Patrick Oliver Jones:

Back in 02/2001, I left my job in Orlando to go to Japan and be a part of the opening cast of Tokyo DisneySea. I was instantly enamored with the people, the food, the culture. It it all just felt so vibrant and rich, like like really stepping into another world. Every little detail from the way people navigated crowded trains to the preparing of a simple bowl of ramen was so precise, so intentional. And in many ways, working there was just as meticulous. Performing in Japan wasn't quite like what I was used to. The structure, the hierarchy, the expectations, it was it was really just a different way of doing business. And while I loved my time there, adjusting to those differences wasn't always easy.

Patrick Oliver Jones:

I had to learn new ways of rehearsing, new approaches to performance, and a work ethic that sometimes felt relentless. Well, today's guest experienced that kind of cultural and artistic shock too, except in reverse. She left Japan behind to build a career in New York City, bringing her deep rooted traditions and training into a completely different creative landscape, and that transition wasn't always smooth.

Akiko Aizawa:

Hi. My name is Akiko Aizawa. I'm originally from Akita Prefecture in Japan, and I'm a theater animal.

Patrick Oliver Jones:

Akiko is now based in New York City and has spent years blending her eastern and western artistic influences. But her journey wasn't just about crossing an ocean. It was about reinventing herself, sometimes in ways she never even expected, like leaving behind a career in modern dance to start over as a theater actress, undergoing a dramatic personal transformation with a bold new hairstyle, and taking a leap of faith by leaving Japan's renowned Suzuki company for a fresh start in New York only to have her first production canceled before it even began. It's a story of reinvention, resilience, and finding a place in a world that often feels foreign. I'm Patrick Oliver Jones, and thank you for joining me on season nine of why I'll never make it, an award winning theater podcast where I talk with fellow creatives about three stories or moments of personal struggle and professional hardship. Subscribers will get additional audition stories as well as early Again, that's why I'llnevermakeit.com.

Patrick Oliver Jones:

Welcome, Akiko. It is an honor and a pleasure to have you. I'm so happy to have you on the podcast today.

Akiko Aizawa:

Thank you. Thank you for having me. I'm honored.

Patrick Oliver Jones:

Well well well, thank you. And and and what I love about your background, one of my favorite countries I've ever visited is Japan, and I get to to work in Tokyo and be there. And so what would you say is is the biggest difference between, you know, theater in Japan, that type of acting and performance, versus more Western American style acting?

Akiko Aizawa:

I don't know. I'm not good at the for generalize the theater because it depends on the director and then industry. You know? You cannot say the same line for the Broadway and small theater

Patrick Oliver Jones:

True.

Akiko Aizawa:

And then in Japan, it's the same thing. In the commercial theater and the, small theater movement or between, or if it's getting into the, government side, government budget, it's totally different animal as far as I know. I left Japan Twenty Six Years ago, so I cannot explain properly. But maybe, the, as an actor here when I came here in The United States, I'm, the equity member, Actors' Equity. And I was so surprised, you know, the what's the break for the ninety minutes? We should take 10 or, in the venue, Akiles cannot move the props or the set or whatever. It was the job description was really, really clear in The States. That was I was really, really impressed.

Akiko Aizawa:

And sometimes I missed in Japan Japanese way doing it. Everything is everybody is doing kinda melting and thinking about the whole flow.

Patrick Oliver Jones:

Mhmm.

Akiko Aizawa:

And then sometimes, I love the separation of the who is responsible of this. This is that. It's for me, so don't touch that. Something like that. I love both.

Patrick Oliver Jones:

Yeah. Yeah. I I will say that, working in, at Tokyo DisneySea that I certainly got to see firsthand, you know, differences in in kind of Western management style, you know, American US versus Japanese style. And and and it was interesting kind of putting the two together, and I and I saw ways that American management could certainly learn from from Japanese way and and the work ethic and then other ways that that Japan could probably learn from America. So it was it was interesting as far as Disney being there, learning to kinda put these two cultures together.

Akiko Aizawa:

Indeed. I'm big fan of Disney Land.

Patrick Oliver Jones:

Yes. Yes. Yes. Disney was was very popular when when we were there and and had had a lot of people, especially when DisneySea was opening up for the first time. A lot of people came through, and so it was, it was truly enjoyable being there. And for you, your your first exposure to theater actually came, about forty years ago when you saw the classic Greek play Trojan Women by Euripides. And it was produced by the Suzuki company of Toga, which is now, you know, kinda simply known as Scott. And and this was at the Toga International Theater Festival.

Patrick Oliver Jones:

Now now describe this festival, and what was it about this production that, that spoke to you so much?

Akiko Aizawa:

Yeah. It's the the production itself is the for the getting back to the animal energy into the performance body. Nowadays, in my opinion, a little bit because of the media, it's so progressed. TV or movie. I'm not saying it's bad or it's a totally different genre. You know? But, when I saw the Trojan Women, Scott Company's Trojan Women, it was the amphitheater, open air theater, and, 1,200 people there and without mic. Their voice and the body presence was amazing. And then, actually, my theater debut is the Trojan Women.

Akiko Aizawa:

I'm the fifth generation of the chorus. I learned the choreography, old old choreography, like kabuki way. And when, my muse, my act my muse for the actress is, her name is Kayoko Shiraishi, and she is still doing the theater and the TV and the movie. When I was on the stage and her monologue happened, And I was on the stage and sitting still, leaning 45 degree. And then when I heard her voice, my whole hair, body hair stood up, including my hair. That kind of energy, it was amazing. But in the audience seat, I could feel that too. And the, Tonga International Theater Festival is really special.

Akiko Aizawa:

It began 1982. Mhmm. Before that, they several, times did the, local not local, Japan Summer Theater Festival, but they expanded. Actually, Suzuki Company of Toga was, based in Tokyo. But, artistic director Tadashi Suzuki, mister Tadashi Suzuki decided to what's the possibility to do the theater, future and then they moved to the up, top of the mountain which is take long time from Tokyo, One Hour plane ride. And, from their local train, one, forty minutes, I think. I remember. I can be wrong.

Akiko Aizawa:

And then from their bus.

Patrick Oliver Jones:

So it takes a while to get there.

Akiko Aizawa:

Yes. And then surprise surprise. They are doing the fiftieth years anniversary this summer, coming summer, I think, everywhere from international audience. And then also the students, they want to learn method of actor training going there. It's kind of the mecca or sanctuary in Japan at the top of the mountain. It's beautiful.

Patrick Oliver Jones:

I bet. I bet. I I saw some pictures of it. It does look like a beautiful area. And within the Suzuki company, is it all Japanese actors, or is it also an international company itself?

Akiko Aizawa:

Oh, it can it's totally international. For example, the tale of the year, which premiered only, the only Japanese actors, only male company. Mhmm. Leon, Conaro, the Cordelia, all male. Mhmm. And it's getting into the, to bilingual production to with American actor.

Patrick Oliver Jones:

I see. Mhmm. Yeah. Yeah. Yeah. From from what I understand, and and correct me if I'm wrong, when we were performing at Tokyo DisneySea, we also did, we did all the songs in English because they were they were mostly Broadway songs or jazz standards, that type of thing. And and from what I understand, that that doing shows in both that have both Japanese and English is more of a sign of respect to the audience. It's like we we know that you can you can understand and and and accept both of these languages.

Patrick Oliver Jones:

Is that the basic, impetus behind that?

Akiko Aizawa:

That's correct. And, also, you know, international, exchange is difficult, not only in the theater, difficult, but, thus, we should try. It's, mister Suzuki's policy, and I think it's amazing. And, also so the I was the costumer, wardrobe person for the tale of Ria at that time when I was young, younger. And, actually, I went to see I I went to the Toga Festival two thousand nineteen, And the was there for, I don't remember, eight languages.

Patrick Oliver Jones:

Oh, wow.

Akiko Aizawa:

American, Korean, Chinese, German, Italian, of course, Japanese, and two more, I think.

Patrick Oliver Jones:

Wow. Wow. Wow. That's amazing.

Akiko Aizawa:

A really mixed culture, but the body language is there, and the other the communication through the body, whole body energy. There was a English subtitle, but still it I I I could enjoy without the subtitle.

Patrick Oliver Jones:

Right. Right. Just watching the the body's move, telling the story in that way.

Akiko Aizawa:

And then the voice power of voice and body.

Patrick Oliver Jones:

For story number one, we you actually wanted to talk about how you used your body because you were a modern dancer for eighteen years. That that was how how you began. But you eventually gave that up in order to shift and become a theater actress. What what led you to want to shift into acting more than dancing?

Akiko Aizawa:

It's interesting. It's, the gave giving up story or the failure story of mine. It's the I think I consider it as my first big failure. I began to dance my age five. And, in Akita Prefecture, I was okay, or they really praised me. In the twelve years, I was there in a really good feeling as a modern dancer. Of course, it's amateur. And then I came to Tokyo, and, I found, oh my, what the range of the level or talent there so I really struggled, but I thought, oh, I love to dance, but I'm not talented enough.

Akiko Aizawa:

So I quit.

Patrick Oliver Jones:

Now that must have been very hard for you to give up something that you obviously enjoy doing.

Akiko Aizawa:

Yeah. It it was hard. And then a little bit the time dipping, when I came to, New York City, I don't want to go to the dance studio because of a kind of the trauma. But, you know, the now I am giving me permission to be the I love to dance, and then, thus, I can go to the studio. So

Patrick Oliver Jones:

I'm curious from what what lessons did you you know, that you were taught as a dancer, what of those lessons have you been able to bring into your acting performance as well?

Akiko Aizawa:

Yeah. Thinking about the body is really interesting. As far as I know, all the my friend doesn't want to see the video themselves or herself or himself. But I'm coming from the dance world, and then I when I'm doing the, self practice, self rehearsing, mirror is my friend. So I'm doing the mirror. And then, the seeing my video after the performance is really, really critical for me that objectifies how I'm doing. Not only the body, but, you know, pronunciation, English, how did does it sound. It's always, always different what I'm thinking and then what the audience is witnessing.

Patrick Oliver Jones:

Yes. Yes. Very true. Yeah. Yeah. I mean, as as a singer myself, I know that that what I'm hearing just because it's it's so close to me and, you know, and and it's going through my head, not just in my ears, what I hear is different than what the audience is gonna hear whenever whenever I sing. And so listening to a recording of myself, it just sounds that much different to where I'm like, is that really what I sound like? So I'm sure watching your your body perform, you're seeing things that may feel different in the moment.

Akiko Aizawa:

Yeah. It's interesting. My reality as a performer and the the reality from the, point of view of the audience is, most of the time, it's different. When I feel successful Right. And, audience get, oh, what the indulge performance or something. And then when I feel like, oh, today's it's not good. And I ask my colleague, I'm so sorry. I messed up the scene.

Akiko Aizawa:

And they are like, oh, it was the best.

Patrick Oliver Jones:

Yeah. Yeah. Auditions are the same way. I come out of auditions on top of the moon, on top of the world, and I'm just like, oh, I did it. I did it. And and, you know, no callback, nothing. And then those where I'm like, that did not feel good at all. You get a callback.

Patrick Oliver Jones:

Sometimes you book the role. You you you just never know how how you come across sometimes.

Akiko Aizawa:

Yeah. I hear you. It's it's our situation.

Patrick Oliver Jones:

So as you transition from dancing world to acting world, in some ways, did it feel like you were starting over again, starting at square one?

Akiko Aizawa:

No. I don't think so. Because of the, my company I joined was the physical score based plus

Patrick Oliver Jones:

Okay.

Akiko Aizawa:

Voice. And, they're thinking about the voice and this body is not separated. You know, we have the six lemons, Arms, two arms, two legs, and the head and the tail. And then voice is the seventh limb. So I think about my voice as a seventh limb.

Patrick Oliver Jones:

Oh, that's such an interesting way to think about it. Yeah.

Akiko Aizawa:

Yeah. I borrowed this quote from my colleague, Ellen Doran.

Patrick Oliver Jones:

But there...

Akiko Aizawa:

I love that.

Patrick Oliver Jones:

Yeah! It's a fascinating way to I had never really thought about it. But, yes, the the voice is another extension, another limb, so to speak, of us. It's it's how people recognize that there's I mean, people tell me, you know, that they hear my voice and they automatically know it's me. It's it's a way for people to know us and recognize us.

Akiko Aizawa:

Mhmm. So I didn't think about it's the starting over, but it was, of course, you can guess challenging because I speak.

Patrick Oliver Jones:

I'm sure. And with your with your, being a part of you you did eventually become part of the Suzuki company. And as you say, it is it is more, it is very physical based. The the the city company is is the same way where where it's more incorporating the body through that. And I would say that of the acting teachers that I've had or or the methods that I've learned, the the Michael Chekhov, which which is much more physical as well. I'd I Yep. I tend to gravitate and understand that type of, physical movement and letting that seep in to the inward motivations and mo and emotions. Yes.

Patrick Oliver Jones:

Yeah. Yeah. Is, your using your body, I assume, then is is part of the acting. It's not just learning the lines. It's not just, you know, making sure you're in the right place at the right time. It's really utilizing the body to inhabit a character. Right?

Akiko Aizawa:

Yes. Indeed. And then even in Japanese even in Japanese, I'm slow with memorizing the line. And then when my physical score get into it and matching up to my psyche and the body and the text, the memorization is just getting bum. Only memorizing line, I I cannot do it. No. May maybe I'm I'm trying. I'm trying.

Patrick Oliver Jones:

No. No. No. It it can be very difficult to or at least for me, like, if a if a blocking note is changed, like, you know, I'm moving here. I'm doing this on a certain line. Great. If that moving or blocking changes, it's almost like the line changes, and I have to kind of reroute and relearn the line over again.

Akiko Aizawa:

Yes. Indeed.

Patrick Oliver Jones:

And so for you, there's not just learning the lines, but there's also the the the language barrier. English is a second language to you. How has that been, you know, going from, a Japanese based language and performance to now more, English based?

Akiko Aizawa:

Yeah. It's still struggle. I'm, doing the at least thirty minutes, the online application. And then doing it because of the sound of the I I I'm doing the, Japan not Japanese. Korean and Mandarin and Greek and Norwegian and one more Spanish with the online application. And the sounds using, I mean, consonants and vowels are totally different, each languages. And then for me, English is really confusing because of the spelling doesn't match most of the time to for the pronunciation, especially for the vowel. In Japanese, only five vowels, i-a-e-o-u.

Akiko Aizawa:

And

Patrick Oliver Jones:

Right. Which which which English has those five vowels, but then we change them up and

Akiko Aizawa:

and add to them. Right. And so, yeah, and then now I'm expanding these twenty six, seven years practicing.

Patrick Oliver Jones:

Yeah. Yeah. Yeah. Yeah. I mean, it's it's it it is one of those things that, as we were saying before we got started here, that whenever I was in in Tokyo Disney myself for for nine months, I learned basic phrases, but it was still very difficult for me to and and I I I learned, at least I was trying to learn katakana, which is more of the, I guess it's the for those of you who may not know, it's the the Japanese characters that are mostly used for Western words. Is that right? Katakana is mostly used? Yeah. Yeah. And hiragana is more used for Japanese words.

Patrick Oliver Jones:

But but I was at least trying to learn katakana because I would see that on signs everywhere. So I was trying to learn the different sounds, but it was a it it's it's a very different it is. It's a very difficult way to, to write. You know, obviously, I'm I'm used to writing the letters, but to see the characters, it's just a different way to communicate.

Akiko Aizawa:

Mhmm. And then, you know, for Japanese, English learner, there is a specific role or specific difficulty. It's called the katakana English. Mhmm. Katakana English. You know, the the for example and I got a first role in, United States. I should say commercial.

Patrick Oliver Jones:

Oh, okay.

Akiko Aizawa:

Mhmm. And then in my Japanese English, it's.

Patrick Oliver Jones:

Oh, okay.

Akiko Aizawa:

But I got so used to the katakana English, so there is still the, struggle.

Patrick Oliver Jones:

Yeah. Yeah. I bet. Yeah. Well, I applaud anyone who comes from another country and has to take on our language and culture all at the same time, and especially New York. New York has has its own way of speaking. That's for sure.

Akiko Aizawa:

Yes. Yes.

Patrick Oliver Jones:

Well, getting on to story number two, this is this is a very interesting one in the fact that you went through a hairstyle change. And so you used to have long black hair, which is very customary for, for Japanese women, but you now have this short white hair. What was what was the caused you to wanna change your hairstyle?

Akiko Aizawa:

Yes. The, a little bit lengthy story, but I began to dye my hair at my age 28 because of the my family gene. Everybody has the white hair when at the young age. And I kept dyeing for twenty eight years.

Patrick Oliver Jones:

Wow.

Akiko Aizawa:

When I moved to The States, my costume designer advised me, you have the really great long hair, straight, black, and then your agent, let's use it. And I used it, and then I loved it. And it you know, it's the when during the, between dyeing, I'm putting on the mascara for the white area. Mhmm. If, the protocol is happening, I should dye three days before, not day before.

Patrick Oliver Jones:

Right.

Akiko Aizawa:

If day day before, there is, some weird, trace will be on my face. So three days do and protocol and during the, performances, Sometimes only one day performance. Sometimes, long run. I should constantly dye my hair, and 28, constantly dye my hair. And I got really tired. And I asked at that time, it was four years ago. I I have the repertoire and makeup and the hair design, it depends on my hair, long straight black hair. So I asked the director and the costume designer, to 10 people.

Akiko Aizawa:

I'm I'm going to my natural hair. Is that alright? And everybody said, go ahead.

Patrick Oliver Jones:

You got permission to do it. Yes.

Akiko Aizawa:

Yeah. But because of the so much long time constant constantly dyeing my hair, so I didn't know how much gray I have. And that I shaved my hair, and it's sprouting sprouting out, and I found it's 100% white.

Patrick Oliver Jones:

Yes. Yes. As I look at you, it looks all white. Not there's no gray, no black in there. Yeah. Well, I mean, it definitely suits

Akiko Aizawa:

your face. I don't have the luckily, I don't have the transition time, David and the o.

Patrick Oliver Jones:

What was the reaction as people saw you go from long black hair to all of a sudden short white?

Akiko Aizawa:

People didn't real realize me.

Patrick Oliver Jones:

Oh, yeah. I'm sure you look completely different to them.

Akiko Aizawa:

Yeah. Completely different. It's kind of the, at that time, I felt like the losing my identity as a Asian woman. Something like that losing my identity of, what? Flame? Picture flame?

Patrick Oliver Jones:

Right.

Akiko Aizawa:

Yeah. But I think I made a right choice. So, now it's interesting. People don't remember when I have the long black hair.

Patrick Oliver Jones:

And how did it change the types of roles that you were cast in once you changed your hair?

Akiko Aizawa:

I prepared the, black what? The bob style hair, wig, and long black hair wig, and then I'm always carrying around to the repertoire, the performance is happening again record. And, we ended up not using the

Patrick Oliver Jones:

Right. Right. So so when is the last time that you performed with black

Akiko Aizawa:

hair? It was 02/2018, I think.

Patrick Oliver Jones:

So yeah. Yeah. So it's so it's Unova, and so now the white hair is all you. Yes.

Akiko Aizawa:

Oh, but sometimes I'm using the wigs for the, character purpose.

Patrick Oliver Jones:

Oh, gotcha. Yeah. And and I'm curious in changing that hair in you know, because you had to go through the process of, of dyeing it and and just the constant maintenance of it. Once you went to your your more natural hair color, did this hair change you as a person as well? Maybe it reflected something.

Akiko Aizawa:

Yeah. Definitely. You know, maybe you experienced it yourself, but the haircuts, the encourage you. Somehow, the energy flow will be different and feel better. That happened to me too. And then, also, the long hair is consuming the energy. I love long hair. I really liked it.

Akiko Aizawa:

And then short is good for me too. And the other for your question answering to your question, I got more perky, I think.

Patrick Oliver Jones:

Yeah. Just more more energy. You know you know, obviously, you're having to spend less time on your hair, so I'm sure that just that freed you up just by doing that.

Akiko Aizawa:

Mhmm. Yeah. And then when I'm, wearing the long hair, I don't go to the hair salon Mhmm. Because it's enough. Just that swimming, maybe once a year. And then now I'm going to the not hair salon. I'm going to the barber.

Patrick Oliver Jones:

Oh, right. Right. Right. Because it's a shorter seeing,

Akiko Aizawa:

weighing, bringing.

Patrick Oliver Jones:

Right. Much easier to do now for sure.

Akiko Aizawa:

And then it's the one once a month. Yeah. Yeah. It feels good too.

Patrick Oliver Jones:

I bet. I bet. Well, as we get on to story number three, you were part of a Japanese theater company, and and and that was the Suzuki company there in Japan. But you ended up quitting that, and there was about a four year gap where you weren't performing. What what was happening during this four years?

Akiko Aizawa:

Yeah. I got numb, and I'm just I I I don't know what to do, and I don't have the, way to how to get back into the dance world. So but I should survive. I should live through in Tokyo by myself. So I did a lot of working at the, temping job for the in the corporate office. And at night, the karaoke pub or some fancy club. I was the host hostess, and I found a new way to connect with the, theater world. I found the city company, Saratoga International Theater Institute, and I decided to I should go there for learn something.

Akiko Aizawa:

It was six viewpoints mainly for me, and I participated the their summer theater intensive intensive actor training four times.

Patrick Oliver Jones:

And, eventually, you were asked to become a member of the company. Correct?

Akiko Aizawa:

Yeah. It was surprised. At the end of the, fourth, summer theater intensive. Actually, I went to Saratoga Springs Three times. And the tail end, I went to the Atlanta, Emory University intensive. And on the last day, my artistic director told me, Akiko, are you interested in joining the company? And, I said, I I never expected it would happen. You know? They are my gods and the goddesses. I'm the really the I'm just follower of them, and I was just stunned.

Akiko Aizawa:

And I said, big eyes and big mouth and big volume. Yes.

Patrick Oliver Jones:

And so what was the process of you joining the company? Did did you I assume you moved to, to to where the comp because the company is based out of New York. Correct?

Akiko Aizawa:

Mhmm.

Patrick Oliver Jones:

Right.

Akiko Aizawa:

Yes. So, at that night, I I was dating with American boyfriend for ten years. And at that night, would you marry me? I need a green card. And, he said, okay. And we got married. Still, we got we are married.

Patrick Oliver Jones:

So it worked out. That's great.

Akiko Aizawa:

Life is crazy and interesting. I I never thought about getting married. I never thought about to go moving to the New York City. Never ever. But it happened, and I followed the tide.

Patrick Oliver Jones:

Yeah. Yeah. And for going from those intensives to now being a part of the company, what was the the the change like? Like, what did you do more of now that you were a part of the company?

Akiko Aizawa:

Yeah. It's I don't know. It's a old story. I moved here in April 1997 because it was the rehearsal was scheduled from May. So I moved here, and I'm ready to get into the rehearsal, but somehow that production itself was turned down. And suddenly, I was here alone, and my husband was in San Francisco teaching the workshop, acting training workshop, and I have no idea. And I I had no money. So I got in, I found a job at the Times Square, Japanese karaoke pub.

Akiko Aizawa:

And three no. Six weeks six weeks later, I was, manage assistant manager. And from, you know, seven to four AM

Patrick Oliver Jones:

Oh, right.

Akiko Aizawa:

Yeah. And, again, I was depressed. And, also, my language skill was really, really low. But somehow, I got the teaching job through the city company, and then I got casted eventually.

Patrick Oliver Jones:

And so that initial, show that you that that lost funding and and didn't happen, how long was it until you acted again where or that you were in a performance?

Akiko Aizawa:

My debut was the 9090 oh, I don't remember. Eight or '9. So at least two years. But I I I got a job teaching job.

Patrick Oliver Jones:

Right.

Akiko Aizawa:

And, also, the yeah. But the on and off, because it's not salary. It's depends on the sub, production. If you didn't get casted, you have no money. But city company is really, really taking care of me for the, teaching a job and, performing job balance. But still, I my skill set was not enough, And at least four years on and off, I was waiting the table at the Japanese restaurant.

Patrick Oliver Jones:

Interesting. Yeah. Yeah. We the survival job. That's why it's called a survival job. It just kinda keeps us going while we're trying to perform.

Akiko Aizawa:

Yeah. But but you know what? I love the waiting table job.

Patrick Oliver Jones:

And and and what is what is it about that you like? What what do you like about it so much?

Akiko Aizawa:

Yeah. It's about the meeting with the customer and the, you know, the looking around and then feel the space, and they it what is needed this table? What is needed that one? It's kind of the improvisation technique thing.

Patrick Oliver Jones:

Well, that that is true. That is one way to look at it. Yeah. It's it's like you're the you're the performer, and you have to go around to the different audience members and find out what they want. Yeah. Yes. Mhmm. Interesting.

Patrick Oliver Jones:

Yeah. Yeah. I guess I just want

Akiko Aizawa:

I liked it, but I'm not a good one.

Patrick Oliver Jones:

Yeah. I don't think I've never had to wait tables, thankfully, and I just don't think I would be a very good one. So it's, it's it's definitely a skill set of its own to keep all the keep all those customers straight in your head. That's for sure.

Akiko Aizawa:

Yeah.

Patrick Oliver Jones:

Oh my goodness. Now for you, you said that you were balancing both the the performing and the teaching. I had you had you taught before joining the Citi company? Had you had you been teaching? No. So so this this was new to you?

Akiko Aizawa:

It's totally new. And, I don't like it. No. I no. It's love and hate relationship, I think. I I I shouldn't say I shouldn't say I don't like it. I should say I have the hesitation to teach something because I don't know anything. And then I'm the learner.

Akiko Aizawa:

I'm the student always. Even if I'm in charge of some kind of classes, I'm learning from the Paris Bands. And I don't use the I'm I I, yeah, I use the teacher word in my bio, but in my daily life, I'm just saying it's the I am the sharer.

Patrick Oliver Jones:

Yeah. It's more of a collaboration.

Akiko Aizawa:

Share on the yeah. That's good word.

Patrick Oliver Jones:

Yeah. Yeah.

Akiko Aizawa:

Mhmm. And even if I have the hesitation to conduct the class, lead the class, but every single class after that, I learned something, and I fulfilled as an artist. So I maybe, I should say from the beginning, I love teaching.

Patrick Oliver Jones:

Certainly, the end result is what you enjoy for sure.

Akiko Aizawa:

Yep. Yeah.

Patrick Oliver Jones:

Yeah. Yeah. Yeah. I've I've taught a few classes here and there, and it can seem a bit overwhelming or or at least at least I I I feel like I, you know, I I'm not sure what I have to give to these students. You know? Certainly, I have my own doubts about myself. Were those the some some of the same feelings you had?

Akiko Aizawa:

Yes. Indeed. Yeah. Actually, today was the my first, semester teaching as an adjunct faculty at some university.

Patrick Oliver Jones:

And what are you teaching?

Akiko Aizawa:

I'm teaching the, Suzuki method of actor training.

Patrick Oliver Jones:

Okay.

Akiko Aizawa:

Mhmm. And then the the the facing to the freshman and the sophomore, I'm teaching two classes, 18 students each. Just that kind of the curiosity and energy or the fear, even the first class, and the confusion or excitement. It's everything is there, and I'm so got excited. I love them already. They are so good.

Patrick Oliver Jones:

And what would you say is the foundation or or the basic principle of Suzuki method of acting?

Akiko Aizawa:

Presence on the stage.

Patrick Oliver Jones:

Physical presence, vocal perform all of that?

Akiko Aizawa:

Yeah. All that, just standing still on the stage at the center. And, you know, it's not just the theater world, dance world too, or TED talk or something before he, she, they began just appear before doing, you know, complicated choreography or doing the long monologue. The theater in the theater, on the stage presence is the key, I think. And for me, the, subject training is really, practical and useful. Yeah. I I know some people don't like it, but at least for me, it's really helpful, and I wanna share my experience. Yeah.

Patrick Oliver Jones:

Well, it's it's the same kind of thing whenever I've taken improvisation classes. You know, it's it's based it's based on comedy. It's based on, you know, yes, and. It's based upon being, open to the moment. But I would take those classes, and sometimes there weren't actors in there. There were, you know, businessmen in there who who just wanted to be able to speak better. You know, that they have to give presentations or they're talking in front of a conference or something. Oh, wow.

Patrick Oliver Jones:

And they just wanna feel better about speaking. And so they would take improv classes to loosen them up so that they're a bit more freer as they talk in front of people. And so it sounds like it's the same sort of thing about it it before you act, before you have any character, there's you on a stage, and you have to have that that presence to just stand in that, which can be it can be very difficult to just stand and not It's exhausting

Akiko Aizawa:

on the stage is always, difficult, and we cannot underestimate.

Patrick Oliver Jones:

Yeah. Yeah. I I would agree. So many times I've taken audition classes, and my my teachers will say, just stand there or or or don't move so much, or you don't need to do all this with your hands or your legs or, you know, your body. You can just, like, live and sometimes the words are powerful enough. Sometimes just the way you stand, the way you hold yourself in that in the character can be enough, and you don't have to do all this movement.

Akiko Aizawa:

Right.

Patrick Oliver Jones:

Yeah. I assume that that is a difficult thing to teach young people sometimes.

Akiko Aizawa:

Yes. And then no. It depends on the chemistry between people. It's not about the age.

Patrick Oliver Jones:

Well, that that well, that's true. Yeah. It doesn't matter if you're young or old.

Akiko Aizawa:

It could be But one one thing for sure is that because most of them, got through bravely got through the pandemic. So I so I I'm sometimes worried about I don't understand the how to do the their thought path. And then, also, I'm the foreigner. So yeah. But enjoying difference is the key for the life, I think. If everybody understand everybody, it won't go well.

Patrick Oliver Jones:

Yeah. Very true.

Patrick Oliver Jones:

Well, thank you so much for joining us today, and remember you can get early access to our full conversation by going to whyI'llnevermakeit.com and click subscribe. Well, that about does it for this episode. I'm your host Patrick Oliver Jones in charge of writing, editing, and producing this podcast. Background music is from John Bartman and the theme song

Patrick Oliver Jones:

that was created by me.

Patrick Oliver Jones:

Stay tuned for the next episode when I ask the final five questions, and we talk more about why I'll never make it.