Stage
| Title | Playwright/Director | Date | Theater | Notes |
|---|---|---|---|---|
| Checkmate | Masuo Hasumi | April to May 31, 2005 | Umeda Kagetsu (Osaka) | |
| Shimurakon | Ken Shimura/La Salle Ishii | April 6 to 30, 2006 | Tokyo Metropolitan Art Space Cyunichi Theater (Nagoya) |
|
| Night Mess | Yuji Kobayashi/Kengo Kaji | November 21 to December 23, 2007 | 14 Livehouses in Niigata, Kōriyama, Ishinomaki, Sendai, Nagano, Nagoya, Kobe, Tokyo, Hamamatsu, Okayama, Osaka, Kumamoto, Fukuoka, Hiroshima | Role: Saki (leading role) |
| Blood Prisoner | Kengo Kaji | August 31 to September 5, 2010 | Ebisu Echo Theater (Tokyo) | Role: Miyabi Jinguji |
| Angel Heart | Tsukasa Hojo/Seiki Watanabe | Octorber 2, 2010 | Kichijōji Theatre (Tokyo) | With Yumi Sugimoto Role: Saeko Nogami |
| 15-0 Fifteen Love | Tetsuhiro Ikeda | June 1 to 19, 2011 | Ekimae Theater (Shimokitazawa, Tokyo) HEP HALL (Umeda, Osaka) |
With comedy conte unit "Hyogen Sawayaka" |
| Women's feeling | Tomoki Kanazawa/Nao Oikawa/Megumi Kuge | September 15 to 18, 2011 | Theater HOPE (Nakano, Tokyo) | Two Person Show with Megmi Kuge |
| HOLSTEIN KILLER NEVER DIE!! | Ken Arima | February 15 to 19, 2012 | The Pocket (Nakano, Tokyo) | With "Kaiketsu Pandars" Role: Ai Sasayaka |
| AI-NIKU | Scenario writers group "Dra-Kichi" | March 8 to 11, 2012 | SAMSA ASAGAYA (Tokyo) | Role: Fortune-teller Mitsumi |
| Royal Straight Flush | Tetsuhiro Ikeda | June 24 to July 8, 2012 | Honda Theater (Shimokitazawa, Tokyo) ABC HALL (Fukushima-ku, Osaka) |
With comedy conte unit "Hyogen Sawayaka" |
| Evil Women | Ayako Kitagawa, Makoto Ozeki | September 20 to 23, 2012 | RABINEST (Takadanobaba, Tokyo) | Two Person Show with Megmi Kuge |
| Tokyo Eccentric Explosion | Miyuki Torii, Hirohide Sumida | April 17 to 21, 2013 | Space Zero(Yoyogi, Tokyo) | LIBERUS Produce, Tokyo Guillotine Club |
Read more about this topic: Nao Oikawa
Famous quotes containing the word stage:
“A method of child-rearing is not—or should not be—a whim, a fashion or a shibboleth. It should derive from an understanding of the developing child, of his physical and mental equipment at any given stage, and, therefore, his readiness at any given stage to adapt, to learn, to regulate his behavior according to parental expectations.”
—Selma H. Fraiberg (20th century)
“I must ... warn my readers that my attacks are directed against themselves, not against my stage figures.”
—George Bernard Shaw (1856–1950)
“Each action of the actor on the stage should be the visible concomitant of his thoughts.”
—Sarah Bernhardt (1845–1923)