The "Theater Draft Grand Prix THE FINAL," a theater festival produced by actor Yoshihiko Aramaki, will be held at the Nippon Budokan in Tokyo on December 10, 2022. The five actors who will serve as the chairperson of the company select the actors and the director who will create the play together in a "Draft Conference" and perform it at the Nippon Budokan. The jury and the audience vote to select the grand prix winner. The program has attracted a great deal of attention since its first year, as there was a lot of drama as various actors and directors gathered to compete for the grand prix. However, as the title suggests, this year's event came to an end. What has the "Theater Draft Grand Prix" brought to the theater world and actor Yoshihiko Aramaki?

For a spectacular fireworks display at the end.

─ ─ First of all, please tell us how you are feeling just before this year's "Theatre Draft Grand Prix THE FINAL".

Final or ......." It is a great honor for us to be able to hold the third event this year after the first one was well received and the second one was held last year. I feel that it would be a shame to make it the last one, but I decided to make it the final one, so I will do my best as a producer to make it a spectacular fireworks display at the end. I would like to do my best as a producer to make the fireworks spectacular at the end.

─ ─ Why do you want to make the final?

I like the number "3" in everything. Even if it is a trivial matter, I think that "tendon" should be served no more than three times, and the number "3" is very important for me to proceed with things. That is why I thought the "Theatre Draft Grand Prix" would be limited to three times. I think we were able to show the significance of what we wanted to show with the "Theatre Draft Grand Prix. If we receive requests for more, we may revive the event someday, but for now, I'm going to call it quits.

─ ─ You said that "the significance you wanted to show was shown," but what was your intention when you launched this "Theatre Draft Grand Prix" and what significance did you have in mind at the beginning?

It was a very small idea that led to the launch of this project. When I had a conversation with Makoto Matsuda about the Corona disaster, he asked me if I had any ideas for promoting theater. I suggested to him that it would be interesting if the actors would be on the side of the audience to select the pieces, which was something I had been thinking about on a regular basis. I myself was not exposed to the performing arts until I was a university student, so I think I know how the general public feels, but from that perspective, the stage is very expensive. In fact, it is expensive, and I think many people don't have the opportunity to see a performance. I proposed the "ACTORS☆LEAGUE" and the "Theater Draft Grand Prix," among others, in the hope that these events would make people feel that the stage is creating a whirlwind, and that they would become more familiar with the theater. Furthermore, it is not every day that one has the opportunity to see four or five productions in one evening. I wanted them to meet directors and actors they had never seen before. The 2.5-dimensional industry, which is our main field, requires a wide variety of skills, including acting, singing, dancing, and sword fighting. There are many great actors, both veteran and young, and genius directors who use their ideas to express the world of games and manga. I wanted many of our guests to be able to encounter these talents.

─ ─ Please tell us about the response to the first year and the second year, respectively.

The first year was truly unknown to me, the people involved, and the actors, so I had no idea what it would be like. I had a rough idea of what I wanted it to be like, but I had no idea if we would be able to achieve it. But when we actually did it, it turned out to be much bigger than we had imagined. I remember how happy I was when many people said, "It's amazing" or "It's so interesting. The second year was a lot more enjoyable because I knew what to expect. However, since I am a producer, for better or worse, my desire for the project itself to do well won out over my desire for my team to win, so this year I want to go for the win as the chairperson. Of course, I have always tried to win, but this year I want to win the Grand Prix even more strongly. I want to win the center of the competition with a project I created.

The Aramaki team's performance was a big laugh at the time of the plot.

───The members of Mr. Aramaki's team this year are Osamu Sunagawa, Ryoudai Hirono, Shoudai Matsuda, and Yusei Mochida. What do you feel are their strengths?

I guess it's youth. They are young and energetic. I think my strength lies in the fact that I know all the members' strengths and weaknesses, as they have performed together or appeared in my productions.

─ The director of the production is Kaoru Miura.

This is the first time for me to be directed by Koh san, and I am looking forward to it. I have heard from many people that you are a wonderful director and that you are very clear about things. I prefer people who say things clearly, so I think we will get along well.

─ By the way, what kind of work will be ......?

We have received the script (*interview was conducted in late November), but it is a bit of an extraordinary script. At the plot meeting, after everyone had finished coming up with ideas, Koh suddenly said, "Actually, I have a plot," and showed us the plot, and at that stage we burst into laughter. I really don't know how this work will be received, but it is a work full of ideas from Mr. Koh, and we are going to give it our all. I don't know if it will be a big laugh or a big cry... (laughs) Anyway, I hope you will see it as soon as possible.

─ ─ I am looking forward to it. By the way, what do you always think about at draft meetings?

It's blank. I'm going to draw a theme for now and then decide on the members.

─ So, did you decide on the members this time based on the theme?

Yes, I did. But last time, the theme was "idols," so it was easy to think about gathering members who could dance, but this time it was "snowy mountains," so I was like, "What should I do? (Laughs.) So, first, I chose Ryo Dai, who I wanted to work with on this project, and we gathered people who we thought would be easy for me and Ryo Dai to create together.

─ ─ How did you feel about the combination of other theater companies?

It's always the same, but strangely enough, it somehow settles into a good balance. There is no unbalanced team. I wonder if it is because of the potential that the chairperson has.

─ ─ In terms of this year's chairperson, Kenta Suga is participating in the "Theater Draft Grand Prix" for the first time.

Yes, I have heard from others that Kenta is passionate about theater. I had heard from people around me that Kenta was passionate about theater, and we actually had the opportunity to co-star in a drama, and he was really passionate about it. Kenta told me that he was interested in the "Drama Draft Grand Prix," saying, "You are doing something interesting," so I offered him a chance to be a part of the "Drama Draft Grand Prix. I would be very happy if he could be a catalyst to give a new wind to the "Theater Draft Grand Prix".

I'm glad that the director is also seriously frustrated.

─ ─ Do you have any particularly interesting memories of the past two years' "Theatre Draft Grand Prix" productions or events of the day?

Last year's "Ichibansei" was fun because the program was a comedy. I knew that the audience would laugh, but I was surprised and happy at the same time, because I did not expect such a huge outburst of laughter. The more we did, the more we laughed, and we were in invincible mode. In the rehearsal room, the staff laughed at us at first, but as we practiced more and more, they became more and more accustomed to seeing us laugh, and they stopped laughing more and more, so I was worried, "Is this right? Then, when we did it at the Budokan, we got a big laugh and I thought, "I've won the Grand Prix," but we didn't get ...... (laughs).

─ So, what has made you particularly happy or moved you in the past two times?

I am happy to hear everyone's praise. The same goes for the project itself. Somekun (Someya Toshiyuki) often praises me for producing this project and completing it. He would say, "You are amazing! You're doing a great job. It may be a small thing, but it makes me quite happy.

─ ─ I know that the directors are involved in this project in a different way than usual, but have there been any impressive responses from the directors involved in the "Theatre Draft Grand Prix"?

Everyone was really frustrated, including Fumiya-san (Fumiya Matsuzaki), who I worked with in the first year, and Kawajiri-san (Keita Kawajiri), who was with me last year. Last year, Kaoru-san was a little teary-eyed, saying, "I'm really frustrated. I am very happy that he is challenging us to compete seriously for this festival project.

─ ─ Is that why you have some winners and losers?

As I say in my address at the ...... annual "Theater Draft Grand Prix," I do not believe that there should be a preference for the best or the worst in theater or actors. However, in order to add festive fun to the event, it would not be possible to make it a project if all the teams won. That is why we dare to assign a winner and a loser. I believe that there are emotions and stories that are created by winning and losing, and that is part of the entertainment aspect of the competition. However, I think that the winner is the one whose works were really great and were loved by the Budokan that night.

─ What is the backstage and backstage atmosphere like with all these gorgeous actors in one place?

The teams are smiling and walking down the hallway after the show, but the teams before the show are all closing their doors and concentrating on matching lines.

─ ─ It gets easier from those who have finished (laughs).

Yes, when it's over, everyone is already smiling and watching the other teams' plays.

─ ─ As a producer, what do you feel when you see the interaction and communication that takes place there?

It's kind of nice, isn't it? In this case, I think many people will be meeting Kenta for the first time, and I would be very happy if, by meeting people who don't usually get to perform together in this way, we can shorten the time we spend apart the next time we perform together, or if they feel closer by saying, "We were at the Drama Draft Grand Prix together, weren't we?

The Potential of 2.5-Dimensional Works I Felt in New York

─ ─ Did organizing and performing in the "Theatre Draft Grand Prix" have any impact on your own acting career or plays?

The impact has been very positive. What I feel most is that I can now see the world around me better. Especially, being able to have the perspective of the staff is a big part of it. Recently, there was a film in which I participated only as an actor for the first time in a long time after I experienced producing a film. The producer said to me, "Aramaki, you have changed! He said, "You have changed! He had always had a broad perspective as an actor, but now he has become an amazing person with a broad view of the whole picture and consideration for the feelings of the staff. I was told, "You change like this when you produce.

It is a trivial matter, but for example, if the staff wants to shoot a making-of video, but the actors are concentrating on the script when I talk to them, they lose their concentration and sometimes become distracted. In such cases, I can take the initiative and say, "Let's get ready for the making-of film today," or, conversely, I can say to the staff, "All the actors are concentrating right now, so can we do it in about 30 minutes? I can also say to the staff, "All the actors are concentrating right now, so can we go back in 30 minutes? I want to be a bridge between the actors and the staff, starting with the small things, and I have developed a bird's eye view of the situation.

─ ─ Has that influenced your acting as well?

Yes, I can see myself better now that I can see my surroundings better. My position became clearer. I think that is a great advantage in terms of acting.

─ ─ What do you think are the possibilities or challenges for theater and entertainment in Japan now that the "Theater Draft Grand Prix" has been held?

I recently went to New York to see "ATTACK on TITAN: The Musical", the New York production of "Shinkage no Kyojin" - The Musical. There, I felt that the people of New York were very interested in Japanese entertainment, especially those based on Japanese anime, manga, and video games. That made me very happy. In Japan, theater, especially 2.5 dimensional theater, is still a niche, or something that only those in the know can enjoy, but overseas, people say, "2.5 Dimensional is amazing! I felt that there was still a lot of potential. I felt that there is still a lot of potential, and I think we need to expand it even more.

─ ─ What are your own aspirations and what do you hope to achieve in 2025?

In 2025, I will try a new genre as an actor. In 2024, there were many productions, but in 2025, there will be more 2.5D productions, which I hope to enjoy. I love the 2.5 dimension, and I consider it my home. Of course, I will continue to produce, and I will also perform in works and videos that are not based on original works. In any case, I would like to be honest about my curiosity and strive to create comprehensive entertainment. I would also like to visit places other than Tokyo to meet my fans.

─ ─ Finally, please tell us again about your enthusiasm for this year's "Theatre Draft Grand Prix THE FINAL".

As a producer, I just want to make sure that we can finish the project safely. Everyone has been really busy with their rehearsals, so I just hope that they will not get sick or seriously injured. This time, since it is the final performance, I am sure that everyone will probably work hard, but I am most concerned about that. As an actor, I want to make use of all the skills I have and try to win the hearts of the audience.

A play is complete when the audience sees it. I will do my best to bring applause, smiles, and sometimes tears to your faces.

Text and interviews by Chie Kobayashi
Photo: Takahiro Kikuchi
Hair and makeup: akenoko▲
Styling: Miho Yoshida

Theater Draft Grand Prix THE FINAL

Schedule] Tuesday, December 10, 2024, 5:00 p.m.

Place] Nippon Budokan

◆General Direction
Tsuyoshi Ueki

◆General Moderator
Koichi Yamadera

◆Navigator
Ken Arashi Abe

◆Field Reporter
Kou Takano Yu Fukuzawa

◆Theatrical companies (performers and directors)
The Snow Monkey Theater Company
Chairperson] Yoshihiko Aramaki
Theatrical Theme] Snow Mountain
Theater Company Members] Tsunaya Sunagawa, Ryota Hirono, Shota Matsuda, Yusei Mochida

Theater Company "Let's Do Theatre
Chairperson] Toshiyuki Someya
Theatrical theme] Picnic
Theatrical Company】 Nobunaga Sato Ryosei Tanaka Sho Tomita Yamato Furuya

Theater Company "SADAMEN』
Chairperson] Yuki Tamaki
[Director] Norihito NAKAYASHIKI [Theater theme] Fate
Keisuke Ueda, Shun Takagi, Takeo Hattori, Yunosuke Matsushima

Theater Company "Katsube
Chairperson] Hiroki Nanami
[Direction] I Om [Theatrical theme] Club activities
Theatrical Company Members] Tsubasa Kizu, Taizo Shiina, Yuri Takahashi, Takashi Hagino

Actagon" Theatre Company
Chairperson] Kenta Suga
[Director] Keita Kawajiri [Theater theme] Moving
Theatrical company】Mitsuru Karahashi, Yuuho Matsui, Junpei Mitsui, Shogo Yamazaki

▼ "Theatre Draft Grand Prix" Official X
@engeki_draftgp

▼"Theater Draft Grand Prix THE FINAL" Official HP
https://www.theater-complex- original.jp/engeki_draftgp/

<Distribution information
Distributed at Theater Complex TOWN!

Delivery date and time
Tuesday, December 10, 2024, 17:00
Ticket sales period
Tuesday, December 3, 2024, 19:00 - Sunday, January 5, 2025, 20:00

[Missed viewing period].
From the end of distribution to 23:59 on January 5, 2025 (Sun.)
A making-of video will be added on December 20 (Fri.) at 8:00 p.m.
(You will still be able to watch the full-length movie after the addition)

Ticket price
General tickets: 4,500 yen (tax included) 
Ticket with special benefit: 5,500 yen (tax included)

Viewing page
https://www.theater-complex.town/ja/articles/aGWp2kNadg3sqqYqF59Sg1