[Notice from the editorial department]
This is a sudden change, but we have decided to end this series with the publication of the 12th issue.
I would like to express my deepest gratitude to all the readers who have read this series so far and to Mr. Kijima for serializing it.
*We apologize for the delay in publishing this article due to an error on the part of the editorial department.
It has been a while.
It’s time for a quick note.
This is my first column since November last year.
I like columns.
It’s nice to be able to check back later on in a diary-like way and see what I was thinking at that time!
Also, when I thought that my photos might be included in the column, I naturally started taking more photos, and I feel like my antenna sensitivity has increased a lot.
Well, this is my first update in about 3 months, so I guess I have a lot of things and memories to share!
I haven’t accumulated any (lol)
Hmmmm,
There have been three readings since January.
Let’s look back on that.
As always, it was an intense time.
Junya Enoki joined the duo with Chikahiro Kobayashi, and we were able to create a special relationship and time that cannot be named. Nanami Higuchi’s script and Futoshi Arai’s music are both wonderful, and I’m grateful for this new encounter. I had a lot of fun rehearsing with these two genius voice actors. Is that coming? So how about this? Oh, did that happen? Ah, it’s fun! That’s what it feels like. There was a launch the other day, and Higashiji-san and Setsuji-san were there too, and it was a very fun and enjoyable time for them too. If you were to do it next time, what kind of combination would it be and what kind of story would it be? I want to meet you soon. Shintani-san, when is your next one? ? ?
The stage set and direction were wonderful! Since the screenplay was written by voice actor Mayu Yoshioka, the first thing that makes me think is that it’s amazing that he can write a book. Since the story has an earthquake as its backbone, each of the characters had a unique atmosphere. Iwabuchi, the character I played, is a warm-hearted adult who watches over Susumu and the others and is a source of support for the children. I felt deeply moved that he was able to play such a role. I would also like to thank Hiroto Suzuki, who plays Endo, for accepting my ad-libs and having fun with me. There is a sense of absolute security. I was also excited by the director Toshiki Tanabe’s passionate stage creation. The atmosphere in the rehearsal room is really nice. This is a group I would like to meet again.
Above all, it’s a great respect to the original work. Personally, I felt a unique sense of tension since it was adapted into an anime. I took on the challenge of reconstructing it as a read-aloud play and delivering it to those who are not yet familiar with the wonders of the original work. I can imagine that it must have been quite difficult at the screenplay stage to confine this work in a space as a reading drama, polish it like a jewel, and present it to everyone. I would like to thank the production team for bringing it to this point. I feel like I was able to honestly follow Atsushi’s words and swing. After all, music is wonderful. Hmm, I’d like to try playing the trumpet.
I looked back at the three reading plays.
The conversation centered on respecting nature and our friends, but this stage is only possible because of all of you who always watch over us at the venue and on stream. Thank you for enjoying it.
I’m writing this column on March 26th, so I’m looking forward to seeing you all at the Konobuta event and Hipmai’s LIVE to celebrate my 39th birthday soon. When is the next reading?
I’m very sorry that this is the last update. But do you know exactly what you think? As someone like me who tends to think things through before expressing them in words, I felt it would be appropriate for me to be able to send a letter to everyone in the form of a column. I hope we can find a place like this again!
コメント