Playwright Suguru Yamamoto, who won the Kishida Kunio Drama Award, akin to the “Akutagawa Prize” in the theater world with his play “Banana no Hana wa Taberareru” (first performed in 2021), stands as an unparalleled prodigy carrying the contemporary theater scene on his shoulders. His theater group, HANCHU-YUEI, which he leads, delicately addresses actual themes such as controversies, media scrutiny, and gender disparities. Their latest production revisits “Kokoro no Koe Nado Kikoeru ka,” first staged in 2021, highlighting Keiichi Sokabe’s involvement in its music composition.
Several tracks from Sokabe’s 2018 album “There is no place like Tokyo today!” released via digital and LP formats are featured, alongside the specially composed piece “Steki na Yoru” created for this production. Sokabe composed this piece in response to viewing the play and rehearsals as a whole. Starting with this portrayal of trivial disputes between neighbors and spouses, the discussion flows into the creative stances of Yamamoto and Sokabe. Thus, a far-reaching dialogue unfolds, not only exploring their current positions but also looking ahead to the future trajectories and legacies of these artists.
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Depicting Tokyo While Evoking Another World
-When did you start listening to Mr. Sogabe’s music?
Yamamoto: (The theater company) Lolo used Sunny Day Service’s music in their performances, and that’s when I started listening to them a lot. Then I heard that Mr. Sogabe bought a regular ticket to see “Banana Flowers Can Eat” and came to see the show.
Sokabe: I am not a frequent theater-goer, but I thought I had to see this. I sometimes have that intuition when it comes to movies or music. When I actually saw it, I was shocked at how much I enjoyed it. One viewing was not enough, and I would like to see it again or twice if I have the chance.
Yamamoto: Thank you very much. I had that kind of connection, and when I listened to more of Mr. Sogabe’s music, I realized that he is extremely prolific. I was curious, “Where in the world does this energy come from? I became curious. At that time, I happened to listen to an essay by Mr. Sogabe titled “The One with the Good Smell” on Audible, which was read by his own voice. I thought, “Oh, I definitely want to meet this person,” and I offered to use his music for the reenactment of “Can You Hear My Heart?
Suguru Yamamoto
Writer, director, actor. Representative of HANCHU-YUEI. Born in Yamanashi Prefecture. Cultivates an artistic sensibility from childhood absorption in film, literature, music, and art, vividly reflecting the rapidly transforming ethical perspectives of contemporary information society in his theatrical worlds. Explores “theatre on the other side” using online platforms, creates works for both adults and children in the “Series for Adults and Children,” and conducts workshops for youth and welfare facilities, showcasing a wide-ranging repertoire. Engages in performances, international collaborations, and script contributions in Asia and North America, expanding his activities globally. Named a Grant Artist at ‘ACC2018,’ he studied in New York from September 2019 to February 2020. Awarded Best Script and Best Production at the Bangkok Theatre Festival 2014 for “Young Girl X.” Winner of the 66th Kishida Kunio Drama Award for “Banana no Hana wa Taberareru.” Saison Fellow at the Saison Foundation.
-Additionally, it seems that you felt that the tracks from Sokabe-san’s album “There is no place like Tokyo today!” released on digital and LP formats, resonated well with the thematic elements of this production. Could you elaborate on specific examples?
Yamamoto: “In ‘Kokoro no Koe Nado Kikoeru ka,’ it seems like it’s talking about Tokyo, but in my mind, the stage of the play is a fictional suburb. And ‘There is no place like Tokyo today!’ also seems to talk about Tokyo, but it gives me the impression of discussing things on a world or cosmic scale. That common ground is why I thought they would match well.”
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Embracing the Challenge of Recreating Past Works
-I think we live in a society where ethics are changing at an accelerating pace, partly due to the proliferation of social networking services. Have you rewritten the script?
Yamamoto: I have hardly rewritten it. Ethical views are changing so rapidly that it is like being swept away by a muddy stream. But, for example, I didn’t change the word “Twitter” to “X” and left it as it is because the person I was three years ago and the person I am now are two different people, and I thought I had to respect the person I was three years ago. Also, I am not comfortable judging the feelings of 2021 by the ethics of today. I don’t think the present is there to judge the past, nor is it there to drag the future down.
Sokabe: How do you feel when you perform again? In music, I suddenly play a song I wrote 30 years ago at a live performance, and I sing it while remembering, “Oh, I remember that I wrote this when my child was born.
Born on August 26, 1971. Virgo, blood type AB. Originally from Kagawa Prefecture. He began his career in the early ’90s as the vocalist/guitarist of Sunny Day Service. In 1995, he released his first album “Wakamono-tachi,” interpreting and reconstructing 1970s Japanese folk/rock in a ’90s style, creating a completely new sound that left a strong impression on listeners. Inspired by the Christmas 2001 and the simultaneous attacks on New York, he made his solo debut with the single “Guitar.” In 2004, he founded his independent label ROSE RECORDS, focusing on independent/DIY activities. Since then, alongside Sunny Day Service/solo work, he has continued diverse expressions including production, songwriting, film and commercial music, writing, and acting without being confined to a single form.
Yamamoto: Yes, that’s right. Especially in the case of theater, a set is a set of troupes. The larger the troupe, the more each person carries memories of the past, and the more everyone’s thoughts and feelings are carried, the heavier they become. I would like to do that again with a different group of actors, but with a lighter touch. And I think that requires determination.
Sokabe: I see, I’m learning a lot. I practice with the band every day, but when we decide to play a song from 30 years ago, I sometimes feel like it’s a bit of a hassle. But as I try, I think, “This is what I meant when I wrote that song back then,” or “I was still young. I also feel that it is a bit heavy, because my growth, scars, joys, and regrets have accumulated over the years from 30 years ago to now. But I always want to do it lightly.
Yamamoto: That’s right.
-For example, Sunny Day Service performed a live reenactment of “Tokyo” (1996) in 2016. Naturally, musicians perform songs from 20 or 30 years ago in their live performances. Don’t you feel embarrassed when you do that? Some people change the lyrics and arrangements, don’t they?
Sokabe：Yes, that feeling of embarrassment is the heaviness I just mentioned. It’s like, “Is this really okay? or “I am so young, I don’t understand it yet.” When you go beyond that embarrassment, there is a part of you that has nothing to do with age or anything else.
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Harnessing Collaboration for Enrichment
-After this, you will delegate directing duties to others at HANCHU-YUEI. What are the reasons behind this decision?
Yamamoto: I consider myself a writer and an artist. However, from that standpoint, directing has its challenges. Directing involves handling people, so one must possess the skill to make human communication worthwhile. But when I invest my energy in dealing with people, I find it hard to write. The urge to write is always there, and I feel relieved when I’m writing, but I physically don’t have time to write plays. That’s the first reason why it’s become stressful for me right now.
Yamamoto: Another reason is that I believe the theater industry should encourage more collaboration between playwrights and directors. Many people combine both roles, and while it certainly allows them to present their name prominently, I think in the long run, it’s better for various directors to interpret my words in various ways. When Keiichi Sokabe and I team up for this project, it causes a bit of excitement, right? Similarly, I might feel the same excitement if I collaborate with another director, and Sokabe-san might feel it when working with another theater team. I think it’s a really good thing. If such collaborations become more casual, I believe we can both take pride in each other’s work more.
-I think you probably have a lot of thoughts on this subject. I would like to interject a little. In music, this is a story about the division of labor, isn’t it?
Sokabe: Well, that’s mostly true.
-You know, in bands, there’s this kind of curse where you’re expected to handle everything from conception to the final product on your own. But back in the heyday of Kayo-kyoku with figures like Tsutsumi Kyohei and Matsumoto Takashi, division of labor was fully functional. And I think recent idol songs also operate on a similar principle. So, maybe you felt a sense of urgency because you were drawn to that idea for yourself?
Sokabe: Yeah, that’s right. Since The Beatles, almost every band has played their own songs, and especially since punk, they’ve gone DIY, managing everything from management to running their own labels. For me, I’m right in the thick of that. I handle management, accounting, everything related to the company, and I write and sing the songs myself. But when asked if that holistic entity is really me? Well, not exactly.
Just yesterday, I was asked by an idol to submit a song, and I created a very rough demo with the intention that the recipient could have fun playing around with things like tempo and arrangement. I enjoy the idea of not meticulously planning everything to the end result myself, but rather having moments like, “Oh, you did it like this!?”
Sokabe: But you know, it was totally different when I was younger. For example, when we made music, technical professionals always got involved. We’d ask engineers to adjust the sound, because I couldn’t accept anything that didn’t sound exactly like what was in my head. But after I turned 50, I’ve started to appreciate it when things turn out like, “Oh, you did it that way!? That’s amazing!” Finally, I can see it that way now [laughs]. So, I admire and think it’s wonderful how you have that peace of mind.
