96ths Hatsubutai Interview

- carlyas

KIRIYA: Well then, this time is there something each of you would like to ask me?

KAZUKI: Yes. As an otokoyaku, is there something that you feel at the very least you absolutely must convey?

KIRIYA: Some things that I keep in mind are generosity, kindness, open-mindedness, etc. I think these things are tied to the greatness of an otokoyaku.

SORANAMI: In the current performance, it doesn’t seem as though you play Percy and Grappin the same way at all, so how to you go about putting together roles like that?

KIRIYA: It’s truly the first time I’ve played a role like Grappin, and it was really trial and error up till the end, but I used things like movies and Disney animation for reference. I gathered examples of magicians/wizards from Disney movies, and afterwards also ones who appear in ballet performances.

YUUNAMI: Since I’m seeing the parade feathers from so close by, on the opening day of your first Grand Theater show, please tell us what it felt like to have those feathers on…

KIRIYA: That sounds like an ordinary fan question (haha). Let’s see. The first time I wore them, I felt like I mustn’t let these feathers defeat me, but then when I stood before the applauding audience, all of a sudden I forgot about their weight. Standing on a stage where everyone comes out to see me makes me incredibly happy. Hmm… yeah, in one word, it’s “happiness.” And then, having to work hard at my own lead roles from here on out, I felt a new kind of determination.

OTOHANE: Please tell us the number one thing you remember from the run of your hatsubutai performance.

KIRIYA: Mine?! It’s the distant past so I don’t feel like I have many memories left…(haha). Since I felt so strongly that I wanted to become a stage actress, I was very eager, like “I want to be an otokoyaku now! I want to look sharp in suits and tailcoats!”

YUMEKA: On stage and in normal life, is there a method you use to cope with difficult times?

KIRIYA: If I can overcome this now, there’s definitely light at the end of the tunnel! That’s something I continue to keep in mind. There’s nothing to do but look forward! When Takarazuka is at its best everyone is truly warm, and the upperclassmen and teachers may speak harshly, but that comes from a place of tremendous love. Therefore, the things they say to me are things for which I am extremely thankful, and if I can thoroughly digest that information within myself, I’ll be able to grow up and I’ll step into the next task. If I lose to myself it’s useless.

YUMEKA: Yes!

KIRIYA: As for current Moon Troupe, taking on various challenges as a reborn Moon Troupe, since the fact that everyone still comes in times of such upheaval gives all of us incentive, I’d like it if everyone could be proud that we all worked together to make this production of “The Scarlet Pimpernel.” And, in each of your troupes to which you’ll be assigned after this, please continue to nurture your stage personas warmly. With your own power, right? Everyone, do your best in this world overflowing with love, Takarazuka!

EVERYONE: Yes! Thank you so much!

Special Talk ~ Sou Kazuho x Asami Hikaru

- carlyas

From the May 2014 issue of Graph

SOU: Instead of talking about our Hanagumi era, It’s probably better to talk about when we were together in Yukigumi, right? Because you might not remember me from then, Komu-san (haha).

ASAMI: Nooo, I remember properly. RanTomu is your classmate, isn’t she?

SOU: That’s right.

ASAMI: RanTomu has shined brightly since that time. I got the impression that if she’s like the sun, you’re like the moon, Eritan. I always thought, ah, such beautiful people.

SOU: What?! So that’s how you’re going to use this conversation!

ASAMI: No it’s not (haha). That was just my first impression.

SOU: My first impression of you was a shinjin kouen.

ASAMI: Might that be, Bud?

SOU: Yep! Bud from “How To Succeed.” You were so cute, it made for a memorable performance.

ASAMI: Ahaha.

SOU: Your voice then, and the way you said your lines, I remember it all!

ASAMI: The director at that time, Ogita-sensei, imitates me to this day. Was I really that weird? I’m still reflecting on it after all this time (haha).

SOU: No, no. The impression you left was amazing, for only being a ken-6 at the time.

ASAMI: You must have been ken-1… that’s how much we were separated in our grades, right?

SOU: Eeehh, comparatively (haha).

ASAMI: *Laughs* Of all the productions I got to do in Takarazuka, “How To” is probably in my top 5. The people from Broadway came for the choreography, and it felt like the real thing.

SOU: I love it too! I aaaalways came out to watch the finale number, and some others!

ASAMI: Eritan, I wouldn’t be surprised if you were in the finale though.

SOU: I was only ken-1! So we did the kick line with the dollar signs attached to our chests. But, in the regular version, we appeared in the “Brotherhood” scene. It was amazing, dancing right behind Tamo-san (Aika Mire).

KOMU: You’re even on the video!

SOU: Yes I am. Since the instructors were from overseas they didn’t have a relationship with anybody, so they arranged the people who stood out in order… One of them was me, even though I didn’t look good in a suit yet (haha). Afterwards, in “Coffee Break” we supported the table everyone danced on.

ASAMI: I did that too! In the shinjin kouen. I didn’t play Bud until act 2, so in act 1 I carried the table.

SOU: We were working boys.

ASAMI: Working boys! How nostalgic!

SOU: By the way Komu-san, you were in the shinjin kouen for “Hollywood Babylon” too! How should I say it… the image of you on stage, it really leaves an impression. I love the song you sang with Toshiko-san (Suzukake Miyuki), “Tom Sawyer!”

ASAMI: That was good, wasn’t it. I sang it at my dinner show after Takarazuka, but the majority of the people were like, “What song is this?” (haha)

SOU: It’s great, it’s a core selection. Don’t worry, Ranju and I know it (haha)

ASAMI: *Laughs* Come to think of it, you’ve been at it for a long time, Eritan. What year are you now?

SOU: In April I’ll be ken-19. Komu-san, by that time you’d already left, right?

ASAMI: I left at ken-16.

SOU: Amaaazing!

ASAMI: No, if one of us is amazing, it’s you!

SOU: Ah, I guess.

ASAMI: *Laughs* That you’d hold on this long since my graduating year… for the first time, I really looked up to you.

SOU: You looked up to me!

ASAMI: You’ve grown up.

SOU: I was raised under your guidance, after all…

ASAMI: The working boy climbed the ladder this far, I couldn’t be happier (haha).

———————————————

ASAMI: After Hanagumi’s “That’s Revue” at the Grand Theater, the Bow Hall performance of “Blue Swan” was my last before I went to Soragumi…

SOU: After that there was an empty period, and then our reunion took place in Yukigumi’s “Flaming Love.”

ASAMI: You had the lead in the shinjin kouen, didn’t you.

SOU: At that time, you did something that really stuck with me.

ASAMI: What, what, what did I do (haha).

SOU: After the shinjin kouen performance ended, you said this one thing to me: “A million people have probably told you this already, but you were good.” More than anyone else’s impressions, that remained in my heart.

ASAMI: Wow, I was really rude (haha).

SOU: It wasn’t rude, I was so happy! Since our Hanagumi era had passed without much opportunity for us to talk, it was the first time you’d properly recognized Sou Kazuho, other than to call out to greet me!

ASAMI: There’s no way that’s true (haha). But you really were good. The costumes from Chinese-themed shows suit your aura perfectly. Your ability and your beauty combined to make a magnificent shinjin kouen.

SOU: Eeeeeeeeeh!!!

ASAMI: Really. I had nothing to worry about, and I was able to watch it with peace of mind.

SOU: I didn’t comprehend the fear of being on stage for a Grand Theater shinjin kouen at all. I’d never been so anxious in my life as I was for that performance.

ASAMI: You achieved a striking debut in Yukigumi… then, on from there.

SOU: After that you became top. It was awesome, we were able to appear in so many plays together. I even played your older brother twice.

ASAMI: That’s right!

SOU: In “Susano-o” and “Romance de Paris,” but I wondered why the heck am I the older brother… (haha). I think it must be because you look so young.

ASAMI: No way. It’s because you appear so composed, Eritan.

SOU: Is that so… Speaking of plays in which we appeared together, there was also “A Dream One Day.”

ASAMI: Ah, yes! In BeruBara, you were, uh, Fersen?

SOU: …he wasn’t in it.

ASAMI: Ah, that was this time (haha).

SOU: “We ought to pull back…” (1)

ASAMI: Gerodelle!

SOU: You at least got the right conclusion that it was a noble (haha). Your Oscar was INSANELY cute!…though it’s probably rude of me to say that.

ASAMI: No no no

SOU: Ever since before that when you played her in a TCA special, I’d thought, wow, what a doll-like Oscar! When it was decided you’d do it in the Grand Theater, I was so happy! We got to be in a show together again… that I came to be able to enjoy dramas, was because of you. “So this is what a drama is all about,” I learned that from you.

ASAMI: Nooooo—that’s embarrassing.

SOU: Your performance would be different every time, and I’d wonder, “How will it turn out today…” This may be an impolite way of saying it, but performing with you while I was an underclassman was really fun.

ASAMI: I’m happy to hear you say that.

SOU: You accompanied me, an underling with no real talent.

ASAMI: That’s not true (haha).

SOU: I took everything from you. I’m being impolite again…

ASAMI: I didn’t do anything, Eritan.

SOU: Whenever I’d make a mistake, you’d say “Don’t worry it’s ok.” Something I remember really well is that even after you became top, if there was an occasion when you messed up your lines, even if your partner was an underclassman, without fail you’d apologize. Like, “I absolutely get like this too.” For a performer this may be obvious, but that’s not so easy to do.

ASAMI: No, no. I made so many mistakes, I was really a bother to everyone. If I didn’t apologize, my heart would break (haha). When you’re standing in the top spot, every day is like walking a tightrope, but the people around you are there to support you. Without them it becomes an impossible position, and because there’s the feeling that you’re cultivating one production together with your colleagues, their grade has nothing to do with it. I think it’s the same doing performances now.

SOU: For me, seeing a top star through from debut to sayonara, you were my first.

ASAMI: For me it might have only been Yan-san (Anju Mira).

SOU: It became like that when you changed troupes, right?

ASAMI: So I’m happy, that I got to see someone through properly from start to finish.

SOU: Yes! Like, I can tell you everything about this top star…

ASAMI: Tell whom?! haha

SOU: I was happy that it was you.

———————————————

ASAMI: My first performance when I came to Yukigumi was “Lovers’ Suicide,” so right after you and I came there were nihonmono and Chinese-style shows.

SOU: That’s true. I was surprised at first, everyone was so amazing. How quickly they memorized their movements, their traditional dance…

ASAMI: Everyone was perfect, weren’t they.

SOU: I really couldn’t memorize the movements, and I panicked.

ASAMI: Because in Hanagumi they hardly put on any nihonmono. In that unaccustomed state I entered the world of “Lovers’ Suicide.” I joined from the Tokyo performance, but the moment I entered the rehearsal room, everyone was the real thing.

SOU: Ah I’m crying—that’s so true—

ASAMI: It was like, is this the Meijiza? (2) Or some other theater? (haha). When I really think about it, they were all underclassmen. Even Yumemi (Asaki), the youngest one to join, looked like someone from the Meijiza.

SOU: Now or then, that hasn’t changed (haha). It was really a performance where the actors were in sync.

ASAMI: Even in the casual scene in the red light district, I didn’t know what to do. When the geisha were all dancing together and I was just intently keeping time, the director Tani-sensei told me, “Please move a little” (haha). I couldn’t even do something as trivial as chatting. Suddenly, maybe to make it more fun, before I knew it I had spread both hands wide and made like an “oooh!” gesture. But then I thought dammit! That’s something a foreigner would do! The moment I lost focus just a little, that happened (haha)

SOU: I know what you mean (haha)

ASAMI: We were really baptized in the waters of “Nihonmono Yukigumi” immediately, weren’t we.

SOU: We really were.

ASAMI: As for Yukigumi and nihonmono, I thought they’d really dwindled, but then you became top, and it seems like they brought them back.

SOU: It does. But in spite of the fact that there were so few of them for a short time, things like the power of the performances and the vocal abilities all the way down through the underclassmen, these are unchanged. They get passed down continuously.

ASAMI: It’s a bit of a relief to sense that that’s continuing even now. I’m glad that hasn’t disappeared since my era.

SOU: It’s totally ok!

ASAMI: Because even though the color changes according to the top star, the part about calling it “nihonmono Yukigumi” is always left behind. After all there’s a sense of not wanting to break that during your reign, isn’t there?

SOU: There is.

ASAMI: So I’m happy to be connected to the next generation.

SOU: You saying that makes me happy too.

———————————————

SOU: About the 100th anniversary, there are a lot of events, aren’t there.

ASAMI: Even just looking at the names of the people participating in the memorial ceremony in April is amazing.

SOU: Since we active members are the lowest underclassmen, our names are probably the smallest (haha).

ASAMI: Even I’m like a baby still in diapers.

SOU: In that case, I’m still in the womb… (haha). As expected of the 100th anniversary.

ASAMI: Last year, I participated in the DREAM, A DREAM performance, but a number of very distinguished people also performed. That time, during an after talk show, when I looked down from the last seat at everyone from Ootori Ran-san sitting in grade order, the faces of consecutive generations of tops were all lined up. With them in a line like that, being at the end of it I could see them clearly. When everyone turned toward me, I was overcome with emotion and I was so moved that tears just came out. If you line up the achievements of these people in their lifetimes one by one you get 100 years, the weight of that history. Now it’s really hitting me again how deeply moved I am to have been even a small part of that.

SOU: The things we are inheriting even now sure enough came from long ago, and it’s for that reason that we ourselves have something to leave for the next generation. Because I’m active right now, I’ve been thinking about that an awful lot. But it’s not limited to the 100th anniversary, whatever the generation, I think everyone leaves behind some strong hope as they leave the nest. I want there to be something like that for me too.

———————————————

ASAMI: “The Rose of Versailles” was the first show of yours I’d seen in a while, but you were really fabulous.

SOU: What are you saying? (haha)

ASAMI: Even though it was your debut performance, you weren’t uncertain at all, you were shouldering the responsibilities of a top star perfectly, and it was really wonderful.

SOU: No, no…but, when I did my first revue, “Congratulations Takarazuka!!” I was extremely anxious about standing in the center. Komu-san, you came to watch very soon after we opened, didn’t you. Without thinking I texted you, “Please tell me if I’m terrible!” You replied “I wouldn’t tell you that in a text message” (haha). In the end, you graciously talked to me on the phone for close to an hour…

ASAMI: It was nothing.

SOU: That time, you talked to me about things you could tell me because you had been top, about specific things that were necessary for myself right then, and moreover you did it with love. Being able to talk to you, with whom I’d come this far, even though now you’re in a different field, was such a privilege and it made me so happy.

ASAMI: For sure, there are so many things to understand about first standing in that position. I’m the one who’s happy you consulted with me, rather. Chika-chan (Mizu Natsuki) who came to see it with me said so too.

SOU: Ah yes, Mizu came too. I was so desperate.

ASAMI: You were together with me for such a long time, and you were with Chika-chan in Hanagumi too, right? Since the two of us had been watching you for such a long time, there were things we thought we could say to you. I’m happy we’ve come to have that kind of relationship.

SOU: Aaaaaaaah, that makes me so happy…

ASAMI: When I watch this current elegant Eritan, it’s with the affection of a parent or a sibling.

SOU: Because I’ve done nothing but play your older brother (haha).

ASAMI: Big brother has become this lovely! I’m so impressed, and I’m happy you became top of Yukigumi. Protecting the tradition is important, and even though I said there would be many burdens, above all else, Eritan, please stretch out leisurely and enjoy every day from now on. And take care of your body!

SOU: Yes.

ASAMI: It’d be bad if you got injured.

SOU: Yes Mama!

ASAMI: It’s dangerous, Mama is full of things to worry about (haha). You’d better graduate safely and come over to this world.

SOU: Finally, I can be born (haha).

ASAMI: Enjoy each day, and do your best with energy as your motto.

SOU: Yes. Having people who treat me this warmly, and watch over me, as far as I’m concerned no matter how hard things get now… it’s like a miracle that as I’m constantly fighting with myself there are people who help me relax, and then I can stand on my own feet, lead the troupe, and make a fresh start. That time, I wanted to talk to you because you were on that side.

ASAMI: Is that so (haha).

SOU: Getting that kind of message from you even for an instant, gave me a lifetime’s worth of power!

ASAMI: Oh stop it.

SOU: Thank you so much for today!

ASAMI: It was nothing. I should be thanking you.

———————————————
NOTES:
(1) Eritan is quoting the show to jog Komu’s memory
(2) The Meiji Theater, a famous kabuki theater in Tokyo that opened in 1873

Celebration 100 Performers’ Talk: Mori Keaki • Kozuki Wataru

- carlyas
[source]

A commemorative performance for the Takarazuka Revue’s 100th anniversary will be carried out. The title is Celebration 100! Takarazuka ~This Love, Forever~. A group of experienced Takarazuka top stars will unfold famous Takarazuka songs and scenes that will be handed down for eternity. We requested to talk with two of the performers in this production, Mori Keaki and Kozuki Wataru. Before now, these two have appeared together in the musical DAMN YANKEES as well as DREAM, A DREAM. They will discuss their impressions of each other that they don’t normally talk about, as well as tell stories about their memories prior to now.

—–When Mori Keaki-san was top of Yukigumi, Kozuki Wataru-san made her debut. When and how did you two first meet?

MORI: When I was inaugurated as top, a TV program called “7pm World Dispatch” (Chikyuuhatsu 19ji) did a documentary, and in a scene they showed of the music school, Wataru was there! A few days ago, I was transferring some old videos to DVD, so when I saw that one for the first time in ages, there was Wataru marching in her school uniform. I think the scene was probably showing the graduation ceremony or makeup coaching. I thought, “Ah! It’s Wataru!”

KOZUKI: The 75th class was also featured in that “7pm World Dispatch” documentary, we were shown putting on false eyelashes and stage fighting. We were still so young and not used to anything…

MORI: Since I knew her well on a personal level, I didn’t associate her with her year in school, but when I watched that recently I was surprised that she graduated from music school while I was top! From that time on she really stood out, and even now that really hasn’t changed.

KOZUKI: I lived in a dorm even after I entered Takarazuka, and back then I heard lots of stories from the Yukigumi person who shared a room with me, and I went to see Karincho-san’s performances very often. I loved her top debut show La Passion!
(at this point Kozuki-san starts singing “La Passion!” and Mori-san smiles and says, “that was really a great song!”)
Speaking of which, Karincho-san is synonymous with “passion.” That’s the impression I get.

MORI: Wataru broke out the dance and the choreography just now, it surprised me. As expected of her! (haha) It seemed like  “passion” was also director Okada Keiji-sensei’s impression of me, so I was extremely happy to be given a show called La Passion! and my club now and in Yukigumi is even called “Passion Club.” “Passion” is such a great word, isn’t it. Back then we’d chat when we saw each other, but we never got to stand on the same stage. But after we left we appeared together in the musical DAMN YANKEES. That performance was Wataru’s first after leaving Takarazuka, right?

KOZUKI: That’s right. We got to appear together in my first post-Takarazuka production.

MORI: There’s significance to that: Wataru debuted when I became top, and we appeared together when she was a first-year actress… we’ve got a connection.

KOZUKI: At the time of the production announcement for DAMN YANKEES, I had no idea what to do. During the press conference, Karincho-san said to me, “When I did Guys & Dolls, I was told, ‘sex change, GO!’ (haha)” and that calmed me down on the spot, it was really very reassuring. I thought, “I’ll follow you!” (haha).

—–Then last year, you appeared together in DREAM, A DREAM. That was a really varied show.

MORI: Since singing was my main thing, I was singing throughout the whole show, and since Wataru’s main thing was dance, she danced the whole time. It was a production made up of only Takarazuka OG, but in each of our turns we turned up the volume in an effort to outdo our Takarazuka era.

KOZUKI: Everyone was arranged across three acts, so when it wasn’t your turn you were changing costumes or running around.

—–Because there was also a nihonmono show, right? Personally, I was happy to be able to see Mori-san’s figure dressed as a young Edo-period man once again.

KOZUKI: When I saw her in the training room, I also thought, “YES, THANK YOU!!” When I realized, “I get to see this live!” every cell in my body went ZWAAAAAAH—!

MORI: Aw, I’m happy to hear that. Thank you. Rehearsal really was a lot of fun. We got to inspect all the different scenes. When the actual performance started, we didn’t really get to watch the other scenes. We were either performing, running around, or changing our makeup. It was a big frenzy. I never thought I’d have the opportunity to do such a show more than 20 years after I’d graduated from Takarazuka.

KOZUKI: Having the privilege of being together with Karincho-san in an OG performance, it was like time warping myself back to my debut. In the training room, I got to hear her pure voice as opposed to her voice through a microphone, and I was so impressed. After the beginning of the performance, in the second act there’s a scene where I go out to meet Karincho-san, and from the wings of the stage whenever I heard her calling out, I got really happy and it was a lot of fun.

MORI: I think it’s really interesting how Wataru’s generation watches us with that kind of feeling, while we watch Ootori Ran and Hatsukaze Jun etc. as if they’re gods. Seeing the underclassmen straightening up around us, I thought “how cute!”

—–That’s something characteristic of Takarazuka, isn’t it.

KOZUKI: Due to the nature of an OG production, you spontaneously take on the role of an upperclassman or lowerclassman.

MORI: That’s right. So in today’s “Celebration 100” production announcement, since in relation to me there were no upperclassmen, I felt just the right amount nervousness. About once every 5 years there’s an occasion when I’m the most senior, but surprisingly I don’t feel very tense at those times. This kind of feeling is also interesting.

—–Among the members who are participating in all performances of Celebration 100, Mori Keaki-san, you’re the most senior. How does that make you feel?

MORI: I have strong feelings about it. Being able to sing and dance as an active performer at this critical juncture of Takarazuka’s 100th anniversary, I’m so happy.

KOZUKI: At today’s production announcement, I heard Karincho-san’s rendition of “Sumire no Hana Saku Koro.” I felt the life of this production, like a single work will be born through these regular members centered around Karincho-san. She wraps all of us up warmly, and it looks like it’s going to be a lovely company.

MORI: It will be wonderful if it does turn out that way. I think this year being the 100th anniversary, it’s a time when the bonds among all of Takarazuka are vital. So regardless of age, position, or relationship, I want to show everyone the wonderful bonds among the entirety of Takarazuka.

—–Mori-san, what do you think Kozuki Wataru-san’s appeal is from watching her, and Kozuki-san, what do you think Mori Keaki-san’s appeal is?

MORI: Since she was an underclassman, the atmosphere she brings about has not changed at all. At today’s production announcement, Miki Akio-sensei said, “Takarazuka’s virtue is that it’s a pure place,” but Wataru in particular has a pure heart. She’s a sweet girl by nature. And then the way she sits up so straight, it’s so cute!! There’s an imbalance between her appearance and what’s inside. She has a large physique, but the soul of a young lady. This gap is really charming. From here on I think I’d like her to treasure her sweetness as a woman. Wataru studiously goes to see shows very often. She’s come to my shows a lot too.

KOZUKI: Kyaaaaa, that makes me happy. Thank you. I’ve been watching Karincho-san’s performances for a long time, and in Takarazuka her manliness was full-throttle, and she seemed to encompass everything with her enthusiasm, and she was really superb, then since she’s left I’ve continued to see her perform as an actress, and whenever she sings, that entire life as a performer appears. In a single song expressions of her past and where she hopes to go from now on come out, and her presence is overpowering. How someone could do all that just by the way they sing, it impresses me every time.

MORI: If you praise me like that, I’ll probably treat you to anything (haha)

—– Well then, even if it’s difficult, can you tell us the secret to that?

MORI: I’m happy that Wataru feels that way. I think I just really love the world. Even trivial things can make me really happy. For example, if it’s a really beautiful day, I’m the type who will get extremely happy, and look to the sky and say “thank you.”

—–Having experienced the breadth of your singing and acting, hearing those words now I really understand.

KOZUKI: Me too!

MORI: I have a feeling that as the years have piled up, that sentiment has gotten stronger. Even now of course I’m thankful to Takarazuka, but with this year being the 100th anniversary, all over again I’m feeling my gratitude toward having had the opportunity to enroll in Takarazuka and being able to do so many different things there, I’m recognizing how wonderful that all was in a whole new light. Today, I’m so thankful to hear that Wataru thinks that way, and I’m so grateful that so many people came to the Celebration 100 production announcement.

—–The people who appeared in today’s event were only a small part, and I think there are a lot of people who are anxiously waiting to hear about the production announcement. It may be presumptuous, but it’s with these people’s feelings in mind that I’m doing this interview today.

MORI: Today again we felt like we have to do our best at the performance!

KOZUKI: Yes! All of us who have the privilege of taking part in this production are really happy about it, and we want to deliver these feelings through the performance.

—–Today, Miki-sensei talked about showing the “legend of Takarazuka” through this production, but what do you think the “legend of Takarazuka” is?

MORI: This is a funny story I heard a little while ago, but when there’s an early morning performance the curtain rises at 11am, and then there could be a revolution, a raid, you become a space alien, or a snake, or a tree… the productions that are done have a really wide variety of subjects. To that end, Takarazuka isn’t just a framework, but a world where dreams happen. Moreover, all the roles are played by women. That also has to be part of the legend. Each person is part of the legend as a whole, like how gems fill a jewel box. You can’t call it anything but a legend!!

KOZUKI: The stage is a very special place, and I want the audience to enjoy the sense of identification between themselves and the performance, and the dream-like moments overflowing with love. This time in Celebration 100, we’re putting on Takarazuka’s famous songs and scenes together with the beautiful costumes. I wonder if we’ll be able to send the audience into kind of a time warp to those past eras.

MORI: Each fan has experiences with legendary productions and performances. Doing that now,  being able to do a revival live, might even be a legend. I may not exactly remember my lines, but tomorrow when they tell me “you’re going to play Andre from Rose of Versailles” or “you’re going to play Oishi Kuranosuke from Chuushingura,” the feelings will rush in with a POW; Takarazuka is a place that enables you to fly. This is something you can’t taste in the real world. There is so much that is only possible in Takarazuka.

—–Watching DREAM, A DREAM, it wasn’t only interesting to see a revival of that person singing that song, but each person seemed to have “powered up,” with the addition of the experiences that have been cultivated since leaving Takarazuka, and then when they all came together I felt, wow, I saw the underlying power of a Takarazuka OG performance letting loose all of that astounding energy.

MORI: I’m so happy you had that impression.

KOZUKI: It makes me happy too. DREAM, A DREAM was a totally fresh revue production, but this time in “Celebration 100” since there are also revival scenes, I’d like to be able to show an even more upgraded version of the meaning of the Takarazuka otokoyaku and musumeyaku.

—–Well then, finally, please tell us your aspirations for Celebration 100 one more time.

KOZUKI: I’m truly happy that through this production I’ll have the chance to celebrate the 100th year of Takarazuka together with the fans. I will express my feelings of gratitude and love. Please come see it!

MORI: Together with everyone who loves Takarazuka, and everyone who has participated in Takarazuka, this year for one year I feel like I’m returning to being a sienne, and I want to burst forth carrying all of my sparkle, my vigor, and my passion. Since it took this many years to run toward the 100th anniversary, I’ve been thinking lately that perhaps after this 100th anniversary performance is over it will feel a bit lonely. Since I don’t think there’s ever been an OG performance of quite this scope, I want to enjoy it to my heart’s content, and put my absolute best effort toward being able to convey a great many dreams to the fans.

SHOW “Beyond the Door” Challenging Production and Composition! Mizu Natsuki Interview

- carlyas

Source.

Approaching a turning point 3 full years after leaving Takarazuka, Mizu Natsuki has begun challenging new possibilities. This time approaching her third annual concert, naturally she’s working on composing and directing. Having originally performed live shows overflowing with feeling during her time in Takarazuka, she’s a star with an established reputation. Still, as with her otokoyaku unit AQUA5, and her post-graduation male unit Guys From The Earth, she has energetically continued to carry out group-leading activities. And as an actress, from musicals to shows, she’s continuing to attempt different things across various fields.

With her new experience of directing a show, it seems like this has become a good opportunity to check in with Mizu Natsuki on what she’s done up till now and her future plans. Mizu Natsuki, advancing toward the next step, kindly talked to me about this SHOW “Beyond the Door,” the contents of that work, and herself at the moment.

Production is useless without guidelines

—First of all, where did the meaning of the title come from?

Since I left Takarazuka it’s been exactly three years, but including my time in Takarazuka, my past self, my current self, and my future self, I’ve opened many different doors, and seen many different versions of myself. I attached that sort of meaning to the performance I wanted to do.

—The concert opening at this time, it’s the 3rd one so far, isn’t it.

I left Takarazuka on September 12, so I have feelings about that anniversary and opening in this season, but when I thought about the contents of a typical concert, there have been well-known songs from my Takarazuka era, songs I wanted to sing, and a talk portion also, but this time, since I designated “SHOW” as even more of an upgrade, I think you’ll be able to see a lot of songs and dances take shape.

—Previously, Hirasawa Satoshi was in charge of composition.

I’d asked Hirasawa-san to do the choreography too. This time too I’m receiving dance coaching from him, and since I’m also receiving dance coaching from Harada Kaoru-san for the first time, I’m really looking forward to it.

—The composition and direction, this time, you’re doing it yourself, aren’t you?

Yes. I expect it to be real trouble (haha). It’s renewed my respect for all the directors in the entire world (haha). I received all sorts of advice from Hirasawa-san, and I understood it in my head, but when the time came the reality hit me that “I’m the director! I have to make all the decisions?!” and after that I had no choice but to have the guts to do it myself (haha). Also recently, when I went to see Yukigumi’s Rose of Versailles, I heard the words, “I want someone to rely on, I want someone to support me, someone who will always indulge my heart’s desires,” and I thought, “Ah, that’s me!” (haha).

—Like there’s no one to help you?

It feels like that (haha). Of course, when I say I want to do these sorts of things, it’s reassuring that there are wonderful staff who will do all they can to implement them, but in the end, unless I come up with and carry out the guidelines, it’s no use. For example, if I think I want to use a door, what kind of door, where do we get it from, what will it look like, and where will we move it to? I have to decide on these sorts of details one after the other. So right now, I’m trying to make progress with deciding on the things I want to do.

Really carrying  around a pen and paper during “TATTOO 14”

—In order to direct it’s necessary to have various images in your head, isn’t it?

Even if I’ve got some images, if I just line them up into scenes as-is it ends up being the same as the concerts I’ve done up till now, so for “SHOW” I’m thinking about how I can connect the scenes to each other. But, recently, after I finished up “TATTOO 14,” when I tried to itemize everything bit by bit from the beginning, somehow there were things that began to appear. For example, for the dance scenes I want to perform dances that express a certain mentality. Then I think, “Who, what mentality, where are they going?” If I try phrasing it that way, somehow or other I sense the whole vision taking shape.

—The things you want to do must become logical then. As for creating an image, all of your past performance experience is useful, isn’t it.

But, after all since my time in Takarazuka was so long, I unintentionally gravitate toward that. This image, I guess it’s like Takarazuka but without feathers? (haha).

—Did you use “TATTOO 14”’s Kobayashi Kaori’s direction as a reference?

I had various conversations with Kobayashi-san and had the privilege of studying from her. Come to think of it in “TATTOO 14,” my character Bee produced the “purple festival show” scene in the play, but this time I’m seriously carrying around a pen and paper, so it turned out to be realistic (haha). Seeing that Kobayashi-san interpreted the original words in her lyrics, I thought she had an amazing sense and I was very impressed by it.

—In “Beyond the Door,” are you also choosing the music?

Yes, I’m choosing everything. Seriously, it’s so hard I might collapse (haha).

—It seems you went to New York, was it for that purpose?

I wasn’t searching for specific music, but I went to see many different performances and I wanted to get motivated. Out of all I saw, “Kinky Boots” was exceptional. It was truly flashy entertainment, and the individual performances were magnificent to say the least. Everyone was super cute, and the way in which the production is presented is also important, but before that if the actors hadn’t been so charming… that’s the impression I got.

(*NOTE: “Kinky Boots” is the story of a factory that makes boots for drag queens. This year it won the Tony Award for Best Musical as well as 6 sub-categories. )

Putting the otokoyaku essence to good use as an actress

—Aside from you, there are 4 people in the cast this time.

I’ve had the privilege of working with Ueguchi Kouhei-san in shows such as Hakka and Fiddler on the Roof, and he can sing and dance and do choreography! He’s reliable. Mitsui Satoshi-san is a marvelous dancer who was recommended to me by choreographer Harada Kaoru-san. Tanaka Ayaka-san is skilled at singing and dancing and tap. Ichi was formerly Houju Ichi of Cosmos Troupe. After leaving Takarazuka in January of this year she went to New York to study dance, and when I was in New York, we took the same dance lesson by chance and met, and looked at each other all shocked! (haha). I thought, “I wonder if she’s interested in appearing in my show?” and we decided on it. Including her everyone is fairly tall, so I thought it’d look pretty cool when the 5 of us lined up (haha).

—So the visuals are OK! What’s the feeling of the show in terms of the direction you’re taking with the tone?

Right from the opening, the first half has kind of a contemporary feeling. In Ogita Kouichi-sensei’s style it starts in a story-like manner, then a door opens and it becomes show numbers.

—You danced some contemporary numbers a few times during shows in your Takarazuka years.

I really like them. When I was deciding on the visuals for the poster too, I wanted to make it more stylish, like I thought about doing it with a stick and a hat, but personally, I was getting a little bored with this “perfectly dressed” image, and I was thinking  that I wanted to create something with nuance and breadth, like what can I show beyond this point of view?

—Are there otokoyaku-ish scenes and dances in the show?

I’m always thinking about what “otokoyaku-ish” means. For example, is it just holding a stick in a masculine pant suit? That could be either a male role or a mannish female role. I can flip that switch inside myself relatively easily, but… of course, when it comes to the movements and sharpness that closely resemble that of an otokoyaku, if those sorts of skills are needed, I’ll use them.

—So going forward, you’ll unify the otokoyaku skills you’ll use with what you want to present as an actress.

I think the actress part of me is steadily growing, and I think it’ll be good if my otokoyaku essence can be put to use within that.

The joy of being able to participate in a 100th anniversary commemorative performance

—This past March you appeared in a production of  “Fiddler on the Roof,” and it was a big step for you as an actress.

The first time I took a look at Fiddler’s story, in the beginning I thought, does this really need to be me?  But since the eldest daughter was a firm, dependable person resembling the mother, I thought someone who used to be an otokoyaku might be good. Then when I watched the movie and saw the aproned figure of a village girl, I thought, what the heck should I do? (haha)

—Being surrounded by macho male actors didn’t make you feel uncomfortable.

Before I knew it, I’d embraced my supporting role and turned ladylike (haha). But, at first whenever I embraced Ichimura (Masachika)-san, if I grabbed him from above he’d say “Hey! Do it from below!” It just comes out unintentionally (haha). I learned a lot from the younger sister’s actress Chii-chan (Otsuka Chihiro), and in the scene where she says, “Papa, please,” to ask permission to marry, I thought “oh, ok” and came to understand. Rather than just mimicking a tone of voice or style, there’s a knack to it, and that’s where the sweetness comes from. I really discovered a lot of things during that performance.

—With what you gathered there, you went on to play Bee in “Tattoo 14” and underwent another transformation.

I don’t know if the audience saw differently, but I’m sure I’m a totally different person than I was last year. My way of thinking about things, and feeling things is totally different. Since being an actress has become natural, I hope I played the boyish Bee with all my strength.

—Since the members are almost the same as last year, could that be the source of your ability to relax?

This year we completely became like sisters. Like, there is so NOT any barrier between us, it’s trouble! (haha)

—They say when you do a revival of a play you can really see your progress and the changes in yourself.

That was really true. The parts I did last year without totally understanding them, I thought I was able to pretty much clear them.

—Having that kind of opportunity again is great, isn’t it. So, this fall is the Takarazuka Way to the 100th Anniversary OG performance “DREAM, A DREAM,” but except for the charity performance, this is the first time you’ve participated in an OG production, yes?

Of course, the timing of the 100th anniversary is not something that will ever come around again. I’m so happy that I’ll be able to take part in this commemorative performance, and as someone who was part of Takarazuka I was thinking I really wanted to participate. At the time of Fiddler, since Tsure-san (Ootori Ran) and I had the same Takarazuka origins, I had the privilege of talking to her a lot and I had so many opportunities to learn. Since I’ll be able to perform with so many of my senpai in this production, from talking to them and watching them on stage, I think I’ll be able to learn even more.

A new door opens, and things are visible through it

—As for the future Mizu Natsuki, what kinds of things do you want to challenge in your next performances?

After Hakka, I thought I kinda wanted to try sword fighting. I got scolded by Atsumi Hiroshi-sensei, “Can’t you do it at all??” (haha), I don’t know how many times I struck Hirasawa-san in the legs (haha). Compared to my Takarazuka years I can hardly move at all, so I want to fix my training, and if there is an opportunity for Japanese-style performances or sword fighting, I think I’d like to try that.

—The surreal performance “7DOORS ~Bluebeard’s Castle~” appeared to be popular. How was that?

I loved it, but I’m not sure I could do something like that frequently. I wonder if now my fans wouldn’t be happy with brighter, more fun things.

—It seems like you yourself like to get excited with your fans too.

Really? (haha) But, since I experienced doing shows with 2000 audience members in my Takarazuka days, I really think people’s energy is awesome. In Theater Clie id doesn’t matter if it’s 100% full or if it’s a day when a few seats are vacant; the force of the people is totally different. So this time, I hope I can do a show that lets me feel the energy of the fans. But, since it’s not the type of show that lets off a lot of energy, it’s OK if they don’t stand up, and I think I’d like them to be able to watch comfortably.

—What sort of Mizu Natsuki are we going to see “Beyond the Door?”

When I look back on the first, second, and third years after my retirement from Takarazuka, I think my colors are really different now. Through adaptation and mixing, the single performer “Mizu Natsuki” you see now has taken shape, and if there’s a Mizu Natsuki that can mix together all these colors, that’s the Mizu Natsuki I hope you’ll see…

—I hope that Mizu Natsuki is even more fantastic and charming going forward.

Ichimura-san and Tsure-san are both charming, and it’s through that kind of long life experience, and the ability to overcome various obstacles, that one becomes fantastic. When I look at that way of life, I don’t think I can simply imitate it, but I can receive encouragement from it.

—3 years after leaving Takarazuka, you may very well continue performing in the future.

While steadily accumulating various experiences, I hope I can progress little by little from where I was before. Since my circumstances have changed in a variety of ways, I really hope that this show Beyond the Door opens a new door for myself and for the people watching.