My working visa is set to expire next August, and the question of whether to apply for a Global Talent Visa is looming large. But I can’t help wondering—will staying here, even as a struggling director, be worth the sacrifice?
I moved to the UK from Japan in September 2023, and when people ask, “What brings you to London?” my answer is simple: to explore and immerse myself in the British theatre scene. I began my acting career right after high school—attending drama school is a less common path for actors in Japan. Since then, I’ve had standout roles on stage and appeared as a main guest in a TV drama. In 2020, I started reflecting on my career and transitioning into directing -a long- held ambition.
While creating the musical ‘NOW LOADING‘, I realized I wanted to learn more even if I stopped building my career. I have learned a lot through reading, seeing theatres, taking the course in NEW EARTH and living in London. And I started thinking about staying here.
MONEY & VISA: To stay in the UK, I have two options: enrol in an MA program for a graduate visa (costing over £18k plus nearly £5k for the visa) or be recognized by Arts Council England (about £6k, but no guarantee of work), of course, while paying living expenses and tax. I can’t help but admire how clever this system is. Perhaps Japan should consider adopting a similar model. But here’s the problem: I don’t have that kind of money. Working 65 hours a week to afford it isn’t feasible either. I want to dedicate my time to research and, just as importantly, stay healthy.
CAREER: I’ve finally connected with a few organizations and performed my original musical in front of theatre producers, which I’m proud of. But I can’t ignore the significant gap between me and the British in the industry. I strongly believe that language plays a crucial role in the theatre industry—beyond just definitions in a dictionary. However, I only started using English last year, and I face the reality of how much I still struggle with it every day. I can communicate with friends, but it requires extra effort from them to understand me. But who will hire me for paid theatre work? And I also think that East Asians raised in the UK should be given more recognition than I am, as they face a great deal of underestimation and discrimination. I came here by choice – my responsibility.
I want to immerse myself in British theatre culture. It’s been inspiring, even though I’ve encountered more mediocrity than expected. I love the development process here. In Japan, there’s a preference for “finished works” even in the fringe scene. Long runs and reviews by critics are rare, and musicals there are created quickly and often only run once, like fast fashion. Well then, how can I satisfy the expectations of a British audience, especially when the industry is so steeped in its own national identity? I love Operation Mincemeat but also why does no one point out its nationalism? Is it because it’s a ‘British Musical’? I’m not claiming one system is better than the other—I only wish I could draw from both, depending on what I want to create. I know that’s a lot to expect.
Oh, London, what are you looking for? Are you only looking for an ASIAN-looking native speaker? Is there even a place where I can scrape a living in theatre? Why wasn’t I selected for the ensemble in My Neighbor Totoro? Why was the commercial in which I was in a lead role cancelled?
I also fear working in the theatre industry in Japan, where there is little openness to the queer perspectives. When I suggested a queer reading of The Happy Prince by Oscar Wilde, a younger person told me, “That’s not the general interpretation.” But I also recognize that the UK theatre industry has been shaped by the ongoing efforts of many people, so perhaps it would be better for me to find my own path and contribute to those efforts in Japan. Also simply, I’m frightened of earthquakes and abnormal weather too.