Interview:
Inside Japan Selection
Nelke Planning Co.,Ltd. — ATTACK on TITAN : The Musical
Nelke Planning is one of Japan’s leading theatre production companies, best known for pioneering the 2.5-Dimensional Musical® (pronounced “Two-Point-Five-Dimensional Musical”) based on Japanese manga, anime, and video games. This term is a collective name for three-dimensional theatrical content (including non-musical stage formats) adapted from Japanese manga, anime, and video games. It is a term that originated spontaneously among Japanese fans and is used with great affection.
In addition to productions throughout Japan, the company has expanded internationally through overseas performances and long-running shows designed for inbound visitors. The company also produces straight plays, and original works.
One of the company’s landmark productions is the stage musical adaptation of the globally acclaimed manga ATTACK on TITAN. The production premiered in Tokyo and Osaka in January 2023. The show seamlessly blends cutting-edge technology and stage mechanics with traditional theatrical techniques. Together with the incredible scale of the Titans on stage, and the dynamic mix of music, dance, and action, the show gained attention from the public and resulted in a highly successful run. The musical had its first international performance in October 2024 at the New York City Center. Approximately 9,000 tickets over four performances sold out, receiving widespread acclaim from both local media and audiences.
Titans coming to life through creative techniques and thrilling aerial action
The 34-volume manga series ATTACK on TITAN has sold over 140 million copies worldwide, in more than 180 countries and regions across 18 languages. Its epic story of humanity’s desperate struggle against the Titans, and a dramatic plot revealing the truth of the world, grabbed the attention of many fans, creating a global phenomenon.
Producer Michiho Matsumoto explains the vision behind adapting the series for the stage:
“At its core, ATTACK on TITAN is about people fighting for freedom, and many of its themes strongly resonate with the challenges we face in modern life. When adapting the work, we wanted to create a production that even audiences unfamiliar with the original manga could easily enter. We incorporated scenes of hardship and overcoming obstacles, so that everyone could find something of themselves in the story. Ultimately, we hope audiences leave the theatre feeling encouraged to face tomorrow.”
A defining feature of the production is its melange of digital technology and analog techniques. During battle scenes, performers soar across the stage using wires synchronised with large-scale projections, faithfully recreating the exhilarating action of the original manga. These scenes have become one of the production’s exciting highlights.
The Titans themselves appear in many different forms, just like in the original manga. They are brought to life through giant puppets, enormous inflatable figures, or projections. Even effects used only once, like the inflatable Titan, were designed to utterly impress the audience. Before the show, the sound of approaching Titan footsteps echo throughout the theatre. In the New York production, this was enough to get the audience clapping even before the curtains went up.
The production was directed by Go Ueki, one of Japan’s leading creators known for blending digital technology with dance. The team aimed at channeling the energy of people into the musical performance. After the New York performance, critics praised the production for “its effective use of video and imaginative stagecraft, accomplishing remarkable feats within a limited performance space.” Many also commented that the production represented “a theatrical style distinct from Broadway and the West End,” expressing hopes that it would pave the way for more stage adaptations of manga and anime in Europe and America. Enthusiasm for the show could also be seen through the children attending in cosplay and the impressive queues for merchandise.
While its dramatic techniques have caught many people’s attention, Nelke Planning believes that every production must first and foremost be interesting as a piece of theatre. Rather than simply recreating manga, anime, or games on stage, the company carefully deconstructs each original work and rebuilds it as a theatrical experience that stands on its own artistic merits. Michiho Matsumoto oversees every stage of the production process, from planning and performance, to streaming distribution, merchandise, and music, making sure that it does not lose its value as a theatrical piece.
She explains:
“Faithfully recreating characters is certainly important, but every creative decision begins with questioning how it would look in theatre. For example, when designing costumes, we look at the original two-dimensional design, and carefully choose a fabric that would allow both the actors and characters to look their best. Well-known works like ATTACK on TITAN attract a wide range of people. We wanted everyone to leave fully satisfied, no matter their level of knowledge on the original manga.”
Although fans were initially skeptical of their beloved manga being brought on stage, enthusiasm for the show rapidly grew after opening night. Now people from all over Asia, Oceania, and Europe are eagerly waiting for another performance. The ideal production would be set in theatres seating approximately 1,000 to 3,000 people so audiences can enjoy the full extent of the performance by a large cast. Nelke aims to establish an extended-run production in London and other cities around the world.
Leading Japan's rapidly growing 2.5D musical industry
2.5-Dimensional Musicals have become one of the fastest-growing sectors of Japan’s performing arts industry, and Nelke Planning has been at the forefront of this development. Company founder Makoto Matsuda established the Japan 2.5-Dimensional Musical Association in 2014 alongside multiple board members and participating companies, and continues to serve as its representative director. Since its founding in 1994, Nelke Planning has worked across a wide range of genres and currently produces approximately 50 to 60 productions annually, including the 2.5-Dimensional Musical, straight plays, and original works. Its business encompasses stage production, casting, licensed content development and rights management.
The company’s portfolio is most recognized for its 2.5-Dimensional Musical pieces, which include numerous adaptations of titles that are highly popular both domestically and internationally, such as THE PRINCE OF TENNIS, Touken Ranbu, Demon Slayer, and Pretty Guardian Sailor Moon.
At the heart of Nelke’s creative philosophy is valuing the people and human relationships. Teamwork is the most important part of the creative process, guided by the director’s artistic vision. When launching a new project, the company prioritises assembling creative teams trusted by the director while creating an open, positive working environment where every member can contribute their best work. Nelke Planning is known for actively conducting auditions for many productions, discovering and supporting emerging talent. In 2.5-Dimensional Musicals, actors are cast not only by acting ability but also physical presence, facial features, and overall suitability for the role. This approach creates opportunities for talented young actors regardless of experience, and many performers who begin their careers with Nelke Planning go on to achieve success in major productions throughout Japan.
Sharing shows in Japan and abroad, expanding through tourism
Due to the Japanese theatre rental system, most of them open for a limited time only, with the performance period determined from the outset, no matter what their popularity. Thus many incredible works were often overlooked due to its show schedule. The company aims to extend the lifespan of its productions through longer domestic runs while expanding internationally through licensing partnerships that enable local productions overseas. At the same time, Nelke Planning is actively developing theatre as a tourism experience. One example is the long-running immersive production Pretty Guardian Sailor Moon – Shining Theater Shinagawa Tokyo –, a 360-degree interactive performance in Tokyo. The show has been on a sold-out run, with around 20-30% of attendees visiting from overseas.
Matsumoto concludes:
“We believe long-running productions based on Japanese IP can become a uniquely Japanese cultural attraction. By continuing to develop performances for international visitors, we hope to establish theatre as an integral part of Japan’s tourism industry. Our goal is to create productions that people around the world feel they simply must experience when they visit Japan, while contributing to the continued growth of Japan’s performing arts culture.”
Original Text by Momoko Kawano
Translated by SOIL Team
