INTRODUCTION
イントロダクション

The new Play by Hideki Noda
will be premiere
in Tokyo before the world tour.
This is an existential three-character tragic-comic play, written by leading Japanese
playwright and director, Hideki Noda. It premiered in Japan and starred Noda himself, as
well as his dear friend Kanzaburo Nakamura XVIII, a Kabuki legend who passed away 5
years ago at the age of 57.
“One Green Bottle” uses the domestic context of an ordinary family to explore themes of
selfishness, pointless conflict, self inflicted harm and the fundamental human need for
some kind of fulfilment. A father, a mother and a daughter bicker and deceive each other
until they find themselves in a completely helpless situation, where they are all chained up
and trapped within their own house. In this English language adaptation, Kathryn Hunter
plays the father BO, Hideki Noda plays the mother BOO and Glyn Pritchard plays the
daughter PICKLE.
This gender blind casting is reflective of the generally surreal and heightened world of the
play, which comments on the terrifying state of the modern world - politically, technologically,
environmentally - as well as, obliquely, the traditions of classical theatre in
Japan and the west.

STORY
ストーリー

Written and directed
by Hideki Noda
English translation adapted
by Will SharpeAbout
A father, BO, a mother, BOO, and their daughter, PICKLE, have all made arrangements to go
out on the same night.
The father is a pompous and self important “master of the classical stage”. The mother is a
satirically over the top version of a typical Japanese housewife, drawing from other such
characters like the iconic “Sazaesan”, who is the housewife and mother at the centre of a
famous and much loved TV show. The daughter is in her early 20s, has adopted a very
peculiar cyber-influence form of fashion and spends most of her life in her room on her
computers and playing with her toy sheep.
Because their dog, PRINCESS, is heavily pregnant, it seems important that one of the family
should stay behind to look after her. But BO needs to get to the fairyle theme park “
Wonderland” where he is due to have an anniversary outing with his fellow actors, BOO to a
concert of her favourite boyband “Boys Boys Boys” and PICKLE seems to have arranged to
spend the entire night queueing with her “computer friends” for a Mexican brunch at “Oveja
Negra” the following morning.
Bickering spirals into arguing spirals into self-inflicted chaos as, in a bid to escape to their
respective commercial heavens, the family ends up chaining themselves inside their own
house. They are trapped. There is no way it. We discover, as the play progresses, that PICKLE
has in fact joined a Doomsday cult that believes this world is part of a computer program and
that, very soon, the world will reach a “critical mass of absurdity" and suddenly end.
They end up being trapped for days, weeks, perhaps months or even years as they grow
steadily more thirsty and hungry with no access to water or food. The family’s private issues
come to light, as we sink into an increasingly disorientating and abstract feeling world, a
world which perhaps could even be interpreted as a kind of after-life. Finally, they are visited
by a shadow.

CAST
キャスト

Kathryn Hunter
PROFILE
Kathryn Hunter
as “Father”
Glyn Pritchard
PROFILE
Glyn Pritchard
as “Daughter”
Hideki Noda
PROFILE
Hideki Noda
Playwight, director and actor
as “Mother”
Music
Denzaemon Tanaka Xlll
PROFILE
Denzaemon Tanaka Xlll
Music
Voice over cast(Japanese)
Shinobu Otake
Shinobu Otake
as “Father”
Sadawo Abe
Sadawo Abe
as “Daughter”
Hideki Noda
Hideki Noda
as “Mother”
Adaptation of English
translation
Will Sharpe
PROFILE
Will Sharpe
Adaptation of English translation

MESSAGE
メッセージ

PLAY
Hideki Noda
Will Sharpe
PLAY
Will Sharpe

Kathryn Hunter
PLAY
Kathryn Hunter
Glyn Pritchard
PLAY
Glyn Pritchard

SCHEDULE
スケジュール

TICKETS
チケット

TICKET PRICE
All seats specified · tax included
6,000
yen

High school
students
and under
1,000
yen
25 and under
3,000
yen
65 and over
5,000
yen
〈Preview Performance〉
5,000
yen

25 and under
2,500
yen
65 and over
4,000
yen
*No entry for preschool children.
*For guest with disabilities: Discount tickets available. Please contact Tokyo Metropolitan Theatre Box Office for more details.
Tickets booking
Tokyo Metropolitan Theatre
Box Office
〈TEL〉
0570-010-296
(10:00-19:00 except when theater is closed)
*Cannot be used with certain telephones

〈CONTACT〉
Business hours: 10:00-19:00
except when theater is closed

〈WEB〉
http://www.geigeki.jp/t/ (PC)
http://www.geigeki.jp/i/t/ (mobile phone)
24hours(Except maintenance hours)
Other playguide
<Ticket Pia>
0570-02-9999
P-code:458-752
(24-hour Sound Automatic Correspondence)
http://w.pia.jp/t/omote-e/
Ticket Pia, Circle K Sunkus
and 7-Eleven stores

<Lawson Ticket>
0570-000-407
(Operator 10:00 — 20:00)
0570-084-003
(Sound Automatic Correspondence)
http://l-tike.com/ogb
Loppi automatic ticket vendor
at Lawson and MINISTOP stores

<e+>
http://eplus.jp/omote-e/
Fami Port automatic ticket vendor
at Family Mart stores

STAFF
スタッフ

Written and Directed by Hideki Noda
Adaptation of English translation : Will Sharpe
Set Design:Yukio Horio
Lighting Design:Christoph Wagner
Costume Design:Kodue Hibino
Composer:Denzaemon Tanaka XIII
Sound Design:Marihiko Hara
Sound:Junko Fujimoto
Hair & Makeup:Eri Akamatsu
Back translation:Keiko Tsuneda & Peter Marsh
Assistant Director:Ragnhild Dahl Johansen
Production Manager:Nick Ferguson
Produced by Tokyo Metropolitan Theatre, Arts Council Tokyo
(Tokyo Metropolitan Foundation for History and Culture)
Planning and production cooperation : NODA・MAP

ACCESS
アクセス

〒171-0021 1-8-1 Nishi-Ikebukuro, Toshima-ku,
Tokyo 171-0021
Tel: 03-5391-2111 Fax: 03-5391-2215
<Reception Hours>
9:00am-10:00pm (Excluding Closed Day)
2-minute walk from West Exit of Ikebukuro
Station on JR lines, Tokyo Metro lines, Tobu
Tojo Line, and Seibu Ikebukuro Line
*Directly accessible from Exit 2b of Ikebukuro
Station underground passage

GOOGLE MAP →

GOOGLE MAP →
PROFILE
Kathryn Hunter as “Father”
An award-winning English actress and theatre director. Hunter trained at RADA where she is now an associate, and regularly directs student productions. In her stage work Hunter is particularly associated with physical theatre and has worked with renowned companies in that field including Shared Experience and Complicite.
She won an Olivier Award in 1990 for playing the millionairess in Friedrich Durrenmatt's The Visit. Hunter was the first British actress to play King Lear professionally and has played a number of other male characters including in The Bee, directed She has toured internationally in the first English- language production of Fragments a collection of short plays by Samuel Beckett, directed by Peter Brook. In 2008 she was made an Artistic Associate at the Royal Shakespeare Company. In January to March 2009, she directed a touring RSC production of Othello at the Warwick Arts Centre, Hackney Empire, Northern Stage, Oxford Playhouse and Liverpool Playhouse. Her husband is movement director on the production and appeared in it as Roderigo - other cast included Michael Gould, Patrice Naiambana and Natalia Tena as Iago, Othello and Desdemona respectively. She also appeared at the Young Vic from March 2009 in the lead in Kafka's Monkey.
In 2010 she appeared as Cleopatra, in a production of Antony and Cleopatra, and as the Fool, in a production of King Lear at the Royal Shakespeare Company's Courtyard Theatre in Stratford on Avon. Recently she appeared in “CARDS(Heart)” directed by Robert Lepage, “Valley of Atonishment” directed by Peter Brook, and “A Midsummer Night’s Dream” (as Puck) directed by Julie Taymor.
She worked with Hideki Noda in “THE BEE” which played at the Soho Theatre in June 2006, in Japan in 2007, world toured 2012- 2014 in New York, London, Hong Kong, Tokyo, Jerusalem, Seoul, Sibiu.She also appeare in Hideki Noda’s “THE DIVER” .
PROFILE
Glyn Pritchard as “Daughter”
Theatre includes: The Bee (Tokyo Metropolitan/Tour), The Diver (Soho) both written and directed by Hideki Noda. The Twits (The Royal Court Theatre), Blodeuwedd (Theatr Genedlaethol Cymru); The Dark Philosophers (National Theatre Wales); The Black Album, Ghetto, Fuente Ovejuna, Bartholomew Fair (National);; Under Milk Wood, Blue Remembered Hills, A Christmas Carol (Dukes, Lancaster); King Lear (Young Vic); Othello (RSC); The Marriage of Figaro (Royal Exchange, Manchester); A Family Affair (Arcola).
Television includes: Anita series 1 and 2, Albie and Noa, 35 Diwrnod, Inspector George Gently, Critical, Harriet’s Army, Law& Order: UK, Babylon, Hinterland, Stella, Casualty, The Indian Doctor, Pobol Y Cwm, Brookside, Oh Na! Y Morgans, Death of a Son, Famous Five, Coronation Street, A Mind To Kill.
Film includes: Hunky Dory, Weekenders, Butterflies.
PROFILE
Hideki Noda Playwight, director and actor as “Mother”
Born in Nagasaki Prefecture in 1955, Noda is a playwright, director, and actor. He became the artistic director of Tokyo Metropolitan Theatre as of July 2009 and is currently professor at Tama Art University. Noda launched his first theatre company, Yume no Yuminsha (Dreaming Bohemian) while still a student at the University of Tokyo, creating many works to much acclaim. After disbanding Yume no Yuminsha in 1992, he went to study in London. On his return in 1993, he established a theatre production company called NODA ・ MAP. Since then, presented a succession of major hits, including Kill, Pandora no kane (Pandora’s Bell), Oil, Akaoni (Red Demon), THE BEE, THE DIVER, The Character, South and egg.
He has collaborated with the Kabuki actor Nakamura Kanzaburo XVIII, he has adapted Kabuki plays and directed productions such as Tragedy of Togitatsu, Nezumikozo, his original versions of the classical Kabuki pieces at Kabuki Theatre. Noda is also actively involved in international productions, working with British, Thai and Korean actors. He won most of the major drama awards in Japan, and was awarded the 2009 Asahi Prize. He was appointed an Honorary Officer of the British Empire (OBE) in October 2009 and the Medal with Purple Ribbon (for contributions to education and culture) in June 2011. He toured THE BEE English Version around New York(Under the Radar Festival), London(Soho Theatre), Hong Kong (Hong Kong Arts Festival), Tokyo(Suitengu Pit, Tokyo Metropolitan Theatre), Jerusalem(Israel Festival), Seoul(Myong Dong Theatre),Sibiu (Sibiu International Festival), Paris(Theatre National de Chaillot), Luxembourg(Theatre de la Ville) and Recklinghausen(Ruhrfestspiele) in 2012-14. His“egg” was invited to the main house of Theatre National de Chaillot in Paris in 2015. Though it specifically refers to the Japanese situation at the time of World War II, it gathered huge sympathy from the audience and the press in Paris to its universal theme, “the war”. Also, the physical expressions of the actors and the swift scene changes were highly praised. His adaptation of “Richard III” being staged by Singaporean director Ong Ken Seng in the international collaboration with Singapore international Festival of Arts.
PROFILE
Denzaemon Tanaka Xlll Music
KABUKI music maestro Denzaemon Tanaka the XIII was born in 1976. He is the second son of living national Treasure NOH maestro Tadao Kamei and KABUKI maestro Sataro Tanaka the IX. Denzaemon studied under his parents the age of two. He was chosen specifically as the youngest concert master when he was 16. In 2004, he became maestro Denzaemon Tanaka the XIII and assume the post of associate music director of the Kabuki Theatre in 2005.Denzaemon have worked and collaborated with many theatre directors, such as Hideki Noda, Mansai Nomura and Yukio Ninagawa. In addition, he created sounds and played at “THE DIVER”, directed by Hideki Noda. He is the chief of the Kabuki music association, also the general holder of important intangible cultural property.
COMMENT
大竹しのぶ Shinobu Otake (父役)
久しぶりの野田秀樹さんの作品に、ワクワクしています。
そして、大好きな阿部サダヲさん、大好きな友人の勘三郎さんが演じた、大好きなキャサリン・ハンターの吹き替えなんて・・・。
キャー、どうしましょう!
キャサリンに寄り添えるよう、尚かつ、きちんと台詞が届けられるよう、精一杯頑張ります。
COMMENT
阿部サダヲ Sadawo Abe (娘役)
舞台の吹き替えって初めてだし、しのぶさんと野田さんとの掛け合いのお芝居なんてなかなか経験出来なそうだし、どんな感じになるんでしょうか?楽しみです。頑張ります!
COMMENT
野田秀樹 Hideki Noda (母役)
今回は女性であるキャサリン・ハンターが父役を、男性であるグリン・プリチャードが娘役を、僕が母役を演じます。これまでの英語劇もそうでしたが、原本(日本語版)の芝居をなぞるつもりはありません。台詞も全く変わるので、新たな面白さと出会うつもりで観に来ていただきたい。ボイスオーバーには大竹しのぶさんと阿部サダヲさんという贅沢なキャストが実現しました。頼んでみるもんですね(笑)。パニックに陥った人間の行動心理を、イギリス人俳優の二人がどう解釈して演じるのか。楽しみにしてください。
PROFILE
Will Sharpe Adaptation of English translation
Will Sharpe is a half Japanese half English writer, director and actor. He is currently writing the second series of the award winning "Flowers" which aired on Channel 4 in 2016. He wrote and directed all six episodes which were broadcast across a single week. He also co- wrote and co-directed feature film "The Darkest Universe" (which was nominated for The Discovery Award at the British Independent Film Awards) and wrote and co-directed the acclaimed "Black Pond" (which won an Evening Standard Award and was nominated for Outstanding Debut at the BAFTAs). He was one Variety's "Top Ten European Directors To Watch" in 2012. As an actor, he spent a season with the Royal Shakespeare Company and has had roles in a variety of shows including "Sherlock", "Babylon" and "W1A".
NEWS
2017.10.05
NEW SITE OPEN!!
COMMENT
コメント
COMMENT
皆様から作品へのコメントをお寄せいただきました。
※敬称略 最新順
「表に出ろいっ!」は私の人生を変えた作品です。 中村勘三郎さん、野田秀樹さん、このお二人の娘役を出来た事は間違いなく私の一生の財産です。 そんな特別な作品を、観客として観られることが凄く楽しみです。
黒木 華
勘三郎さん以外のお父ちゃまは想像できない!と一瞬目を疑った再演のニュース。次の瞬間、キャストのお名前を見てなるほどと納得。 大好きな「THE BEE」での怪演が今でも脳裏に焼き付いている、お三方の新生ファミリー、心より期待しています。 きっと初代お父ちゃまも観に来てくれますね。
太田緑 ロランス
私はOne Green Bottleをとても楽しみにしています。私の親しい友人で共犯者とも言える秀樹は、歴史的ファンタジーの傑作の数々で知られていますが、家族の混乱を描く小規模な彼の悲喜劇でも素晴らしい手腕を発揮します。「THE BEE」がまさしくそうでした。個性あふれる、創造力豊かな仲間であるキャサリン・ハンターとグリン・プリチャードとのカンパニーであるこのOne Green Bottleで、秀樹がいつものように演劇的な魔法に私たちをかけてくれることは間違いないでしょう。そして、一本の緑の瓶が壁から落ちる時、この作品は真のスマッシュヒットとなることでしょう!
ジョン・ケアード
初めて野田秀樹の作品に接した時、私は即座に、彼は現代演劇における詩人だと感じました。日本での具体的な経験を世界で起こっている大きなことへと翻訳する彼の能力は極めて傑出したものです。彼の演劇はサミュエル・ベケットやアウグスト・ストリンドベリの魔法を取り入れているのではないかと思うこともあります。が、それ以上に、彼は野田秀樹という魔法そのものなのだと思います。彼の描き出す光景はしばしば残酷な美しさを見せます。しかし、そのユーモア、大胆不敵さ、言葉と動きを有機的にマッチさせることに対する責任感が、まさしく現在形の生き生きとした彼の演劇を生み出すのです。彼はまた、言葉と、言葉の歴史に喜々として取り組んでいます。私の意見では、そのことが彼の演劇に、過去と現在を決してセンチメンタルでない、常にリアルなやり方で結びつける力を与えているのです。

野田の革命は、全ての正当な革命がそうであるように、私たちに語りかけてやみません。
私たちの人生の奇妙さこそが、見慣れたクリシェよりもずっと美しいのだということを。
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