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Her most radical stage work came in 2023 with , a two-hander experimental play with no set design except a single light bulb. For 90 minutes, Matsuzaka and a veteran co-star improvised dialogue about generational trauma. She later admitted in a Bungeishunju essay that she nearly had a panic attack before every performance—proof of how deeply she immerses herself.
Her most radical stage work came in 2023 with , a two-hander experimental play with no set design except a single light bulb. For 90 minutes, Matsuzaka and a veteran co-star improvised dialogue about generational trauma. She later admitted in a Bungeishunju essay that she nearly had a panic attack before every performance—proof of how deeply she immerses herself.
