Takarazuka Journal

Oh, look, I'm skipping ahead because this is even less likely to all stay in my head than other things. ;)

Broadway Musical Live 2010
New National Theater, Tokyo
Nov. 14th

Cast (* = Takarazuka OG)

Male Singers	Female Singers	Chorus
Ishii Kazutaka Oka Kojiro Konishi Ryosei Sakamoto Kenji Toi Katsumi	Ayano Kanami * Shijo Rui * Shizuki Asato * Doi Yuko Hosaka Chizu	Ishii Masato Kojima Ryota Tamura Yuichi Yokozawa Kenji Sahane Yuna * Shuto Moemi Hinata San * Honda Ikuyo Makise Kai * Mizuki Mai * Yamada Yumiko

It was basically two and a half hours of non-stop, amazing singing, with a small fifteen minute intermission in the middle. It wasn't really advertised at all, despite the OGs in the cast, which is kind of unusual (usually they have fliers to former top star's OG things in the Tokyo Theater). I wouldn't have known about it if M hadn't posted about it. Originally it was scheduled for only one performance, but they added a second at 6:30, so I guess it must have sold out fairly quickly. To be quite honest, I think Kanamin basically blew everyone else out of the water, although Ruirui amazed me in being nearly as strong. I fell more than a bit in love with Sakamoto Kenji and Oka Kojiro.

There were only two disappointments. One was that in the tentative program they had posted online, they said someone would sing "Stars" (Les Mis), which I adore, but that got changed. The other I'll get to in its own time.

( I spent three hours on this. Why? XD )


Oh, yes, and there were a ton of OGs in the audience, to judge from all their blog posts, but I'm afraid the only person I spotted was a young Hanagumi otokoyaku and I'm still not sure who she was, other than that the Hanagumi fan ladies I was with recognized her and ran over to talk to her. (I spotted her as looking very much like an otokoyaku before they took off, but wasn't 100% sure.)

...I keep remembering things to add. Despite the disappointing performance, I still bought Zunko ♥senjafuda♥. I've never seen an OG selling senjafuda before. They're from Diana. Which reminds me that Wataru sent, like, three enormous bouquets. One to Zunko, one to one of the male actors (though I can't remember now which), and one to .... now I can't remember if it was Kanamin or Ruirui. Oops.

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. ;)

Jubilee VIII ~Special Edition~
Buddhist Hall -- July 10th, 18:30

[ Official Web Site ]

Cast: Kanzaki Jun, Iori Naoka (OG), Tasai Shun (OG), Otomo Reika (OG), Hinata San (OG), Myuji, Miura Kouta, Kawamura Kazuna, Akane Koyuki, Satou Eiichi, Shimizu Atsuko, Sugiyama Nao, Tokuyama Taeko, Hikari, Kondou Kaita, Kondou Anmi, Fukushima Katsushige

It was a really, really short run --only four performances over two days-- and the cast was much smaller than the previous Jubilee. Despite all of that, they still put together a really great performance. I'm a bit torn over which I liked better.

( Read more... )

Tickets are expensive, but you get the feeling that the money is going directly to these people, and the warm feeling between the cast, and between the cast and the small audience is something special. If you ever get a chance, I highly recommend going to see Jubilee.


After that show, there was an After-Talk. Mame had told us about it ahead of time, so I was expecting it, and that's why I originally asked for a ticket to such a late performance. Mame was the MC and came out talking a mile-a-minute, as she does. Iori-san apparently can't understand her when she does that (or her own mother, either), she told the audience, so she was going to do her best to talk slowly. .... She did try. Through the magic of ...something, I can actually follow her even when she's talking like a humming bee♥

It was a cute talk. They all talked a bit about back-stage things and the rehearsals. And Iori-san talked about her daughter. Kanzaki-san seemed more relaxed than he was after raku in January. He called Mame the "Mood-Maker". *grin* Miuta talked about staring in some Korean drama which is coming to Japan soon.

I'm a bit sad Mame won't be in Jubilee IX next winter, but not tooooo sad, because I know what she is going to be in. But she hasn't posted it publicly yet, so please wait to find out! :D

Gu Bijin
Flower Troupe, 2010
May 15th 16:00 & May 30th 16:00 shows

Stars: Matobu Sei & Sakurano Ayane

[ TakaWiki ] [ Asahi Photo Gallery: Gu Bijin ]

I... I keep putting this off until I'll have a full day to work on it, but I've come to realize that's just not going to happen anytime soon. So I'll now attempt a two-hour version of why this is the best show that I've seen since Yume no Ukihashi or Kurotokage.

Here there be SPOILERS!

( Summary: )

( What I Thought: )

So, in conclusion: If you were saving up for any version of Legend because you like grand Asian costume spectacles, throw away such a thought and get Gu Bijin instead. You won't regret it! ♥

Translation to follow once Tsukigumi leaves Tokyo♥

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....

Joint Concert Vol. 2
April 11th, 2010

Mahoroba Yuu
Masaoka Nao
Special Guest: Nakai Tomoya

(There are some photos of her costumes and the others in Mahoroba's blog: star.ap.teacup.com/applet/yumahoroba/1693/trackback .)

I'll admit, I went as a favor to friends and I wasn't exactly certain what I would end up with. But it was amazing!

Mahoroba Yuu and Masaoka Nao are OG classmates from the 77th class (1991). Mahoroba Yuu was in Moon Troupe and retired in 1997, Masaoka Nao was in Flower Troupe and retired in 2004. Masaoka explained that she ended up leaving the revue to pursue a new dream to enter university to study vocal performance, and she is currently enrolled. Mahoroba has a family and lives in Nagoya. Two years ago they gave a joint concert and it was well-received and everyone asked them to do another one. It finally came together after they (or maybe it was only Mahoroba, I forget) saw Nakai Tomoya performing and were super-impressed and decided they wanted to do a collaboration concert with him. Nakai Tomoya plays the koto -- for this concert he played the 25-stringed koto.

I looked at the program. The first half was Takarazuka songs, a Takarazuka medley, and a Takarazuka Nihonmono medley. Second half was a koto solo, songs with the koto, and then six other songs. I began to feel slightly nervous when I saw things like "I Dreamed a Dream", "Time to Say Goodbye", and "One Beautiful Day" from Madame Butterfly on the program. Pretty ambitious. Then I read that Masaoka was studying singing at university and began to feel hopeful. *grin*

They had a three-piece band (piano, bass, and drums), and some back-up dancers who came out a few times to give them time to change.

( Read more... )

So very, very, very glad that I went!

PS - Forgot to mention they had flowers from Mizu, Sagiri Seina, and Miya Rurika, among others. :3

I am having a very hard time figuring out where to put the lj-cuts in this one....

So. You love and support someone for five years and of course they change, and of course it happens so gradually you're only partially aware of it. Last year was especially hectic, so a lot of the changes actually *could* be seen, as she grew and stretched and beat down the walls she ran into and just... flew. But no matter how impressed I was by her Lucheni and her Palamon, there was still a large part of the back of my brain remembering the little ken-5. This show has changed all that. I don't know how to put it. I wouldn't say it "opened my eyes" or anything like that, but.... I guess I've fallen in love all over again, only this time with this amazingly talented, super-assured, calm and competent star who loves her fans in return.

HAMLET!!
Bow Hall, 2010

Lead: Ryuu Masaki

[ TakaWiki ] [ Asahi.com stage photos ]

This will be an amalgamation of a few performances, not a specific date.

Over-View:

The Rock Opera "HAMLET!!" is exactly what its titles imply: a rock opera. There are very few spoken lines, and there are something like 60 songs (not 60 melodies, but 60 different numbers). The music is all in-house, no famous songs reused. The duel between Hamlet and Laertes was choreographed by Kurihara Naoki (who also did the fight choreography for Pimpernel) and uses real practice fencing foils, not cheap-looking stage swords.

The costumes are very rock- and glam-rock-esque. The players scene ("The Murder of Gonzago" and just before) reuses some costumes from the Purple Haze numbers in "Fancy Dance" (2007). To be honest, based on stage photos I had thought I wouldn't care for the costumes, but they turned out to have much more impact in person, and not look cheap and thrown together, which I'd feared.

The set itself is composed of stairs. This is from memory, so the number and shape of the stairs might be off, but I wanted to show the bits that move, and where the band is.

( Read more... )

There are several entrances and exits along the two aisles through the audience, which means if you're lucky to be close enough, you get a great view of the makeup and costumes. This includes Hamlet, Horatio, the Ghost, Ophelia, Laertes, and all the players.

As for the story itself, because the show is only 2 1/2 hours it's very fast-paced. Most of the dialogue has been cut and replaced with sung lines or songs -- the most famous bits left intact -- and some scenes are bridged with short narration by the three grave-diggers.

The opening is a prologue sung by the dead, in a graveyard. Horatio's character mentions it all started with "that incident"... and back we go, to Claudius's crowning and Hamlet's discontent. We pick up the story with Hamlet meeting Horatio (and the new sister), and Horatio mentioning that he had seen the ghost of the former king.

No plot changes, really. Even the sister doesn't say much at all, just stands behind Horatio's shoulder and sings counterpoint from time to time. Rosencrantz being a woman meant an interesting added line or two which seem to imply that she and Hamlet once had a thing, but other than that, nope.

Being Takarazuka, there are a short couple of dance numbers at the end. They also added some dancing by the main characters at the beginning of the scene where the players perform "The Murder of Gonzago".

The Actresses:

They really managed to put together a cast of strong singers for this show -- not just the principles, but all of the chorus as well, which makes it a real pleasure to listen to, start to finish. This isn't often the case in Takarazuka, particularly with rock numbers, so I was pleasantly surprised!

( Read more... )

Favorite Bits:

So hard to just pick a few, but...

( Read more... )

Recommended for: EVERYONE. OH MY GOD, IF YOU'RE IN TOKYO THIS WEEK OR NEXT WEEK, GOGOGOGOGOGOGO!!!

I've managed to develop a nasty cold and get some bad news, so this isn't going to be as chirpy or as long as it would have been last night. *scowls at the world*

Casablanca
Cosmos Troupe, 2009-10
Tokyo, January 17th, 11AM performance

Leads: Ozora Yuuhi & Nono Sumika

[ TakaWiki ] [ Sumire Style Stage Graph ]

In terms of movie vs musical, no, not going to compare them much. That would be entirely stupid, as they're entirely different mediums. But the dialogue is nearly word-for-word in most of the scenes corresponding to the movie, so if you have a favorite bit of dialogue, it's probably in there. But, in terms of fairness, I have to say Casablanca has been one of my favorite movies since I was a kid. If you don't enjoy Casablanca the movie (find it too boring or whatever), you probably won't be enamored of the musical. I very much enjoyed it.

( Read more... )

Final vote: If you like the movie you'll probably enjoy the musical. If you like Yuuhi, Sumika, Tomu, or Micchan you'll probably enjoy the musical. If great set designs make you drool, you'll probably enjoy that, at least.