Death Note star Tatsuya Fujiwara and Zenkaiger actor Kiita Komagine in Singapore for Haruki Murakami stage adaptation

Twenty years after filling the Death Note with names, Japanese actor Tatsuya Fujiwara is back to spread the light to audiences in Singapore. The 43-year-old will be in town from Apr 3 to Apr 5 to headline End Of The World And Hard-Boiled Wonderland, a stage adaptation of the award-winning novel by Haruki Murakami, at Esplanade Theatre. 

Fujiwara last performed in Singapore in 2013, when he starred in Musashi, which was also staged at the venue.

End Of The World And Hard-Boiled Wonderland features two parallel narratives unfolding simultaneously, with Fujiwara starring in the Hard-Boiled Wonderland segment as data specialist Watashi, who navigates a surreal cyberpunk landscape.

The End Of The World segment, meanwhile, centres on Boku, a newcomer to an isolated town. The role is shared by actors Kiita Komagine, 26, and Ryunosuke Shimamura, 23, with Komagine performing in two of the production’s three sessions.

International audiences will know Komagine from his role as Kaito Goshikida in the hit superhero series Kikai Sentai Zenkaiger.

While Fujiwara is now a seasoned theatre veteran, with stage credits including The Merchant Of Venice, Musashi and Harry Potter And The Cursed Child, End Of The World And Hard-Boiled Wonderland marks Komagine’s stage debut.

Ahead of the play’s Singapore premiere, Fujiwara and Komagine spoke with CNA Lifestyle about the production, sharing their thoughts on translating Murakami’s abstract novel for the stage and how their signature roles – Light Yagami and Kaito Goshikida – have followed them through their careers.

Given the abstract nature of the original novel, how did you approach translating the world to a physical stage performance?

Fujiwara: Precisely because the world is so abstract, I felt it was important not to over-explain. Through the use of the body, voice, and space, I aim to leave room for each audience member to imagine freely. I would be very happy if people could immerse themselves in this mysterious world through the uniquely “live” experience of theatre – something that is happening right here and now.

What would you say are the biggest differences and challenges between film acting and stage acting?

Fujiwara: Film captures a single moment, whereas theatre is a shared journey with the audience from beginning to end. There is no room to hide and you must exist within a different atmosphere each time. That sense of tension and the stamina it requires are both the challenge and the appeal of stage acting.

Komagine, this play marks your first-ever stage production. What were your emotions coming into this project?

Komagine: To be honest, I initially felt a great deal of surprise and pressure, especially since my first stage performance is based on a masterpiece by Haruki Murakami and it also includes performances in Singapore.

However, once rehearsals began, I found the process of creating the story together with my fellow cast members and the staff incredibly fresh and inspiring. Now, more than nervousness, I feel a strong sense of excitement and can’t wait to share this world with audiences.

You’ll be performing the play in Japanese with English surtitles. Do you have any concerns about performing for audiences who may not fully understand the nuances of the Japanese language? How do you then approach your performance to ensure the emotions and intentions of the character still come across clearly to them?

Fujiwara: Our job is to convey emotions that go beyond language. There may be moments when it is difficult to follow the surtitles, but there will always be something that comes through in our expressions and in the overall atmosphere of the theatre. Rather than focusing too much on the words, I would be happy if audiences could feel our “cries” with their senses.

Komagine: While I do have some concerns about the language barrier, I strongly believe that theatre has an energy and atmosphere that transcends words. Through visual expression, timing, and especially the tone of my voice, I try to carry the character’s emotions so that the core of the story can be understood even without relying entirely on the surtitles. I aim to perform using my whole body.

What is your favourite scene to perform in End Of The World And Hard-Boiled Wonderland, and why?

Fujiwara: I am fond of every scene, but the moments when the two worlds intersect are particularly memorable. These connections are expressed through dance, and there is a sense that the depth of the story suddenly expands. It is also very stimulating to perform.

Komagine, many international fans first came to know you through Zenkaiger. Since the play also explores a surreal, science-fiction-like world, did you find yourself drawing on your experience while shaping your performance?

Komagine: Both the Super Sentai series and this production share the idea that the ordinary and the extraordinary exist side by side. Playing Kaito for over a year in a fantasy world helped me ground the surreal setting of this role within myself.

That said, this production requires a much more internal and delicate approach, so I am engaging with the character of Boku in a very different way.

2026 marks the 20th anniversary of the Death Note movie. Your portrayal of Light Yagami remains iconic, especially for many fans in Singapore. Did you ever expect the film to continue resonating so strongly with audiences around the world?

Fujiwara: It is quite astonishing that 20 years have passed, and it reminds me how deeply the work has been loved by so many people. Especially when I travel abroad, I am still called out by my character’s name: “Light!”

Each time, I am reminded of how fortunate I was to be part of such a remarkable work. I hope to continue taking on projects that reach audiences both in Japan and internationally.

After more than two decades in the industry, what still excites you about acting?

Fujiwara: Even within the same work, each performance becomes something different. Because there are always unpredictable moments, I can still step onto the stage with a fresh mindset. That sense of truly “being alive” is the greatest appeal for me.

In your opinion, why should audiences watch End Of The World And Hard-Boiled Wonderland?

Fujiwara: It is a very unique and profound work, but I hope audiences will not overthink it and instead simply experience this mysterious world. It is a piece that leaves something behind in each person after watching. I would be happy if it encourages even a small reflection on questions such as “What is the self?” and “What is love?”

Besides the play, are there any activities that you look forward to doing in Singapore while you’re here?

Fujiwara: Definitely chicken rice. I had it the last time I visited, and I am looking forward to enjoying the authentic taste again. No matter how many times I visit, I would still like to take a photo at the Merlion.

Komagine: First of all, I’d love to try as much delicious local food as possible! I’m also really looking forward to seeing the modern cityscape around Marina Bay Sands with my own eyes. I’ve brought a camera with me, so I’d like to capture the scenery of Singapore from my own perspective. I hope to feel the vibrant energy of the city and bring that inspiration back into my performance on stage.

Lastly, please leave a message for your fans.

Fujiwara: It has been 13 years, but I still vividly remember the energy of Singapore at that time. I feel very happy to be able to perform here again, and I would love to share with you a moment that can only be experienced in the theatre. I hope to see you there.

Komagine: Thank you very much for your continued support. I feel truly fortunate to have this opportunity to meet audiences not only in Japan but also in Singapore. We, the entire cast, are doing our utmost to bring Haruki Murakami’s mysterious and beautiful world to life. Please come and enjoy this journey with us at the theatre. We look forward to seeing you there!

End Of The World And Hard-Boiled Wonderland will run at Esplanade Theatre from Apr 3 to 5. Tickets are available for purchase via Esplanade’s website, with standard prices starting from S$56.