Inside Japan Selection
HoriPro Inc. — Orb: On the Movements of the Earth

HoriPro Inc. is one of Japan’s leading entertainment companies. The company’s main business is talent management, while it also operates across music, film, television production, and the management of cultural venues. In theatre, HoriPro has actively expanded overseas through international tours of productions directed by the late Yukio Ninagawa and the ongoing development of the London production of Death Note: The Musical.
Its stage adaptation of Orb: On the Movements of the Earth has gained acclaim for turning the beloved manga and anime into a live theatrical experience. Director Avshalom Pollak successfully combines physical theatre, drama, music, and live performance to bring the story to life.

Set in 15th-century Europe, the story follows a series of individuals who risk their lives in pursuit of the truth at a time when the geocentric view of the universe was accepted without question. According to producer Rei Nishimura, the stage adaptation’s greatest achievement lies in expressing the original work’s themes of conviction and emotional resonance through the unique possibilities of live performance.

“The story explores the importance of questioning accepted truths despite silence and social pressure, as well as the possibilities born from intellectual curiosity and emotional inspiration. The characters encounter the heliocentric theory, have their lives transformed by it, and continue to uphold their beliefs even under persecution. That unwavering conviction is what moves audiences. A story of inquisition in Medieval Europe may feel like something in a distant world. But as you follow the story, you will begin to see clear parallels with contemporary society. Even now, there are wars and political demonstrations happening all around the world and information is overflowing on social media. In today’s uncertain world, the story’s exploration of personal conviction and the impulses driven by curiosity and inspiration feels remarkably relevant.”

The show starts with scenes of intense violence. While the creative team considered softening these depictions, they ultimately decided to keep them. The unwavering conviction even under violence is what creates the emotional impact of this story.
Since the production would confront themes of violence and oppression, HoriPro invited Israeli director Avshalom Pollak to direct the adaptation. Having experienced a society where war, loss, and political conflict are part of everyday reality, Pollak could bring a perspective fundamentally different from that of Japanese creators who have limited experience of war. Other artists were chosen to support Pollak, and the creation began.

The result is a production distinguished by its futuristic costume design, set designs representing the boundary between life and death, and incredible physical performance that transforms the story into a uniquely theatrical experience.

The costumes draw inspiration from the manga’s 15th-century setting while incorporating futuristic elements and Japanese aesthetics. Rather than attempting to recreate the manga’s visual style literally, the design team focused on expressing each individual’s character through costume and hairstyle. The futuristic details intentionally create a timeless setting that cannot be tied to any specific historical period.
Pollak explains that he wanted to avoid limiting the story to a particular place or era. Through extensive collaboration with the production team, this vision evolved into a stage design inspired by Noh, one of Japan’s classical performing arts. In Noh theatre, the stage is often understood as a meeting place between the living and the dead. This concept closely mirrors the narrative of the story, in which those who discover the heliocentric theory may perish, but their ideas continue to be inherited by future generations. Even the solitary tree standing onstage and the musicians’ wagon were inspired by Noh theatre and Japanese festival stalls.

Rather than relying on projection technology or digital effects, this world is expressed primarily through the performers’ physical presence. Choreographer Ella Rothschild developed a movement that communicates not only the emotions of individual characters but also the movement of the Earth itself, the central motif of the story. Performed by a cast with exceptional physical ability, the choreography combines contemporary dance with striking visual beauty.
The production’s mystical musical score represents the criticism towards the sacred geocentric worldview. Performed live by just two musicians, a euphonium player and a saxophonist, the score incorporates unusual sounds, including handmade paper whistles and vocal techniques, creating a unique and diverse atmosphere.

Although HoriPro has extensive experience collaborating with international artists, balancing multiple creative visions inevitably requires careful coordination. In this production, the original manga artist Uoto visited the rehearsals, confirming that he has full trust in the director. This gave the creative team the freedom and confidence to pursue their artistic vision without compromise.

Founded in 1963, HoriPro initially focused on talent management and the production of live entertainment, music, film, and theatre. Since launching its theatrical production division in 1981, it has become one of Japan’s leading producers of stage works.
The company has earned international recognition through overseas tours of productions by Yukio Ninagawa and the global success of Death Note: The Musical. HoriPro has also produced Japanese productions of major international musicals including Mary Poppins, Billy Elliot, and Matilda, while successfully operating the long-running Japanese production of Harry Potter and the Cursed Child in its dedicated theatre.
Alongside these internationally renowned titles, HoriPro actively develops original works with leading global artists, including director Philippe Decouflé and composer Frank Wildhorn. A defining strength of the company is its willingness to invest boldly in new productions and embrace the risks that accompany original creative work.

A major turning point in HoriPro’s international development came with Death Note: The Musical. Since its Japanese premiere in 2015, the production has toured Taiwan, been presented as a concert version in London with a local cast, and is now being developed as a full-scale London production.
More recently, the original musical SIROTSUMEKUSA, which premiered in a small theatre seating approximately 200 people, began a long-running production in China with a local cast in a dedicated theatre only months after its Japanese premiere. Regardless of a production’s scale, HoriPro actively pursues opportunities to bring Japanese works to international audiences.
The diversity of HoriPro’s productions reflects the individuality of its producers. Rather than maintaining a single company style, HoriPro encourages a wide range of creative possibilities.
At the same time, particularly for its large-scale productions, the company strives to create theatre that remains accessible to audiences from young children to older theatre-goers, ensuring that the doors are open to a wide array of people.

Looking ahead, HoriPro plans to create original Japanese works while expanding international licensing opportunities. Following the model established by Death Note: The Musical, the company aims to develop both productions that tour internationally with Japanese casts and productions that feature local casts. These works will continue to evolve through new stagings and adaptations so that they reflect the culture and theatrical traditions of each country and be enjoyed by new audiences.

The international tour of Orb: On the Movements of the Earth is the next step in this strategy. The company is aiming for performances in medium- to large-scale theatres seating approximately 1,000 to 1,900 people in the UK and South Korea as well as France and Taiwan, where both the manga and anime are highly popular. Beyond touring, the company also hopes to establish licensed productions and collaborate with passionate international creators to explore new artistic possibilities together.

Nishimura concludes,
“In Japan, theatre is still not as easily accessible as Broadway or the West End. Cultural differences, limited promotion, and the difficulty in purchasing tickets all create barriers. We want to keep creating high-quality shows, not just for a select few, but for a broad audience regardless of age, income, or region. We will continue exploring the different ways stories can be shared.”