Actor, theatremaker, and director Shogo Amo sits with us and talks about their latest working project, Beauty and the Beast, at Underbelly Boulevard Studio on 28th May.
Shogo, this piece – Beauty and the Beast – has such a unique blend of grit and glam. What first drew you to this story and Gloria as a character?
This is my first queer role after I came out as non-binary. Foreign Affairs theatre company cast me in a role in their Theatre Translation Showcase that literally changed my life. Gloria is unique, confident, and radiates joy. And of course, she has a “secret” every sexy person has one. I was struggling to express my funny side and how my inner passion has power, but when I read the script, with its wonderful combination of grit and sarcastic British wit, I already made up my mind to take part in this work. somehow.
This story blends the tangible difficulties and happiness of being gay and a drag queen in Japan, something that only Sekine Shinichi, the original playwright of this production who is openly gay, could depict. I felt like I’d bumped into a buddy on the journey to survive in the British theatre scene.
This play started its journey in Japan almost 30 years ago. How do you think its themes resonate with audiences today?
Thank you for asking a difficult question. When I watched the delightful The Importance of Being Earnest at the National Theatre, I honestly thought, “Finally. What has the British theatre industry been doing for 130 years?” However, it’s the same in Japan. Flying Stage, the theatre company that produced the premiere is an important pioneer in LGBTQ+ theatre, and yet I still feel frustrated that this production is still considered a “hidden gem.”
But sometimes, time gives us a better mirror, and the audience gets ready for more. Most young people today don’t know who Gloria’s role model, Gena Rowlands, is. Meanwhile, some “mature” audience members chuckle at how this Japanese drag queen reminds them of her. That unexpected connection made me feel, yes, this resonates.
There are lots of places even in the UK where LGBTQ+ people can’t be themselves, in gangs, sports, family, political circles, or simply school or the workplace. A thug and a queer locked in a room is still vivid and thrilling for everyone, isn’t it?
Japanese queer narratives are still relatively rare on international stages. What does it mean to you to help bring this one to life in the UK, and how does that responsibility sit with you?
There are so many queer people and rich queer culture in Japan, but the problem is, they’re rarely connected. In mainstream spaces, queer people are often consumed just as entertainers, with their real lives and rights being ignored. While realistic LGBTQ+ portrayals are increasing, there’s still a massive hesitation, “This isn’t very Japanese.”
My vision is to celebrate Japanese queer stories here in the UK first, and then bring them back to Japan. Who wouldn’t want to see a play about a YAKUZA and a DRAG QUEEN? And if that’s not enough, would you like some sushi or matcha too?
I am also eager to carve out more spotlight for East Asian actors, not just as strict businessmen or tragic girlfriends, but as complex, individual human beings. I can’t wait for the day someone says, “Shogo is a stereotypical Japanese representation. We’re way more diverse than that.”
What was it like collaborating with Gareth Mattey? How did that partnership help bring Beauty and the Beast to new life in English?
To be honest, I only started using English two years ago, so I really needed someone who could swing with the language and had a strong connection to British audiences. Gareth’s humour and experience were exactly what I was looking for. At the same time, they was looking for a Japanese collaborator who had deep knowledge of the Japanese LGBTQ+ community and was also a talented performer, that’s me. It’s been a very mutually beneficial relationship. We also talk a lot about other productions. I believe there are many possibilities in the ideas we’ve been chatting together. We want to embark on our original play and adaptations soon.
What do you hope audiences take away from Gloria and Ryuji’s story?
First of all, I strongly want audiences to enjoy the moment. I assume you’ve never been in a basement in 1990s Tokyo with a yakuza and a drag queen, but I believe you’ll still find an affection for them.
This is just a 20-minute extract, so it ends in the middle of the play. Unfortunately, you can’t find the next one on Netflix or BBC iPlayer yet, so let’s imagine what happens next and stay tuned with us.