Takarazuka Journal

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.)

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( 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.

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.

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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....

I can't quite believe how quickly Kinsmen finished. Sunday was raku... I wish I could have been there. I met an old fan club friend (who actually is supporting Yuzurun now) on Sunday in Tokyo, and she looked at me in a puzzled way and asked me, "Isn't it raku?" ... What can you say to that? For the hardcore enthusiasts, things are pretty black and white. Heh, my other club friends keep telling me there must be eikaiwa jobs in Osaka; why am I in Gunma of all barbaric places. And when I try to explain that I like my employers, they wave it away as inconsequential. XD

Anyway... much delayed:

The Two Noble Kinsmen
Moon Troupe Bow Hall, 2009

Leads: Ryuu Masaki & Asumi Rio, Hazakura Shizuku

[ TakaWiki ] [ Asahi Review w/ Photos ]

Koyanagi-sensei's adaption is an interesting one. (I'll assume anyone reading this has read at least a short summary of the original Fletcher/Shakespeare play. If you haven't, google it!) The first act follows the original Palamon/Arcite/Emilia storyline pretty closely, and the Palamon/Jailer's Daughter storyline is not changed much either. I think the biggest change is with the Schoolmaster and countrymen/maids and their Morris dancing, which has turned into a playwright and players, with the Wooer getting more of a personality as being a member of the players as well. In the second act, the show deviates quite a lot more, though it wraps things up to a similar conclusion.

I was surprised. Masaki had the voice-over intro at the beginning, and didn't share it with Mirio at all, like I've heard done in other double-lead Bows. In fact, in some ways it really didn't feel like a double-lead. Not that *I'm* complaining! <3

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( What I Thought: )

A traditional Shakespearean setting of the show, all-in-all, which actually made me really happy. I enjoyed it, and enjoyed it more each time I saw it, and was getting towards loving it. But I suspect if you're not a fan of any of the actresses in it, you might find it overall unimpressive.



OMG. LUCHENI!!!! She is going to blow everyone away.<3 Rehearsals start on the 6th. Everyone, mark your calendars.

A Magician's Misfortunes
Moon Troupe Tokyo shinjinkouen

Stars: Ryuu Masaki & Yumesaki Nene

I've already summarized the show here, so I won't bother with that so much.

This was my first live shinko, and I was nervous as hell for a lot of reasons, including the fact that it was Masaki in the lead. Masaki! The poor thing had been working herself to the bone for the past week, at least, with two performances a day and extra rehearsals until 9 or 10 at night for the shinko. Yet she still had amazing energy and a beautiful smile early every morning and late every night. I don't know how she did it. Anyway, the day of the shinjinkouen she arrived smiling, much to the relief of the ladies in the fan club. She seemed relaxed and rested. There was a 1:30 regular show that day, and then the shinko started at 6:30.

Masatsuka Haruhiko (the playwright/director of the regular show) was also directing the Tokyo shinko. This is interesting, since Inaba-sensei directed the Takarazuka shinko. I wonder.... Anyway, I actually caught a glance of him and the stage magician and a few of the other staff exiting the theater one night after shinko rehearsal (sorry to people hearing this story for the millionth time).

I ended up with a fairly good seat - 2nd floor, 5th row, seat 33, which is as close to SS-seki as I've ever been. <3

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Overall? Loved it. Can't wait for it to be broadcast so that I can actually catch more of the underclassmen. I am a little sad that it was so short, but I got over that. Just to have been there, to watch Masaki and the rest of the 87ths at their last shinjinkouen performance -- that's why I was really there. The fact that it was a terribly funny play, with some great songs? Just a lucky, lucky bonus. :D

( demachi )

God, if I don't get over this jet-lag soon it's not going to be pretty.

Luckily, a few things came yesterday which cheered me up.

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