Former Shonen Ninja member Nao Oriyama, who has been active across numerous films, television dramas, and stage plays—including the 2024 film “Uchi no Ototo Domo ga Sumimasen” and the 2025 drama “Revenge Spy”—will take on his first starring stage role in three years with the new adaptation of “Equus,” opening on January 29, 2026.
Based on a real-life incident, this rendition of the psychological drama by Peter Shaffer depicts the boundary between sanity and madness through a modern lens, centering on a shocking crime committed by 17-year-old Alan Strang—who blinds six horses by stabbing their eyes—and the psychiatrist who tries to uncover the truth behind the act. In a recent interview with Kyodo News, Oriyama spoke about his feelings toward the production and his career as he approaches the 10th anniversary of his debut in the entertainment industry.
Q: How did you feel when you learned you would be starring in a stage production again after three years?
Oriyama: “This production came at a time when I had reached several personal milestones. Many people told me, “That sounds like a tough play,” and even when I looked through the materials myself, I thought, “This is going to be challenging.” But I’ve always wanted to do stage work, so when it was decided, I was genuinely happy.”
Q. How do you view the character of Alan, whom you play in this production?
Oriyama: “I think Alan is unbearably lonely. But he can’t even sulk properly, and he carries a deep sense of inferiority that follows him everywhere. Everyone around him—his mother, his father, and the psychiatrist Dysart—keeps stabbing at that insecurity. Alan is like someone with his insides exposed, so every stab really hurts. That’s why he’s never at peace. I overlap myself with Alan when I perform, so I also feel restless every day. But in its own way, that restlessness feels right for Equus, and I’m enjoying it.”
Q: You mentioned overlapping yourself with the role. Do you feel you share similarities with Alan?
Oriyama: “Rather than Alan himself, I might relate more easily to Equus—the horse. Seeing Equus bound by chains and fitted with saddles and restraints feels similar not only to me but to people in modern society. At work or school, there’s always this idea of “this is what’s normal.” You can’t be completely free, and you can’t go wherever you want. But Alan has an incredibly strong desire to become one with Equus and gain freedom. In a way, I sometimes feel that Alan may be enjoying life more fully than anyone else. The fact that Dysart begins to feel something like admiration toward Alan probably comes from that. I’m still in the process of unraveling the work myself, so maybe there are parts of Alan that resemble me after all.”
Q: Alan deeply loves horses. Do you like horses? Do you have any memories related to them?
Oriyama: “Lately, maybe because I’ve been saying the word “horse” so much, my phone only shows me horses (laughs). I don’t think I’ve searched that much, but horse faces pop up everywhere (laughs).
I recently had my first-ever horseback riding experience for this production. It was my first time interacting with horses at all, and I felt so many things: “They’re this big,” “This is the view from horseback,” “So this is what it means to cut through the wind.” Horses are truly fascinating. Their bodies feel as if they were designed by God for humans to ride them. There’s even a natural dip where the saddle goes, which really impressed me.
In this play, Alan and Equus become one being, and I felt like I caught a glimpse of that sensation. Through trial and error, it turned into a very fulfilling and stimulating day.”
Q: So it really was your first time riding a horse?
Oriyama: “Yes, my first time. It was also my first time seeing one up close. It was a pure white horse—beautiful and wonderful. Bigger than I expected, but the way it lowered its neck and looked at me was incredibly cute. We started by touching the horse, and there’s a similar scene in the play. I slowly stroked it, smelled it, and remembered that scene while actually feeling the horse. I almost got thrown off while riding, more than I expected, but even that felt fresh and fun. It was a great experience.”
Q: You’re well known for dancing. Are there scenes in this play that rely heavily on physical expression?
Oriyama: “Equus is represented using aluminum wires, so there are scenes where I have to act while holding it, riding it, and becoming one with it. That’s why I had so many experiences at the riding club—to study how horses move, where their joints are, and how they lift their legs. I want to express myself as if I truly were a horse.
It’s less about dance and more about expression, but there’s a scene at the beginning where Equus and I embrace, so I hope people pay close attention to that.”
Q: You said you’ve always wanted to do stage work. Have you had experiences where you felt the raw impact of live theater?
Oriyama: “I’ve had many. Watching productions by people from my agency, of course, but also seeing Cirque du Soleil in Las Vegas made me realize how vast the world is and how fun and fascinating expression can be. That inspired me to want to direct someday and to learn more about many different things.
When I was in middle school, I was fortunate to see a lot of stage performances and concerts. Especially Noriyuki Higashiyama’s stage performances—seeing them live is completely different. I truly felt that it’s something video can’t convey. Of course, video has its own kind of beauty, but there’s something you can only feel in person. Live performance has its own power. Seeing it right in front of you really matters. This play is the same. As rehearsals continue, I feel something truly interesting is taking shape.”
Q: In 2026, you’ll mark the 10th anniversary of your entertainment career. Looking back now, what kind of decade has it been for you?
Oriyama: “That’s a difficult question… I’ve always given 120 percent to everything and never cut corners, so I don’t have regrets. But I’ve also run into the harsh reality that “results are everything.” No matter how hard you try, if the results are mediocre, it’s not enough.
There’s a saying, “The nail that sticks out gets hammered down,” but nails that stick out too far don’t get hammered at all. My grandfather told me that right after I joined my agency, and it’s absolutely true. You have to go all the way. Recently, I’ve been thinking about that a lot, and I feel like I’ve sharpened myself another step further. I realized that being perfect is necessary.”
Q: So at this milestone, you’re approaching Equus with a renewed mindset.
Oriyama: “I don’t think I could have expressed this work when I was 20. There would have been too many emotions I didn’t understand. Even though there’s only a two-year difference, for idols, the gap between your teens, turning 20, and what comes after is huge. Your late teens are when you shine the brightest as an idol, but your twenties feel completely different.
When I turned 20, I thought I had finally become an adult—but I wasn’t at all. My way of thinking was immature, and I was easily crushed by many things. For example, I still struggle with feelings of inferiority. Now that I’ve become aware of those things, I feel I can understand Equus more deeply. Being able to work on this piece in my 10th year feels like fate. I think there’s meaning in playing this role at my age now.”
Q: Finally, could you share your enthusiasm for the production and a message for readers?
Oriyama: “This is my first starring stage role in three years, and it also marks my 10th anniversary. I’m still experimenting and rehearsing, wondering how much this work will influence me, what it will bring to all of you, and what we can share together. I truly believe this production could become one of the turning points in your lives.
I hope you’ll experience it live, feel the atmosphere and emotions that are born in that space, and take something away with you. If that happens, I’ll feel glad that I chose to be an idol. I want to make 2026 a great year and make this a great production, so please come to the theater.”