Spirited Away (千と千尋の神隠し) is the 2001 Japanese animated movie directed by none other than Hayao Miyazaki from famed animation house Studio Ghibli. In 2003 the movie won an Oscar for "Best Animated Feature", proving the legitimacy of animation as an artform for a global audience. However, aside from its well-deserved critical acclaim, fans of the movie know it as an artful masterpiece that has the near-magical ability to encapsulate its viewers in the utmost comfort - and the stage play was no different.
The story outlines the unique coming-of-age adventures of young Chihiro Ogino, who stumbles into a realm of spirits after her parents are turned into pigs, and must figure out how to save them and herself. Aside from being a whimsical tale of innocence and bravery, the story is well loved for bringing forth the importance of nature and the manmade destruction of the natural world, as well as the gruelling reality of life being sidelined for work - all served in a comforting package with a stunning musical score.
In 2024 Toho Co. Ltd., in partnership with PW Productions, brought the beloved movie as a play to the British stage at the London Coloseum, in an adaptation by John Caird and Maoko Imai.
Photography by Johan Persson
To summarise the experience in one word, it would be "magical". From the second you entered the hall guests were cast into a whirlwind of sentimental awe that would almost intimidate, were it not for the delicate nostalgia cloaking the audience with the comforting beauty of the original movie. Cherry blossom trees lined the foyer, and original limited edition merch sat on every floor, leaving fans immediately immersed into the world and spoiled for options to snap a few photos and grab a programme before heading to the stage.
The set design itself was jaw-dropping - a feat which makes sense considering it was designed by none other than Emmy nominated set designer Jon Bausor. From the dreamy watercolour blue sky to the seemingly wooden set that was constructed with the utmost care, each detail meticulously crafted to the point of perfection. And from outside the bathhouse to Yubaba's office curtains, the set itself could qualify as a piece of art. While the play was in Japanese, English subtitles were embedded into the grassy walls next to and above the stage so at no point was the immersion broken.
The actual production followed closely to the original movie, barely deviating from the script or sequences. The original scores by Joe Hisaishi rippled through the hall in a wave of tear-jerking nostalgia as the actors took to the stage - their costumes impeccably done to the point you'd have believed the characters had hopped right off the screen. The production had a range of actors on retainer for each character. This particular show saw Rina Kawaei as the lead girl Chihiro, who energetically portrayed her naive yet determined character from Kawaei's impeccable expressions to the cute hairography of her ponytail. Playing opposite her was Kaito Arai, who perfectly played the part of the mysterious dragon/river spirit Haku, incorporating his subdued yet majestic manner of movement, to the way in which he dramatically cast some of his iconic spells.
Photography by Johan Persson
The rest of the cast also did a stunning job in their respective roles, breathing a new life into such globally cherished characters with their own unique charms. Some even injected a new humour into the production, with characters such as Kamaji (Tomu Miyazaki) and his many arms, the Kashira (Yuya Igarashi), and even Yubaba (Mari Natsuki) and Lin (Yuki Hana) acting as comedic breaks in between the whimsical drama of the story. Even expressionless characters such as Kaonashi/No-face were given an extra dimension, as the actor Hikaru Yamano did a splendid job portraying the spirits eerie, unnerving nature through his many jerky yet uncannily smooth movements, which were only highlighted during his ghostly, mysterious solo.
This was not an uncommon occurence, as the play strategically sprinkled in a few brief dance segments to portray what could not be directly translated onto the live stage - yet in a way that did not feel unnatural to the story. It was through this creative direction that the audience dove deeper into the whimsy the live medium brought to the story, such as the Chouchin/hopping lantern introducing the eccentricity of its existence by prancing into a perfect attitude, or by the brief dance solo from Haku as he transformed into his dragon form. The entire cast had the opportunity to flex their dancing abilities, which was already evident by their poised movements, including the talented ensemble cast and puppeteers, who elegantly waltzed and spun across the stage, adding to the magic of the puppet work.
The puppets themselves were skillfully crafted with a scary accuracy to the movie. Head puppet designer and director Toby Olié, alongside Sarah Wright and Daisy Beattle, did an immaculate job translating the 2D details and mannerisms onto the 3D forms in a way that did not seem overly stiff, or take the life away from the characters we are so used to seeing on screen. Not only that, but their direction and choreography seamlessly translated some of the more fantastical aspects onto the live stage such as the soot sprites or Haku's dragon form.
Photography by Johan Persson
Overall, the show was nothing short of perfect. To even deign to adapt such a beloved piece of media was a brave endeavour, yet the production team flawlessly pulled it off. And if, only for this one occasion, I am granted to speak over the barrier; as someone who has carried the original movie woven into the very fabric of their heart for the last 20 years, I am not ashamed to admit that a fair few of those tears were my own. I can confidently say that the theatre adaptation did well not to tarnish the elegant nostalgia of the movie, and moved me in a way that only the original work could. If possible, I would've watched it a thousand times over.
From the breathtaking set to the skillful work of the cast and crew, the experience was something we can wholeheartedly recommend. We thank not only the actors, but the stage crew, designers, directors, and pre-production workers for bringing such a magical piece of artistry to the stage. While the play is due to leave London at the end of August, we can only hope that the team bring it back for a second circuit to grace the British audience with its artistry once again.
Thank you Raw PR for the opportunity.
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