Inside Japan Selection
Ikiume — The Sun

The plays of Tomohiro Maekawa, playwright for the theatre company Ikiume, have been translated and published in seven languages to date. Acclaimed for his sci-fi themed narratives, his works have been adapted into films and frequently staged internationally. Among them, “The Sun” stands out as one of the most performed pieces abroad. In addition to readings in London and Beijing, it has been produced by local directors in Seoul and Taipei. 

Set in a near-future Japan, “The Sun” depicts a world recovering from a devastating global bioterrorism incident. Humanity has split into two groups: the “Curios,” the remnants of the old humanity who can live under the sun but are physically weak and deteriorating, and the “Nox,” a new evolution of humans who cannot be exposed to sunlight but remain perpetually youthful and healthy. The play explores themes of coexistence and conflict between these two groups.

Premiered in 2011, the play has often been described as prophetic, in light of the COVID-19 pandemic. Its structure, which presents two opposing forces without declaring either good or evil, encourages universal interpretation and imaginative engagement. Each of the nine characters faces their own struggles and has their own life, with the story unfolding entirely through dialogue. 

Maekawa was inspired by Richard Matheson’s novel “I Am Legend,” particularly the concept of examining the vampire-like creatures’ perspective—a viewpoint absent from the original narrative. From this sprang Maekawa’s desire to explore the emergence of a new kind of being and the inevitable clash of values that ensues during such transformations. Rather than reinforcing binaries, Maekawa seeks to illuminate the space in between. 

“The Sun” thus emerges as a microcosm of broader global divisions. The story, with its fantastical backdrop, subtly captures universal human issues. It is one of Ikiume’s most accomplished sci-fi plays in terms of speculative imagination. 

When it premiered in 2011, Japan was reeling from the Great East Japan Earthquake. The dialogue between diverse characters, trying to reconcile ideals with reality, resonated deeply. The play went on to win major literary and theatre awards in Japan. Since 2019, the world of “The Sun” has felt increasingly real due to the COVID-19 pandemic. Maekawa himself has noted how the pandemic altered the play’s meaning. 

In today’s world, marked by rising conservatism and increasing polarisation, the play has taken on a powerful message about the potential of dialogue. Its universality means that audiences worldwide can relate to it. “The Sun” has been staged in Japan, London, Seoul, Taipei, and Beijing. Given its rapid-fire dialogue, many productions are created locally rather than relying on subtitles. Localisation, including the adaptation of Japan-specific references, has been an important part of its international success, and will no doubt lead to further productions in many other regions. 

Founded in 2003, Ikiume specialises in original sci-fi, occult, and horror productions. Their work seamlessly blends everyday life with fantasy, progressively unsettling audiences by calling into question the ordinary perceptions through the presence of invisible threats.  

They stage performances every year, with Maekawa emerging as one of Japan’s most acclaimed playwrights. His writing frequently explores three themes and the boundaries between science/technology and religion/philosophy; society and the individual; and the visible and invisible. 

For example, “Function Domino”, which has been revived a number of times, is the story of an omnipotent god named Domino; “Foreboding” depicts people whose concepts are stolen by alien invaders; “The Outer Path” features a world descending into chaos. “Heaven’s Enemy” addresses immortality, “Pillar of the Beast” reflects on the Bible, and “Kikkai: Tales from Lafcadio Hearn” draws on themes of reincarnation. 

Maekawa builds each script around a growing sense of dread and explores what it means to be human. “The Sun,” in particular, represents a direct confrontation with science fiction. Sci-fi, grounded in scientific or technological possibilities, often speculates on how the world might evolve. In this way, it frequently becomes prophetic. 

Even beyond its 2011 premiere and 2016 revival, each new production of “The Sun” has echoed contemporary realities. The play exemplifies how the imaginative reach of sci-fi can enhance the expressive power of theatre, making it one of Ikiume’s most significant pieces. 

Ikiume’s creative process is collective. The group develops Maekawa’s ideas through collaborative rehearsals that emphasise dialogue and atmosphere. The aim is to foster a shared imaginative space that expands on stage, engaging audiences in an active process of interpretation. 

Despite its often month-long runs, tickets regularly sell out. Recently, more of their works have been adapted for screen and staged overseas. “Foreboding” was adapted into a film in 2017. Although “The Outer Path” was cancelled in 2020 due to the pandemic, it was later staged across Japan in 2021 and in Paris (with French subtitles) in 2022. 

Since then, multiple translations of Maekawa’s plays and novels have been published, including “Foreboding” (in French, Korean, and Chinese), “The Sun” (in English, Spanish, Russian, Arabic, Chinese, and Korean), and “Function Domino” (in Korean). In 2024, “Pillar of the Beast” was made available with subtitles, and “Heaven’s Enemy” and “Function Domino” were staged in Korea. 

Maekawa now intends to further expand overseas.  

The goal is to work with international casts to bring translated plays to life. Producer Sakata explains: 

“Maekawa’s plays require a great deal of imagination. The productions can vary dramatically depending on the director, which is why it’s exciting to see how local creatives interpret them. In fact, I would love to watch their versions myself. When performed by Ikiume, the productions draw strength from Japan’s cultural context. So it would be wonderful to see both the local and original versions staged together.” 

Sakata also emphasises their commitment to publishing translations in more languages. “Our latest five-character drama, ‘Zureru’ (Slip), features a seemingly ordinary group of siblings gradually confronted by things they’ve chosen to ignore. It’s a simple but nuanced play, and I think it would resonate strongly in different cultural contexts—particularly in the UK.” 

Because Maekawa’s writing forms the foundation for each production, the company hopes to adapt each work sensitively in collaboration with local partners. 

Sakata explains, “We want to communicate flexibly with international teams. Sometimes it may be best for Maekawa to be directly involved, and other times it’s best to entrust it to the local creators. We’d love to meet many producers and theatres around the world looking for strong scripts, and to work together with those who treat the text with care and sincerity.”