✦ Confetti Magazine ✦

Confetti is a magazine that is published on the first Monday of every month and distributed throughout Japan’s largest cities. It focuses mostly on stage performances such as theater and musicals, and highlight the newest shows, the latest in the entertainment business as well as interviews with actors and creators who work behind the scenes.

Confetti is distributed free of charge at magazine stands, train stations, theaters, music shops, supermarkets and bookstores, mainly in Tokyo. HERE is a complete list of places where Confetti magazine can be found. There is also a digital version of the magazine that can be purchased through e-book stores or a digest version can be read directly on their website.

For their June 2026 issue, Confetti held an interview with Go Ueki and Shinjiro Kameda, the director script writer for the “Sailor Moon Shining Theater Shinagawa Tokyo” musical. This interview was not announced publicly on any of the official Sailor Moon outlets so it went under the radar, but luckily a member of the SMFN team accidentally stumbled upon the magazine on a free flier rack in a busy train station in Tokyo.

✦ The Interview ✦

✦ Supporting the Growth of a Cast Full of Potential ✦

A conversation with Go Ueki and Shinjiro Kameda about Pretty Guardian Sailor Moon – Shining Theater Shinagawa Tokyo

Shinagawa Prince Hotel Club eX reopened in April as a dedicated immersive theater for the beloved manga series Pretty Guardian Sailor Moon. Building on the success of SHINING MOON TOKYO, which launched in 2019, the venue offers not only an all-new stage production but also special experiences such as cast greetings and original themed drinks.

The creative team brings together director and choreographer Go Ueki and playwright Shinjiro Kameda, who have previously collaborated on numerous popular 2.5D productions including the Hypnosis Mic -Division Rap Battle- Rule the Stage series and the stage adaptation of Cyborg 009. This time, they are taking on a work based on a shoujo manga for the first time.

Creating an Original Sailor Moon Story

✦ Ueki:
When it came time to choose a writer, I felt there was only one person who could do it: Mr. Kameda. Sailor Moon is a title that everyone knows, but we aimed to create an original story. We had less than an hour of stage time, a large cast of characters, dance and performance elements to incorporate, and we still needed to move the audience emotionally while giving every member of the staff a chance to showcase their strengths.

Kameda understands all of my strengths and weaknesses, which was another reason I wanted him involved.

When I received the first draft of the script, it felt like getting the latest volume of a manga I loved. Once I started reading, I couldn’t stop. I finished the whole thing in about thirty minutes and immediately called him to say, “That was incredible!”.

✦ Kameda:
Of course I knew of Sailor Moon, but I didn’t grow up reading a lot of shoujo manga, so I wasn’t familiar with every detail of the series. When I was first approached about the project, I honestly wondered whether I was the right person to write it, but then I realized I’d have the opportunity to create a stage production based on one of the world’s most famous manga series together with Mr. Go, and I couldn’t pass that up.

At one point we discussed adapting material directly from the original manga, but with a running time of less than an hour, I felt we wouldn’t be able to do the source material justice. That’s why we ultimately decided to create an original story.

To understand the world of Sailor Moon, I began by thoroughly reading the manga from start to finish. I tried to identify what made Sailor Moon feel like Sailor Moon to me and weave those elements throughout the script. At the same time, I wanted to write something that would make full use of Go’s strengths as a director, particularly his innovative use of visual technology.

The Challenge and Excitement of a Dedicated Theater

Both creators admitted they were surprised when they first heard that Club eX would become a permanent Sailor Moon theater.

✦ Ueki:
Once you have a dedicated theater, the possibilities are practically limitless. That freedom made me think carefully about how to use the space most effectively. The Sailor Guardians are such colorful characters, and there are so many of them. I wanted the theater itself to become a place where those qualities could really shine.

✦ Kameda:
I was genuinely shocked. Having a script I’d written staged in a dedicated theater was an incredible honor, and the scale of the project amazed me.

The interview took place during preview performances before the official opening. After watching the show, the two reflected on what they had seen.

✦ Kameda:
The show has become a version of Sailor Moon that exceeded even my own imagination. I was extremely happy.

✦ Ueki:
Everyone looked so alive on stage. Because it’s a long-running production, they’ll have to give their all every single day, but watching them, I felt they were truly beginning to live as Sailor Guardians.

Team Gold Moon and Team Silver Moon

The production is performed by two alternating casts: Team Gold Moon and Team Silver Moon.

✦ Kameda:
I think Gold Moon is defined by powerful, beautiful performances, while Silver Moon stands out through its brightness and playful theatrical energy. Even though they’re performing the exact same script, they leave completely different impressions. I really hope audiences will see both versions.

A Creative Partnership Built on Trust

Although the two creators work together so naturally that they seem perfectly in sync, they say they are often moved by different things.

✦ Ueki:
For example, we don’t always look at performers in the same way. The interesting part is how Kameda’s image of the story and my vision for the performances blend together. That’s where something unique happens.

✦ Kameda:
On the other hand, we completely agree when something isn’t working!

When it comes to what we find cool or entertaining, we’re definitely moving in the same direction. Working with Go-san always feels comfortable and rewarding because of that.

A Show That Changes and Grows

The production schedule had already been announced through July at the time of the interview, with performances expected to continue beyond that. Because of the unusually long run, both creators emphasized that audiences should return more than once.

✦ Kameda:
Whenever I watch one of Go’s productions, there are so many wonderful moments that it feels like you need more eyes just to take everything in. There’s no way to fully appreciate it all in a single viewing.

For your first visit, just enjoy the show. On subsequent visits, focus on your favorite characters, or pay attention to the incredible dancers who appear as the Valusia Code. The projections, lighting, and visual details are all crafted with extraordinary care. I hope people watch both teams multiple times and discover all of the tiny details Go has hidden throughout the production.

✦ Ueki:
Since rehearsals began, the cast members have grown tremendously. Technically speaking, they’re still developing—which is a good thing. Every one of them has enormous potential.

I genuinely believe they’ll continue becoming better and better at these songs and dances, perhaps becoming the very best in the world at performing them.

They’re all such unique and wonderful young women, and I hope audiences will support and cheer on their growth. After the show there are greeting events and photo opportunities, so I’d love for people to find a favorite performer.

Photography and video recording are allowed during the live performance section, so please take lots of pictures and videos and share them on social media.

Looking Ahead

The two concluded by sharing what they hope audiences will take away from the production.

✦ Ueki:
The greatest attraction is seeing these performances live. Before Sailor Moon, there weren’t many works that portrayed women as powerful heroes. Naoko Takeuchi was ahead of her time in creating strong female characters, and I feel like society has finally caught up with the vision she presented decades ago.

I think women will leave this show feeling empowered. At the same time, I think men will be inspired by the strength and determination they see on stage. I hope everyone feels energized by it. And if people who haven’t experienced Sailor Moon before are inspired to go back and read the original manga afterward, that would make me very happy.

✦ Kameda:
From a writing perspective, one of the major issues society is grappling with today is AI, and in this production the antagonist is, in a sense, AI itself. But the theme I wanted to explore wasn’t fear of technology. More than anything, I wanted to say, “Human beings are wonderful.”

If audiences can walk away feeling that, I’ll be delighted. And if, after seeing the show, they’re just a little kinder to their family, friends, or loved ones, then I’ll feel we’ve accomplished something meaningful.

✦ Interview and text: Hiroyuki Tomioka
✦ Photography: Masaaki Hiraga

Profiles:

✦ Go Ueki ✦

Born on December 15, 1975, from Fukuoka Prefecture. Singer, dancer, actor, director. The main vocalist of the vocal dance group “PaniCrew”. His main productions include “Hypnosis Mike – Division Rap Battle -“ Rule the Stage” series, “Attack on Titan” – the Musical –, and the “Cyborg 009” series.

✦ Shinjiro Kameda ✦

Born on March 30, 1980, from Saitama Prefecture. Screenwriter and director. His main productions include the “MANKAI STAGE “A3!” series, “Hypnosis Microphone -Division Rap Battle-“ Rule the Stage series, “MASHLE-” THE STAGE, etc.

Source: Confetti Magazine website