Interview: Jesse (SixTONES) Wishes for a Revival of BEETLEJUICE

Jesse: The musical "BEETLEJUICE," (Click here to see Review: BEETLEJUICE) in which he starred this time, is a musical based on film works by director Tim Burton. It premiered on Broadway in 2019, was performed in South Korea in 2021, started a North American tour in 2022, and was staged in Japan in the summer of 2023. Jesse is a member of SixTONES, making his debut in 2020. His activities span a wide range, including music, variety shows, YouTube, TV series, and movies. Some of his notable works include the film “Sing 2" (2022) (voice over), "TOKYO MER"(2022), and the TV series “Saisho wa Paa" (2022). Additionally, he and his fellow group members appear on NHK Educational TV's "Value no Shinjitsu" every Tuesday, TBS's “Lie or Truth" every Friday, and “SixTONES’ All Night Nippon Saturday Special" every Saturday.

Tim Burton's film was the original source, and it was adapted into a Broadway musical. When you decided to be part of such a production, what were your feelings at that time, and what were the challenges during rehearsals? How did you feel when you actually performed the role?

Of course, I was aware of Tim Burton and had seen some of his work. When I found out I would be playing the lead role in "Beetlejuice" in Japan, the first thing that crossed my mind was, "This is a big job." But when I heard about it, it was probably about a year and a half or two years before the actual performance, so quite some time in advance. However, since it was my first musical, I wasn't sure how to prepare. I didn't want to simply replicate the Broadway version either, and I had other work before the show started. So, I decided to take a step back for a while. During that time, I listened to the Broadway version's music a lot. I was like, “Oh wow isn’t it so difficult?” After I received Japanese version, I listened to it constantly – in my manager's car, when I was going to sleep, when I was taking a shower, and even when I was traveling overseas for shoots. I also listened to it on the plane, falling asleep and then waking up, thinking, "Oh, right, I was listening to it.” Like, a lot. It was that challenging, and I thought, "Can I really do this?”

I had to work on the lines, and there were many details to consider, so I was constantly filled with anxiety and fear. I felt like, "Please, don't let anyone come to watch it!” When I received and read the script, I was more concerned about the music than the lines. I talked to Director Fukuda, and when I asked, "In the original, the voice is raspy, like 'Aaaargh,' so what should we do about that?" Mr. Mr. Fukuda replied, "Don't worry about it." He was quite relaxed about it. His attitude is reassuring in a good way, like, “It’s okey!, it’s okey!” Looking back on it now, I think it was a good thing to have someone like him. 

I started with singing rehearsals, and maybe it was because I was new to it, and the teachers who instructed me might not have had high expectations, I suppose. Because I had remembered it all along, when I went for it, it felt like, "I can do this too!" Even for myself, it was a mindset to work hard without expecting too much. So, when I started the vocal training, it was like, "Oh, you can do this; you can probably skip the next lesson," and maybe it was because I had been listening to it so much.

It was still nerve-wracking because it was such a big job, and it was based on Tim Burton's work, which everyone knew. I started rehearsing with singing, and as I got into acting rehearsals, Mr. Mr. Fukuda didn't give me many instructions. He just said, "Just do it!" I thought, "Well, just doing it isn't that easy." I wasn't very good at moving freely when I had done other production before. I felt like I performed better when I was given guidance, like when I did the straight play. Even this time, I thought I would receive such guidance, but it didn't happen. 

Mr. Fukuda likes to run through the rehearsals multiple times, so we did. I hadn't really changed my voice at that point. I was using my regular voice. I'm also somewhat shy, so I felt embarrassed performing in front of the cast and crew. I was more comfortable when the audience was there because the adrenaline would kick in. 

Repeating something multiple times can become monotonous, as is the case with anything. That's when I realized that this show had a lot of room for improvisation, so during the rehearsal period, I had a lot of fun with it. Mr. Fukuda then said, "That's great. Let's include that!" I had done a lot of things during rehearsals that we brought to the actual performance, and I added even more ad-libs during the shows, which made me more enjoyable. Everyone was laughing, and when it came to the actual performance, I gradually made changes in my voice and singing style from what I had initially done during rehearsals. I think it surprised Director Fukuda, the staff who had been with me from the beginning, and my fellow actors. I had intended to experiment with my voice during the acting moments in the style of the Broadway version. It was quite a challenge, you know, with around 50-something performances, plus the rehearsal period, it added up to around 60 shows. 

If it had been a production that others could easily handle, people might have felt like it didn't necessarily have to be me. But when I read the script and saw those impersonations of Ken Shimura (Japanese comedian) and Takeshi Kitano (Japanese comedian, and a film maker known as “Beat Takeshi”) already written in there, I thought, "This is going to be a show that's me." In the Broadway version, they probably didn't have Ken, right? When I sing, I sing like "Aah~♪," but when I speak, it's more like "Aaaargh." Just that difference alone is interesting. Within that, I incorporate the styles of comedians like Ken and Takeshi. As I performed, I started hearing from various people, "Isn't this something only Jesse can do?" From that point on, I felt the desire for more and more people to come and see the show. While performing, I realized I could do ad-libs here and there. Depending on the guest for the day, I'd play around with them. In a way, it was fortunate that Mr. Fukuda didn’t give me various instructions because it allowed me to express myself and become mentally stronger. Ad-libs, interacting with the audience, and involving everyone. I'm really grateful that they came to see the show, and it makes me happy.

When we reached the final performance, I thought, "As long as everyone in Japan hasn't finished watching 'Beetlejuice,' I want to keep being 'Beetlejuice.'" After coming this far, if someone high up says, "Why don't we try someone else?" I probably wouldn't do it anymore. But there are many people who believe that "only Jesse can do this," including the audience, fans, and those involved in the production. So, I want to keep doing it.

On the first day, the lyricists and composers from Broadway came, and they said, "Jesse, just do it the way you want!" So, I thought, "Have I been recognized to that extent?" But on the first day, I was nervous too, and I wish they could have seen the latter part. It's probably quite different, and I believe I was much more relaxed. Even my body movements are said to resemble Jim Carrey, whom I admire. It wasn't something forced; it just naturally happened. Beetlejuice contributed to shaping that. It made me want to continue doing this in the future, despite the initial anxieties, which, of course, can be challenging.

It's the result of hard work, indeed. From those initial anxieties to reaching a point where I want to do it again.

In the world of theater, there aren't many reruns, but I really want everyone to see this one. It's an interesting production in its own right. You don't need to approach it with any preconceptions; it's like being on a thrilling ride, and the music is fantastic. It's frustrating to think that there are still people who haven't seen it. It's motivating me to a great extent.

I see many people on the internet who want to see it again.

Yes, that's true.

If there's another opportunity, I'm looking forward to it! I also wrote a review, and the more I watched it, the more I felt that, I couldn't imagine anyone else but Jesse playing that role.

On the other hand, I want to see other people perform it, too. I think that could be interesting, but I wonder how it goes with all the impersonations and everything. Even people who don't usually give compliments have mentioned through word of mouth, "Well, that's something only Jesse can do," so that also brings me joy.

From the reactions of your co-stars, it seemed like there were many improvised moments.

I just did them. It wasn't explicitly written as “improvisation”, but just thought it allows me to have fun with it. We decided on creating some part that we change daily. It’s challenging for the actors, but it's also interesting. Of course, there are probably some audience members who come to see the show multiple times, and they notice, "Oh, they change it every time!" We're not told to do it, but Mr. Fukuda said, "If it feels creepy and right, and you can add something, go ahead!" So, I thought, "Let's do anything!"

Were there many options prepared in advance?

Yes, that's right. Like, “If something was mentioned in the previous scene, then let's bring it into this scene, too.”

When you were cast, did you receive words of encouragement from other SixTONES members ?

With Taiga (Kyomoto), we talked like, "I got the role in musical, Beetlejuice!” “Wow!" Other people, including the seniors, were looking forward to it as well. But it was still so far in the future that it was more like, "Oh, that's great, congratulations!” initially.

You still didn't feel real at the time?

That's right, not at that moment. But now everyone says, "I want to see it again," including the SixTONES members. That makes me happy. It's not common for people to want to see a show again. I think it's partly because of the ad-libs and various efforts. I believe that led to their desire such as, “I want to see those parts again”, or “I want to listen to them again.”

It's the result of your hard work.

I'm grateful for that.

After going through such hard work and successfully turning it into a hit, how do you plan to apply this to your future career? Are there any things you discovered that you would like to challenge?

I definitely want to continue with this and express the aspects that I couldn't express before in “Beetlejuice." But I don't feel like I want to do other musicals or anything like that. I think it's because I was allowed to do this so freely this time, and if I were to do a strict, traditional musical, I'd probably feel itchy. I'd rather do "Beetlejuice" for those who haven't seen it yet and for those who want to see it. I hope it becomes a representative work of mine. After experiencing something like this, frankly, I think I'd find other things less interesting to do. I'm just grateful to have met this fantastic production. Of course, I think every other productions are wonderful as well, but it’s like I fit in this role. Even before the performance started, lots of us came down with the flu, and there were moments when we thought, "Can we even perform?" We even had to cancel some shows. So, it's a relief that we were able to perform.

Everyone around me is nice and kind, so their support was also comforting, with their kind words and all. They all are professionals, and those at the top are truly amazing. They can handle things right away for the next day. I've heard that in overseas productions, they cast from the swing (understudy), because the swings have to be able to adapt to everything, so I was like, “Wow they are handling them!”  I was the first timer entering that world, so I was very conscious of not causing any inconvenience to others. But I think it was good that it was me.

The performances have come to an end, but could you tell us your favorite scene, or highlights that you hope the audience have payed attention to?

Originally, in the early part of the show, there’s the first song that Adam and Lydia sing, and Beetlejuice isn't supposed to be there. It's a setting where Beetlejuice is invisible, but I used to goof around, and they decided, "Let's do that!" So, it turned out that I had to come out because I had goofed off during my break. I think that was a good thing because I got to do whatever I wanted. I love that part. It's a common occurrence in theater that the dead messing with the living, and the living not noticing or seeing them. The audience knows the setup, so they watch and laugh. I essentially created a scene that wasn't originally there. It turned out well to me.

"That Beautiful Sound" is another part I like where many Beetlejuice keep coming out at the beginning of Act Two. During a rehearsal, I thought about having someone else do my part, like having someone else come out from behind the couch and shout, "Hey!" I wanted to see if they could blend in. But as soon as I tried it, they immediately noticed and said, "Who are you?" So, it was quickly exposed. Lol I thought it might work, but that kind of playfulness is also enjoyable. I like that part too.

Do you have any message for the fans in overseas?

I heard that some bigwig came to see us, and they had dinner with Mr. Fukuda's son. Even in Japanese, it's interesting abroad, they talked about. If I were to perform in English, that would also be interesting, but they have their version. I think it's good to show how things are in Japan and to show it to those who understand a little bit of Japanese abroad. I think they would find it interesting. Then, I might change my impersonations a bit, change my singing style, and maybe even my movements would be different. So, in those aspects, I hope they would watch.

Do you have any message for your and SixTONES' fans in overseas?

Due to the pandemic, I couldn't attend many live events, including YouTube festivals that were originally planned for Indonesia. Now that things are settling down, I'd like to participate in events and go abroad. We've released CDs, so there's that for people here in Japan. Unfortunately, overseas fans can't listen to them and that’s why we upload Music Videos and other contents on Youtube. I hope we can let them listen to them on platforms like iTunes or streaming services in the future. I'd be happy if that could happen.

Is there anything else you'd like to share?

If I can keep doing it to the point where when you think of "Japanese Beetlejuice," you think of Jesse, then I'd like to keep doing it.

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