Interview: Hikaru Iwamoto (Snow Man) Shares His Journey with SHONENTACHI as a Player, a Choreographer, and a Director

Hikaru Iwamoto: In the stage production "SHONENTACHI 2023: Through The Darkness," (Click here to see Review: SHONENTACHI 2023) which opened on October 4th with the lead role played by the members of Bishonen, Hikaru took on the sole responsibility for the stage's composition, direction, and choreography for his first time. He also appeared in the previous stage productions of the "SHONENTACHI" series and its 2019 film adaptation. "SHONENTACHI" has been evolving and continuing to the present day since its first performance in 1969. Hikaru, who debuted in 2020 as the leader of Snow Man, is active in various fields, including music, stage performances, variety shows, YouTube, films, and magazines. Some of his notable works cover the musical "Catch Me If You Can" (2022), the film "My Boyfriend in Orange" (2002), and "Osomatsu-san" (2022). Additionally, he and his fellow group members appear on the TBS show "Sore Snow Man ni Yarasete Kudasai（それSnow Manにやらせて下さい）" every Friday and on the "Snow Man no Su no Manma（Snow Manの素のまんま）" show on Nippon Cultural Broadcasting every Thursday. In the fitness magazine "Tarzan," he has been serializing "Muscle Bard Hikaru Iwamoto’s Betrayal Work Out Method（筋肉吟遊詩人・岩本照 裏切りの筋トレ・メソッド）” since 2018.

In this stage production "SHONENTACHI", you are in charge of the stage composition, direction, and choreography for the first time. Can you tell us about your feelings when you got this job, the most challenging aspect during rehearsals, and your overall experience?

I actually received the offer, and it was simply a genre I had never ventured into before. While I had been involved in choreographing for the group in the past, the thought of "what's directing and composition like?" was more intriguing than daunting. So, following my gut feeling, I immediately said, “Sure." The initial discussions were quite informal, and it all started from there.

We went through multiple script meetings and revisions, with the script being continually modified and refined, and I was also allowed to give my input. It was during this process that the realization of "Oh, I'm really doing 'SHONENTACHI'" slowly started to sink in.

The most challenging part was convincing myself. I was concerned about the label of "someone who appeared in 'SHONENTACHI'" and felt that what we were doing might not be interesting. Whether it was in choreography, acting, singing, visuals, or lighting, I constantly had this feeling of "this isn't that exciting" or "this is too ordinary." 

I didn't discuss it with anyone, but making me think"Wow, this is really great.", the pursuit of finding a place where I could truly be satisfied was both difficult and interesting.

When you actually saw the completed performance, how did you feel?

I felt a strange sensation when I watched the first performance from the back of the theater. I'm not sure if this is the right way to describe it, but the feeling I honestly had was like "I'm watching my own funeral from the very back." When I saw my name mentioned, witnessed the audience enjoying the show, laughing, and crying at what I had created, it felt like nobody could see me from where I was. It was like I had completely stepped into the background, thinking, "I've done what I needed to do." I knew all the answers to the questions like, “Well, it was this,” or “Nah, it was that, wasn’t it?” that were being discussed among the audience, but I had this strange feeling like I was invisible to them. This feeling was incredibly intriguing and quite addictive. It was different from a sense of achievement or a feeling of having completed something like, "Alright, now it's up to everyone to do their best!”, but more like, "So, this is how it feels,” right after the opening night.

I got goosebumps when I heard your description.

Really?

Yes, I couldn't have imagined the comparison to a funeral.

I've never experienced my own funeral, of course. But it was kind of like that feeling. It was indeed strange.

You worked with the members of Bishonen to create this piece, and before it began, what were your thoughts on how it would turn out, and how did it feel to actually do it?

Originally, I didn't have much of a connection with Bishonen, so I approached the rehearsals without knowing much information about how they can dance or act. Everyone was quite dedicated and shared the desire to deliver the best performance to the audience, which aligned with my own intentions. I thought they might perceive me like, “He’s so demanding, and he won't be satisfied unless we go this far.’" but I aimed to bring out the best in them. I told them that you can never give 100% in the actual performance if you rehearse at 70% or 80%. So, from the rehearsal stage, we pushed it to 120% or even 150%, to the point where it might seem like we were overdoing it. During the actual performance, there's always room for accidents due to transitions and various factors, so we left some margin for error while making sure to deliver a full-throttle performance to the audience. I discussed pacing and more, hoping they'd maintain about 70% to 80% of their energy throughout.

Also, they expressed a strong desire to dance, saying, "We really want to dance a lot!" since I was entrusted with choreographing their new song during the “show time” as well. They conveyed their feelings with great passion, like, "We really want to dance, so please help us!" I took that sentiment into account when creating the choreography, and the response from everyone was that not being like the usual Bishonen was actually good. They were like "Wow!" and "That's cool!" It made me think, "I'm glad I created this." 

Just because the performance has started doesn't mean it's over. So I went to watch the performance several times after it started. I was communicating with them about what was good here and what we wanted to adjust a bit more and told them “It's not over once the curtain opens on the first day. I also told them, "Give it your 100% every day, and I want you to try various things to the point where you'll feel like you wanted to do it 3 or 4 more times on the closing night." I think they're still working hard now. On the closing night, I plan to go watch these juniors and say, "You did a great job during this period.”

Did you receive any messages of support or words of encouragement from the members of Snow Man when you got this job?

Yes, I heard some of them mentioned “It's truly amazing to be involved in a work that we had a personal connection with in a different capacity.” They all probably thought, "You should give it your all." 

However, on the opening night, our member Tatsuya Fukazawa came to see it. He provided feedback not only by saying, "It was good," but also by discussing aspects like, “Don’t you want to change it like this?” or “Then how would it be if I phrased it differently?" He was very supportive and engaged in the process.

Also, recently, Ryohei Abe came to watch the performance, and he asked questions about my direction. He inquired about the meaning behind certain choices, like, "Why did you do it this way? What's the significance?" and "What do you think?" We had conversations from the perspectives of a director, an audience member, and a performer. Something with cast’s perspective like "Well, I want those lines to match the timing,” I had those with Abe. Having them come to watch the production meant a lot to me.

They have a strong bond, so it might be a bit embarrassing to express such sentiments directly, but they take action, and that's what counts.

Yes, I think action speaks louder than words. Words are important, of course, but actions are too.

Could you please share your favorite scene from this production and what you hope viewers to pay attention to?

I have many favorite scenes in this production, but I particularly love the dance scenes. Whether it's the enjoyable moments or the challenging ones, the ability to convey emotions through performance rather than words is something unique to "SHONENTACHI" productions. Personally, I felt a strong sense of achievement like “I won this” when it comes to the ending and the way the end credits are introduced. When I came up with this idea, I thought, "I've got it." It's interesting and satisfying, and I can't wait for everyone to see it and share their thoughts. The ending, in particular, is where I put a lot of emphasis.

This might be a bit of a serious topic, but you've been involved with "SHONENTACHI" as a performer in the past, and I'm curious if there were any changes in your thoughts or impressions regarding war during the times when you were not involved, when you were performing in it, and when you were directing it this time.

I was allowed to participate in a story related to war, even though I haven't experienced war myself. But I firmly believed that the words of someone who hasn't experienced war can still reach those who haven’t experienced war. It might not reach those who have experienced war, but for the people who came to watch us, who know us, I believed we could interpret "what war is like" and convey that message through our performance. That was my main focus at that time. Whether it was about war or the beauty of a peaceful world, I wanted to express it through singing, acting, dancing, and our expressions, using all our energy to convey it to the audience.

This time, I wasn't part of the cast, so I had a bird's-eye view. Whether it was the war aspects, the directing, the lighting, or various other aspects, I tried to do what I could, which is to convey what I saw to the audience through my own interpretation. I even visited Himeyuri Peace Museum in Okinawa and went abroad to study for this purpose.

War is still an ongoing topic, and I really wanted to depict the idea that the everyday, peaceful landscapes can suddenly change. It's about the harsh reality of how even in such peaceful times, due to various circumstances, people can be torn apart. No one wants to experience this, but it happens in some parts of the world. I felt that this is a message that can be conveyed through the stage, so I didn't want to eliminate the aspect of war from the production.

Regarding the line at the end of the main performance, “Itsuno jidai mo… (In any era…)” said by Ryuga Sato, that's originally my line when performing. I wanted to ensure that this message is conveyed effectively, which is why I chose that particular opening for the show.

No matter how much people may listen, going to places where I can convey messages like this, and even though I've never personally experienced it, just saying something like, "Peace is a wonderful thing," could be a message that, to those who have experienced war or are in the midst of it, might make them think, "What do you outsiders really understand?" but expressing these thoughts like, "I genuinely care" through words or some form of communication is definitely more important than doing nothing.

Even if people have differing opinions about it, in the end, we all come together holding hands and go, "Let's hold hands instead of guns," even if our languages are different. Everyone has families, and in the limited time we have in our lives, it doesn't make sense to keep fighting.I strongly believe that life isn't that long for fighting. It makes me wonder, "What is peace?" It's true that sometimes you have to fight for something, in various ways, to obtain it, but is it necessary to go as far as losing lives for it? I've been thinking about this a lot. Just saying, "War is terrible, isn't it?" isn't enough.

Rather than me conveying it, the words of Bishonen and the junior members like them, if they can reach their fans, even though they haven't experienced it now, the sense of urgency about not knowing when Japan might find itself in such a situation, and the desire for everyone to cherish the present time more, it's essential not to turn a blind eye to it. 

I didn’t set it exact year but 20XX, I think that if Japan suddenly found itself in a war situation, like what's happening in Ukraine right now, it's important not to have an attitude of "It's fine; Japan is peaceful." That's why I intentionally chose that particular opening for the show.

I believe you had many new experiences in "SHONENTACHI" this time. Have you discovered how you'd like to make use of these experiences in your future career or any new challenges you'd like to undertake?

I have always loved expressing myself, but this time I realized that I also have a passion for creating. This experience was my first attempt at it, and I knew it would be challenging. I had to figure out how to convey my thoughts to the staff in a certain way and whether different communication approaches would be more effective with the players. It was a valuable learning experience."

I found that I have a strong affinity for turning nothing into something, for the act of creation. As long as my body allows it and there are offers like this, I intend to continue being a player. However, whether I’m on the stage or not, I want to create something that can lift the spirits of people I've never met. It is a wonderful feeling and a great satisfaction. I look forward to working behind the scenes in the future, possibly as a two-way player, where I can both perform and be involved in the production process. It's a path I'd like to explore further.

Do you have any message for your and Snow Man’s fans in overseas?

I believe that there are probably many people overseas who haven't had the chance to meet us in person, like at concerts, yet. They may have commented on YouTube, have gotten to know us and support us in various ways and we truly appreciate that. I hope to meet these people in person someday and send our energy to them, like a burst! Whether it's us going overseas or performing a lot in Japan to have more overseas fans come here, I believe that if everyone lives with the motivation of looking forward to that moment when they can see our dancing and singing, even if it's just for a fleeting second, the day we can meet will definitely come. So please continue to support Snow Man. Thank you.

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