Written by: Ante Peričić Photos: Tomislav Marić
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TAKUYA SUMITOMO, the principal dancer of the Croatian National Theatre in Zagreb, is adored by both choreographers and audiences alike. The ballet productions of this theatre would be nearly unimaginable without his creative contribution.
Takuya Sumitomo danced his way from his native Tokushima to Osaka, where he graduated from ballet school, and on to the Royal Ballet School in Antwerp, performing all over Europe before becoming a principal dancer of the Croatian National Theatre in Zagreb.
His professional ballet career took off immediately after he completed his studies in 2008. He got a gig as a soloist of the Venemuine Theatre Ballet in Tartu, Estonia. Three years later, he was recruited as the first soloist for the Serbian National Theatre Ballet in Novi Sad. In 2015, he joined the Croatian National Theatre in Zagreb as a ballet soloist and, since then, he has been a pillar of the ballet repertoire of our largest theatre company. The ballet productions of this theatre would be nearly unimaginable without his creative contribution.
In Zagreb, he also met his compatriot Rieka Suzuki, a colleague principal dancer with the Croatian National Theatre, and they fell in love at first dance. On several occasions, he revealed that he is at his happiest when he shares the stage with her. During his eight years as a dancer in Zagreb, he has appeared on stage many times – most of these productions were choreographed and directed by the well-known Leo Mujić. Another stellar product(ion) of their collaboration is going to be the adaptation of William Shakespeare’s Hamlet, which will premiere in November, and we snatched him away from one of his rehearsals to talk about the play, Mujić, Japan and Croatia, the previous season, but also the current one.
Summer has come to an end and it’s time to switch off vacation mode. How do ballet dancers spend their free time?
It all depends on the dancer. In my case, every summer I go back to Japan and make guest appearances in ballet productions, so I wouldn’t exactly describe what I do as vacationing in the strictest sense of the word. However, this year I just went to see my family and hang out with them. Having time off is an extremely important to me.
The Zagreb Ballet is known for its diverse and innovative performances. Given your previous collaborations with choreographer and director Leo Mujić, we have every reason to believe that this production of Hamlet will not fall short in this regard.
We worked together for the first time on Anna Karenina. Without further ado – his artistic expression took my breath away then and there. I’d never seen anything like it…
How would you describe his artistic expression and creative process?
The way he puts everything together is nothing short of wonderful, and above all, inspiring. His ideas are brilliant – he comes up with a great new dance move every minute. What’s even more amazing is how perfectly everything blends with the music and the emotional backdrop of the story. I also started choreographing my own pieces inspired by Mujić. I take advantage of any opportunity to learn something new from him – he’s an outstanding choreographer and no one knows how to portray emotion through movement like he does.
The rehearsals for Hamlet are in full swing, and we’re getting ready for the premiere. It’s a big event for the Croatian National Theatre and I feel butterflies in my stomach whenever I think of November 17th, the day of the premiere of Hamlet. I am convinced that our chemistry will touch the hearts of everyone in the audience.
Could you please provide a brief commentary on the previous theatre season?
The previous season was incredibly successful. We have a new ballet director and there is some new wind blowing. The previous season brought about several changes within the ballet ensemble. To put on a great show, we all must come together; we really have to become one. That is precisely the reason why we have been working hard on building a new team spirit. In addition, I’m extremely happy that some new Japanese ballet artists have joined our ballet ensemble.
Now that you’ve mentioned the auditions and new, aspiring artists in the ballet ensemble, could you tell us more about group dynamics between the dancers?
New, young ballet artists bring new energy and a joy of sorts. They learn from us, and we learn from them, making it a perfect combination. With the emergence of new trends in the theatre, the Ballet of the Croatian National Theatre in Zagreb is striving for an even higher artistic level.
Where lies the difference between the ballet scene in Croatia and in Japan?
Japan nurtures a special approach to ballet culture, at least from my perspective. Compared to the European scene, contemporary ballet or modern dances are not that common.
As a ballet dancer at the Croatian National Theatre in Zagreb, you’ve portrayed many major roles precisely by playing in pieces inspired by classic dramas, such as the extremely popular Messrs. Glembay and Death in Venice. To what extent do such innovative takes on ballet differ from classical choreographies, or classical ballet expression?
Ballets, such as the ones you’ve mentioned, are also rooted in classical ballet movements. Respecting certain criteria is essential in the art of ballet. However, these dramatic ballet performances also include some positions that may not be traditionally considered beautiful or, so to speak, proper in classical ballet. However, it is precisely these unconventional positions that allow the dancer to leave a deeper impression when it comes to acting and transmitting emotion.
Do you have time to watch other plays and ballets in Zagreb? We know you love Zagreb; are there any places or events that have captured your heart and grown on you?
Unfortunately, my heavy workload at my company keeps me so busy that I don’t have much time to explore the rest of the cultural scene in Zagreb, as much as I’d like that. However, as a huge fan of burgers, I have to give the Zagreb Burger Festival a thumbs up!
Ballet is a demanding form of art, both physically and emotionally. How do you prepare for your roles and how do you keep in shape?
You’ve got that right – we have to remain physically stable, especially during emotional scenes. When the emotion becomes extremely intense and strong, that is, when it overwhelms you, it’s very easy to lose balance. That’s why we practise so hard and give it our all at each and every rehearsal.
You are the backbone of the ballet ensemble of the Croatian National Theatre in Zagreb. Which role changed your life, and where do you see yourself in the future? Do you have any specific goals you are trying to achieve?
I have played many roles since I joined the ballet ensemble of the Croatian National Theatre in Zagreb in 2015. My big break was performing the Prince in the Nutcracker, choreographed by Derek Deane. Then I starred in Leo Mujić’s productions and I just fell in love with his approach to art. I played Leon in Messrs. Glembay, which was also choreographed by Mujić, and that particular performance changed my perception of art and my own artistic sensibility. It was an unforgettable production, at least as far as my ballet career is concerned…
When it comes to my future, I can only say that I plan to become a contemporary dance choreographer and transfer my artistic sensibility to choreographing itself. But I have yet to see if this will happen in Europe or Japan.
Young people from Croatia who aspire to pursue a career in ballet are frequently discouraged due to business or financial constraints. What advice would you give them?
No matter what, it’s important to recognise your own unique talent, bring it to the surface, nurture it, and use it to your benefit.
And finally – do you have any professional ambitions?
It would be great if I could one day stage my own work in the Croatian National Theatre in Zagreb!
