From Musical, June/July 2014
What’s the story behind this live show?
The idea that I’d like to set up an opportunity to dance at least once a year has always been inside me. Since the year began I hadn’t danced yet, so I thought, “It would be so nice if I could do something all by myself in an atmosphere like a small live house,” and that was my motivation.
What’s it about?
It’s a show in which I uncover some commonalities between my own life and the histories of three legendary Hollywood actresses—Audrey Hepburn, Ginger Rogers, and Judy Garland—and follow what piles up. As referred to in the title ASAMI LIVE, the concept is that rather than simply performing as these three actresses, I’m telling the story of “Asami Hikaru” through their lives and familiar musical numbers. There will be singing and some drama, but I think dance will become the main component of this live.
About the director, Daniel Kutner
When I had the privilege of working with him during All My Sons, I thought it would be really great if we had the opportunity to work together again. I’m so happy that it’s becoming a reality for this show. He has different taste compared to works produced by Japanese directors, and it seems like this live will be a design unlike any we’ve seen before; I’m looking forward to it.
What are your impressions of the three actresses who will be making an appearance?
Hepburn is someone I’ve admired as an actress for a long time, and I have a photo book of hers. No matter where you look she’s adorable, isn’t she. As for Ginger Rogers, I longed to be like Natsume-san (former Takarazuka Hanagumi top star Ooura Mizuki, who was dubbed “Takarazuka’s Fred Astaire”), so I began to watch some Fred Astaire movies, and the beauty of the figure dancing next to him stole my gaze. She aroused an interest in me as a dancer. I’ve loved Judy Garland since I watched The Wizard of Oz; she’s a woman who is synonymous with stylishness. In “Easter Parade,” et cetera, she gave me a real feeling of “that’s a broadway musical.” In this live, I think I’ll be able to convey each differently in her own scene. Please look forward to it.
What is the concept behind the costumes?
Iwata Yuuko (Koshi Haruki), who was with me in Takarazuka, is handling the art and the costumes for me. We’re coming up with ideas together, and I think the live will be loaded with a hand-crafted feeling. Also by not disappearing from in front of the audience to change costumes and such, I hope the live atmosphere comes through that way. I want to create a stage we can all physically experience together while everyone’s imaginations expand.
What are your impressions of co-director Minato Yurika?
I’m indebted to her as a choreographer for two OG performances now, and in the previous show DREAM, A DREAM, she let me dance a lot. Her choreography is extremely difficult, but it’s cool, and dancing to it feels really good. She expresses songs through her performers so well, and I really wanted to borrow that power.
In Act 2, you’ll be holding talks with Shirota Yuu, Shizuki Asato, Aran Kei, and Otozuki Kei.
It’s not just an after talk; they’ll also be watching Act 1 together with the audience, and we plan on talking while I ask for their impressions.
After this, do you want to continue doing lives?
It would be great if I could do a part 2 and a part 3. I keep thinking, “I wonder if there are too many things to depict this time that I could carry over to next time.”
Lastly, give us a message!
Since it’s composed and directed by Daniel, I think this will be a show that carries the fragrance of Broadway in a number of places. Look forward to that too, and please definitely come see it!