Interview: Ken Kojima of Ae! group directs 'COME VISIT! MINAMI LAUGHING STREET'

Ken Kojima: Leader of Ae! group, formed in 2019, affiliated with STARTO ENTERTAINMENT. The group is set to make their CD debut with "《A》BEGINNING" on May 15, 2024. Ken is actively engaged in various fields including movies, dramas, information and variety shows, and YouTube. Some of his notable works include the dramas "Kaette Kitara Ippai Shite. (帰ってきたらいっぱいして。)" (2023) and “Can’t Erase Her (消しゴムをくれた女子を好きになった。)" (2022). Additionally, as Ae! group, they regularly appear on "Ae!!!!!! Iko (Aぇ!!!!!!ゐこ)" (MBS TV) as their own programs, “asapara - s (あさパラS)" (Yomiuri TV), and “Dodesuka! (ドデスカ！)" (Nagoya TV). Starting from May, they will embark on a debut tour covering 8 cities nationwide. In this interview, Ken discusses the comedy "COME VISIT! MINAMI LAUGHING STREET,” (Click here to read Review: COME VISIT!…) held at the Shochiku Theater, where he served as director and featured a total of 43 Junior members.

[Must-see for fans! Scroll down for the uncut version]

In this production of “COME VISIT!…,” you were still in the position of a Junior, and I imagine you felt very close to the feelings other Juniors. How did you feel when you found out about this job, and then when the curtain actually rose?

I received an email from Mr. Ohkura of SUPER EIGHT asking, "Are you interested in the spring production at Shochiku Theater?" and I replied, "Of course, I'm interested." From there, things progressed quickly. 

For me personally, I hadn't been on stage as a Kansai Junior lately, and since AmBitious was formed, we hadn't really worked together, and with Boys be, although we had worked together when we were much younger, I didn't know how things had changed. So, I gathered these main 20 Juniors to do improvisational theater to get an idea, and told everyone, "I will be directing the spring production at the Shochiku theater.”

Later I heard that none of them had done comedy on stage with this lineup before, and they were nervous. But they all put in a tremendous effort and I realized, "This is what's great about the Kansai Juniors.” Based on what I observed there, I created the script.

I had never heard of "Juniors directing Juniors" before, so the pressure was immense. Two years ago, I helped produce and direct another stage play called "THE BEGINNING ~Shogeki~," but I also acted in it. But this time, being a "director from behind," I felt the pressure of "not being able to do anything if something goes wrong.”

It was honestly difficult to assign roles to 20 people. And I often hear that my sensibility is unique, so I thought, "It's challenging for someone like me to write and direct." I also wondered if the Juniors would follow along.

Many of the Juniors are still in the early stages of their careers, I think. Did you feel pressure in directing such individuals?

Yes, indeed. In the past, I've performed on stage with groups like Naniwa Danshi. Then, I was given one segment to buy time while these main members were changing costumes. And I went all out to make people laugh. With around 40 performances, and I would think every time, "What if I do this next time to get more laughs?" and change things. By doing that, Mr. Yokoyama (SUPER EIGHT) and Mr. Ohkura noticed my effort.

I also believed that in this Junior stage, opportunities can arise from anywhere, and I wanted every member to have some kind of opportunity. I aimed to create a stage where audience could like about each of the 20 performers.

Did the members of Ae! group have any words about your work on this production?

Even during Ae! group's work, I was working on the script during free time, so I was told, “You’re doing amazing." On the first day, Masaya Sano and Yoshinori Masakado came to see it and said, "It was really good and funny! We were moved." I also heard various advice from each of them.

During this production, there was an announcement about Ae! group’s CD debut at your live in Kyocera Dome. Could you tell me about the words of encouragement you received from the Juniors who are appearing in the show, as well as how you reported them?

I didn't say anything to them in advance because I knew they were coming to see the live at Kyocera Dome.

We gathered all the Juniors to the stage during the encore at Kyocera, and they all cried so much. I was SO happy to see them so moved for someone else's sake than for themself. That's when the reality of our debut really sank in for me.

I feel like I've really grown because of them, and I think I was able to interact with them at a good time. As a director, I’ve been spending a lot of time with them from rehearsals, but I was happy they were able to see me on stage.

Do you have any memorable episodes from rehearsals?

None of them had any on-stage experience in scripted comedy, so at first, during the draft reading, both myself and Mr. Ohkura were there, and everyone was quite tense. Even the next time we rehearsed, everyone was still not knowing how to move or act, it felt like they were just reading lines. So, figuring out how to change that was a challenge.

I've been on the stage at the Shochiku Theater for 12 years, and I wanted to bring in a new breeze that hadn't been there before. And because I love the entertainment that only this agency can provide. Whether it's acting, live performances, singing, musicals, or comedy, this agency can do it all. I thought about how to present the various entertainment that this agency can offer. I included songs from the agency's seniors and acrobatics in the main part.

I certainly want the fans who support this agency to be happy. It’s also great if people from overseas can laugh just by looking at what’s happening even if they’re unclear as to what’s going on. A major theme in my direction this time is “being silly seriously."

I told them that it is okay to be scared. The more scared you are, the stronger you are on stage. Because you're scared, you prepare a lot behind the scenes. Because we think about it a lot like, “How do we do this kind of joke when something happens?” during practice, it comes out in the performance.

I also told them to always be open to change. If they say, “The atmosphere was different, so I reverted to the usual,” I say, “What a waste! Why not try something different? I'm the director and writer, so it's okay to change things every time. Live on stage.” That's something I always say to motivate them.

You leave quite an impression as a reliable senior.

No, no, that's all I can do.

It left an impression that there were many ad-libs, such as making jokes during the word game. Were the skits and ad-libs mainly left to the performers?

Especially in scenes like the skits, I initially set up a framework and mentioned during the rehearsals that there would be a lot of ad-libbing. I allowed them to change things up if needed, and I popped in now and then to provide some guidance.

However, since I'm not on stage this time, there's a difference between those who are on stage and those who aren't. Even if we receive advice, I've experienced firsthand the feeling of, “No, today's atmosphere feels different.” So, I empathize with that feeling to the point where it's painfully familiar, and I've tried to approach everyone with as much understanding as possible.

I also created a segment for interacting with the audience, but it was challenging because none of them had done it before. I was especially anxious about both skit and the audience engagement. We included both since it was required during the set changes. However, we eventually realized that we could manage without them halfway through the process.

After the first performance, I asked Shintaro Sumi (Boys be) and Takeyuki Mayumi (AmBitious) who are in charge of audience engagement, how it went. Sumi felt that he couldn't perform as he had envisioned and cried with frustration in front of me and Mayumi. 

So, since we could manage without it, I said, "Let's do away with the audience engagement,” but Sumi and Mayumi immediately said, "Please let us do it!" Their passion and determination were impressive. I said, “If you guys want to do it, let's do it. Let's just change the strategy,” and we discussed various things.

Later on, there were some days when the skits didn't go well as planned. So, I suggested changing the strategy then asked everyone to think about it together and send their ideas to representatives, Mayumi and me. An hour later, Mayumi contacted me saying, "Please let us continue the skits!" I was amazed by their determination.

It's not really running away, but I think it's okay to fight differently. But their aggressive attitude of facing problem has been incredibly educational. They've been growing day by day, which is reassuring.

Crying is evidence of how hard they're working.

Exactly. Even though they faced difficulties, they cooperated and supported each other. They're truly wonderful kids.

These cast include some elementary school students and many young performers. How was it managing everyone, especially in that aspect?

They're all amazing. They're doing things that we couldn't do when we were young. Even the 8-year-old (Eito Motoshige) who played the younger brother of the alien changed a lot after receiving feedback. 

Regarding the younger ones, I just established the basics and left to Boys be and AmBitious. That’s how we have been doing and it gives them the flexibility to also look after others around them. Still, if Boys be and AmBitious are struggling, they can always come to me for advice. We have to do those things for their sake as well.

Could you tell me your favorite point and the most challenging aspect?

The small jokes are my favorite, and the ad-lib scenes are particularly enjoyable. I've watched them about 20 times and I laugh every time. It's so fun to see them creating entertainment.

During the climax, the staff often advised, "It would be easier to watch without the small jokes." However, I didn't want to be confined to just being easy to watch. When I thought about what Ken Kojima should do, I wanted to have a clear axis but still wandering around. I wanted to evoke various emotions.

We practiced the scene where the alien, Taro Yoshikawa (AmBitious), and the boy, Leo Nagaoka (AmBitious), part ways quite a bit. It was a bit concerned because we had been creating lots of laughter, but suddenly we had to return to the main story. However, their acting instantly broke the tension and that was resolved on the first day. I was delighted and thought, "These two are amazing."

How do you plan to utilize this experience in your future activities, both personally and within the group?

I realized that I want to become an entertainer who creates joy not just for fun, but also because it's "interesting," "cool," and evokes various emotions. This stage may have been the catalyst for that.

They all provided me that opportunity. Initially, everyone was stiff, and even when told to do something different from the script, they'd ultimately revert back to it. I understand how difficult it can be.

Seeing how everyone was trying to bring out their own selves and growing made me think about how I could improve as well. It became an opportunity to think, "I want to support this kind of thing" or "How would I present this on stage if it were me," and it was an experience that could be brought back to the group.

Lastly, could you give a message to your and Ae! group's fans those who have been eagerly waiting for your debut, especially those overseas?

We are nothing without our fans. Truly, without them, we wouldn’t be able to do anything. But because everyone is here, we become invincible on stage. Just knowing that everyone is here, that presence is what makes us idols.

We're proud of our fans. We want to go on various adventures together and have fun together. I'm really happy that people internationally are interested in us in this way.

I want to aim to become a national and global artist. We also are active as a band, so I'd like to perform at overseas music festivals. We don't limit ourselves to active just one area; we think infinitely. 

We will be on a nationwide tour in Japan, so we'll be steadily working from there but please look forward to seeing us overseas at some point! And of course, we look forward to seeing all of you in Japan as well.

Finally, is there anything else you'd like to share?

AmBitious, Boys be, and all the other participating Kansai Juniors are amazing. Everyone has changed so much between the first and last performances of this show. Although they are still developing, that's what makes Kansai Juniors so great.

Everyone is working extremely hard, so if you're a fan of Ae! group already or just interested after reading this article, please check out Kansai Juniors. We won't lose to Kansai Juniors even though we're seniors. We'll keep striving to win.

“COME VISIT!…” was an incredible stage. We had the best entertainment. We'll do our best to perform overseas.

[A must-see for fans! Uncut version]

First of all, congratulations on your CD debut.

Thank you very much.

In this production of “COME VISIT!…,” you were still in the position of a Junior, and I imagine you felt very close to the feelings other Juniors. How did you feel when you found out about this job, and then when the curtain actually rose?

I received an email from Mr. Ohkura of SUPER EIGHT asking, "Are you interested in the spring production at Shochiku Theater?" and I replied, "Of course, I'm interested." From there, things progressed quickly, and I was asked to do it. 

For me personally, I hadn't been on stage as a Kansai Junior lately, and since AmBitious was formed, we hadn't really worked together, and with Boys be, although we had worked together when we were much younger, I didn't know how things had changed.

So, I gathered these main 20 Juniors to do improvisational theater to get an idea, and told everyone, "I will be directing the spring production at the Shochiku theater." Then, I randomly assigned roles, saying, “You, try playing an alien.”

Later I heard that none of them had done comedy on stage with this lineup before, and they were nervous. But they all put in a tremendous effort, and I saw their guts, realizing, "This is what's great about the Kansai Juniors.” Based on what I observed there, I created the script and directed it, thinking, "It's my job to turn this into a script and direct it."

I had never heard of "Juniors directing Juniors" before, so initially, the pressure was immense. Two years ago, I helped produce and direct another stage play called "THE BEGINNING ~Shogeki~," but I also acted in it. So, I had the reassurance that "if something happens, I can step forward and handle it." But this time, being a "director from behind," I felt the pressure of "not being able to do anything if something goes wrong.”

It was honestly difficult to assign roles to 20 people. And although I was happy, I often hear that my sensibility is unique, so I thought, "It's challenging for someone like me to write and direct." I also wondered if the Juniors would follow along, including the younger ones.

Many of the Juniors are still in the early stages of their careers, I think. Did you feel pressure in directing such individuals?

Yes, indeed. In the past, I've performed on stage at the Shochiku theater with groups like Naniwa Danshi. They were usually the main ones, so naturally, they left a strong impression.

So, I was given one segment to buy time while the main members were changing costumes. And I went all out to make people laugh. With around 30 to 40 performances, and I would think every time, "What if I do this next time to get more laughs?" and change things. By doing that, Mr. Yokoyama (SUPER EIGHT) and Mr. Ohkura noticed my effort.

I also believed that in this Junior stage, opportunities can arise from anywhere, and I wanted every member to have some kind of opportunity. I aimed to create a stage where if 20 audience members came, each one could point out something they liked about each of the 20 performers.

Did the members of Ae! group have any words about your work on this production?

Even during Ae! group's work, I was working on the script during free time, so I was told, “You’re doing amazing." On the first day, Masaya Sano and Yoshinori Masakado came to see it and said, "It was really good and funny! We were moved." I also heard various advice from each of them.

During this production, there was an announcement about Ae! group’s CD debut at your live in Kyocera Dome. Could you tell me about the words of encouragement you received from the Juniors who are appearing in the show, as well as how you reported them?

I didn't say anything to them in advance because I knew they were coming to see the live at Kyocera Dome.

We gathered all the Juniors to the stage during the encore at Kyocera, and they all cried so much. I was SO happy to see them so moved for someone else's sake than for themself. That's when the reality of our debut really sank in for me.

I feel like I've really grown because of them, and I think I was able to interact with them at a good time. As a director, I’ve been spending a lot of time with them from rehearsals, but I was happy they were able to see me on stage.

Do you have any memorable episodes from rehearsals?

None of them had any on-stage experience in scripted comedy, so at first, during the draft reading, both myself and Mr. Ohkura were there, and everyone was quite tense. Even the next time we rehearsed, everyone was still quite stiff, not knowing how to move or act, it felt like they were just reading lines. So, figuring out how to change that was a challenge.

I've been on the stage at the Shochiku Theater for 12 years, and I wanted to bring in a new breeze that hadn't been there before. And because I love the entertainment that only this agency can provide. Whether it's acting, live performances, singing, musicals, or comedy, this agency can do it all. I thought about how to present the various entertainment that this agency can offer. It's not a musical, but I included songs from the agency's seniors and acrobatics in the main part.

I certainly want the fans who support this agency to be happy. It’s also great if people from overseas can laugh just by looking at what’s happening even if they’re unclear as to what’s going on. A major theme in my direction this time is to wholeheartedly engage in foolishness while “being silly seriously."

I told them that it is okay to be scared. The more scared you are, the stronger you are on stage. I think it's stronger not to show it on stage. Because you're scared, you prepare a lot behind the scenes. So, from practice, we think a lot about how to do this kind of joke or retort when something happens, and how to get back on track from comedy to the main part. Because we think about it a lot during practice, it comes out in the performance.

I also told them to always be open to change during rehearsals. If they say, “The atmosphere was different, so I reverted to the usual,” I say, “What a waste! Why not try something different? I'm the director and writer, so it's okay to change things every time. Live on stage.” That's something I always say to motivate them.

You leave quite an impression as a reliable senior.

No, no, that's all I can do.

It left an impression that there were many ad-libs, such as making jokes during the word game. Were the skits and ad-libs mainly left to the performers?

Especially in scenes like the skits, I initially set up a framework and mentioned during the rehearsals that there would be a lot of ad-libbing. I allowed them to change things up if needed, and I popped in now and then to provide some guidance.

However, since I'm not on stage this time, there's a difference between those who are on stage and those who aren't. Even if we receive advice like, “You should do it this way,” I've experienced firsthand the feeling of, “No, that won't work on stage... Today's atmosphere feels different.” So, I empathize with that feeling to the point where it's painfully familiar, and I've tried to approach everyone with as much understanding as possible.

I also created a segment for interacting with the audience, but it was challenging because none of them had done it before. I was especially anxious about both skit and the audience engagement. We included both since it was required during the set changes. However, we eventually realized that we could manage without them halfway through the process.

After the first performance, I asked Shintaro Sumi (Boys be) and Takeyuki Mayumi (AmBitious) who are in charge of audience engagement, how it went. I’m sharing this since all the performances are finished, but Sumi felt that he couldn't perform as he had envisioned. He held back his feelings in front of everyone, but he cried with frustration in front of me and Mayumi. 

So, considering that and since we could manage without it, I said, "Let's do away with the audience engagement,” but Sumi and Mayumi immediately said, "No, please let us do it!" Their passion and determination were impressive. I said, “If you guys want to do it, let's do it. Let's just change the strategy,” and we discussed various things.

Later on, there were some days when the skits didn't go well as planned. So, I suggested changing the strategy, but it was difficult to do immediately. So, I asked everyone to think about it together and send their ideas to representatives, Mayumi and me, by three days later. About an hour later, Mayumi contacted me saying, "Please let us continue the skits!" I was amazed by their determination.

It's okay to run away, or it's not really running away, but I think it's okay to fight differently. But their aggressive attitude of facing problem has been incredibly educational. So, we've been doing the show without taking them away, and they've been growing day by day, which is reassuring.

It’s very touching.

Yes, it is very touching.

Crying is evidence of how hard they're working.

Exactly. Even though they faced difficulties, they cooperated and supported each other. They're truly wonderful kids.

These cast include some elementary school students and many young performers. How was it managing everyone, especially in that aspect?

They're all amazing. They're doing things that we couldn't do when we were young. Even the 8-year-old (Eito Motoshige) who played the younger brother of the alien changed a lot after receiving feedback. 

Regarding the younger ones, I just established the basics and left the ad-libs to Boys be and AmBitious. That’s how we have been doing and it gives them the flexibility to also look after others around them. Still, if Boys be and AmBitious are struggling, they can always come to me for advice. It's been that kind of season where we have to do those things for their sake as well.

Could you tell me your favorite point and the most challenging aspect?

The small jokes sprinkled throughout the main storyline. These are my favorite, and the ad-lib scenes are particularly enjoyable. I've watched them about 20 times including rehearsals, and I laugh every time. I even laugh at the same point. It's so fun to see them creating entertainment.

During the climax, the staff often advised, "It would be easier to watch without the small jokes." However, I didn't want to be confined to just being easy to watch. When I thought about what Ken Kojima should do, I wanted to be “silly seriously," with a clear axis but still wandering around. I wanted to evoke various emotions.

We practiced the scene where the alien, Taro Yoshikawa (AmBitious), and the boy, Leo Nagaoka (AmBitious), part ways quite a bit. It was a bit concerned because we had been creating lots of laughter, but suddenly we had to return to the main story. But once the two of them act together, the laughter naturally subsided. That was resolved on the first day.

As a director, I honestly wasn't sure if it would work. I thought, "It's okay if there's still some laughter lingering, but it would be nice if it faded away smoothly." However, their acting instantly broke the tension. I was delighted and thought, "These two are amazing."

How do you plan to utilize this experience in your future activities, both personally and within the group?

I love entertainment. I realized that I want to become an entertainer who creates joy not just for fun, but also because it's "interesting," "cool," and evokes various emotions. This stage may have been the catalyst for that.

They all provided me that opportunity. Initially, everyone was stiff in rehearsals, sticking to the script, and even when told to do something different from the script, they'd ultimately revert back to it. There's the factor of age and embarrassment, so I understand how difficult it can be.

While giving objective feedback and sharing opinions, I observed how everyone was trying to bring out their own selves amidst such circumstances and evolving. Seeing everyone's growth made me think about how I could improve as well.

It became an opportunity to think, "I want to support this kind of thing" or "How would I present this on stage if it were me," and it was an experience that could be brought back to the group. “COME VISIT!…” provided that.

Lastly, could you give a message to your and Ae! group's fans those who have been eagerly waiting for your debut, especially those overseas?

We are nothing without our fans. Truly, without them, we would be powerless and unable to do anything. But because everyone is here, we become invincible on stage. Just knowing that everyone is here, that presence is what makes us idols.

We're proud of our fans. We want to go on various adventures together and have fun together.

Until recently, I couldn't imagine having interviews from overseas, so I'm really happy that people internationally are interested in us in this way.

I never thought I would be featured in National Geographic regarding eels. Since you never know where opportunities will come from, I want to aim to become a national and global artist. We also are active as a band, so I'd like to perform at overseas music festivals. We don't limit ourselves to active just one area; we think infinitely. 

We will be on a nationwide tour in Japan, so we'll be steadily working from there but please look forward to seeing us overseas at some point! And of course, we look forward to seeing all of you in Japan as well.

Finally, is there anything else you'd like to share?

AmBitious, Boys be, and all the other participating Kansai Juniors are amazing. Everyone has changed so much between the first and last performances of this show. These kids are creating the stage, and although they are still developing, that's what makes Kansai Juniors so great.

Everyone is working extremely hard, so if you're a fan of Ae! group already or just interested after reading this article, please check out Kansai Juniors. We won't lose to Kansai Juniors even though we're seniors. We'll keep striving to win.

“COME VISIT!…” was an incredible stage. We had the best entertainment. We'll do our best to perform overseas.

Photo Credit: [© STARTO ENTERTAINMENT. Used with permission./© SHOCHIKU Co.,Ltd. All Rights Reserved]

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