[Editing G's subculture bookshelf] The 12th "Stage Monkey Man" theater record
[Editing G’s subculture bookshelf] The 12th “Stage Monkey Man” theater record
I saw “Stage Salman” being performed at Shimokitazawa Small Theater B1 in Tokyo on December 15th, the first day. As an original fan, I’m looking forward to the November announcement that the manga “Manga Class that can be drawn by monkeys” is too niche (and wonderful!), And on the first day, the original author Koji Aihara. It seems that Mr. and Mr. Kentaro Takekuma were also coming to see (Note 1).
Daisuke Tanaka, who presides over the script and direction of “Theatrical Troupe Distraction Boyz,” was born in 1976. When he was a junior high school student, he was shocked to read “Saruman” and said in an interview that “it became an opportunity to become interested in subculture” (Note 2). The author of almost the same age also wanted to read the magazine “Weekly Big Comic Spirits” in real time, and chased after Mr. Takekuma, one of the original authors, to contribute to “Quick Japan” etc., and became a subculture related book. I became addicted to it. Mr. Tanaka also said, “I wanted to see the performance produced by Corona for the first time in two years with my personal favorite work.” From where I was, I was told that I had a strong feeling for the original.
However, I am well aware that it is an original work that is not suitable for media mix, not to mention the high hurdles for stage production, so it is not good to expect too much. I was satisfied if I listened to Mankin’s “Chinpyorospo-n !!” (* the one-shot gag that was going to be popular in the same work) I was surprised to see that the story of the original story was completely drawn in the two-hour performance time. At the beginning of the stage, when I saw that the main characters Aihara and Takekuma were drawn to “Shonen Spirits”, I thought it would be difficult to reach the end of the original at this pace. By picking up the point of “I want to see here!” The images, music, and SE projected on the back wall are also full of love for the work, and the story progresses at a good tempo so that there is no time to sag by finely switching the scene by making full use of the lighting. The skeleton of the original, which is a chimera-like story (which is also attractive), is extracted and is very easy to understand, and I think that it may be a stage that people who have not read the original can enjoy it more. rice field.
Takekuma and Aihara talk about the technique of writing manga and the art of treatment in a closed room, and the metafiction-like development in which the conversation play and the work within the story “Tonchi Bancho” run in parallel is outstandingly compatible with the stage, and Takekuma・ Performers other than the role of Aihara play multiple roles to create a deep “Saruman” world with only 10 people. Sayuri Anzu, the only female performer, showed a variety of appearances by changing clothes early in addition to the role of Yoshi46, and played the role of editor in charge, Sato (the original character is Masami Fukushima “St. Muscle” giant king model). Mr. Kunihiro’s real giant king was wonderful. And most of all, the enthusiastic performance of Mr. Kougashinobu, who plays the role of Takekuma, who sometimes explodes emotions and screams, screaming with a paranoid cartoon prank (the amount of dialogue should have been unusual) is memorable. rice field.
“Stage Monkey Man” will be performed until December 19, and you can purchase a distribution ticket and watch it online. Of course, fans of the original manga should recommend it to unread people who have heard only the title as mentioned above.
Note 1: The impression tweets of Mr. Aihara and Mr. Takekuma are as follows.
Note 2: From the interview published in “Yorozu-News”. The legendary manga “Saruman” is set for the first time. Daisuke Tanaka, the scriptwriter and director, “I can express it in a chaotic way.”