Review: MUSICAL PLAY “THE DINNER TABLE DETECTIVE”

Musical Play “THE DINNER TABLE DETECTIVE” : Based on Tokuya Higashigawa’s best-selling novel “The Dinner Table Detective,” which has sold over five million copies and won the Japan Booksellers' Award, this beloved mystery became a national phenomenon when adapted into a TV series in 2011. Known for its witty banter between a sharp-tongued butler and an heiress detective, as well as its intricate whodunits, the series now returns to the stage as an original musical play.

Reiko Hosho (Shiori Tamai), a detective and heiress to the world-renowned Hosho conglomerate, hides her privileged identity while working under the flamboyant Inspector Kazamatsuri (Ryusuke Hashimoto), the heir of the Kazamatsuri Motors family. Supporting her investigations is her brilliant but caustic butler, Kageyama (Tatsuya Ueda), who never fails to solve the case — often with a cutting remark such as, “My lady’s eyes, are they not merely decorative?”

One day, however, Kageyama abruptly whisks Reiko away to Europe to prevent an arranged marriage set by their parents. Upon arrival in a small European principality, they discover that the sovereign has suddenly died, and Reiko becomes entangled in a fierce battle over succession to the throne. To complicate matters further, Inspector Kazamatsuri also turns up to promote EV cars, plunging the situation into utter chaos.

As soon as Kageyama and Reiko appeared on stage, the audience was immediately drawn into the story with the rapid-fire delivery of the iconic lines: “My lady’s eyes, are they not merely decorative?” and “You’re fired! Fired, fired!!” Kageyama’s poised movements carried an elegance down to each gesture, while his brisk exchanges with Reiko created a razor-sharp rhythm that propelled the production forward and kept every eye fixed on the stage.

Inspector Kazamatsuri, meanwhile, had only to enter to shift the atmosphere, his offbeat timing and playful cadence infusing the theater with a relaxed warmth. Prince Klaus of the Principality of Schwarzkust, Reiko’s betrothed, embodied his “marriage phobia” with every part of his being, and his tantrum-throwing was portrayed with a humorous touch.

When Kazamatsuri later arrived in the principality, Ryosuke captivated the audience with his precisely cut choreography  dancing and the explosive “Get down”. His comical pursuit of Reiko, punctuated by nimble act, naturally invited applause and laughter. Then, as Princess Marianne, Ruumi Nagina filled the theater with a radiant atmosphere through her soaring vocals, shifting the mood to one of grandeur and sparkle.

One of the highlights was the much-anticipated dance showdown. Ryosuke first delivered nimble steps before surprising the audience with a dazzlingly tight, glittering pair of tights, drawing raucous cheers. Shiori countered with a buoyant routine of her own, exuding the unmistakable presence of an idol.

In Kageyama’s deduction scene, Kaoru Noguchi’s comic performance prompted Tatsuya to break into an unguarded smile, a natural reaction that softened the mood in the theater. Tatsuya then took it a step further with an over-the-top silly face, creating a striking contrast to his usual cool demeanor and sending waves of amusement through the crowd.

The climax came with a frenetic car chase, unfolding in slapstick fashion across the entire stage. In the midst of the chaos, Kageyama suddenly burst into song, calling out, “Hey, Osaka!” and instantly driving the hall’s energy to its peak. For the finale, Shiori displayed the full force of her talent as an idol, closing the production with powerful vocals and expressive flair. Even the clever punchline that followed landed perfectly, keeping the audience entertained until the very last beat.

As Kazamatsuri, Ryosuke embodied the role with light-footed humor and confident performance. Tatsuya, in turn, delivered polished grace and masterful precision in his long monologues, while also surprising the audience with flashes of unexpected levity. Shiori dazzled not only with her brightness but also with her vocal and dance prowess, fully blossoming as an idol on stage. From beginning to end, the production sustained its momentum as laughter and applause rippled throughout the theater. Moreover, with its clear, accessible storyline and a script brimming with sharp humor, the show proved itself as entertainment that resonates across generations.

Photo Credit :[Abe Akihito]