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.

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: (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:

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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)
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*
ekusudei: (Default)

(Photo: Grand Theater balcony view.)

Note: This is the second half of a two-part review, so some things are going to build off of what I said about the Sunday performance.

Elisabeth
2009 Moon Troupe
June 8th 1 PM performance


Leads: Sena Jun, Nagina Ruumi, Kiriya Hiromu
Switched roles: Ryouga Haruhi (Rudolph), Aoki Izumi (Elmer), Asumi Rio (Stefan)

[ TakaWiki ] [ Daily Sports Online stage photos 1 & 2 ]

Summary:

As I mentioned before, if anyone really needs one, I'll direct your attention to the Takarazuka Wiki.

What I Thought:

Okay, this time I was awake. And this time I both put my opera glasses down most of the time to take in the full effect, and put them up to watch the solos and duets. (...With the occasional sneak at Masaki. I'm only human.) Conclusion -- there was still a spark of love for Elisabeth left that was waiting to be fanned back to life♥ I thoroughly enjoyed it, and I'm looking forward to seeing what they do and change for Tokyo.

Still not a proper review, though. I'll probably inflict one last "impressions" post on you all after the Tokyo run, when I've had time to internalize more.

Read more... )

So, final verdict from the weekend was one of excitement. I'm looking forward to Tokyo run a lot more now, and I'm definitely buying the DVD. (Yes, it was up in the air for a while. Like I said, I'm pretty burnt out on Elisabeth.) I think people are going to be pleasantly surprised by the results of the unusual casting♥
ekusudei: (NBN - Tomu & Gun-chan)
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.)

Elisabeth
2009 Moon Troupe
June 7th 11AM performance


Leads: Sena Jun, Nagina Ruumi, Kiriya Hiromu
Switched roles: Ryouga Haruhi (Elmer), Aoki Izumi (Stefan), Asumi Rio (Rudolph)

[ TakaWiki ] [ Daily Sports Online stage photos 1 & 2 ]

Summary:

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.
ekusudei: (Default)
Really rough. Slight spoilers for the show, also probably confusing as hell if you're not familiar with Genji. But also really, really interesting, I think. :)


Round-Table
The Tale of Genji Thousandth Anniversary Production -The Floating Bridge of Dreams-

Moon Troupe Grand Theater Performance: 11/17 - 12/11
from Kageki, November 2008


Members
Adaptor/Director: Oono Takuji
Interviewer: Kiba Takeshi
Senka: Ban Akira, Isono Chihiro, Rika Masumi
Moon Troupe: Sena Jun, Koshino Ryuu, Kiriya Hiromu, Hanase Mizuka, Ryouga Haruhi, Kiryuu Sonoka, Aoki Izumi, Shirosaki Ai, Hazakura Shizuku


Kiba: From November 7th to December 11th, Moon Troupe's Grand Theater performance is The Floating Bridge of Dreams, adapted and directed by Oono Takuji. Ono-Sensei directed Moon Troupe's The Glow of Sunset in Asuka in '04, but this is his first personal Grand Theater show. There is an account in the diary of Murasaki Shikibu (the author of The Tale of Genji) that The Tale of Genji was read in the imperial palace on November 1st, 1008. The Takarazuka Revue has done many kinds of stage adaptations of The Tale of Genji, but for this anniversary year they have taken up the ten Uji chapters about Hikaru Genji's descendents in the next generation. In '73, Sakai Sumio-Sensei created a ballet entitled Ukifune and Kaoru no Kimi, but the production this time is very typical of Oono-Sensei -- tailored into a bittersweet, beautiful piece. Ban Akira-san, Isono Chihiro-san, and Rika Masumi-san from Senka are making special appearances.

Oono: When I read The Tale of Genji this time, I felt that the interesting points--the points that would unfold into a stage adaption--were surprisingly abundant.... To be honest, I found The Tale of Genji's position as an irresistible, must-be-read work of literature disagreeable, and I really didn't care for it. But I suppose it really is true that people's viewpoints change as they age (laugh). The tradition of adapting The Tale of Genji for the stage stretches on endlessly, from Zeami all the way to Houjou Hideji. Although nothing can compare to the readings of those kinds of masters, the story is still one that is read differently from age to age.... I think if you see this performance you will see the interpretation that can be done in the present.

Read more... )
ekusudei: (Default)
The Floating Bridge of Dreams
Moon Troupe, 2008

Top Star: Sena Jun

[ TakaWiki ] [ Sanspo Stage Graph ]

Summary: )

What I Thought:

When Hankyu announced that there would be no new top musumeyaku for Moon Troupe for a while, they said that they were going to use the opportunity to showcase the talents of a variety of musumeyaku in the troupe. I think a lot of people were skeptical, but... this show convinced me they weren't entirely blowing hot air. I thought it was a very interesting (and wildly different) adaption of the Ukihashi Chapters of Genji, and I thought Ono-sensei did a marvelous job writing in a lot of largeish musumeyaku parts: Kosaishou no Kimi, Ukifune, Onna Ichi no Miya, Kobai no Naka no Kimi..... As a huge fan of Hanase Mizuka and Shirosaki Ai, I was really happy with it.♥

Okay, Jen, great, you say, but what about the show? We know you hate Takarazuka Genji adaptions, and you always fall asleep in the middle of Asaki Yume Mishi.

Read more... )

So, yes. I worried I wouldn't love it, and then I worried I'd only love it because of who was in it, but.... I don't think that's the case at all. I loved it as itself -- I really rather cool story that was staged beautifully with enough dancing in the aisles to keep you awake between all of the angst. Also, political plotting.♥ You win, Ono-sensei!

(The revue will have to wait a bit... this took me three hours. ^^;;)
ekusudei: (Default)
Me and My Girl
Moon, 2008 (Hakataza Theater)

[ TakaWiki ] [ Takarazuka Precious Opening Night Review w/Photos ]

Stars: Kiriya Hiromu & Hazakura Shizuru

So... I was pretty blah about the whole revising Me and My Girl. I continued to be blah, even after I heard Masaki was going to be playing Gerald and Jackie in the Hakataza version, except that I'd been dying to see how she handled a female role. Just, keep that in mind. I know it's colored my review.

What I Thought: )

So, a cute production of a cute show, but if you're going to get a Takarazuka version of Me and My Girl I still would rather recommend the 1995 production staring Amami Yuuki and Asano Kayo. This one was lacking a spark of... something. If you want to see Kiriyan blind you with her comic talent, get Ernest in Love.

A-"R"ex

Jun. 15th, 2008 09:24 am
ekusudei: (Yuuhi - The Last Party)
Long delayed, loooong delayed, A-"R"ex review.

A-"R"ex
Moon Troupe Drama City, 2007

Stars: Sena Jun & Ayano Kanami

[ TakaWiki ] [ Takarazuka Precious ]

I was really, really looking forward to this show from the moment that I first heard about it -- my bachelor's degree is in archaeology and things like this make me purr. Then I heard that it would be a really small cast, and I love shows with small casts. Then I heard that Masaki would be playing Hephaestion, and deafened you all with it. <3

... And then people actually started to go see it and it seemed that hardly anyone liked it.

But I perservered.

And, boy, am I glad that I did.

First of all, to explain the circumstances, it's a show by Ogita Koichi, who is rather famous for his rather trippy revue shows. He's done a few actual musicals, but of them, even Orpheus in Spiral was pretty trippy. He likes that kind of cryptic, dreamlike, sometimes downright confusing plot and dialogue that some people would call clever and some would call a sham. ...I suppose I fall into the first category, which is why I enjoyed A-"R"ex.

You'll notice I left out a summary. That's because it's rather hard to summarize. The "plot" consists of the life of Alexander the Great, from his father's death to his own, but most of it is told in voice-overs or narration from Aristotle. What we, the audience, see is a rather psychadelic set of dialogues between Alexander and the gods (and also his mother and a few other characters). Lest you miss the implications, most of the ensemble cast is dressed like hippies. Things discussed include predestination, what the favor of the gods means, what the gods are, etc. etc. A reluctant, taciturn Alexander is persuaded to go to war, and then to march further, and further, and further....

This wasn't really a musical. There was dialogue, but no action. It was an artsy play with some songs. It doesn't hurt that the singers were some of the best that Takarazuka has to offer, including Yashiro Kou, Izumo Aya, and Ayano Kanami.

I heard a lot from people about this being another of Asako's angst shows, but to be honest, I didn't see it. Her Alexander was taciturn and a little sour, but he didn't whine, and we were mercifully free from the fish-mouth, wide-eyed, wild looks of "suffering" that Takarazuka lead otokoyaku tend to sport. Even more refreshing, there wasn't a lot of shouting, to make SURE WE KNEW THEY WERE SUFFERING INTERNALLY. The only time Alexander broke down was for a few minutes in India, and considering the circumstances, I forgive him. Actually, I really liked the interpretation, though I found it hard to believe that someone whom Hephaestion is always assuring us "doesn't hate women; he hates people" could have the kind of charisma that Alexander was famous for.

Another interesting aspect was the breaking down of the fourth wall. Izumo Aya's character Athena would wander in from time to time and scold others, telling them to hurry up and change their costumes or get to their places. All in all, it was very Oggy-like.

Well, I'll stop there. Over all I enjoyed it, and it's something that I know I'll be watching again and again to catch bits that I missed, but I don't think it's the kind of show that will appeal to most Takarazuka fans.
ekusudei: (BAD has never been so GOOD)
Special Talk: Kiriya Hiromu x Yamato Yuuga
(from Yamato Yuuga Personal Book 2)


Impressions During Music School

Yamato: Kiriya-san was one year ahead of me, and during her time at Music School she was always a class representative.

Kiriya: I was a scary one, eh?

Yamato: Scary, well, I had the impression that you did everything very precisely.

Read more... )

---------------------------------------

Everyone, thank [livejournal.com profile] muffin_song very nicely. She's the one who paid me off to do this with Le Cinqs and GRAPHs, and then she said she'd share. ;)

I apologize for the "character" discussion in the Schumacher section. I ended up pretty confused by it, so I'm not quite sure what they were really going for there.

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