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DULL-COLORED POP vol.23 「Nemunoki OB/CYN on the hill」

  • Organization : DULL-COLORED POP
  • Section : Artistic and creative activity in Tokyo
  • Type of Grant Program : Single
  • Art Forms : Theater


A new drama by Kenichi Tani on the theme of pregnancy, comprising an assemblage of seven episodes stemming from interviews with several dozen people.

Aspects of modern society emerge through the depiction of people at an obstetrics and gynecology department in a fictitious provincial city: the declining birthrate, late marriage, gender roles, youth poverty, fertility treatment, abortion, moral harassment, antinatalism, and differences in gender awareness.

Two versions were performed at the Shimokitazawa Suzunari with male-female role switches and two different casts, in line with the theme of imagining being a different gender and living a different life.

Written and directed by: Kenichi Tani
Performed by: Eito Azumaya, Masafumi Uchida, Saika Ouchi, Manami Kurahashi, Kenichi Tusukagoshi, Hironari Miyachi, Kenji Kishida, Yuko Kinoshita, Sakura Tominaga, Supika Yufune. Li Sojin, Ryo Watanabe
Script supervisor: Sae Kitamura
Medical supervisor: Minori Inada (doctor)
Art/design: Kenichi Toki
Lighting: Daisuke Matsumoto
Sound: Mariko Shimizu
Costume: Chiharu Oikawa
Stage direction: Yuki Takei
Video: Nobuhiro Matsuzawa
Production: Chika Onozuka


Launched in 2005. Based on members’ theater studies at Japanese and English universities, the group actively absorbs the theatrical techniques of the past and present, East and West. A true theater group that continues to pursue the things that “only theater is capable of,” exclaiming that it can do anything “because it’s theater!”

DULL-COLORED POP’s three vows
To continue to create purely theatrical authentic theater based on authentic theater and “theater for theater’s sake.”
To increase our number of friends by widely disseminating knowledge and skills gained through research, propagation, connection, books and practices in the field.
The creation of “theater as experience” through the reexamination of audience relationships and review of the traditional “performer/viewer” relationship with audiences.




The Suzunari, Setagaya City, Tokyo