A wave of Japanese percussion is set to ripple through London as Drum TAO, the renowned taiko ensemble from Oita, Japan, prepares for its UK premiere of The Dream at the Peacock Theatre from March 11–15, 2025. Following a successful tour across Japan, Singapore, and Europe, this production combines traditional Wadaiko drumming with contemporary elements such as athletic choreography, vibrant costumes, and haunting melodies from Shinobue flutes, Koto harps, and Syamisen guitars. Having captivated over ten million people globally, this marks the long-awaited British debut of the group.
Principal drummer Taro Harasaki shared insights into the creation and execution of this high-energy spectacle. Founded in 1993, Drum TAO has earned a reputation for merging traditional music with bold innovation. Their viral YouTube videos, sold-out Off-Broadway performances, and appearances representing Japan worldwide emphasize their international reach. The Dream blends the booming sounds of taiko drums with theatrical artistry—a combination that has taken them from Tokyo to Broadway and even to the Edinburgh Fringe in 2004. After a decade of planning, London now joins the list of cities to experience their electrifying performance.
Harasaki highlighted the physical and artistic challenges involved in the production. “In The Dream, the physical endurance and athleticism required are certainly demanding,” he explained. “The performance needs high levels of stamina, intensity, and precision, especially night after night. It also requires a refined level of artistic expression and choreography. Combining precision, strength, and artistry demands immense focus, training, and dedication.”
The global tour has also involved adapting to different cultural preferences. “Things like the sense of humor, the timing of clapping, and cheering can vary dramatically from country to country,” said Harasaki. “We always have meetings to fine-tune our performance and make it accessible and enjoyable for each audience. As I play the role of the clown, the humor is especially challenging for me. Every time we perform overseas, I find myself so consumed with it that I lose sleep!”
Harasaki’s clown persona plays a key role in balancing the show’s emotional flow. “In any performance, the balance between tension and release is crucial, and I am responsible for the release,” he noted. “I aim to ease the audience’s tension through my performance, while my costume and makeup are inspired by Kabuki, a traditional Japanese art that fuses tradition with modern stage production.”
Taiko drumming, known for its intensity, is no easy feat. “Power, stamina, and physical condition are closely linked to diet,” Harasaki shared. “We take care to prepare our own Japanese meals, which helps maintain motivation. Many overseas hotels have well-equipped gyms, which we use for morning training. We also practice Uchikomi, where we play the drums continuously for about an hour without breaks. Local staff members often say, ‘That alone is entertaining enough to be a show!’”
For Harasaki and his fellow performers, playing in major cities like London, New York, and Tokyo is a key milestone. “Performing in London, New York’s Broadway, and Tokyo is of utmost importance for TAO,” he said. “To finally perform in London is the realization of a long-held dream. I’m excited to see how the people of London react to TAO for the first time.”
The journey to London has been years in the making. “Since our first performance at the Edinburgh Fringe in 2004, we’ve always planned to perform in London, but for various reasons, it never happened. Finally, we are here, and I’m most excited about seeing how Londoners experience our performance,” Harasaki reflected.
His years with TAO have shaped his unique role. “I take great pride in being the ‘drummer who makes the audience laugh’ as I play the clown,” he said. “That blend of rhythm and humor reaches its peak in The Dream’s standout moments, though I won’t give away any spoilers!”
Even the dazzling performance hides a flurry of backstage activity. “While the performance looks stunning on stage, behind the scenes it’s absolute chaos—like a battlefield—everyone rushing to prepare for the next act,” Harasaki described. “In theaters with narrow wings, things get so hectic that even the staff backstage often have to step aside to make room for us.”
For UK audiences unfamiliar with taiko, Harasaki hopes to inspire a new appreciation. “I visited London ahead of our performance, and I often heard people say, ‘Japan means anime!’ But I want people to understand that Japan has so much more to offer. There are other aspects of our culture that are just as amazing. Even Japanese audiences who are familiar with taiko often say, ‘I’ve never seen taiko music performed in such a cool and entertaining way!’ I hope people in the UK will come away with a strong impression of us and how we represent the diverse aspects of our culture.”
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