When I first heard that Nozomu Kotaki of WEST. was starring as the titular character of Death in DEATH TAKES A HOLIDAY!, I had looked at the logo for the production and decided it wasn’t for me based entirely on the design of the logo. I made the mistake of not doing further research, whether that be listening to the songs or reading a plot summary. Adding on top that I didn’t have money for a ticket at that time, and it all but sealed my decision to not go. It would merely be another musical that I couldn’t attend, and I was content with my choice at that time.
But around a month and a half ago I experienced a sudden and fast change in biases for WEST. after going to their 10th anniversary dome concert, AWARD. I found myself remembering the promotion for DEATH TAKES A HOLIDAY! at that show, and, after properly doing more research into what the musical entailed, rather than relying on first impressions of a logo, I decided I needed to see this show. I had a few concerns surrounding the plot, but they weren’t a huge deterrent. It felt as if it would be a musical that I would greatly enjoy watching. As luck would have it, there were tickets still available, and I quickly purchased one for myself for the following month.
DEATH TAKES A HOLIDAY! takes place in the early 1920’s in a post-World War I world, and the musical opens with Vittorio, played by Hiroshi Miyakawa, and his family returning to their home outside of Venice. His daughter, Grazia, played by Sakura Misono at the show I attended but also double casted with Rio Yamashita, has just become engaged to a man named Corrado, played by Taiki Naito. A figure draped in shadows blocks the road, forcing the car to come to a halt, but Grazia is thrown from the car. Enraptured by her beauty, Death, played by Kotaki, does not carry her to the afterlife and leaves her unharmed. After visiting Grazia in her home, Death decides to take the form of recently deceased Russian Prince Nikolai Sirki. Death announces to Vittorio that he will stay in Vittorio’s home until Sunday at midnight as a small vacation to learn about life, love, and why men fear him.
What struck me upon watching this musical was the vocal prowess of Kotaki. At the beginning of the play, when Kotaki is portraying Death in his naturally occurring form, his voice is deep, rich and buttery to the ear. The tonality of his voice as well as the style of singing is completely different to what you would hear on a WEST. record, and it shows Kotaki’s dedication to the role to completely remove his idol self and immerse himself into the character of Death. Songs like Centuries as well as the second act song I Thought I Could Live successfully showed off Kotaki’s talent as well as the range of notes he can comfortably hit while cementing his place on stage amongst this talented cast of performers.
Prior to the song Why Do All Men?, DEATH TAKES A HOLIDAY! progressed much as I expected. The shock and dismay from Grazia’s family at her surviving being thrown from the car, Death’s ethereally beautiful entrance high on the stage on his boat, his interest in Grazia as well as his decision to take a break from being himself to experience all that life has to offer. Why Do All Men? serves as the moment Death introduces himself to Vittorio, but it is also the song where he lays out the terms of his vacation. He will only stay the weekend and depart exactly at midnight on Sunday, assuming the form of Russian Prince Nikolai Sirki to conceal his identity and blend in. For if someone touches Death when he is in his natural form, it means death.
After this formidable introduction to Death, and despite being this all powerful being that inspired fear in those around him, there were layers to the character that I hadn’t expected. Even within his initial conversation with Vittorio, there are moments of uncertainty as well as charm that radiated from the stage. These kinds of emotions and full body acting are subtle, even more so considering the Death costume. What Kotaki wears is large, a cloak decorated with jewels along with a top hat and beaked mask that obscures much of his face, but it doesn’t hide or hinder his subtle mannerisms. In fact it amplifies these simple movements for the audience, letting them know there is more to Death than initially believed.
The layers to Death and his character compound at the first act continues and Prince Sirki makes his formal introduction to Vittorio’s household. It is at this point where Kotaki truly begins to shine in this role. There are far more comedic moments added to the script, for Vittorio must help Death blend in as his assumed form and not gain suspicion. Death’s lack of knowledge of the human world and human customs, such as how to greet other people, are so brilliantly done. Kotaki handles these bits of comedy with perfectly timed genius, easily gaining laughs from those in attendance.
But there is more than spoken jokes for the audience to enjoy within the production. Kotaki shows off the physical comedy side of Death with as much ease as the written jokes on the page. After performing Alive!, Prince Sirki begins to undress when the household’s maid walks in. Though she shrieks and yells at walking into a room with a man half undressed, the audience cannot help but laugh at Kotaki’s confused expression as he repeatedly covers and reveals his bare chest, trying to understand why this woman is yelling at him.
Another moment of physical comedy Kotaki excelled at was in the large-scale song and dance number, Shimmy Like They Do in Paree. This song is mostly sung by a character named Alice, played by Maho Minamoto, who is the widow of Grazia’s deceased brother, Roberto. Within the confines of the song, Alice is teaching Prince Sirki how to dance like she did when she was in Paris. There are moments where Alice is all but throwing Prince Sirki around the room, twisting and twirling him, and it appears as if Kotaki is about to fall over, but he stays on his feet. These small bits of physical comedy made for a nice chuckle.
Though family and what it means to be alive are central themes throughout the core of DEATH TAKES A HOLIDAY!, at the heart of it all is a love story between Death and Grazia. When I had read the plot synopsis in my research, I had been concerned over if this particular love story would be believable, but I found myself quickly eating my own words.
Kotaki’s acting in these tender moments between Death and Grazia are particularly beautiful to watch. When Death formally comes to Vittorio’s house late on Friday night, disguised as Prince Sirki, and sees Grazia awake for the first time, love quickly blossoms between the two in a love at first sight scenario. The awe and wonder that blooms across Kotaki’s face is befitting the finest work of art as Death quickly crosses the room for a formal introduction. As the two get to know each other over the course of a Saturday, their attraction pulling them closer and closer together, I found myself rooting for their love story.
The acting and the singing in DEATH TAKES A HOLIDAY! is second to none, but the dance numbers are also entertaining to watch. Songs like the aforementioned Alive! and Shimmy Like They Do in Paree are incredible to watch as they quickly evolve into elaborate dance numbers. The latter of the two includes a tap dance routine that Kotaki participates in that is nothing short of incredible. The way that his feet move, shuffling and stomping to complicated rhythms, is stunning to watch. It is one performance that is worth purchasing multiple tickets to see over and over again.
Kotaki further shows off his dancing skills in an act two number, Finally to Know. This song is sung by Grazia, Alice, and Daisy, Grazia’s best friend who is played by Ruki Saito. The song consists of each female cast member singing about their love and potential love for various other characters in the musical. The colorful lights and backgrounds make for a dream-like setting for these characters to sing and dance with their respective love interests, or potential love interests.
Though Death and Grazia are but one pair on stage, it’s difficult not to watch only Kotaki and Misono glide across the floor. The dancing in this song leans more ballroom with Kotaki being the perfect partner as Misono sings about her happiness to finally know what it feels like to be in love. He meets her at each interval, leading their dance across the stage. The pair are a swoon-worthy combination in this dream-like environment on stage.
DEATH TAKES A HOLIDAY! does a fantastic job of painting Death in a more human light, one that has a sweetness and kindness to him as well as being able to experience love for the first time, but scenes are inserted within the production to remind the audience of the ruthless nature of death. As the musical builds towards the first act climax, a character by the name of Eric Fenton, played by Keisuke Higashi, is introduced. This particular character was Roberto’s best friend as well as a fighter pilot with him in World War I.
One of the last few songs of the first act is a powerful solo called Roberto’s Eyes depicting Eric watching Roberto’s final moments on this earth. The lyrics are utter heartbreak as Eric paints a scene of war for the audience and of what it was like to gaze into his best friend’s eyes as Roberto came to the realization he is going to die. This knowledge, this emotion, that death is eminent, is the very same that Eric sees when he looks into the eyes of Prince Sirki.
The cool and calculated expression on Kotaki’s face is a complete foil to his mannerism we had watched throughout the first act. Gone is the warmth and sweetness we, the audience, have experienced and come to adore over the course of the first act. He stalks around the stage, destroying and ripping apart planes of German and Allied forces alike, reminding the audience of why Death is so feared among mortal men. At the climax of the song, Kotaki’s arms wrap around Roberto’s body, claiming his soul and his life. This is the reaper of souls we are watching on stage.
Kotaki exhibits this commanding exterior as Death during these second act scenes, exclaiming that he will take Grazia with him when he leaves, and it is quite terrifying to watch. There is nothing remaining of the sweet and mischievous Nozomu Kotaki of WEST.. There is only Death on stage, and that is what makes his acting so brilliantly terrifying. Kotaki exhibits the skills of a master actor and performer in this role.
As the musical builds to the climax of the show, Death remains adamant that he cannot live without Grazia. He fully intends to take her with him when he departs in a few hours. In a last attempt to change his mind, Vittorio attempts to dissuade him once more, claiming Grazia should be able to experience the joys and sorrows of life. Finally, Death relents to Vittorio’s objections and agrees with him. The reluctance to give up his pursuits of love and desire are perfectly reflected in Kotaki’s expression as well as when he makes the firm resolution to leave alone.
The rollercoaster of emotions necessary to portray the role of Death is endless: the regal stature of Death in his introduction, the curiosity and wonder of learning about the mortal world, as well as the commanding nature that no mortal man will order him. To breathe life and energy into this multifaceted character cannot be done by an amateur, and Kotaki proves himself as a professional who can capture the essence of Death with ease. From start to finish, he removes himself to exhibit the wonder and power that is Death.
DEATH TAKES A HOLIDAY! is a musical that I had stereotyped based on preconceived notions but had a wonderful charm to it that stole my breath away. From beginning to end it was hard not to fall in love with Kotaki as well as the entire cast. The song and dance numbers were spectacular, the acting top notch, and the story so multilayered that everyone can find something to enjoy. This is a show that I wish I could attend over and over again to relive the magic and wonder included within it. More than anything, I cannot sing the praises of Kotaki more than I already have. His skills as an actor left an impression on me, and I cannot wait to see what role he takes on next.
DEATH TAKES A HOLIDAY!’s music and lyrics were written by Maury Yeston with its book written by Peter Stone and Thomas Meehan. The Japanese version was adapted and directed by Hirokazu Ikuta.
This musical’s Tokyo run was in the Tokyu Theater Orb from September 28th to October 20th. It will be performed in the Umeda Arts Theater Main Hall in Osaka from November 5th to November 16th.
And don’t forget to follow Kotaki on his Instagram account!