Takarazuka Journal

So why, exactly, do I love this show so much? I've been re-watching it lately while doing the timing for the subtitles, and I've been puzzling over this.

It's one of the first few Takarazuka shows I bought, which might have something to do with it, but I bought Michelangelo at the same time, and I had a virulent reaction to that one. So I don't think it has to do with the timing. I think it just happens to be one of those magical coincidences where the story and the entire cast just fit together perfectly. Yukigumi's '99 Nova Bossa Nova, Ernest in Love, Guys and Dolls, and The Black Lizard are the other four shows that gave me this same visceral recognition of: YES.

It's also quirky and different, which appeals to me more now, now that I've seen so many mass-produced Daigekijou shows. It opens with three young otokoyaku entertaining the entering audience by "playing" the mandolins off to the side of the stage, then it goes into one of the prettiest modern dance pieces I've ever seen, courtesy of Sha-sensei. Her touch is so very apparent throughout the larger dance numbers in the show <3. And only then do we segue into the awesomeness which is a 1960s "English country house"-esque murder mystery.

I also love the uniqueness of Kouju and Nagisa's top combi. They always had a more adult, down-to-earth feel to them that appealed to me. Here it's played out in full, with a Silver Screen Age feel to Kouju's Joey that reminded me instantly of cynical romanticists played by Cary Grant and Humphrey Bogart. For once, the top otokoyaku's character is ambivalent. Is he the villain of this piece? Or the hero? And for once, the top musumeyaku is neither innocent teenager nor seductress. She's a married woman who has made certain decisions in her life that she now regrets.

Add in an amazing ensemble cast, utilized in full, and you have something magical. Every time I re-watch this show I'm so pleased again and again that they managed to somehow find a way to incorporate the rather large number of retiring "young stars", as well as the senka members. Gaichi as the jealous husband, Sono-chan (Akisono Mio) as his flirtatious wife, Nettan (Yumeki Noa) as the ever-energetic chief manager of the resort, Asazumi Kei as one of the chief suspects and the sweetest young man in love you ever did meet, Narumi Jun as the ever-eager side-kick investigator. And Misa Noeru and Suzuka Teru as the pair of gossiping old maids who keep the rumors flowing.

Not to mention, of course, the cast that wasn't retiring: Touko in my absolute favorite of her roles, now-and-forever, that of the seemingly-cynical (but actually a romantic), all-business, intimidating police detective Mira, Un-chan as the spoiled young son of a politician with his sullen, teenage eye on other people's wives, Ume-chan as his sister, Kanou Chika, Yuuho Satoru, and Chie as over-exuberant managerial staff, Sendo Kaho as the most implicated yet most unlikely of suspects, Chigu (Miki Chigusa) and Asamine Hikari as a most unlikely (and most hilarious) couple.... And the list goes on.

It doesn't hurt that I really enjoy the tone of the music for this musical as well... in general very soft songs, but not all. A good showcase for some very powerful singers that Hoshigumi used to have.

A good mix of suspense and sorrow and comedy, that touches on some darker things like contemplating suicide without (I think), over-dwelling or over-dramaticizing them. And an ending that I absolutely adore, but won't give away because you really should watch it through at least once without knowing whodunnit.


...And it doesn't hurt that Babylon remains one of my all-time favorite revues, either.


PS - All right, I give you that it does have one major weakness, i.e. - the boat scene. However, I always seem to be at odds with people over things like the Berubara pegasus, so I'm sure there's someone out there who found this to be the greatest part of the show. ^^;

RIKA
Shibuki Jun Dinner Show, 2003

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Cast: Shibuki Jun, Hokushou Kairi, Shiina Aoi, Emi Kurara, Mano Sugata

Summary: See the TakaWiki.

What I Thought:

Oh dear. I think this is my least-favorite of my Rika shows. The songs chosen just weren't right for her voice, or the voices of her chorus *winces*. I love Emi-chan, but singing has never been her strong point. If only they had let Shiina Aoi sing more....

On the other hand, some of my favorite Rika songs showed up in the Takarazuka section, namely "Blown By the Wind" and "Nicholai and Pugatchov". I had to squee to see Mano Sugata appear to sing Mami's part opposite Rika for the later.

Rika wandering through the audience borrowing, using, and returning handkerchiefs damp with sweat to fainting fangirls has to have been the highlight. Rock Star Rika!

Altogether, an all-right show. Nothing spectacular, alas. But it's Rika!

(Another video still half-off until the end of the month.)

Watch Yuuhi, watch Mizu. Can't say I'm unfair with my favs.

Satomi Hakkenden
Cosmos Bow Hall, 2003

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( Cast: )

( Summary: )

( What I Thought: )

Why I love my Tsukigumi #435934789347804958903485....

Seal of Roses Shinjinkoen

Quite the cast for this shinjinkoen performance. I've added the names to the TakaWiki entry.

The scenes cut from this performance, in comparison to the regular show, included the section of the prologue prior to "Vampire Requiem", the first act, several of the dance entries from the second act, and Francis rescuing Hans from the beginning of the third act.

( Review )

Meh, getting work done is over-rated.

Singin' in the Rain (Nissei Theater)

Sumire Style Stage Graph

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Don Lockwood: Aran Kei
Cosmo Brown: Yamato Yuuga
Kathy Selden: Hizuki Hana
Lina Lamont: Matobu Sei
R.F. Simpson: Hoshihara Misao
Roscoe Dexter: Ban Akira
Dora Bailey: Fuji Kyoko
Zelda Zanders: Itsumine Aki

Interesting. I wrote this review out and then went back and checked everyone else's opinions on it, and I seem to be way off in left field. I blame my weird taste.

First off, in warning, I've been an enormous fan of the 1952 movie version since I was a teeny-tiny bratling. So while on the one hand I was grinning from ear to ear while watching Takarazuka's version, there was always this little voice running through my head the whole time. And, let's face it, it's rather hard to be compared to Gene Kelly and Donald O'Connor. So, I enjoyed it, yes. But it's not my favorite Zuka Broadway adaption.

Actually, I think Hizuki Hana (Kathy) was the closest in some ways to my mental image of the characters. Her musumeyaku voice is definitely a little grating, but over all I enjoyed her acting, and she has a nice enough singing voice. I loved Aran Kei's Don! She had nice chemistry with Hizuki, and she definitely put everything she had into the part, making it really enjoyable. The "Singin' in the Rain" scene was wonderfully done (and I don't just mean the special effects)! But... I have to admit that overall Yamato Yuuga's Cosmo disappointed me. She just seemed to be doing the comic routines by rote, and while she was putting energy into them, it just struck me as lacking... something. And, blergh, don't even get me started on Matobu Sei (Lina). Actually, that's unfair. I thought she looked and acted the part well, but whoever encouraged her to use that voice was on crack. I mean, I guess they couldn't just pull the usual screechy-Lina voice, because then she'd just sound like a regular musumeyaku, but that was just... awful. And not in a good way. I couldn't even understand most of what she was saying through the first act, her voice was so distorted. I loved, loved, loved all of the senka members! R.F., Dexter, Dora, and Zelda, all brilliantly cast.

I wonder if some of my reactions were based on the lack of audience reaction. I felt like a lot of the jokes didn't make the cross-cultural translation very well.

Still, I continue to absolutely love the songs: "Moses," "Good Morning," "Singin' in the Rain." Lots of tap dancing makes for a happy Jen! Also, I loved how they did the silent films, particularly my absolute favorite part, where the sound skips out of synch: "No, no, no!" "Yes, yes, yes!" And the actual rain was brilliant! All the parts which I found boring in the movie (i.e.- "Beautiful Girls") fit perfectly in as mini revues in the play; you'd think they were written with Zuka in mind. And the finale bits at the end were so much fun! Yes, Un-chan back in a tux where she belongs! ^_^

So, yep, definitely worth a watch! ...But not my favorite Hoshigumi show.

Am so brain-dead that I'm not even going to attempt work or grading until I can go home and nap. In the meantime...

Ozora Yuuhi Dinner Show "Spark!!"

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Main: Ozora Yuuhi
Others: Shijou Rui, Otoki Sunao, Ayana Oto, Ryuu Masaki

Wow. I have so much love for Yuuhi-kun. I can see why she probably won't ever make top, because she's not the most talented singer or actress (Although, my, does she do angsty well). However, she has great stage presence. (For anyone living under a rock or new to my journal, Yuuhi and Mizu are my two favorites of the current 'siennes.)

Anyway, the title was "Spark!!", which Yuuhi explained not only meant the sparks like you get off of fireworks, but also the spark of ... well-dressed, well-cultivated taste? Okay then, if you say so, Yuuhi. I think the talking bits were actually some of my favorites, because I never realized how amusing Yuuhi can be when she sets her mind to it. She was much more relaxed and comfortable than Kiriyan was during her dinner show, cracking jokes with the audience and with the younger 'siennes. I learned a lot about her, too. She teased Ruirui a bit, because during her last dinner show, Rui was her backup as well, but as an otokoyaku. She teased Hiromi because her big sister (Ayaki Nao) was in the audience. Everyone teased Masaki, because she was by far the youngest there (Her running gag was acting all self-important). My favorite bit was when Yuuhi came out in her sparkly purple number and began talking about how she had spent her whole Takarazuka career in Tsuki, and she was so, so sick of having to wear yellow during all the specials. So this time, she got to wear purple. Oh, so much love for Yuuhi. Particularly in a uniform. And in black leather. Mmmm....

The music was mostly a selection from musicals. List here. I was a bit sad that the Aerosmith song wasn't aired for copyright reasons, but really, what more do you need than Lion King and The Flinstones?

Also, good heavens, where did all the men come from? I've never seen so many men in a Takarazuka audience. Ever.


The cool thing about the DVD that I got this Sky Stage program on was that it included an hour of Sky Stage News from last July. *glee* And at the end was a section with Masaki and some Tsukigumi musumeyaku (yes, I'm one of those terrible people who rarely pays attention to the poor musumeyaku) interviewing people about Golden Steps: Hayama-sensei (who always seems to end up in these interviews. She does seem cool.), Asako & Kanami, Yuuhi & Kiriyan. They cracked me up, and I am now a total Ryuu Masaki fan. Such a cutie, and how could I not love a baby 'sienne who uses "dragon" in her stage name?

Also, during the interview with Kiriyan and Yuuhi sitting side by side... I realized that Yuuhi has a bit of a lisp too. Two ladies with adorable sprinkles of beauty marks (usually hidden by stage makeup) and lisps. I love Tsukigumi....

I'm putting my extra time to good use today. At first I thought the headache would prevent me from watching Takarazuka, but I find that Belgian chocolate cured that problem. I should stay home sick more often. ;)

Lightning in the Daytime

Really, the poster should have gone with the revue review, but I wasn't quite thinking, so I'll stick it with the show.

Sumire Style Stage Graph

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Okay, this is from one viewing, and I have a feeling a second viewing will make things a lot clearer, but who knows when I'll have time to watch it again. Also, any name corrections I would love. Particularly Mizu's character's last name, because google was no help at all. ( Summary )

I think this play's strength was also its weakness, if that makes any sense. During the first act we're thrown between the nobles' parties and the theater crew and the people of the lower quarter. There are so many storylines and things going on that it's hard to focus and connect with any one of them. Like that poor, sick boy that Sabatier thought of like a son. With the second act all the disparate storylines are connected and suddenly it all made sense (or most of it, anyway). That was rather cool. And each of the storylines was very interesting in its own way. I just felt like they tried too hard to give lots of screen time to all the big name stars, and ended up with a bit of a jumble. Still, I wouldn't trade in all that star power for a tighter script. No way. Wao's Albert is rather adorable, Hana-chan's Vivianne is actually a bit of a disappointment, Mizu's Edmond was awesome (I was very worried about Mizu in a mustache and goatee, but I see now I should have more trust in Takarazuka), Gaichi's August was so flamboyant and funny, and Tani's Sabatier was cool. I wish we could have seen more character development for Sabatier, actually.

The play within a play was... very bizarre. Especially with the foreign guy breathing "Desdemona" and "Othello" during the music. 0_o I liked Gaichi's Iago though.

I also liked the whole mystery bit, though the focus on the drama rather left Wao and Hana-chan high-and-dry where romance was concerned. None of the good angsty stuff, really. Just superficial. But that's just my opinion.

Work? Oh, yes, I'm doing that too.

Temptation!

Stage Graph

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Going to split this from the show, since this is a BS-highvision TV copy. Unfortunately, this copy has some nasty scratches on it, and bits in the middle and at the end weren't watchable at all, but I'm hoping to figure out some way to nurse it back to health.

Overall, I enjoyed this show. Good energy, and I went into it with my hightened level of appreciation for Wao. ;) The top combo didn't take over the show as much as they usually do, probably because they had to give stage time to three popular otokoyaku: Gaichi, Tani, and Mizu. One way they got around it was by putting Tani into a female role twice. Very pretty, though she towered over Gaichi while dancing with her. But I loved her dance with Takako (unfortunately, half-way through that was when the DVD started skipping). Two bolero dance numbers, which makes me a happy fan.

The costumes were alright, though not my favorites by any stretch of the imagination. (Except Wao's during the first part of the finale. That black tux with the red thread designs. Yeah. That one.)

I think if it weren't for the fact that I love Mizu, Gaichi, and Tani, this show would have been a little disappointing. Even my favorite girls weren't really dancing at their best during this performance.

That said, "Perfect Man" had me grinning like a loon. It just summed up Takarazuka otokoyaku perfectly. Along the lines of: "No, No, I'm the perfect man. Women go crazy for beautiful men."

Lightning in the Daytime Review


....And the world is against me today. The postman just knocked on my door and delivered February's GRAPH. Ishi-chan on the cover. In a suit.

I watched Hanagumi's version of Elisabeth last night. My first impulse was just to squee about it in emails to sanalith and princesslucia and spare the rest of you, but then I realized I never did a proper write-up of Tsukigumi's version either. So why not combine the two?

Elisabeth (Tsukigumi 2005, Hanagumi 2003)

Sumire Style Graphs (stage photos) of Hanagumi and Tsukigumi's productions.

Moon Troupe
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Flower Troupe
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My first Takarazuka show ever was Elisabeth. I loved the dark, dramatic parts, and the humorous parts. I loved the songs; I loved the costumes. I loved the love stories. It was impossible not to fall in love with Saeko's androgynous Death. Kiriyan's Luigi was perfectly insane. Yuuhi's Rudolph made me want to wrap her up in cotton and cuddle her, poor baby. So I didn't think it would be possible for me to fall in love with another version. Yet now... I don't know how the ladies at the S&SC Collective managed to pick a favorite. I can't even begin to compare these two shows. The same words are coming out of the actresses' mouths, but the emotions are completely different. It's like they're telling two completely different stories.

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