The Miracles of the Namiya General Store

Supersky Troupe

6, 7/5 │ Saturday, Sunday │ 20:00
Grand Auditorium, Macao Cultural Centre
Tickets: MOP 300, 220, 120

A fantastical and healing adaptation of the eponymous novel by Keigo Higashino

Three thieves hide in a deserted general store in a remote town. At midnight, an envelope is dropped into the store through the box in the roller shutter door – it is a letter from 30 years ago. The thieves learn from an old magazine in the store that this shop was once famous for helping people in need. Years ago, people who dropped letters into the store confiding their worries and perplexities would find a reply in the store’s milk crate the following day, and that was how the previous shopkeeper, Grandpa Namiya, had helped many young people who were struggling in the face of hardship.

The previous letters asking for help now begin to appear one after another, and the three thieves, out of goodwill, start to reply to these letters. How will the story unravel? How will the lives of the three thieves and the people seeking help change?

Adapted from the eponymous novel by Keigo Higashino, this play has been touring different places over recent years, was met with wide acclaim, and it will continue to convey the power of tenderness on the stage of the Macao Arts Festival this year.

Presented and Directed by: Liu Fangqi
Executive Producers: Wang Yu Nan and Zou Jianwen
Original Author: Keigo Higashino
Produced by: Supersky Troupe
Planner: Shanghai MM Cultural

Duration: Approximately 2 hours and 15 minutes, no interval
Performed in Mandarin, with surtitles in Chinese and English

Introductory Text

Against the background of social development in Japan, The Miracles of the Namiya General Store depicts the genuine care and encouragement that continue between people despite changes in time and space. The story starts with three young idle thieves who accidentally enter the deserted Namiya General Store and find their time and space overlap with that of a number of letters. The theatre version adopts a different strategy of artistic expression from that of the novel featuring a constant attempt to make the words in these letters “three-dimensional” through the visualisation of many of the situations mentioned in the letters, showcasing them to the audience through theatre language, including shadow plays and integrating elements of puppetry, accompanying each transition with music. The letter writer and the recipient are sometimes separated on the left and right sides of the stage, and sometimes on the upper and lower parts of the space, to intentionally create a dramatic conflict between letter writing and reply, conveyed by the altering of the colours and intensity of lighting. This unique performing approach not only reproduces tenderness beyond time and space as revealed in the original work, but it also conveys humanity in a more direct manner.


By Frankie Wong
A theatre aficionado and writing enthusiast.


This article is excerpted and translated from Chinese





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