January 2025 marks a period of upheaval and opportunity within the Japanese entertainment sector, primarily as the prominent agency Horipro navigates through high-profile talent departures and the excitement surrounding the world premiere of the new musical 'Misaeng.'
According to reports, the entertainment giant Horipro is feeling the strain as established talents like Ryohei Suzuki and Masaki Aiba from Arashi have announced their departure, causing ripples through the agency known for its roster of influential entertainers.
Reports suggest, “Even though they are popular, income from fan clubs and concert merchandise for singers greatly surpasses fees paid to talents for TV appearances and commercials,” illustrating the shifting revenue sources within the industry. This results in increasing competition for agencies, as they seek to latch onto talents capable of securing lucrative brand partnerships.
The exodus of talent from Horipro raises questions about the agency’s future and highlights broader lowdowns affecting talent firms across Japan. A source indicated, “The era where former talents could be blacklisted for three years after leaving large agencies is over; companies cannot afford to stifle talent progression due to regulatory pressures.”
Struggling under these changing dynamics, Horipro is reportedly facing difficulty retaining talent. Inside sources confirmed actors like Akira Nakao expressed dissatisfaction with management, leading to his consideration of parting ways with the firm. To mitigate this, they reassigned him from their actor division to focus on variety shows.
Another noteworthy case is Ryohei Suzuki. Known for roles such as the lead character in 'Seventh Song,' Suzuki is contemplating leaving. Graduated from Tokyo University of Foreign Studies with top qualifications, his ambition to expand internationally may find him at odds with Japan's more conservative agencies, which have shown reluctance to embrace overseas projects.
Despite his substantial success—his recent film 'TOKYO MER', which grossed over 4.5 billion yen—Suzuki faced delays, with the upcoming TBS drama initially set to premiere pushed back to avoid clashes with promotional activities for the film sequel. Sources close to Suzuki remarked, “He’s backed out of simultaneous project commitments, needing time to focus fully on just one endeavor.”
When questioned about Nakao's or Suzuki's departures, Horipro’s representatives remained vague, confirming only the restructuring decision and denying any wrongdoing. This reticence amplifies the perception of instability within their management.
Across town, the creative sphere is buzzing with excitement over the new musical 'Misaeng,' which premiered on January 10, 2025, at Osaka's Shinkabuki Theater. This noteworthy production marks the convergence of Japanese and Korean artistic talents, bringing to life the acclaimed webtoon and subsequent drama series, both of which gained immense popularity.
Creators and audiences alike have celebrated this venture, noting it as “a humanistic tribute to contemporary working life.” The musical orchestrated by famed director Oh Lupina features catchy scores by composer Choi Jung-yoon and choreography by KAORIalive, establishing it as compelling entertainment destined to resonate with audiences across demographics.
With deeply relatable narratives surrounding youth struggles, office hierarchy, and personal ambitions, the musical presents lessons about competition and comradery. Participants liken it to the experiences of their workplace lives—drawing tears and laughter during performances.
A promising highlight of this production is the story of Chang-ge, whose aspirations of becoming a professional Go player collide with reality. The storyline interweaves experiences of various interns at 'Wong International,' portraying the trials and tribulations central to entering the corporate world.
Among the cast, Yoshiki Maeda embodied the everyman character of Chang-ge, showcasing vulnerability and sincerity. His performance struck chords of empathy, culminating when his character uttered, “Have I become the necessary stone now?” This poignant reflection resonates with universal sentiments among workers striving for purpose and fulfillment.
Notably, the production evolved from its webtoon roots to adaptively challenge its audience through musicality, staging style, and enriched narrative depth, making it one of the must-watch performances of the spring season.
With its success, 'Misaeng' not only sets the stage for future international collaborations but also addresses the industry’s need for diverse narratives and innovative expressions, utilizing both theater and the rich cultural experiences shared between Japan and Korea.
Overall, as the Japanese entertainment industry brims with departures and newly forged creative partnerships, awareness of its evolution continues to grow. Artists and agencies operate under mounting pressures, yet the art remains vibrant and transformative.