The interview was conducted through the good offices of PARCO THEATER | PARCO STAGE.
Special acknowledgement to The New National Theatre, Tokyo and sincere gratitude for the support.
‘Till the Stars Come Down‘ is a compelling new play by Beth Steel, first staged at the National Theatre’s Dorfman Theatre in London in early 2024. Directed by Bijan Sheibani, the production garnered widespread acclaim for its rich character development, sharp humor, and poignant exploration of societal change. Set in the East Midlands town of Mansfield, Till the Stars Come Down unfolds during Sylvia and Marek’s wedding day. As the celebration progresses, the gathering of family and friends reveals underlying tensions and unspoken truths. The play delves into themes of love, identity, and the complexities of family dynamics, all while addressing broader societal issues such as migration and economic hardship. The play received numerous accolades, including: ★★★★★ reviews from The Guardian, The Telegraph, and WhatsOnStage. The Japanese premiere of ‘Till the Stars Come Down’ is scheduled for May 10th as part of the 2025 PARCO STAGE season, directed by Tamiya Kuriyama and starring Noriko Eguchi, Rin Nasu, Toko Miura, among others.
Tamiya Kuriyama graduated from the Faculty of Letters at Waseda University. From 2000 to 2007, he served as the Artistic Director of the Drama Department at the New National Theatre, Tokyo, and from 2005 to 2015, he was the Director of the New National Theatre’s Drama Training Program. He has received numerous prestigious awards, including the Kinokuniya Theatre Award, the Yomiuri Theatre Award Grand Prize and Best Director Award, the Minister of Education, Culture, Sports, Science and Technology’s Art Encouragement Prize, the Mainichi Art Award Chida Koreya Prize, the Asahi Theatre Arts Award, the Asahi Theatre Arts Award Grand Prix, the Kikuta Kazuo Theatre Award, and the Order of the Purple Ribbon. He stands as one of Japan’s most versatile and respected directors, known for his exceptional work across both contemporary theatre and opera. His career, spanning several decades, is marked by a deep commitment to interpreting classic texts and operatic masterpieces with a fresh, thought-provoking perspective, while seamlessly blending cultural influences from both Eastern and Western traditions.
Toko Miura is a versatile Japanese actress and singer who has garnered international acclaim for her performances in film, theatre and music. She appeared in her first film role in Takashi Miike’s ‘Lesson of the Evil’ (2012) and since then has since built a diverse portfolio of roles across various genres. Miura’s breakout international role came in 2021 with her portrayal of Misaki Watari in Ryusuke Hamaguchi’s ‘Drive My Car’, based on Haruki Murakami’s short story. The film won the Academy Award for Best International Feature Film and received several other accolades, including awards from the Cannes Film Festival and the Golden Globes. Miura’s nuanced performance earned her numerous Japanese acting awards and solidified her status as a rising star in global cinema. In ‘Till the Stars Come Down’ she portrays the youngest daughter, Sylvia, who is about to marry Marek, a Polish immigrant, and the wedding day triggers a series of emotional and cultural tensions within the family.
Tokyo Performance: May 10 (Saturday) – June 1 (Sunday), 2025, PARCO Theater
Yamagata Performance: June 8 (Sunday), 2025, Yamagata Prefectural Civic Hall
Hyogo Performance: June 12 (Thursday) – June 15 (Sunday), 2025, Hyogo Performing Arts Center
Fukuoka Performance: June 21 (Saturday) – June 22 (Sunday), 2025, Canal City Theater
Aichi Performance: June 27 (Friday) – June 29 (Sunday), 2025, Honokuni Toyohashi Arts Theater PLAT, Main Hall
In your book on directing, you mention that you approach your work by immersing yourself in the world of the play. How was that the case for your latest production
Tamiya Kuriyama: It’s not just this project—in fact, the reason I continue directing is rooted in curiosity. I’m driven by the desire to dive into unfamiliar worlds. When I read a script or begin to grasp the essence of a piece, I try to place myself at the very heart of that world—its time, its place. I imagine who’s walking the streets, what the air smells like, what the temperature feels like. That sense of discovery is what fuels me. I don’t bring a fixed directorial style that I impose on every production. On the contrary, I want each work to challenge and reshape me in some way. Simply put, I want every project to move me—to change me. That’s why I feel I can keep directing, again and again. This project, in particular, presents a powerful challenge. The story follows a young Polish man stepping into the heart of traditional, conservative Britain—a bold leap into the unknown. And it’s precisely that kind of daring journey that inspires me most.
Do you approach acting differently in film and theatre, or is your process the same across both mediums?
Toko Miura: I’ve never really made a strong distinction between film and theatre in my own experience. To me, it’s less about the medium—whether it’s on screen or on stage—and more about the director. Each director has their own approach, so in that sense, every project feels different. For instance, with Kuriyama-san, he usually begins by shaping the overall movement of the scene. Instead of thinking, “I want to deliver this line a certain way, so I’ll move like this,” the process becomes more about uncovering why the character moves at all—what’s the motivation behind it? That kind of exploration is something I find really fascinating.
You often mention that even silence carries a sound, but on the other hand, in ‘Till the Stars Come Down’, it feels as though different sounds collide with one another, and the dialogue itself is quite dissonant. What is your perspective on the structure of the play?
Tamiya Kuriyama: What truly captivated me when I first read the script was the absurdity in the back-and-forth of the dialogue. The story doesn’t progress in a straightforward way toward a clear goal or destination. Instead, it unfolds in a way that leaves you uncertain of the direction, with the rhythm of the conversation itself creating a sense of disorientation. As someone creating theatre in Japan, I feel that the issues explored in the play don’t always directly clash with the current social landscape here. People in Japan tend to avoid eye contact, shy away from confrontation, and rarely act out—they often avoid genuine connections with others. Instead, attention is focused on small devices, like smartphones. In contrast, in the play—and this connects to what I mentioned earlier—what sparks my curiosity is how people collide. It’s not a simple A versus B scenario, where one wins and the other loses. Rather, when A and B collide, something entirely new—let’s call it C—emerges.
Similarly as in The Hegelian dialectic.
Tamiya Kuriyama: That’s the kind of confrontation I see in the play. It’s not just about conflict for the sake of conflict, but about the potential for something new to arise from it. Of course, I don’t mean to suggest that every culture overseas is like this, but this is the way I perceive it in this context. So, it’s about the clash and the moment just before it, but there’s also this sudden silence (‘ma’ [an interval]) , right? Actually, that silence is what I love most about theatre. In that pause, various words start to emerge. I think, in the end, the ultimate goal is to reach that moment.
Although ‘Till the Stars Come Down’, did it resonate with any social or cultural issues in Japan for you as a performer —especially in light of the current worldwide migration crisis?
Miura Toko: It’s a British play, but I really feel it addresses issues that could easily become relevant in Japan as well. As our society gradually becomes more diverse, with people from different countries living side by side, the real question is how we learn to coexist. In Japan, it still seems difficult for many to embrace the idea that having neighbors from different religions or nationalities can actually lead to the creation of new values. Perhaps that has something to do with Japan’s unique context as an island nation. Still, as times change, performing in a play like this—set in the UK—offers an opportunity to reflect on Japan and reconsider the nature of our own society.
Tamiya Kuriyama: When we talk about immigration issues today, it’s hard not to mention Trump. The United States, once seen as a symbol of democracy, took a sharp turn toward something resembling fascism the moment he became its leader—that much is undeniable. When I was younger, I spent some time in France and visited Théâtre du Soleil—Ariane Mnouchkine’s company. What struck me was how naturally inclusive they were. In their rehearsal space, more than half of the members were immigrants or refugees. They actively welcomed them and made them part of their creative process. It felt truly global, and I’ve always believed that theatre shares something fundamental with that spirit of openness. In this production, the role of the Polish character reflects the current social realities in the UK. Through this work, I’m aiming to express that situation as truthfully and vividly as possible.
Could you consider ‘Till the Stars Come Down’ as a modern travestation of Chekhov’s ‘Three Sisters’?
Miura Toko: Mr. Kuriyama, didn’t you mention, during our rehearsal, that you hope to nudge the governmental authorities?
Tamiya Kuriyama: To be honest, ‘Three Sisters’ is my favorite play in the world. Not only do I love it, but I also think it’s the most exceptional piece of theater. That’s actually why I’ve never directed it—until now. It always felt like something beyond my reach, almost sacred. That’s how much reverence I have for it. I think the playwright of this new work probably had ‘Three Sisters’ in mind when they began writing. European playwrights often carry that kind of legacy—take Antigone, for example. It was written in the 5th BCE, yet it still breathes with the same dramatic life today. ‘Three Sisters’ belongs to that same tradition. So it’s not about updating it or making it modern. From ancient Greek tragedies to Shakespeare, what resonates most for me is that they are all, at their core, family dramas—and that continues to resonate deeply with me.
How did you interpret the groom’s sense of isolation? In the drama, it’s suggested that Marek’s mother is absent because he was disowned by his family for choosing to marry a woman who isn’t Catholic. How do you think this would be understood or interpreted in a Japanese context?
Toko Miura: It might be different from how it’s experienced in Poland, but religion does exist in Japan. For instance, depending on a family’s beliefs, there are cases where someone might be told, ‘You can’t marry someone of that religion.’ I think situations like that probably do happen. I’m not sure how common they are, or how the frequency compares to Poland—but I do believe they exist. Or… maybe I’m wrong? In Japan, religion tends to be approached quite loosely. People visit shinto shrines for New Year, go to Buddhist temples, and incorporate different traditions—it’s all rather blended. Because of this flexibility, many people consider themselves non-religious, or at least live their lives drawing from a mix of religious practices. I find that somewhat curious. At the same time, because religion isn’t a strong part of daily identity for many, when someone is deeply committed to a specific faith, it can make things like marriage feel more complicated or sensitive.In that sense, Japan might differ from other countries. Japan might be more conservative when it comes to international marriages
Tamiya Kuriyama: In that sense, Catholics and Protestants, for example, can sometimes be fundamentally incompatible. If you bring Judaism into the picture—like the situation between Israel and Gaza—it really underscores how deeply rooted religious worldviews can lead to serious conflict. So when it comes to marriage, religion can be a very real and difficult issue.
It is a delicate question, but Mr. Kuriyama, did you feel that ‘Till the Stars Come Down’ might carry the potential risk of reinforcing negative stereotypes or biases against Polish people?
Tamiya Kuriyama: From the director’s standpoint, I want to approach both Polish and English people objectively. My goal is to portray their real relationship directly on stage. Ultimately, I think it’s up to the audience to draw their own conclusions. That said, the character of Marek is someone I truly admire. He’s such a remarkable person, incredibly honest, and there’s something truly striking about him. When he married her, when he won her over, even in England—despite his position—he remains such a genuinely wonderful person that it leaves me in awe. And yet, with just one word, there’s this underlying sense of discrimination against Polish people, especially in England. That one word could really trigger something explosive. So, I want to capture that kind of realism in my work
Since you mention visiting Poland in your book, could you please tell more about your experience?
Tamiya Kuriyama: Before the Berlin Wall fell in ’89, I had traveled throughout the Eastern Bloc, including Poland. I remember Cracow as an incredibly beautiful city, about halfway along my journey. From there, I took a bus to Auschwitz and spent a week there. In Cracow, there was a museum dedicated to Tadeusz Kantor. I was deeply moved when I saw ‘The Dead Class’, a masterpiece of Polish theatre. The experience definitely influenced me, but I also felt it wasn’t something I could recreate myself. The atmosphere, the weight of history—it stayed with me. Andrzej Wajda’s ‘Ashes and Diamonds’, which I saw in my youth, was another unforgettable work. It truly stands as a milestone. At the time, Poland was a very poor country, and that harsh reality left a strong impression on me.
You have made significant contributions to the establishment and development of the acting training program at the New National Theatre, laying the foundation for theatrical education. In the light of the show’s premiere, how do you feel about collaborating with the younger generation in current circumstances?
Tamiya Kuriyama: Japan is unfortunately a country that has struggled with its cultural development. Even today, the budget for the arts continues to be cut. Take, for example, the New National Theatre, which was established just merely around twenty years ago as a venue for contemporary arts. In contrast, Korea built its national theater in 1946, the year after the Korean War ended. In other words, after the war, Japan focused solely on economic growth, while Korea chose to prioritize culture. What is essential for human beings? Both sleep and culture are necessary, of course, but that difference is becoming more and more apparent today.The excellence of Korean actors, especially in musicals, comes from their remarkable singing ability. I’ve traveled across Europe and visited many theaters. When you go to opera houses, you’ll see many students from Korea and China, but very few from Japan. From those early days, it’s clear to me: since it’s their art form, they are committed to learning it, often on government scholarships.
Over 20 years ago, I became the artistic director at a theater, but there was no infrastructure or foundation in place. It should be pretty obvious that if you become a musician, you must be able to play an instrument—like the piano. Similarly, if you are a ballerina, you must know the basics of ballet. Yet, when it comes to contemporary theater, some people in Japan mistakenly believe that they can just jump in without this essential preparation. But the truth is, it doesn’t work like that. Actors need fundamental training—not just in performing, but in how to move on stage and how to deliver lines with the proper energy and conviction. In countries like England, for instance, actors undergo three years of rigorous training and in Sweden it’s five years. Unfortunately, Japan does not have a similar system. When I went to The Royal Dramatic Theatre in Sweden, a producer once asked me: ‘Mr Kuriyama, who is performing on stage in Japan?’. How ironic! For me only those who undergo such training can be named professionals. From there, various techniques and styles expand within the world of theater.
In Japan, I established a training program, but every year, the budget keeps getting reduced. Under these circumstances, it’s impossible to provide proper education. It’s a truly unfortunate situation for the country. In contrast, institutions like the National Theatre in London recruit around fifty ensemble members. They even include internationally renowned film actors as part of a five-year company. Salaries are relatively uniform across the ensemble, but those star actors might only need to appear in a single production to earn their pay. It’s not about boosting visibility—it’s about building a sustainable system. Unfortunately, that’s something we haven’t been able to achieve here.
Through this production, what have you learned as an actor? Specifically, this is a play where different cultures clash—how do you incorporate that into your work and how does it shape your approach to the characters?
Toko Miura: What’s really interesting about this project is that it’s a foreign play with a contemporary setting. Although the story is set a little in the past, it’s fascinating to experience the lives of people from the same era, even if they’re from a different country. Through Mr. Kuriyama’s direction, we’re gaining a deep understanding of the cultural and historical contexts, as well as the human connections that arise from them. He’s been guiding us through these aspects thoughtfully, and I find that especially intriguing. Overall, everything we’re doing has been a valuable learning experience.
