play and more like stepping directly into the world itself.

The stagecraft and magical effects are executed at an extraordinary level. The iconic moving staircases of Hogwarts are recreated with remarkable accuracy, bringing familiar imagery vividly to life. In the underwater sequence, flying effects are combined with real water on stage, allowing characters to dive beneath the surface and reemerge before the audience’s eyes. The scale and immersion far exceed conventional theatrical boundaries. Even the Dementors, descending toward the audience, are realized with chilling detail, evoking a tangible sense of fear and tension throughout the theatre.

The Polyjuice Potion transformation scenes further showcase the cast’s exceptional skill. Each performer meticulously captures the mannerisms and physicality of the character they are imitating, resulting in impressively nuanced portrayals. These layers of detail significantly enhance the overall realism and craftsmanship of the production.

The performances themselves are of an exceptionally high standard. *Seita Ueno, as Harry Potter, delivers a deeply layered portrayal of a father struggling with his past and his relationship with his son. Seita’s nuanced performance adds emotional weight to the story and anchors the narrative. *Chion Sato, playing Albus, brings a rare naturalism to the stage, embodying the character with authenticity and emotional clarity that resonates strongly with the audience.

Meanwhile, *Itsuki Okubo’s Scorpius is both sensitive and compelling, drawing the audience in with a performance that balances vulnerability and intensity. Itsuki’s portrayal adds depth to the central relationship between the two boys, leaving a lasting impression. *Tomohiro Sekimachi as Ron Weasley retains the character’s signature humor into adulthood, skillfully delivering moments of levity that provide balance within the story.

While rooted in a magical world, the core of the narrative lies in its exploration of family and friendship. Scenes set in the past recreate iconic moments familiar from the films, unfolding live on stage with remarkable impact. At the same time, carefully planted elements from the opening are brought back in a satisfying and emotionally resonant conclusion, exemplifying the storytelling strength of the Harry Potter universe.

From its rapid-fire opening dialogue to its relentless forward momentum, the production leaves no room for distraction. Built with extraordinary precision and ambition, this stage adaptation offers an experience that deepens one’s appreciation for the world of Harry Potter. It is a production that invites repeat viewing, each time revealing new layers of its magic.

As the Golden Week holiday approaches, this is a theatrical event well worth experiencing with family, friends, or loved ones.

*Cast may vary depending on the performance.

Photo Credit: [TBS/Horipro]

TOKYO DISNEYSEA 25TH ANNIVERSARY, FOOD & WINE FESTIVAL & PAL-PALOOZA

Thu, 16 Apr 2026 12:47:48 PST

Starting April 15, 2026, Tokyo Disney Resort will launch Tokyo DisneySea 25th Anniversary “Sparkling Jubilee," a grand celebration marking a quarter-century since the park first opened its gates. Having evolved through the years, most recently with the addition of Fantasy Springs, the park will now be transformed by the radiant "Jubilee Blue" theme color.

In conjunction with this milestone, the "Tokyo DisneySea Food & Wine Festival" will also take place. This year’s festival incorporates the signature Jubilee Blue and introduces elements from Disney/Pixar’s Ratatouille, offering a "gastronomic journey" across the eight themed ports that is more vibrant than ever before.

Meanwhile, at Tokyo Disney Land, the sixth installment of the "Disney Pal-Palooza" series, "Vanellope’s Sweets Pop World," kicks off on April 9. The park will be reimagined as a colorful candy-coated paradise inspired by Vanellope from Wreck-It Ralph.

From the sophisticated anniversary festivities and gourmet explorations to the playful world of sweets, we report on the unique magic currently unfolding across both parks.

[Want to see more exclusive photos from our coverages? Follow us on Instagram and X for behind-the-scenes content!]

I. Sparkling Jubilee
• Sparkling Jubilee Celebration
• Sparkling Jubilee Night
• S.S. Columbia Jubilee Gala
• Dance the Globe!
II. Food & Wine Festival
• New York Deli
• The Groovy Jammin’ Chefs
III. Disney Pal-Palooza Vanellope's Sweet Pop World
• It’s a Sweetsful Time!
IV. Conclusion

I. “Sparkling Jubilee” – The Pinnacle of Shared Celebration

Set in Tokyo DisneySea, the entire park is enveloped in “Jubilee Blue,” creating a visual identity that immediately signals the anniversary celebration.

Sparkling Jubilee Celebration

From the entrance through each themed port, unified decorations guide guests into a progressively immersive environment.

“Sparkling Jubilee Celebration” – A Moment That Bridges Distance

Staged at Mediterranean Harbor, this program serves as the centerpiece of the anniversary. Mickey Mouse and friends appear aboard a vessel dressed in Jubilee Blue, signaling the start of the festivities. As the ship comes to a halt, characters including Chip and Dale join from the shore, moving among guests and engaging directly with them. Encounters with Cookie Ann, Lina Bell and others at close range transform the experience into something beyond passive viewing. In the finale, “Come Join the Jubilee” brings cast members and guests together, culminating in a shared sense of celebration.

“Sparkling Jubilee Night” – A Spectacle of Light and Space

At night, projections light up the exterior of Tokyo DisneySea Hotel MiraCosta, spreading across the harbor in a sweeping visual display. Iconic imagery appears one after another, creating a dynamic and layered composition. In Arabian Coast, synchronized lighting and music bathe the area in Jubilee Blue, turning the entire space into an immersive stage.

“S.S. Columbia Jubilee Gala” – Refined Elegance Within the Celebration

Held aboard the S.S. Columbia, this exclusive program offers a reserved experience for participating guests. Within a specially decorated setting, guests can enjoy a curated menu and free-flow beverages. Combined with commemorative photos and limited-edition items, it presents a more tranquil and sophisticated way to experience the anniversary.

“Dance the Globe!” – A Celebration Across Cultures

Dance the Globe!

Returning to Waterfront Park after 12 years, this stage show blends dance and music from around the world. Guests are drawn into a journey across cultures, enhanced by participatory dance segments that shift the audience from spectators to active participants. The finale gathers numerous characters on stage, building to a grand climax with pyrotechnics.

II. “Food & Wine Festival” – A Culinary Journey Through Story

Also held at Tokyo DisneySea, this festival centers on the concept of “traveling the world through food.” Guests explore each themed port while sampling dishes and beverages inspired by diverse cultures. The addition of Jubilee Blue accents and elements from Ratatouille enhances both the visual and thematic cohesion of the experience.

“New York Deli” – Lightness with a Playful Touch

A highlight is the cheesecake topped with a Remy-shaped chocolate. Its charming presentation is matched by a light texture, making it easy to enjoy even in the warmer spring season. The sandwiches are similarly well-balanced and refreshing, making them ideal for sampling multiple items throughout the festival.

*Menu items, prices and availability are subject to change.

“The Groovy Jammin’ Chefs” – The Charm of the Unexpected

This music-driven culinary entertainment occasionally features a surprise appearance by Remy. Such unpredictable moments elevate the sense of discovery, adding a layer of spontaneity to the festival experience.

III. “Vanellope’s Sweets Pop World” – A Whimsical World of Confectionery

At Tokyo Disneyland, the park transforms into a vibrant, candy-colored landscape inspired by Wreck-It Ralph. The playful aesthetic energizes the spring atmosphere, offering a striking contrast to the elegance of DisneySea.

“It’s a Sweetsful Time!” – A Show Completed Through Participation

Vanellope’s Sweets Pop World

This show invites guests to learn choreography in advance, enhancing engagement during the performance. Designed with participation in mind, it is especially appealing for families, allowing children and adults alike to share the experience. The bright, cohesive world-building fosters a strong sense of unity across the park.

IV. Conclusion

This season at Tokyo Disney Resort presents three distinct yet interconnected experiences: celebration, gastronomy, and participation. Each element stands on its own while contributing to a larger, cohesive narrative that defines the park’s current evolution. The 25th anniversary is not merely a reflection on the past, but a forward-looking statement that redefines the possibilities of themed entertainment.

*Information is current as of April 8 and subject to change. Images may include past photography. Please refer to the official Tokyo Disney Resort website for the latest details.

Sarah Brightman Will Return to SUNSET BOULEVARD in Tokyo

Mon, 13 Apr 2026 11:06:26 PST

Tickets are now on sale for Andrew Lloyd Webber's SUNSET BOULEVARD in Tokyo this July, with Sarah Brightman returning to the stage as the iconic Norma Desmond.

Presented by IHI and GWB Entertainment, this strictly limited season will play at Tokyu Theatre Orb from 10 July to 1 August 2026.

SUNSET BOULEVARD weaves a magnificent tale of faded glory and unfulfilled ambition. Having been discarded by Hollywood with the advent of "talkies," legendary silent movie star Norma Desmond is tortured by her longing for a return to the big screen. When she meets struggling Hollywood screenwriter Joe Gillis in a dramatic chance encounter, their subsequent passionate and volatile relationship leads to an unforeseen and tragic conclusion.

SUNSET BOULEVARD has Music by Andrew Lloyd Webber, Book and Lyrics by Don Black and Christopher Hampton, and is based on the Paramount Pictures film. This new production is Directed by Paul Warwick Griffin with Set and Costume Design by Morgan Large, Choreography by Ashley Wallen, and Musical Supervision by Kristen Blodgette.

Purchase tickets for this strictly limited run now via Theatre Orb.

公演レポート：舞台『ハリー・ポッターと呪いの子』

Mon, 13 Apr 2026 14:35:16 PST

舞台『ハリー・ポッターと呪いの子』は、映画シリーズの19年後を描いた物語である。原作者J.K.ローリングが脚本家ジャック・ソーンらと創作したオリジナル・ストーリーであり、彼女自身も「劇場でしか味わえない魔法」と評している。

ロンドン、ニューヨークなど世界6都市で上演され、アジアでは日本が初の上演地となった。トニー賞をはじめ数々の賞に輝いた本作を、東京ではオーディションを勝ち抜いた日本オリジナルキャストで上演。2022年の開幕以来、総観客数は140万人を突破している。

最大の魅力は、魔法の世界を劇場で体感できる点にある。独創的な音楽、舞台美術、衣裳、そして次々と繰り出される魔法が観客を圧倒する。本作は2026年12月27日をもって閉幕することが決定している。

ハリー、ロン、ハーマイオニーが魔法界に平和をもたらしてから19年の月日が流れた。しかし、近年はかつての暗黒時代を予感させる不穏な事件が頻発し、人々の間に動揺が広がっている。

魔法省に勤めるハリーは、今や3人の子供を持つ父親となっていた。だが、ホグワーツ魔法魔術学校への入学を控えた次男のアルバスは、「英雄の息子」という重圧に強く反発。孤独な幼少期を過ごしたハリーもまた、息子との接し方に悩み、父子の溝は深まるばかりであった。そんな折、アルバスは入学式へ向かうホグワーツ特急の中で、一人の少年と運命的な出会いを果たす。相手は、父ハリーと長年対立してきたドラコ・マルフォイの息子、スコーピウスだった。この二人の交流をきっかけに、世界を再び飲み込もうとする闇の勢力が加速していく。

幕開けは汽車の音。そこから一気に観客を魔法世界へと引き込む。私服姿の登場人物が瞬時にローブ（学生服）へと早替えする演出は、瞬きする間も与えない鮮やかさである。テンポは終始スピーディーで、無駄のない構成が物語への没入を加速させる。細部まで緻密に設計された演出の連続により、「芝居を観る」という感覚を超え、「作品そのものを体験する」感覚が生まれる。

舞台美術と魔法表現は圧巻の完成度を誇る。ホグワーツの動く階段は見事に再現され、観客の記憶に刻まれた世界が現実として立ち上がる。さらに、水中シーンではフライングと実際の水演出が融合し、登場人物が湖に潜り、水面から顔を出す光景が目の前で展開される。そのスケールと没入感は、従来の舞台表現の枠を大きく超えている。客席に降り注ぐディメンターの存在感も凄まじく、観客の恐怖心を直接刺激する仕掛けとなっている。

また、ポリジュース薬による変装シーンでは、変身先の俳優たちが変身元の人物の癖や佇まいを緻密に再現し、卓越した演じ分けを見せる。こうしたディテールの積み重ねが、作品全体のリアリティと完成度を飛躍的に高めている。

キャストの演技も極めて高水準である。ハリーを演じる*上野聖太は、父としての葛藤を繊細かつ力強く体現し、物語に深みを与える。上野の内面表現が、作品のドラマ性を一層引き立てている。アルバス役の*佐藤知恩は、舞台では稀有なほど自然体の演技で観客の共感を誘う。等身大の少年像をリアルに描き出し、物語の中心として確かな存在感を示した。

一方、スコーピウスを演じる*大久保樹は、繊細さと情熱を併せ持つ演技で観客を惹きつける。大久保の迫真の表現は、アルバスとの関係性に厚みをもたらし、物語の核を担う存在として強い印象を残す。ロン役の*関町知弘は、大人になっても変わらぬユーモアを軽やかに表現し、作品に心地よい笑いを添えた。

物語は魔法を軸にしながらも、その本質は家族と友情のドラマにある。過去へと遡る場面では、映画で親しんだ名シーンが目の前に立ち現れ、観客に強い感動をもたらす。同時に、冒頭で提示された要素が終盤で鮮やかに回収される構成は、シリーズの魅力を凝縮したものといえる。

早口の台詞から始まり、最後まで一瞬の隙もなく駆け抜ける本作は、観る者を一気に物語の核心へと導く。圧倒的なクオリティで構築された舞台は、ハリー・ポッターの世界をさらに深く愛したくなる体験を提示する。何度でも足を運び、その魔法を再び体感したくなる作品である。ゴールデンウィークにぜひ、家族や友人、大切な人たちと体験してもらいたい。

*出演者は公演毎に異なります。

Photo Credit :[TBS/ホリプロ]

BroadwayWorld.com Japan Stories

Interview : From Argentina to the Oceans: Natalia Saulo’s 13-Year Journey at the Forefront of Cruise Line Entertainment

MRS. GREEN APPLE’S CEREMONY RETURNS FOR AN EXPANDED TWO-DAY EVENT

Mrs. GREEN APPLE主催『CEREMONY』開幕 音楽・ファッション・カルチャーが交差する2日間の祭典

Around The BroadwayWorld: Top News, Reviews, Interviews & More from May 2026

Editor's Picks: Top News Stories

Diane Paulus Will Direct Immersive David Bowie Inspired LIFE ON MARS at American Repertory Theater

Interviews

Interview: Adam Fields of BEETLEJUICE National Tour

Interview: Richard Kind Talks Finally Taking on Edna in The Muny's HAIRSPRAY

Reviews

Videos

Photos

Review: DETECTIVE CONAN SPECIAL CONCERT 2026 at GLION ARENA KOBE

公演レポート：名探偵コナン スペシャルコンサート 2026

YOASOBI Unveil Tracklist for New Album Featuring Songs from TV, Movie, and Video Game Projects

The Book For,, Tracklisting

Never Ending Stories Tour

BroadwayWorld Launches Producer Fantasy Game

How It Works

Weekly Scoring

The Fantasy Forecast

Managing Your Roster

Join the Game

Review: FRIEREN COMES TO LIFE AT UNIVERSAL STUDIOS JAPAN

USJ体験レポ：『葬送のフリーレン』の世界へ没入！新アトラクション＆レストランを徹底体験

YOSHIKI Joins as Headliner for Global Citizen Music Event in Tokyo

Disney’s FROZEN Make Its Osaka Debut in 2027

劇団四季『アナと雪の女王』大阪公演が決定 2027年6月より大阪四季劇場でロングラン上演

Review: TUBE LIVE AROUND 2025-2026 KEEP ON SAILIN’

公演レポート：TUBE LIVE AROUND 2025-2026 KEEP ON SAILIN'

Ae! group Launches Complete Digital Catalog and New Single 'DEKOBOKO LIFE' Globally

StageMag Launches Programmable PDF Editor for Digital Theater Programs

About StageMag

About BroadwayWorld

Review: “RIPLEY” Brings The World of “PURPLE NOON” To The Japanese Stage For The First Time

ゲネプロレポート：上田竜也主演『リプリー』

GYPSY in Japan: Producers Walk Back Title Change Ahead of 2026 Revival

Interview : Kazuya Ohashi & Takuto Teranishi Lead “AmberS” Inaugural Production at EX THEATER ARIAKE

インタビュー：「AMBERS -アンバース-」大橋和也&寺西拓人登壇記者会見ノーカットレポート

Review: “AMBERS” STARRING KAZUYA OHASHI & TAKUTO TERANISHI

ゲネプロレポート：大橋和也×寺西拓人主演「AMBERS -アンバース-」

Play Broadway Games Every Day in May and Win a Merch Prize Pack

NEWSIES Unseats LES MISÉRABLES to Win BroadwayWorld's 2026 Ultimate Movie Musical Bracket

Review: HARRY POTTER AND THE CURSED CHILD in Tokyo

TOKYO DISNEYSEA 25TH ANNIVERSARY, FOOD & WINE FESTIVAL & PAL-PALOOZA

Contents

I. “Sparkling Jubilee” – The Pinnacle of Shared Celebration

II. “Food & Wine Festival” – A Culinary Journey Through Story

III. “Vanellope’s Sweets Pop World” – A Whimsical World of Confectionery

IV. Conclusion

Sarah Brightman Will Return to SUNSET BOULEVARD in Tokyo

公演レポート：舞台『ハリー・ポッターと呪いの子』

Mrs. GREEN APPLE主催『CEREMONY』開幕　音楽・ファッション・カルチャーが交差する2日間の祭典

公演レポート：名探偵コナンスペシャルコンサート 2026

劇団四季『アナと雪の女王』大阪公演が決定　2027年6月より大阪四季劇場でロングラン上演