"Mirai no Musuko" (Tuesdays at 10 PM), a TBS drama starring Mirai Shida, features a "play within a play" that is supported by the theatrical company "Gekidan Nankyoku," which is participating as a supervisor. As people who regularly work on stage productions, they carefully share everything from how to conduct rehearsals to the scriptwriting process, breathing an authentic atmosphere into the theatrical scenes. We spoke to Konnichi Hakase, who was in charge of the script for the play within the play, about what went on behind the scenes on set.
◇The director said, "I want to make theater look cool."
The drama is based on the popular manga "Mirai no Musuko ~A Son Fell Upon Me, a Girl Who Hasn't Had a Boyfriend for 10 Years!" written by Kumiko Aso and illustrated by Hajime Kuromugi. Mirai (Shida), who is half-hearted about love, work, and dreams, suddenly becomes a mother. The drama depicts her journey of starting her life anew, learning what it means to live and support someone through raising a child. This marks Shida's first role as a mother in 20 years, since the 2006 drama "14-sai no Haha" (Nippon Television).
--What are your impressions after actually watching the broadcast?
I felt that the atmosphere of Mirai's house and rehearsal space was very realistic. The way the flyers and leaflets for the plays that Mirai had likely been involved in were posted on the wall, and the overall feel of the house she lived in, were somehow similar to my own home, which left a strong impression on me.
I myself am the same generation as Mirai, and I was amazed by the high level of detail. The atmosphere in the rehearsal room, where tension and relaxation coexist, was depicted with such care and realism that I found it very appealing.
--Specifically, what kind of work are you doing as the supervisor for this project?
The director and assistant director visited our theater company, Antarctica, at our rehearsal space, and first, they were able to see the production process from rehearsals to the actual performance. Furthermore, they also came to our office, which also serves as our workspace, so that they could see how we usually create plays.
After that, I mainly wrote the scripts for two stories in the drama: "Muddy Planet," which appeared at the beginning of episode 1, and "Oh My Go My Way," which appeared in episode 5. At the same time, I rehearsed with the actors and worked closely with the staff to develop the costume and set design plans.
--Could you tell us what you kept in mind when writing the script for the play-within-a-play?
Although the actual broadcast portion is short, the director initially told me, "I want to make theatrical performances look cool." Therefore, instead of simply writing a segment based on the broadcast portion, I constructed the entire story using the same process as when I normally create a play.
I wrote the script, including parts that wouldn't be broadcast, and then they selected the scenes they wanted to use. My priority was to create a complete work that could stand on its own.
--I heard that there were some changes to the lines in episode 5, "Oh My Go My Way," before filming.
In episode 5, the setting involves the future mother, Naomi (played by Misuzu Kanno), attending a play, and I was told that the theme would be about parent-child relationships, the misunderstandings between generations, and yet the desire to try to understand each other. I wrote the script freely with that in mind, but the director kept the overall picture in mind and made some adjustments to the lines so that Naomi's flashback scenes, which are interspersed within the play-within-a-play, would be more effective. I feel that these changes were made to prioritize consistency with the overall story.
--This is a change that isn't usually seen in plays. What did you think of it?
It was a lot of fun. I had been told beforehand by the assistant director's team that "the script may be changed to suit the content of the drama." However, I deliberately tried not to be too conscious of that during the writing stage. I tried to write as close to my usual creative process as possible. Although it was a play within a play, I made it a point to focus on creating it as a standalone work.
--I understand you also discussed costume and set design plans. What specifically did you talk about?
Regarding the costumes, I shared a general idea of what I wanted, and left the specific styling to the costume designer.
Regarding the art direction, I had many close meetings with the team, including art designer Yuri Watanabe. I started by conveying the overall image, and from there they developed plans, and we worked out the details. In episode 5, text indicating the passage of time is displayed, and we even exchanged opinions on the font choice. It was a very enjoyable process, as it was similar to how we usually create plays.
I was also touched when the art team told me after the event, "We had a great time." They usually work on art that recreates reality, so it seemed they enjoyed the opportunity to try a theatrical expression, which made me happy as well.
--What were your impressions when you saw the completed set?
I was blown away. I usually work with art staff I trust in my theatrical productions, but I was surprised by the speed at which everything was done. This applied to the setup, but I was especially impressed by how quickly the team worked together. In theater, setting up and tearing down inevitably takes time, but on the drama set, the coordination was so smooth that they moved on to the next stage in no time. I was genuinely impressed by their planning skills and high level of teamwork.
◇What are your impressions of Mirai Shida, Akihisa Shiono, and Koumi Hyodo?
--Please tell us your impressions of Ms. Shida, Mr. Akihisa Shiono, and Mr. Hyodo Koumi, who are playing roles that belong to the theater company "Albatross."
I mainly worked with Ms. Shida on set before filming began. In episode 5, we had many exchanges, and I was impressed by how she responded to my and the director's requests about "how we want to portray this scene" with a wide range of expressions from her extensive repertoire. I was overwhelmed by her level of experience.
My first impression of Ms. Shiono was that I was surprised by how small her face was (laughs), but during rehearsals for the play-within-a-play, she actively offered her opinions, saying things like, "Wouldn't it be better to do it this way?", which I found very pleasing. She has a cool demeanor but harbors a hidden passion, and that contrast was very appealing.
In episode 5, Ms. Hyodo played the role of a character who appears from the future carrying a clock. From the script stage, I felt she had the presence of a "protagonist from the future," and the role was created to match that image. When I actually saw her on set, she fit the role even better than I had imagined, and when I told her, "Your presence is perfect for a protagonist," she smiled a little shyly. Her gentle and natural demeanor left a strong impression on me.
-- Are there any memorable events from a directing perspective?
The rehearsals for "Oh My Go My Way" were particularly memorable. The theater team, having already filmed together, had a strong sense of unity. I myself also became more accustomed to the filming set and was able to communicate my requests more specifically.
In the climax, Mirai possesses a clock called the "Eternal Clock," and the other characters compete to get it. We discussed how to "increase the intensity" of the scene, adjusting our movements and rehearsing for about two to three hours. It felt similar to regular theatrical production, as we made adjustments on the spot to correct any parts that were difficult to move.
I was told by the assistant director's team that "it's rare to have this many rehearsals," and I was also impressed by how much fun everyone seemed to be having. Sharing the unique sense of exhilaration and enjoyment that theater offers, even on the set of a drama, is something I will cherish.
