Inside Japan Selection
Toho Co., Ltd. — In This Corner of the World

In recent years, Japan’s theatre scene has seen a surge in the creation of original productions with an eye towards international expansion—particularly adaptations of manga and anime, which are among Japan’s proudest cultural exports. One of the country’s leading entertainment companies, Toho Co., Ltd., whose operations span theatre, film, anime, and real estate, has already achieved remarkable success with its stage adaptation of Studio Ghibli’s Spirited Away. The Japanese premiere sold out instantly, and in 2024, it achieved the rare feat of running for four months at the London Coliseum with an all-Japanese cast performing in Japanese. This summer, it was performed in Shanghai, and performances in Seoul are scheduled for next year.

Toho has also garnered attention with stage adaptations of titles like Your Lie in April (presented at London’s Harold Pinter Theatre with a UK cast), SPY×FAMILY, and Kingdom. Yet the production Toho is most eager to share with global audiences is the musical adaptation of In This Corner of the World, based on Fumiyo Kouno’s manga, which has also found wide acclaim in its anime film version. Natsumi Furo of Toho’s International Department explains why the company has chosen this work:

“First and foremost, the strength of the story itself. It’s been made into two films and a television drama, with the animated film particularly highly regarded and popular overseas. Some of our other productions have involved international creatives or producers with global mindsets, which facilitates overseas expansion. But In This Corner of the World was created entirely by Japanese artists—and it’s of very high quality as a musical. We want the world to know that this level of musical theatre is being produced in Japan. We’re thrilled to have this opportunity through SOIL to introduce the piece internationally. It’s already toured across Japan, giving  it a strong foundation to adapt to any venue.”

Indeed, internationally recognised musicals that centre on Japan are rare—Stephen Sondheim’s Pacific Overtures, which depicts the end of the Edo period and Japan opening to the world and Allegiance, which portrays the wartime experience of Japanese Americans, being the main exceptions. There is certainly room for more.

Set in wartime Japan, in Hiroshima Prefecture, the story follows Suzu Urano, a dreamy young woman with a passion for drawing. At 18, she marries Shusaku Hojo, a naval officer stationed in Kure, and moves in with his family. Initially feeling out of place, Suzu gradually integrates into her new home and begins to lead a modest yet fulfilling life. But as the war intensifies, both her surroundings and Suzu herself begin to change…

“This year marks 80 years since the end of the war in Japan,” says Furo. “There’s a renewed focus on peace, and we believe now is a timely moment for this story to resonate internationally.”

The book and direction are by IkkoUeda, who founded the musical theatre company TipTap while at university. He joined Toho’s Theatre Division in 2007 and has since translated, adapted, and directed numerous international musicals, as well as written and directed original Japanese works. His recent credits include lyrics and direction for HERO, direction for Next to Normal and 9 to 5, and translation and direction for Catch Me If You Can. He also served as supervisory director for Moulin Rouge! The Musical. Ueda is considered a master of musical theatre in Japan and won the prestigious Kikuta Kazuo Theatre Award this year for In This Corner of the World.

The music is by Angela Aki, a beloved singer-songwriter best known for her 2008 hit “Tegami Haikei Juugo no Kimi e”, now a staple at graduations and in school choirs. In 2014, she paused her music career and moved to the United States to study musical theatre, spending five years at university and gaining experience alongside Fun Home composer Jeanine Tesori. In This Corner of the World marks her debut as a solo musical composer.

The synergy between Angela’s music and the story is both surprising and moving. This is not a tale of superheroes or celebrities, but one of ordinary people living through wartime with quiet resilience. It reflects a bygone era of familial and community bonds in Japan. In some cases, the cultural specificity of such stories can clash with musical theatre’s conventions—but Angela’s lyrical melodies perfectly align with the spirit and sensibility of the era. At the same time, her score adheres to the structural discipline of musical theatre, weaving the narrative with impressive elegance.

“The way the music fits the world of the play is truly remarkable. The melodies, matched to the Japanese language, may sound smooth and distinctively Japanese to overseas ears. Angela’s background as a singer-songwriter surely contributes to this, and while the story doesn’t push a political message, it’s about family and the quiet routines of daily life. It’s about people searching for a sense of belonging—a universal theme. It shows how society and history impact ordinary lives. In that sense, I think it speaks to the feeling many people today have—that something isn’t quite right in the world,” says Furo.

Furo has previously worked on Les Misérables, Moulin Rouge! The Musical, and currently oversees international productions of Spirited Away.

“With Spirited Away now moving from London to Shanghai and Seoul, I’ve seen first-hand how deeply people connect with it. It’s clear how beloved the show is in Shanghai, too. Live theatre’s power is universal. Wereceive requests for international productions, and many audiences prefer to experience works in their original languages—English shows in English, Japanese shows in Japanese. Of course, every project is different—we’re happy to license productions or work with international partners depending on their needs.

Toho’s overall strategy is to expand our anime and IP-based projects globally. The Theatre Division has long licensed productions overseas and is keen to scale this up. We want to strengthen our outreach and build trust in the Toho name,” she adds.