ekusudei: (Default)
Remember this post? They're airing it this December on Sky Stage! XD

-----

Kiriyan has announced her retirement, April 22nd at the end of "Edward VIII / Misty Station". To be honest, 2.5 years is pretty average, and considering how late she made top star, I think this was a good run for her! In her press conference today she talked about how time has really flown by since she made top star, with the string of main theater shows one right after another keeping her busy. She thinks that now that Moon Troupe is quite stable and everyone is doing well, now is a good time to retire.

I'm pretty curious how this will play out. Looks like the best candidates would be Sou, Masaki, Kaname, or Toyoko. I think Toyoko is the least likely to be transfered to another troupe to be a top star (I think she happier being in Hoshigumi). The way schedules are announced right now, I think none of them are disqualified yet, though, and Toyoko suddenly getting a Nippon Seinenkan show just before it is interesting.... For me, any of them would be fine, though I would hope it not be Kaname, because of how close in class-year she is to us (and yet, I think she's had the most time as nibante?).

Anyway, any opinions on how this might play out? I wonder if we're up for some major transfers next year among the wakate?
ekusudei: (Default)
Remember this post? They're airing it this December on Sky Stage! XD

-----

Kiriyan has announced her retirement, April 22nd at the end of "Edward VIII / Misty Station". To be honest, 2.5 years is pretty average, and considering how late she made top star, I think this was a good run for her! In her press conference today she talked about how time has really flown by since she made top star, with the string of main theater shows one right after another keeping her busy. She thinks that now that Moon Troupe is quite stable and everyone is doing well, now is a good time to retire.

I'm pretty curious how this will play out. Looks like the best candidates would be Sou, Masaki, Kaname, or Toyoko. I think Toyoko is the least likely to be transfered to another troupe to be a top star (I think she happier being in Hoshigumi). The way schedules are announced right now, I think none of them are disqualified yet, though, and Toyoko suddenly getting a Nippon Seinenkan show just before it is interesting.... For me, any of them would be fine, though I would hope it not be Kaname, because of how close in class-year she is to us (and yet, I think she's had the most time as nibante?).

Anyway, any opinions on how this might play out? I wonder if we're up for some major transfers next year among the wakate?
ekusudei: (Moon Troupe)
Prince of the Land of Roses / ONE

Leads: Kiriya Hiromu & Aono Yuki

[ TakaWiki ] [ Mainichi Photos ] [ Daily Sports Photos ]

Well.... I didn't instantly fall in love with this show. I'm rather 50/50 on it at the moment. There are things that I really enjoyed, and things that entirely failed to appeal to me, so that I have a hard time condemning it or praising it. To compare, though, it's my least favorite of Kiriyan's three Daigekijo shows so far.

I thought it was interesting that Kimura-sensei said that he chose the theme particularly because he wanted to make a show that would appeal to children, since it would fall during both spring break and Golden Week. Kusano-sensei was more focused on tailoring the revue to Kiriyan, whom he has liked since he worked with her as an underclassman in Hanagumi.

Prince of the Land of Roses:

It was nice to see a fairytale; at a time like this, a fairytale with a happy ending is sorely needed. And I've been hoping for another Takarazuka fairytale for a long time. The sets were lovely and very well done. The story, and the focus on Belle, was sweet. The choreography with the large ensemble was cleverly done and visually impressive.

For me, however, the music was lacking. Aside from one of Belle's solos, no tunes or lyrics that really stuck in my head, and nothing that brought tears to my eyes. Sad, considering most of the dialogue is in song as well. I kind of weighed it against Kimura's Gu Bijin and found it lacking, I guess, although the stories are so very different it's hard to compare them.

I was also really disappointed by the costumes. I understand why they did what they did, because going in and out of full-on make-up jobs/costumes would have been difficult, and too much color would have ruined the uniform nature of the costumes which made the big synchronized dances so cool. But, still... I was so looking forward to colorful animal costumes. On the other hand, the amount of thought that went into their individual character creation was pretty fun -- each person holds their free hand specifically to represent the hoof/claw/paw/wing, etc. of their animal.

Kiriyan's Beast was as sweet as you'd expect. Amusingly, the little children in my seating area were squealing in fear and fun over the Beast's costume. Marimo's Belle was fantabulous. Masaki's King was a deliberate diversion from the usual sexy villain, and, in fact, Kimura told her not to think of herself as a villain, but as a straightforward and rather blind character. To be baldly honest, not the most interesting of roles, though she did come out with some of the more elaborate costumes♥

Kumicho looked good in her goatee. Magee & Touka made amusing evil step-sisters. Morie was exactly what she tried for -- a fairytale nobleman with lovely hair. She said she brought a comic book to the wig maker to show exactly what kind of wig she wanted. Mirio was a cute white tiger.

I only saw the show once, so didn't really have a chance to find out many in the ensemble. Did finally memorize the eye-marks on Rizu's mask enough to be able to tell her apart from the other birds. The birds were all entirely adorable.

ONE:

I think maybe this revue will grow on me when/if I see it again in Tokyo. As it was, I'm afraid it just didn't really push many of my buttons.

Exception #1 is the Unicorn number, which just about everyone--fans and seito alike--seem to be listing as their favorite. It calls out to the 12-year-old girl in all of us, I think♥ Magee said it makes her cry. *grin* It's just pretty, and I LOVE the stars, and the flashlights and the choreography, and the music, and the story♥

I think I would have liked machine-gun Masaki a lot more if I weren't so overly-sensitive about swathes of bodies at the moment. On the other hand, hurrah for miraculously escaping the horrid "American" costumes.

Exception #2 is Masaki singing the nibante solo on the ginkyou.

Exception #3 is Masaki in real nibante feathers in the finale parade.

Other good things of note: Lots more lovely Kiriyan/Marimo pair dance loveliness, and a very nice otokoyaku in tuxedoes stairdance number. Also. Ken Ruisu getting her hands all over Marimo in the Heartjack scene♥ Yay for taidansha getting prominence!

I felt like there really wasn't enough Sonoka, but people tell me it's there.
ekusudei: (Moon Troupe)
Prince of the Land of Roses / ONE

Leads: Kiriya Hiromu & Aono Yuki

[ TakaWiki ] [ Mainichi Photos ] [ Daily Sports Photos ]

Well.... I didn't instantly fall in love with this show. I'm rather 50/50 on it at the moment. There are things that I really enjoyed, and things that entirely failed to appeal to me, so that I have a hard time condemning it or praising it. To compare, though, it's my least favorite of Kiriyan's three Daigekijo shows so far.

I thought it was interesting that Kimura-sensei said that he chose the theme particularly because he wanted to make a show that would appeal to children, since it would fall during both spring break and Golden Week. Kusano-sensei was more focused on tailoring the revue to Kiriyan, whom he has liked since he worked with her as an underclassman in Hanagumi.

Prince of the Land of Roses:

It was nice to see a fairytale; at a time like this, a fairytale with a happy ending is sorely needed. And I've been hoping for another Takarazuka fairytale for a long time. The sets were lovely and very well done. The story, and the focus on Belle, was sweet. The choreography with the large ensemble was cleverly done and visually impressive.

For me, however, the music was lacking. Aside from one of Belle's solos, no tunes or lyrics that really stuck in my head, and nothing that brought tears to my eyes. Sad, considering most of the dialogue is in song as well. I kind of weighed it against Kimura's Gu Bijin and found it lacking, I guess, although the stories are so very different it's hard to compare them.

I was also really disappointed by the costumes. I understand why they did what they did, because going in and out of full-on make-up jobs/costumes would have been difficult, and too much color would have ruined the uniform nature of the costumes which made the big synchronized dances so cool. But, still... I was so looking forward to colorful animal costumes. On the other hand, the amount of thought that went into their individual character creation was pretty fun -- each person holds their free hand specifically to represent the hoof/claw/paw/wing, etc. of their animal.

Kiriyan's Beast was as sweet as you'd expect. Amusingly, the little children in my seating area were squealing in fear and fun over the Beast's costume. Marimo's Belle was fantabulous. Masaki's King was a deliberate diversion from the usual sexy villain, and, in fact, Kimura told her not to think of herself as a villain, but as a straightforward and rather blind character. To be baldly honest, not the most interesting of roles, though she did come out with some of the more elaborate costumes♥

Kumicho looked good in her goatee. Magee & Touka made amusing evil step-sisters. Morie was exactly what she tried for -- a fairytale nobleman with lovely hair. She said she brought a comic book to the wig maker to show exactly what kind of wig she wanted. Mirio was a cute white tiger.

I only saw the show once, so didn't really have a chance to find out many in the ensemble. Did finally memorize the eye-marks on Rizu's mask enough to be able to tell her apart from the other birds. The birds were all entirely adorable.

ONE:

I think maybe this revue will grow on me when/if I see it again in Tokyo. As it was, I'm afraid it just didn't really push many of my buttons.

Exception #1 is the Unicorn number, which just about everyone--fans and seito alike--seem to be listing as their favorite. It calls out to the 12-year-old girl in all of us, I think♥ Magee said it makes her cry. *grin* It's just pretty, and I LOVE the stars, and the flashlights and the choreography, and the music, and the story♥

I think I would have liked machine-gun Masaki a lot more if I weren't so overly-sensitive about swathes of bodies at the moment. On the other hand, hurrah for miraculously escaping the horrid "American" costumes.

Exception #2 is Masaki singing the nibante solo on the ginkyou.

Exception #3 is Masaki in real nibante feathers in the finale parade.

Other good things of note: Lots more lovely Kiriyan/Marimo pair dance loveliness, and a very nice otokoyaku in tuxedoes stairdance number. Also. Ken Ruisu getting her hands all over Marimo in the Heartjack scene♥ Yay for taidansha getting prominence!

I felt like there really wasn't enough Sonoka, but people tell me it's there.

Studio 54

Jan. 24th, 2011 10:52 pm
ekusudei: (Moon Troupe)
Events in the sumary may be slightly out of order, but that doesn't affect the story itself, I think.

Studio 54
Moon Troupe, Nippon Seinenkan
Jan 16th performance


Stars: Kiriya Hiromu & Aono Yuki

[ TakaWiki ] [ Asahi Stage Gallery ]

I'm becoming hopelessly fond of the Nippon Seinenkan, despite always ending up in the balcony (monieeeeee~~~). This time I was up on the 2nd floor, off to house right. (Luckily, as it turned out for Rizu-viewing, not too far right.)

I was too slow on the grab to get one of the last of the free pamphlet "Hot Week"s that they had left over from Bow run -- From what I could see from reading over someone's shoulder, and from what other people told me, they were pretty hilarious. I'm kind of dying to know what the cast wrote, though, in their comments section. I want to know what Nozomu said. T_T


This show made me fall even more in love than I already was with Kiriyan and Marimo as a combi. (I know, I can see you rolling your eyes at me and saying it isn't possible for me to get any more mushy over these two, but they are so perfect together. Hankyu knows what they're about, as usual.)

Summary: )

What I Thought: )

Overall a really fun play. I left the theater grinning and with that Takarazuka buzz, wishing I could see it again. I think it'll be one of those smaller shows that Tsukigumi fans refer to for a long time to come. :)

From what I understand, there are two alternate finales, either Disco 54 or Showa 54. Even before the lights went up, the people around me started murmuring "Showa 54! Showa 54!" as the cast moved into place on the darkened stage. Then the lights went up and "Showa 54" flashed on the curtain. It was a fun medley of 70s disco numbers, the Japanese versions of English ones, and original Japanese ones.

Studio 54

Jan. 24th, 2011 10:52 pm
ekusudei: (Moon Troupe)
Events in the sumary may be slightly out of order, but that doesn't affect the story itself, I think.

Studio 54
Moon Troupe, Nippon Seinenkan
Jan 16th performance


Stars: Kiriya Hiromu & Aono Yuki

[ TakaWiki ] [ Asahi Stage Gallery ]

I'm becoming hopelessly fond of the Nippon Seinenkan, despite always ending up in the balcony (monieeeeee~~~). This time I was up on the 2nd floor, off to house right. (Luckily, as it turned out for Rizu-viewing, not too far right.)

I was too slow on the grab to get one of the last of the free pamphlet "Hot Week"s that they had left over from Bow run -- From what I could see from reading over someone's shoulder, and from what other people told me, they were pretty hilarious. I'm kind of dying to know what the cast wrote, though, in their comments section. I want to know what Nozomu said. T_T


This show made me fall even more in love than I already was with Kiriyan and Marimo as a combi. (I know, I can see you rolling your eyes at me and saying it isn't possible for me to get any more mushy over these two, but they are so perfect together. Hankyu knows what they're about, as usual.)

Summary: )

What I Thought: )

Overall a really fun play. I left the theater grinning and with that Takarazuka buzz, wishing I could see it again. I think it'll be one of those smaller shows that Tsukigumi fans refer to for a long time to come. :)

From what I understand, there are two alternate finales, either Disco 54 or Showa 54. Even before the lights went up, the people around me started murmuring "Showa 54! Showa 54!" as the cast moved into place on the darkened stage. Then the lights went up and "Showa 54" flashed on the curtain. It was a fun medley of 70s disco numbers, the Japanese versions of English ones, and original Japanese ones.
ekusudei: (Moon Troupe)
The Gypsy Baron / Rhapsodic Moon
Moon Troupe, 2010

Stars: Kiriya Hiromu & Aono Yuki

[ TakaWiki ] [ Asahi Photo Gallery ]

The Gypsy Baron

Gypsy is amazing in so many ways<3

I had been hearing a lot about the 6-minute pair dance in the beginning, set to the overture (I think?), and it really blew my mind. As usual, Marimo and Kiriyan move as if they are extensions of each other. They really are the perfect combi, and every time I see Kiriyan do a complicated lift I think of Mariko<3 I LOVE our top combi.

Many of the songs from Strauss's original score are only slightly arranged, I believe, and then some few songs were added. Much of it is in triple-time, which they mention in many interviews gave them some trouble singing and dancing at first, since it's a rhythm they rarely encounter. The chorus arrangements--all of the songs, really--also had that familiar operatic feel. I'll admit, I was quite stunned by the chorus vocals. They blend so well and sound AMAZING. The solos also sounded very good, and the duets were moving as well, although in one they have Marimo singing up at the edge of her range, which can get piercing. In general, though, they have her singing alto, and it's *beautiful*.

From the few photos I had seen, I wasn't sure how fond I'd be of the sets, but the pig house grew on me. It has a charming fairy-tale feel. And the ruins of Sterk's father's castle are just awesome! I love when they use the rotating stage during the play half♥

I adore the costumes, particularly Sterk's and the gypsies'. Lots of blacks and reds and fun designs. The exception being Tamakichi's - She has a long open vest/jacket that hangs straight with no patterns or lines to it at all, and so she looks like the villain in an Arabian tale. (^^; That, or a stork.

I also love Kiriyan and Marimo and Masaki's hair pieces, extensions, and wigs.<3 Kiriyan's in particular is this perfect wild mane that hangs halfway down her back and looks like something out of a medieval romance novel. You really want to be the maiden with that head in your lap. It fits her character perfectly.

Summary )

Actresses & Small Complaints )

Rhapsodic Moon

I just-I..... Yes. It's as loud as people had warned me. But I was expecting the loud colors (we always wear yellow and orange in the specials, after all), and the loud music wasn't as bad from my habitual balcony seat.

I fell in love with the opening with the orange neon outfits. Because it was so Tsukigumi, and because there was Masaki, in the nibante place. It was rather incredible; I don't think I can even explain it. I just sat there and thought about the past four years worth of revue shows, and opera-glassing Masaki back somewhere, moving slowly up. And now, here she was. Granted, sharing with Mirio, but still. There. Right there. It's an *amazing* feeling -- I'm sure I had a very stupid grin on my face the entire time.

Overall, though, I have to admit I'm not really a big fan of Nakamura Kazunori-sensei, or his revues. Still! I looked on the bright side; no chansons.

If you want more info on the various scenes, I've added it to the TakaWiki. But, in summary:

Prologue: LOVE
Castle Shining Under the Moon: Pretty Marimo dancing. Baaaaaad wig, Kiriyan. Mini-Death Mirio, who apparently sometimes turns into mini-Phantom. I have not seen this, but I'm told her face is too small to pull off a half-mask properly. (We all agreed that for the same reason, Masaki should not be allowed anywhere near a half-mask.)
Moon Dance: SUIT MASAKI♥ (Club ladies, you are crazy. She looks just fine in a suit.) Singing Masaki in a spotlight♥ Nibante Masaki♥
LUZ Moonlight: I was not fond of the chuzume, despite the Masaki nibante-ness. BUT. Marimo's scene? Where she sang a solo all by herself in front of the curtain because she is just. That. Awesome? *LOVE!*
CARAVAN & Desert Moon: Intellectually, I know I should love these scenes. I certainly adored the bit with the duet dance. I'll give it some time.
Finale: Giving Sonoka that vocal solo, instead of having her dance in CARAVAN & Desert Moon is a criminal act. Firstly, no Sonoka dancing!? Secondly, this song does not fit her vocals and, oh dear. :( Line dance was the usual. I spent much of it thinking Hanahi Mira was Mippou, which tells you how tired I was by that point. Black tailcoat otokoyaku dance was sexy, but also seemed to lack something. I suspect that was the exhaustion, though. Finale duet dance to "I Will Survive"? Too amazing. Doesn't hurt that Rizu-chan picks up the song with Kijou Mitsuru, after Kiriyan stops singing and starts dancing♥♥
Parade: NIBANTE. NIBANTE.

Altogether, an enjoyable revue, and one I won't mind watching multiple times. But not one that made my heart swell so much it felt like it might burst. At least, if it weren't for NIBANTE MASAKI. That alone will make this revue memorable for me. ;)
ekusudei: (Moon Troupe)
The Gypsy Baron / Rhapsodic Moon
Moon Troupe, 2010

Stars: Kiriya Hiromu & Aono Yuki

[ TakaWiki ] [ Asahi Photo Gallery ]

The Gypsy Baron

Gypsy is amazing in so many ways<3

I had been hearing a lot about the 6-minute pair dance in the beginning, set to the overture (I think?), and it really blew my mind. As usual, Marimo and Kiriyan move as if they are extensions of each other. They really are the perfect combi, and every time I see Kiriyan do a complicated lift I think of Mariko<3 I LOVE our top combi.

Many of the songs from Strauss's original score are only slightly arranged, I believe, and then some few songs were added. Much of it is in triple-time, which they mention in many interviews gave them some trouble singing and dancing at first, since it's a rhythm they rarely encounter. The chorus arrangements--all of the songs, really--also had that familiar operatic feel. I'll admit, I was quite stunned by the chorus vocals. They blend so well and sound AMAZING. The solos also sounded very good, and the duets were moving as well, although in one they have Marimo singing up at the edge of her range, which can get piercing. In general, though, they have her singing alto, and it's *beautiful*.

From the few photos I had seen, I wasn't sure how fond I'd be of the sets, but the pig house grew on me. It has a charming fairy-tale feel. And the ruins of Sterk's father's castle are just awesome! I love when they use the rotating stage during the play half♥

I adore the costumes, particularly Sterk's and the gypsies'. Lots of blacks and reds and fun designs. The exception being Tamakichi's - She has a long open vest/jacket that hangs straight with no patterns or lines to it at all, and so she looks like the villain in an Arabian tale. (^^; That, or a stork.

I also love Kiriyan and Marimo and Masaki's hair pieces, extensions, and wigs.<3 Kiriyan's in particular is this perfect wild mane that hangs halfway down her back and looks like something out of a medieval romance novel. You really want to be the maiden with that head in your lap. It fits her character perfectly.

Summary )

Actresses & Small Complaints )

Rhapsodic Moon

I just-I..... Yes. It's as loud as people had warned me. But I was expecting the loud colors (we always wear yellow and orange in the specials, after all), and the loud music wasn't as bad from my habitual balcony seat.

I fell in love with the opening with the orange neon outfits. Because it was so Tsukigumi, and because there was Masaki, in the nibante place. It was rather incredible; I don't think I can even explain it. I just sat there and thought about the past four years worth of revue shows, and opera-glassing Masaki back somewhere, moving slowly up. And now, here she was. Granted, sharing with Mirio, but still. There. Right there. It's an *amazing* feeling -- I'm sure I had a very stupid grin on my face the entire time.

Overall, though, I have to admit I'm not really a big fan of Nakamura Kazunori-sensei, or his revues. Still! I looked on the bright side; no chansons.

If you want more info on the various scenes, I've added it to the TakaWiki. But, in summary:

Prologue: LOVE
Castle Shining Under the Moon: Pretty Marimo dancing. Baaaaaad wig, Kiriyan. Mini-Death Mirio, who apparently sometimes turns into mini-Phantom. I have not seen this, but I'm told her face is too small to pull off a half-mask properly. (We all agreed that for the same reason, Masaki should not be allowed anywhere near a half-mask.)
Moon Dance: SUIT MASAKI♥ (Club ladies, you are crazy. She looks just fine in a suit.) Singing Masaki in a spotlight♥ Nibante Masaki♥
LUZ Moonlight: I was not fond of the chuzume, despite the Masaki nibante-ness. BUT. Marimo's scene? Where she sang a solo all by herself in front of the curtain because she is just. That. Awesome? *LOVE!*
CARAVAN & Desert Moon: Intellectually, I know I should love these scenes. I certainly adored the bit with the duet dance. I'll give it some time.
Finale: Giving Sonoka that vocal solo, instead of having her dance in CARAVAN & Desert Moon is a criminal act. Firstly, no Sonoka dancing!? Secondly, this song does not fit her vocals and, oh dear. :( Line dance was the usual. I spent much of it thinking Hanahi Mira was Mippou, which tells you how tired I was by that point. Black tailcoat otokoyaku dance was sexy, but also seemed to lack something. I suspect that was the exhaustion, though. Finale duet dance to "I Will Survive"? Too amazing. Doesn't hurt that Rizu-chan picks up the song with Kijou Mitsuru, after Kiriyan stops singing and starts dancing♥♥
Parade: NIBANTE. NIBANTE.

Altogether, an enjoyable revue, and one I won't mind watching multiple times. But not one that made my heart swell so much it felt like it might burst. At least, if it weren't for NIBANTE MASAKI. That alone will make this revue memorable for me. ;)
ekusudei: (Default)
Sorry, even more scrappy English than usual. I'd blame it on being sick, but the truth is I did most of this last week before the cold hit, so I guess being sick just means I feel even less inclined to re-write the bits that don't sound at all natural in English? ;)

Maybe I'm reading between the lines too much here, but I find the references to Moon Troupe seito needing to be "once more [...] taught stage manners and etiquette" to be interesting.

I like Tani-sensei's focus on breaking through Kiriyan's wall. I've definitely felt it a lot since she became nibante, so I hope the plan works. In the same way, if we can get some spontaneity out of Tani-sensei's direction, along with some stricter stage manners, that will be very nice for Tsuki too, I think. I feel like they've been going about things too much by rote, lately, and re-staging famous plays like Elisabeth and Pimpernel wasn't helping.

And I love, as always, reference to our otonappoi combi♥ I hope they will always continue to be used in this very promising way.


Round-Table
"Der Zigeunerbaron"
Moon Troupe Grand Theater Performance, Running until Oct. 4th


Members: (Director) Tani Masazumi, (Article) Okada Takayuki, (Senka) Natori Rei, (Moon) Koshino Ryū, Kiriya Hiromu, Hanase Mizuka, Kiryū Sonoka, Mihō Aya, Aoki Izumi, Seijō Kaito, Ryū Masaki, Asumi Rio, Aono Yuki, Ayahoshi Rion


Read more... )
ekusudei: (Default)
Sorry, even more scrappy English than usual. I'd blame it on being sick, but the truth is I did most of this last week before the cold hit, so I guess being sick just means I feel even less inclined to re-write the bits that don't sound at all natural in English? ;)

Maybe I'm reading between the lines too much here, but I find the references to Moon Troupe seito needing to be "once more [...] taught stage manners and etiquette" to be interesting.

I like Tani-sensei's focus on breaking through Kiriyan's wall. I've definitely felt it a lot since she became nibante, so I hope the plan works. In the same way, if we can get some spontaneity out of Tani-sensei's direction, along with some stricter stage manners, that will be very nice for Tsuki too, I think. I feel like they've been going about things too much by rote, lately, and re-staging famous plays like Elisabeth and Pimpernel wasn't helping.

And I love, as always, reference to our otonappoi combi♥ I hope they will always continue to be used in this very promising way.


Round-Table
"Der Zigeunerbaron"
Moon Troupe Grand Theater Performance, Running until Oct. 4th


Members: (Director) Tani Masazumi, (Article) Okada Takayuki, (Senka) Natori Rei, (Moon) Koshino Ryū, Kiriya Hiromu, Hanase Mizuka, Kiryū Sonoka, Mihō Aya, Aoki Izumi, Seijō Kaito, Ryū Masaki, Asumi Rio, Aono Yuki, Ayahoshi Rion


Read more... )
ekusudei: (Default)
Normally I would post this under filter, but as I honestly believe Masaki wants the word spread on this I'm going to leave it unlocked. I'm putting it at the top of my semi-review because it's integral to my reactions to things.

I haven't seen much posted about this in the English-speaking fandom, and I'm not sure if it's because people are filtering posts or simply not talking about it, but in any case it's been pretty rampant all over mixi and the Japanese-language boards and comms. Masaki has exhausted her voice. I think the 11 AM show on the 2nd was the worst, as I heard about it from English- and Japanese-speaking friends she actually wasn't able to sing entire portions of one song, which the chorus had to carry, and her eyes teared up as she was singing the "A Piece of Courage" reprise at the end and her voice died. I don't know the music well enough to tell, but people told me that they re-arranged the music for her during some of the songs so that she could sing low instead of high. I saw the 3 PM show on the 2nd, and her voice was a little better (she could carry the notes), but she couldn't project at all.

The 3rd was a two-show day and the ochakai, and we were all very worried, but were told her intention was NOT to communicate via writing (as she had done to preserve her voice during Hamlet). I saw the evening show on the 3rd and her singing voice was nearly back to normal (she was projecting again), but it still sounded extremely painful and her speaking voice was too low and husky. Still, she could talk with nearly her normal voice at the ochakai. It seemed she was continually improving; where we thought the week as Chauvelin would make things worse, she was instead getting better♥

At the ochakai she took a moment to address the subject, saying (paraphrased): I've gotten a lot of letters and words from many people over how worried they are. I want to apologize sincerely for causing you all to worry. I did too much over the last year, and my throat is sore. However, I'm being very careful, and I have consulted many doctors and teachers. There is no damage to my throat, no calluses; it's simply sore. So please don't worry any more. I'm taking care of myself and I'm going to continue to do my best to make this the best production possible.

And, indeed, against all logic, friends who saw the show on the 4th told me that her voice was returned to nearly full strength and they had stopped using the lowered score for her.

So there you have it, the worry and the resolution. Now, on to the show:

-----

The Scarlet Pimpernel
Grand Theater 2010

Leads: Kiriya Hiromu & Aono Yuki

[Taka Wiki ] [ Special Site ] [ Asahi Stage Gallery ]

I was pleasantly surprised when I saw the show for the first time. Hoshigumi's had impressed me, but that was mostly because Chie's performance blew me away. This show doesn't have the technically amazing singers, but it has an earnestness to it, a genuineness, that I love. The troupe is proud of their new top stars, and proud of what they can do. The particularly warm outpouring of love from the audience after every one of Kiriyan's solos at kumisouken made me so happy.

Read more... )

Overall I like it more than Hoshigumi's, which I'll admit I wasn't expecting. Whether it's troupe bias or whether other opinions will bear me out, I don't know. In any case, Tsukigumi holds their own, powerfully♥ There's a reason they're known as the Western Musical troupe. ;)

With the added problem of Masaki's voice, I'm even more curious now as to who they'll put on the DVD as Chauvelin....
ekusudei: (Default)
Normally I would post this under filter, but as I honestly believe Masaki wants the word spread on this I'm going to leave it unlocked. I'm putting it at the top of my semi-review because it's integral to my reactions to things.

I haven't seen much posted about this in the English-speaking fandom, and I'm not sure if it's because people are filtering posts or simply not talking about it, but in any case it's been pretty rampant all over mixi and the Japanese-language boards and comms. Masaki has exhausted her voice. I think the 11 AM show on the 2nd was the worst, as I heard about it from English- and Japanese-speaking friends she actually wasn't able to sing entire portions of one song, which the chorus had to carry, and her eyes teared up as she was singing the "A Piece of Courage" reprise at the end and her voice died. I don't know the music well enough to tell, but people told me that they re-arranged the music for her during some of the songs so that she could sing low instead of high. I saw the 3 PM show on the 2nd, and her voice was a little better (she could carry the notes), but she couldn't project at all.

The 3rd was a two-show day and the ochakai, and we were all very worried, but were told her intention was NOT to communicate via writing (as she had done to preserve her voice during Hamlet). I saw the evening show on the 3rd and her singing voice was nearly back to normal (she was projecting again), but it still sounded extremely painful and her speaking voice was too low and husky. Still, she could talk with nearly her normal voice at the ochakai. It seemed she was continually improving; where we thought the week as Chauvelin would make things worse, she was instead getting better♥

At the ochakai she took a moment to address the subject, saying (paraphrased): I've gotten a lot of letters and words from many people over how worried they are. I want to apologize sincerely for causing you all to worry. I did too much over the last year, and my throat is sore. However, I'm being very careful, and I have consulted many doctors and teachers. There is no damage to my throat, no calluses; it's simply sore. So please don't worry any more. I'm taking care of myself and I'm going to continue to do my best to make this the best production possible.

And, indeed, against all logic, friends who saw the show on the 4th told me that her voice was returned to nearly full strength and they had stopped using the lowered score for her.

So there you have it, the worry and the resolution. Now, on to the show:

-----

The Scarlet Pimpernel
Grand Theater 2010

Leads: Kiriya Hiromu & Aono Yuki

[Taka Wiki ] [ Special Site ] [ Asahi Stage Gallery ]

I was pleasantly surprised when I saw the show for the first time. Hoshigumi's had impressed me, but that was mostly because Chie's performance blew me away. This show doesn't have the technically amazing singers, but it has an earnestness to it, a genuineness, that I love. The troupe is proud of their new top stars, and proud of what they can do. The particularly warm outpouring of love from the audience after every one of Kiriyan's solos at kumisouken made me so happy.

Read more... )

Overall I like it more than Hoshigumi's, which I'll admit I wasn't expecting. Whether it's troupe bias or whether other opinions will bear me out, I don't know. In any case, Tsukigumi holds their own, powerfully♥ There's a reason they're known as the Western Musical troupe. ;)

With the added problem of Masaki's voice, I'm even more curious now as to who they'll put on the DVD as Chauvelin....
ekusudei: (Default)
The Last Play / Heat on Beat!
Moon Troupe 2009 Tokyo
Nov. 27th, 2009


Star: Sena Jun

[ TakaWiki ] [ Sanspo Sumire Style Stage Graph ]

Summary:

spoilers behind most of the cuts )

What I Thought:

Just want to get my first impressions down before I see it again, so this'll be quick.

This is Tsukigumi. The suit troupe. The gangster troupe. The western musical troupe. The troupe of ridiculously hot tangos. The troupe that I fell in love with. All of the things that I love about Daichi Mao's troupe, and Tsurugi Miyuki's troupe, and Amami Yuuki's troupe, and Kuze Seika's troupe, and Tsubasa Makoto's troupe, and Shibuki Jun's troupe, and Sena Jun's troupe. The people might be completely different, but something intrinsically Tsukigumi is always there. That's why--although of course I'm sad about the retirements!--I'm not devastated. It will still be Tsukigumi♥

Read more... )

On the Revue:

I've added in the little blurbs for all of the revue acts on the TakaWiki.

Read more... )
ekusudei: (Default)
The Last Play / Heat on Beat!
Moon Troupe 2009 Tokyo
Nov. 27th, 2009


Star: Sena Jun

[ TakaWiki ] [ Sanspo Sumire Style Stage Graph ]

Summary:

spoilers behind most of the cuts )

What I Thought:

Just want to get my first impressions down before I see it again, so this'll be quick.

This is Tsukigumi. The suit troupe. The gangster troupe. The western musical troupe. The troupe of ridiculously hot tangos. The troupe that I fell in love with. All of the things that I love about Daichi Mao's troupe, and Tsurugi Miyuki's troupe, and Amami Yuuki's troupe, and Kuze Seika's troupe, and Tsubasa Makoto's troupe, and Shibuki Jun's troupe, and Sena Jun's troupe. The people might be completely different, but something intrinsically Tsukigumi is always there. That's why--although of course I'm sad about the retirements!--I'm not devastated. It will still be Tsukigumi♥

Read more... )

On the Revue:

I've added in the little blurbs for all of the revue acts on the TakaWiki.

Read more... )
ekusudei: (Default)
Many thanks to [livejournal.com profile] lliri_blanc for checking it over for me. :)

Round-Table
Elisabeth -Rondo of Love and Death-

Moon Troupe Grand Theater Performance


Members: Koike Shuuichirou (Director/Script Adaption), Yoshida Youko (Music Director), Kiba Takeshi (Interviewer), Sena Jun, Koshino Ryuu, Kiriya Hiromu, Hanase Mizuka, Isshiki Ruka, Ryouga Haruhi, Ken Ruisu, Kiryuu Sonoka, Mihou Aya, Aoki Izumi, Shirosaki Ai, Ryuu Masaki, Asumi Rio, Hazakura Shizuku (Moon), Nagina Ruumi (Cosmos)

( pages 1 - 12 )
ekusudei: (Default)
Many thanks to [livejournal.com profile] lliri_blanc for checking it over for me. :)

Round-Table
Elisabeth -Rondo of Love and Death-

Moon Troupe Grand Theater Performance


Members: Koike Shuuichirou (Director/Script Adaption), Yoshida Youko (Music Director), Kiba Takeshi (Interviewer), Sena Jun, Koshino Ryuu, Kiriya Hiromu, Hanase Mizuka, Isshiki Ruka, Ryouga Haruhi, Ken Ruisu, Kiryuu Sonoka, Mihou Aya, Aoki Izumi, Shirosaki Ai, Ryuu Masaki, Asumi Rio, Hazakura Shizuku (Moon), Nagina Ruumi (Cosmos)

( pages 1 - 12 )
ekusudei: (Default)
Sorry, been gone out of internet range, though I'm back a day early. So much to post about!! Senshuuraku♥♥♥

BUT OH MY GOD, MOST IMPORTANTLY:

龍アングル !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

There are three entire scenes on the Elisabeth DVD with a Masaki angle!

Ryuu Masaki, you rock my world.

I think my heart is going to burst right out of my chest, I'm so proud of her♥ She nearly killed herself with this show; she totally deserves those angles. But I so wasn't expecting them!



Also, yes, Kiriyan! I'm so glad it's official. (And so glad it is going to be Tsukigumi in Chunichi, after all. I haven't been back to Nagoya since the summer I studied there, five years ago (oh my god, I'm getting so old). But, dude, what's with the musumeyaku hysteria? Touko and Asuka, Mizu and Tonami, Tani and Ume, they were all announced separately. I very, very much doubt they're going to start a new lead otokoyaku without a musumeyaku partner. Whether it's Ai-chan, or Shizuku, or Ranno Hana, or someone even more unexpected, I don't think it's time to panic quite yet, yeah? ;)


And I still can't quite believe that Mizu and Yuuhi are both lead otokoyaku now. *sigh*
ekusudei: (Default)
Sorry, been gone out of internet range, though I'm back a day early. So much to post about!! Senshuuraku♥♥♥

BUT OH MY GOD, MOST IMPORTANTLY:

龍アングル !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

There are three entire scenes on the Elisabeth DVD with a Masaki angle!

Ryuu Masaki, you rock my world.

I think my heart is going to burst right out of my chest, I'm so proud of her♥ She nearly killed herself with this show; she totally deserves those angles. But I so wasn't expecting them!



Also, yes, Kiriyan! I'm so glad it's official. (And so glad it is going to be Tsukigumi in Chunichi, after all. I haven't been back to Nagoya since the summer I studied there, five years ago (oh my god, I'm getting so old). But, dude, what's with the musumeyaku hysteria? Touko and Asuka, Mizu and Tonami, Tani and Ume, they were all announced separately. I very, very much doubt they're going to start a new lead otokoyaku without a musumeyaku partner. Whether it's Ai-chan, or Shizuku, or Ranno Hana, or someone even more unexpected, I don't think it's time to panic quite yet, yeah? ;)


And I still can't quite believe that Mizu and Yuuhi are both lead otokoyaku now. *sigh*

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