Original interview here
We asked to talk about her concert “ALive Final ~Handsome Woman~”
In the future, we will publish part 2. Please look forward to it!
7/16/2013
Sena Jun’s concert “ALive ~Handsome Woman~” will be opening soon in Tokyo and Osaka. “ALive,” the first installment in May 2010, was Sena’s first concert after leaving Takarazuka, and then a year later in April 2011 she performed the second installment.
That time there were issues immediately following the earthquake, and Sena experienced various conflicts within herself, but she shortened the length of the performance, and after the show began holding fundraising activities.
Since then about 2 years have passed, and this version of “ALive” is serving as the final performance.
Sena Jun spoke to me about her hopes for “ALive,” how she spent the first half of the year recharging her batteries, and her current mental state. It will be published split into two parts!
As for me, it’s been a while since I’ve been able to talk leisurely with Sena, so it was an enjoyable time.
Healed by her gentle smile, through her words I strongly sensed her intentions regarding her current honest feelings and how she wants to live moving toward the future.
What I thought after the interview… Sena Jun really is a “Handsome Woman!”
—Finally, it’s almost time to raise the curtain for “ALive ~Handsome Woman~”. What sort of preparation are you doing now?
This time, I thought I’d like to respond to fan requests, so I did a survey. As a result, I got a lot of requests like “I want to see a scene from the first or second ‘ALive’ performance!” and so I’m doing this with the purpose of reviving those scenes.
—So does that mean you’re rehearsing while watching and remembering video recordings?
That’s right. When I look at the footage, I think I was so young… haha. Although only three years have passed. Since it was right after I left Takarazuka there was still a considerable amount of otokoyaku left in me, and now I think it can’t possibly be OK to do the same things. When I watch the footage from the second performance, it has a bit of a different feeling from the first performance, and even I noticed that it lost some sharpness. As an actress… when I think about that, I wonder whether the change was good. Looking back on it afterwards it I felt that way, but I believe that all different moments have their merits! Doing a revival, I’m kind of nervous, but I think I want to make it enjoyable to see my current self.
—Now, doing this revival, is there anything that has caused you trouble?
Not yet. After this I’ll be starting the choreography of the new scenes, so I think that’s when it will become difficult.
—For the poster photo, what sort of image did you have in mind during the photoshoot?
In accordance with the subtitle, it evoked “Handsome Woman.” That’s the sort of image I’m currently thinking about. It also coincides with the program photography, but the outfit on the poster was the simplest. It’s designed so that the line of the “A” made the shape of a wall, but since only my back and the back of my knee are actually leaning on a wall, I’m supporting myself with my abdominal muscles. So because I was holding a pretty unnatural posture, to tell you the truth my abs were quivering (haha).
—Yet your face is cool as always.
Oh yeah, it’s cool! (haha)
—Continuing from the previous installment, this one is also directed by Yamada Kazuya, right?
I’ve had the privilege of talking with him many times before, and I’m looking forward to his participation in rehearsals from tomorrow on.
—Did you come up with the ideas yourself?
For part of the planning I was allowed to come up with various ideas for things I wanted to do. Like which pieces of music I wanted to use, what sorts of scenes I wanted to do, what kind of dances I wanted to do… it expanded from there.
—As for the origin of those ideas, what sorts of places does your inspiration come from?
All the usual places. Music flows unexpectedly from everywhere. When I’m in a cafe if I think “Ah, this is a nice song” I ask an employee, “What is this song called?” and they’ll show me the CD. Since I didn’t really get to dance a tango the second time around, this time I think I want to dance to a piece of tango music using KAZUMI-BOY-sensei’s choreography. Because of the choreography I’m excited about it.
—What kind of song will that be?
I REALLY love a piece of music called “Adios Nonino” (composed by the Argentinian Piazzolla). However, later I learned that it’s a somewhat inauspicious song that translates to “Farewell, Dad.” Apparently the composer wrote the song as a dedication to his late father. When I learned the meaning I thought, “I’ll have to pass on using that song after all,” but right at that time I was watching a television program. The person who was becoming the bride of the Crown Prince of the Netherlands was of Argentinian descent, and the woman’s father had a background of involvement in dictatorial politics, so it seemed that the condition for her being allowed to marry the Crown Prince was that her father did not participate in the wedding ceremony. So then on the wedding day, the song “Adios Nonino” played, essentially as her father walking her down the aisle. I guess her intention was to walk saying, as an Argentinian, I’m marrying into another family, thank you for raising me until now. When I saw that real-life episode on TV recently, the thoughts I was having within myself settled.
I also had an event that made me think I need to be emotionally self-reliant, like when I got married (the marriage was at the end of last year) I thought, “From now on, I’ll try to be more independent!” So I think that’s why I determined I would dance to this piece of tango music. Rather than treating it as ominous, I decided to take it that way. With the timing of seeing that TV program I felt that there was a connection, and I thought I wonder if I can use that song after all. I think people might not understand without hearing that explanation, but as for me I chose that music with that sentiment.
—Even just hearing your story now made me teary-eyed.
I wonder if there weren’t a lot of people who were surprised to see the title “ALive FInal ~Handsome Woman.” I guess the title comes from what you’re feeling.
My “ALive” shows have a fan appreciation component; I want to convey, “Thank you for supporting me during my time in Takarazuka, please continue to support me from now on,” and I decided on the concept of a concert for leaving behind my otokoyaku style. Rather than leaving behind my otokoyaku image forever, the feeling that I wanted to sort of evolve to the next level grew strong, so as for “ALive” I thought I’d try to make this the final time. From now on I won’t be doing any more otokoyaku-like things, but it certainly doesn’t mean this is the final concert. For “ALive Final,” I would like it if the fans were able to think, “I wanted to see something like this!”
—Thinking back once more on the “ALive” versions up till now…
The first time, even though I had just left Takarazuka I felt so fortunate to have the privilege of doing that type of concert. I love singing while dancing, and I particularly like trying to sing while out of breath after dancing (haha). So I really love doing shows. With every year that passes, apart from my stamina my dance skill might fall, but I’m considering that I want to show good things at the right moments without overdoing it. That’s why stepping away can also be a good thing. I thought I’d try to make that the last time I did a form of “ALive” that had my Takarazuka otokoyaku memories, so there is that sort of feeling.
The second time, rehearsals continued right after the earthquake, but the whole time I was thinking I wonder if it’s really OK to open… The president of Toho at the time decided, “Performances started running again immediately after 9/11 in New York. Therefore, now you absolutely must do this,” so we opened. Myself, having experienced the Great Hanshin Earthquake of 1995, I knew the pain of having no food or electricity, so at a time when so many people were suffering I was conflicted about whether it was OK to open, if people would be able to enjoy themselves; but at that time the president said, “Alright, let’s do it!” He thought that at such a time, nourishing people’s hearts was important. It wasn’t lip service; he really thought it was needed. Since it was an unstable period for the transit system, originally the show was supposed to be organized into two parts, but we remade it into one part so that people could get home a little sooner, and also so as to decrease the amount of light used because it was a time when we were told to conserve electricity. At the beginning, people from the Tohoku area were telling us that they had purchased tickets but were not able to visit, so naturally there were people who canceled, yet a lot of people still came and I was deeply moved. I was feeling like, “If only there was something we could do…” so after the performance we held a fundraiser. I thought, why don’t we listen to people’s voices in person and pass on our feelings.
—Also contained within the title “ALive,” after the earthquake, people generally started thinking about things like “How should I live?” and “How do I want to go forward in order to live life being true to myself?” again. There were even reports that wedding rings were selling well.
I also thought not about “what do I have to do?” but “what do I want to do?”
—”ALive” has come to have huge significance in your life, hasn’t it. You’ve reminisced about the past, had the chance to fortuitously meet a good partner, and you’ve also made a connection to the future.
That’s right. Over the course of doing the same concept for a concert three times, I was able to notice the changes in myself. With it being several years since my graduation from Takarazuka, I think this time there are the biggest changes. Being able to experience that objectively, it was really enlightening.
—This time you’ll be performing at Tokyo International Forum and Sankei Hall Breeze (Osaka), which are different venues from last time and the time before.
Because Tokyo International Forum is a place where I’ve always felt in my heart I really wanted to do a concert, I’m happy that we’re able to open there. Actually, since I made a guest appearance in “M. Kunze & S. Levay’s World,” I remember excitedly exclaiming to the other dancers in my scene,“ Oh my gosh oh my gosh I made it to the International Forum!” While everyone was softly singing the music in dresses, during “Ai to Shi no Rondo” and “Saigo no Dance” I was dancing and shouting crazily with the other Tod dancers. That was incredibly fun and exciting (haha). The audience reaction during the other songs was a little apprehensive; there was a sense of “I just saw something curious…” in the atmosphere (haha).
—So in your next concert you can perform in the International Forum to your heart’s content! Since you like lighting so much, you can bask in the spotlight as much as you want (haha).
To my heart’s content! That’s funny! (haha). Yes, that’s right. During the preparatory meetings, since it wouldn’t be good to have such large-scale sets, I pleaded, “Please give me looooots of lights ♥” (haha). Since the Osaka performance is also the first time I’ll be doing a concert in Sankei Hall Breeze, I’m looking forward to it!
—Your co-actors, what sorts of people are they?
There are only four names listed on the poster, but four more female dancers have been added, so eight of them in total will me working with me. Oh my goodness, all the women are so good-looking, and everyone’s dancing and energy are brilliant. There are also some male dancers. But looking at it overall, everyone is free-spirited. So in rehearsals, everyone’s individual personalities are very interesting (haha).
TO BE CONTINUED!
