Theatre-maker Marina Hata talks new show ‘Shakespeare In Concert’: “It’s most natural to have dissonances in any life —and Shakespeare is, of course, full of them “

The author-director continues to develop this new choral piece inspired by the playwright’s legacy, combining excerpts from some of his most notable works with original music performed a capella. Guillermo Nazara chats with the creative to learn more about the making of this show and why there’s never too much of a good thing when it comes to homaging the Bard.

How did the idea for this show come about?

I’ve always loved Shakespeare even before I decided to study in the UK. And three years ago, I composed a few songs for the Shakespeare term at my drama school, in which I was blessed to work with a wonderful director who made me fall in love with his work even deeper. When I was looking for a show to put on before I fly back to Japan this summer, my friend and the production manager of this piece suggested, “Why not give a chance to what you did with Shakespeare before?”. And here we are.

A show that explores Shakespeare from an “uncompromisingly artistic, yet universally accessible angle”. What can you tell us about this approach?

His highly musical way of writing and words full of imagery allow me to understand the scenes like no “This is what people normally do/feel” approach/analysis can. 

The unwritten social standards and rules change according to one’s cultural, geographical, and generational background, and they’re often a mystery for an Autistic person like me. On the other hand, the rhythm of our beating heart (iambic pentameter, needless to say) and our physical reactions to seasons and elements remain quite similar regardless of the above conditions. And it is fascinating to feel this rarely-explored aspects of “human” are held true in his language and also in my body, timelessly. So I wanted to shine a light on this quality of his work specifically, and to use songs as universal bridges between his language and our bodies that live here, now, regardless of our identity labels.

Why reimagine Shakespeare through original music and perform it a cappella?

I really like communicating non-verbally. And it almost makes me feel like I’m having a conversation with the words written hundreds years ago when I’m composing. Come to think of it, isn’t it fascinating that people can collaborate even when they live/d 400 years apart?

And the reason why it is a cappella is because that is the style I’ve been learning and singing for the last few years and feels most familiar at this point of my musical journey.

What has been your process when coming up with the score? How would you describe its style?

Sorry, the process is something that I feel very private and personal. I don’t think about styles when I compose, but one of the questions that come to me is, “Is each voice singing with/to each other?”… and this is not limited to a technical sense.  Every song used in ‘Shakespeare in Concert -1st edition“ were separately recorded, so it won’t be too long until we can share them with those who could not come to the performance!

What are the reasons behind the use of dissonances?

I think it’s most natural to have dissonances in any story, relationship, life. And Shakespeare is, of course, full of them. 

How did you manage to encompass so many of Shakespeare’s works in just one hour?

“Shakespeare in Concert -1st edition” was not a full Shakespeare play with one strong story line, rather, a collage of songs, scenes, monologues from different plays and sonnets with themes. 

As our show description said, this was an “introduction” in many senses, especially to current global voices within the world of Shakespeare and to particular aspects of his work. I hope the music connected each vignette like a river running through this theatrical concert.

How have you assembled them altogether? Is there a guiding thread or frame throughout the show?

Some of the texts were chosen and positioned within the piece, based on the themes I read from the songs. And some based on the idea of changing of the seasons, which offered an organic structure to the piece.  And from time to time, there were words within a song that clearly indicated where to go next. So if you are very familiar with Shakespeare, finding these little ties between songs/scenes might be another way to enjoy the show.

Have you face any other additional creative challenges?

It was my first experience to do casting too! I was a little bit nervous until we had a whole group in the room, but soon it became clear that there was no need for that. Everyone in this ensemble was so supportive and collaborative. I’m grateful for everything each cast brought in — their talent, generosity, beautiful, and unique voice, which turned every creative challenges afterwards into exciting experiments.

Is there any message you’re trying to convey through this piece?

I’d feel honored if this show could make a bit more space for the often missed aspect of Shakespeare’s work — universal, musical, and therefore secretly accessible just as it’s written. We are a group of diverse voices and experiences, and his texts made us an ensemble — as humans, no more, no less. And I hope that this border-less approach was conveyed to the audience in the most natural way.

Why come see Shakespeare in Concert?

Our performance of “Shakespeare in Concert -1st edition” too place on 26th June 2025, but I’m hopeful that we can keep developing it to its 2nd edition (or even 3rd) in the near future with new songs and texts. And as the title “Shakespeare in Concert” suggests, this is/will be a piece for the lovers of theatre and music alike. So, even if you have never been interested in Shakespeare before, the musicality of his language will speak to you as well as the songs. And if you’re not into music at all, you might be surprised how organically rhythms are part of us humans and the stories we live. If you are looking for a new way to tap into either of these areas, or simply love them both, come and join us! This is a space to explore Shakespeare’s language together — without pressure, prejudice or borders.

By Guillermo Nazara