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.