Ew(catcf_fan)

Archived versions of the Japanese production website

The official site for the Japanese production displayed the following structure.

First, a large promotional image appeared. Next, photos of cast members were displayed. These were publicity photos without costumes or stage makeup.

The order was:

Willy Wonka

Mrs. Bucket

Mrs. Gloop

Mr. Beauregarde

Mr. Salt

Mrs. Teavee

Grandpa Joe

After this section, the font size became slightly smaller, and the following characters were listed:

Charlie Bucket

Augustus Gloop

Veruca Salt

Violet Beauregarde

Mike Teavee

No photos of the child actors were displayed.

Below this, the font size became even smaller, and the ensemble performers were listed by name.

After that, the creative staff were listed in the following order and with the same font size:

Book: David Greig

Music: Marc Shaiman

Lyrics: Scott Wittman / Marc Shaiman

Original work: Roald Dahl

Songs from the motion picture: Leslie Bricusse / Anthony Newley

Finally, the ticket and schedule information appeared.

Ticket prices were listed as:

S Seat: 16,000 yen

Annotated S Seat: 16,000 yen

A Seat: 10,000 yen

These prices appeared unchanged from the initial run. There were no discounted family ticket options shown.

The descriptions above are based on archived versions of the website.

Initial announcement archive (March 2023):

At the time of the initial announcement, the site showed only a poster image of the Japanese Willy Wonka actor and listed only that actor’s name.

Later archived versions showed the expanded structure described above:

First run archive (2023):

Revival announcement archive (2025):

Comparison with another musical website by the same organizer

For comparison, it is helpful to look at another musical site organized by the same company.

On the website for the musical adaptation of JoJo’s Bizarre Adventure, the structure is different.

First, a key visual image appears.

Next is an Introduction section explaining what the musical is based on (JoJo’s Bizarre Adventure) and how the stage adaptation was developed.

After that is a Story section explaining the narrative of the original work.

Then the cast photos appear. These photos show the actors in costume and makeup.

The order begins with characters such as:

Jonathan Joestar

Dio Brando

Erina Pendleton

Next comes the Creative section.

In this section, the original author’s name appears first and in the largest font size, followed by other creative staff such as director/choreographer and composer.

After that comes the Ticket & Schedule section.

Ticket prices include several tiers:

Weekdays:

S Seat: 16,000 yen

A Seat: 10,000 yen

B Seat: 5,000 yen

Weekends and final performances:

S Seat: 17,000 yen

A Seat: 11,000 yen

B Seat: 6,000 yen

Differences in structure

One notable difference is that the Japanese Charlie and the Chocolate Factory site originally did not include an Introduction or Story section at either the initial run announcement or the revival announcement.

In contrast, the JoJo’s Bizarre Adventure musical site clearly explains both the source material and the story before presenting the cast.

Without those explanations, visitors unfamiliar with the story may not immediately understand what the production is about. From my perspective, this creates a different emphasis in how the production is presented.

Differences in cast presentation

The format used to introduce cast members also differs.

On the Charlie and the Chocolate Factory Japanese site:

Actor photo

Character name (e.g., Willy Wonka)

Actor name

The character name is displayed in slightly smaller font than the actor’s name.

On the JoJo’s Bizarre Adventure site:

Character name

Character description

Photo of the actor in costume

Actor name

Below this is a “COMMENT & PROFILE” button. Clicking it reveals the actor’s comment about the role and their profile. The information remains hidden unless the button is clicked.

Character listing order

Another point of comparison is the order in which characters are listed.

For example, in a Belgium production of Charlie and the Chocolate Factory:

The cast order appears as:

Willy Wonka

Charlie Bucket

Grandpa Joe

Mrs. Bucket

Mr. Beauregarde

Violet Beauregarde

Mrs. Teavee

Mike Teavee

Mr. Salt

Veruca Salt

Mrs. Gloop

Augustus Gloop

This order may feel natural to readers familiar with the original story.

In the Japanese production website, however, adult characters appear first and the child characters appear later in the list.

Because child actors change over time as they grow older, the production will naturally replace them with new performers in future runs.

One possible interpretation is that the website format makes it easier to update names without needing to replace photos. This is only my speculation based on how the site is structured.

Creative credits

Another difference can be seen in the creative credits.

On the JoJo’s Bizarre Adventure site, the original author is prominently placed first in the creative section.

On the Charlie and the Chocolate Factory Japanese site, the original author’s name appears after the book, music, and lyrics credits:

Book: David Greig Music: Marc Shaiman Lyrics: Scott Wittman / Marc Shaiman Original work: Roald Dahl

The font surrounding the original author’s name also appears visually smaller within the layout.

My interpretation

Because these two musicals are organized by the same company, the differences in website structure stand out.

To me, one presentation appears to place stronger emphasis on the actors, while the other emphasizes the source work and story.

This is, of course, my personal interpretation of how the information is presented.

Recent updates to the Japanese site

The Japanese production website now appears to have been updated.

An Introduction and Story section have now been added.

However, in my view, the broader issue I raised previously relates to the overall direction of the production and whether it is designed primarily as a family-oriented theatrical experience.

For a story like Charlie and the Chocolate Factory, which is fundamentally a children’s story, accessibility for families and a welcoming environment for younger audiences may be especially important.

Personal perspective

This musical has been performed by many actors around the world. No single performer permanently defines the role.

Just as actors playing Charlie eventually grow up and are replaced, Willy Wonka is a role that can be interpreted by many different performers.

For that reason, I personally prefer productions that focus primarily on the work itself and its literary origins, rather than centering the production around any single performer.

Final thoughts

Although the website has been partially updated, I feel that the underlying concerns I raised remain unresolved.

Background: the agency and public controversy

In 2023, extensive reporting and investigations brought long-standing allegations against the founder of a major Japanese idol agency into the open. Multiple survivors came forward with allegations of sexual abuse of minors. The agency acknowledged the abuse, issued public apologies, and established a compensation process. An independent review also documented systemic failures beyond a single individual.

As part of this process, the company later renamed itself SMILE-UP. This decision followed intense criticism at a press conference, where journalists questioned whether continuing to use the founder’s name showed a lack of consideration for victims. A separate victims’ relief company was created, and as of late 2025, the official relief committee reports that more than 1,000 compensation claims have been submitted.

These facts are not abstract background to me. They were widely reported, ongoing, and unresolved at the time the Japanese production opened in October 2023. I find it deeply troubling that a musical aimed at children and families became financially and publicly connected to a company in the midst of such a process.

Timing of the production and my concerns

The Japanese production premiered while daily news coverage and public debate about these abuses were still unfolding. Given that timing, I hoped for extreme care, restraint, and sensitivity in how the production was framed and received.

Instead, some fan reactions were alarming. Certain posts explicitly linked the musical to the late founder’s legacy, framing the production as a form of symbolic succession or homage. Seeing a children’s story used in that way, during such a period, was deeply upsetting.

Problematic fan behavior and harm toward a child performer

After the premiere, some fans publicly compared characters and themes in the musical to real individuals associated with the agency. Other posts used the performance dates and even the agency’s renaming as occasions for celebratory hashtags that, to many observers, appeared dismissive of survivors.

More seriously, a child actor who played Charlie later received harassment online after posting that he had attended a concert by the lead actor. Some fans speculated that he had received special treatment and directed hostile messages toward him. This incident was reported by the media, and the lead actor publicly condemned the harassment and defended the child.

The fact that a child performer became a target of adult fandom hostility is something I cannot overlook. For me, this demonstrated that parts of the surrounding fan culture treated the production as an extension of idol fandom, not as a family-oriented work meant to protect children.

Promotion, presentation, and ticketing choices

The production’s official promotion placed the lead performer overwhelmingly at the center. The original author’s name and the children’s roles were given reduced prominence in posters, websites, and promotional materials. Story explanations were minimal, and visual emphasis consistently favored the star rather than the ensemble or the child characters.

Ticketing practices reinforced this impression. Sales prioritized fan club presales, and ticket prices were set at high, fixed tiers with no lower-cost options typically aimed at families, children, or school groups. In effect, the structure favored adult fans with disposable income over families, the very audience this story was written for.

When compared with other productions, including family-oriented campaigns abroad and even other Japanese musicals that clearly foreground their source material and ensemble, this imbalance became even more apparent.

A special website for another musical production by the same company:

catcf jp musical website:

(Examples of family friendly campaigns from other productions were visible online.)

What this means for me

Because of the agency connection, the fan behaviors I witnessed, and the production and sales decisions that consistently deprioritized children and families, I cannot in good conscience promote this Japanese production to other fans of Charlie and the Chocolate Factory.

I would like to see this work staged in Japan by a different production team—one that genuinely understands the spirit of the original book, centers children and families, protects child performers, and presents the musical as what it is meant to be: a story for children, not a vehicle for adult idol fandom.

Sources and further reading Johnny Kitagawa: J-pop agency boss resigns over predator's abuse

Johnny Kitagawa's sexual abuse: Japan's worst kept secret

Johnny Kitagawa: Hundreds seek compensation over J-pop agency founder's abuse

GrandTheatre

2023年11月21日～2023年12月24日

Willy Wonka Actor：Mark Uhre

⋱⋰ ⋱⋰ ⋱⋰ ⋱⋰ ⋱⋰ ⋱⋰ ⋱⋰ ⋱⋰ ⋱⋰ ⋱⋰

Paramount Theatre Aurora

2023年11月08日～2024年01月14日

Willy Wonka Actor：Stephen Schellhardt

・Instagramリンク（タイアップクリスマスマーケット01）

・Instagramリンク（タイアップクリスマスマーケット02）

⋱⋰ ⋱⋰ ⋱⋰ ⋱⋰ ⋱⋰ ⋱⋰ ⋱⋰ ⋱⋰ ⋱⋰ ⋱⋰

Fulton Theatre

2024年06月14日～2024年07月21日

Willy Wonka Actor：Stephen Schellhardt

・Tuacahn Center for the ArtsとFulton Theatreでは、同じコスチュームデザイナーのRyan J Mollerが手掛けています。

🇨🇦カナダ公演（Canada）

2023年5月5日～2023年5月14日

Willy Wonka Actor：Dane Fader

Tuacahn Center for the Arts

2023年5月13日～2023年10月19日

Willy Wonka Actor：Jonathan Wagner

・素敵なデザインのWonka Barを塗ると、公演のチケットが抽選で当たるキャンペーンも開催されていました。

・Tuacahn Amphitheatre の公演では、「When Veruca Says」の一部がショート動画として投稿されていました。 その中で、もともとのブラックジョークだった「Veruca: Daddy! / Mr. Salt: Yes? / Veruca: Buy me North Korea!」のセリフが、 「Veruca: Daddy! / Mr. Salt: Yes? / Veruca: Buy me Warner Bros.（※“brothers”かもしれませんが、うまく聞き取れませんでした）」に変更されており、個人的にはこちらのほうが好みだったのが印象的でした。

・以下は、TikTokに投稿された実際の公演の一部を切り抜かれた公式ショート動画です。

・Tuacahn Center for the ArtsとFulton Theatreでは、同じコスチュームデザイナーのRyan J Mollerが手掛けています。

バレエ版チャーリーとチョコレート工場

2024年10月4日～13日

Willy Wonka Actor：Revil Yon, Ruan Galdino, Ivan Domiciano, Bruno Miranda

・告知

・プロモーション

1985～ tour

Willy Wonka Actor：Malcolm Ward

私がこのツアー公演の存在を初めて知ったのは、下記の投稿がきっかけでした。

それ以来ずっと探していたのですが、昨年ようやくその映像を見つけることができて、嬉しかったですね。 （贅沢を言えば、カラーで観てみたかったところですが…）