Okay, this is going to be a bit more of a wavy line between the live-filter
and the regular reviews, but I'm not filtering them, because I don't like to filter my reviews. (I'm tired, and suspect that makes no sense.) I'm going to do one of these for each performance, because I watched them very differently.
Warning: I arrived in the Mura around 9:45, after taking a particularly torturous night bus for 11 hours, so I wasn't entirely among the living for this performance.(Photo: Grand Theater tachimi view - i.e. standing-section, back of the first floor.)Elisabeth2009 Moon Troupe
June 7th 11AM performance
Leads: Sena Jun, Nagina Ruumi, Kiriya Hiromu
Switched roles: Ryouga Haruhi (Elmer), Aoki Izumi (Stefan), Asumi Rio (Rudolph)
] [ Daily Sports Online stage photos 1
Hah. If anyone really needs one, I'll direct your attention to the Takarazuka Wiki *points*. Really, there are no changes to scenes or dialogue, only a little blocking (possibly some of the Black Angel choreography?). I only have a dim recollection of the 2007 performance of Elisabeth
, but have the 2005 imprinted on my brain, so it may actually be unchanged from the 2007 blocking as well. So, despite the exciting rumors of new scenes.... nope. I'll go over the finale selections at the end.What I Thought:
I'm going to start like a broken record, and apologies to everyone who's heard this spiel several times already over the weekend. I'm going to translate the Kageki round-table conversation soon, because I think it gives some very interesting insight into things people have picked out about this version. Now, the fact that you have to read the round-table to pick them up perhaps shows that they didn't succeed in their goals very well? But, regardless, I thought it interesting. (And I'm paraphrasing the hell out of it, because I've only had time to skim the article.) Basically, Sena Jun's goal for the show was "simplicity". She wanted to take Death back to his roots; not drown the character in layers. The same for the show -- Koike (the adaptor/director) and Yoshida (music director) spend some time talking about how they want to focus on the music for this version.
Me. My head place was all on Ryuu Masaki, because I've been her fan for four years, and I'm so damn proud of her getting this part in a Grand Theater show as only a ken-9. So this Sunday review is in large part going to be the Masaki-version. In fact, I had my opera glasses on her and her alone every time she was on stage so that I wouldn't miss a single expression. So... I didn't see most of the other cast. But I definitely heard them. (And knowing the show by heart after helping to sub it, I can follow the action pretty easily by sound alone.) And, damn
, they sounded good
. So if sound was the goal for this production, I think they achieved it. Everyone sounded great, particularly as a whole. Maybe individually they weren't the best Takarazuka actresses who have ever played the parts, but I'm convinced now that Koike knew what he was doing and what he wanted when he cast the show.( First impressions: )
Overall I left with no surprise impressions (though I admit to having enjoyed Ruumi's voice more than I expected I would). I was ecstatic over Masaki, enjoyed hearing/seeing some actresses I love in some parts I liked, but felt kind of flat. I was tired, I'd missed most of the big scenes, and I hadn't even really looked at the other principles yet. The general "sick of this show" ennui hadn't really been lifted as I hoped it would.
More on the rest of the cast and the actual show
when I talk about Monday's performance.