Asami Hikaru

Asami Hikaru’s NY Confidence! Eager for Takarazuka OG Chicago’s Triumphant Return Home

- carlyas

Translated from Sanspo.com article, August 9 2016

The Takarazuka OG version of the musical Chicago, after closing its curtain on a successful performance in New York last month, opens its returning performance at the Tokyo International Forum on August 10 (through the 21st, followed by performances at the Umeda Arts Theater in Osaka from August 25-31). It tells the tale of two women who, borrowing their lawyer’s power, attempt to flip their scandals into a rush for stardom. We talked to former Snow Troupe top star Asami Hikaru (44) who played one of those women, Roxie Hart, adorably.

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Asami Hikaru Interview – ASAMI LIVE

- carlyas

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!

Shizuki Asato x Asami Hikaru Chicago Talk

- carlyas

From Asahi newspaper Nov. 7 2014

SHIZUKI: When we were in Takarazuka, Asami was always quiet. On stage she was brilliant though.

ASAMI: I was erasing my existence. In TMS as well, when I was a first year, it was to the point where the second years would say “oh, you were there?” I’m not very good at talking to other people, and I push forward doing only what I can.

SHIZUKI: You’re a very hard worker.

ASAMI: Zunko-san, when you became the very first top of the new Soragumi, as a Hanagumi kid I was proud. Because all of us underclassmen recognized your talent. Your singing was extraordinary and you were able to dance well, and your acting had an interesting flavor. I thought I’ll be damned if she doesn’t become famous. This is rude but it was kind of like parental love.

SHIZUKI: It’s the first I’ve heard that. I feel that way too. People connected by fate are linked in so many different ways, huh. This time, what I can hope for is a realistic man. I’m tackling something totally different from an otokoyaku. What is a man, I wonder. I’m agonizing over it, and when it’s over how much will I have changed? I feel nervous. It’s Takarazuka’s 100th anniversary, but I have to build whatever’s next. I think I have to create a new style. The single battle is how can we have the stereotype of Takarazuka eliminated.

ASAMI: Those are the values of women who play men, aren’t they. Takarazuka otokoyaku are the men of dreams. We play them beautifully. This time, I’m playing a female role, and I have to take on my male counterparts with the same stance. When we clash I get to hit them with all my strength. Roxie is a fun part.

SHIZUKI: It suits you! It’s the perfect role you were destined to have. In Takarazuka you played Rudolf, and you changed, didn’t you.

ASAMI: I think it was a turning point. I went through the experience of Rudolf and now my current self is here. Roxie might be that way too.

SHIZUKI: Komu-chan’s charm and dance technique is coming out to an extent beyond even what I was aware of.

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

SHIZUKI: Yay! Komu-chan, I love watching you enjoy yourself.

ASAMI: Am I normally that gloomy? Since you play the “silver-tongued” lawyer, you’ve got a staggering amount of dialogue. Zunko-san, you talk and talk without breathing. When you’re singing too. When do you breathe?

SHIZUKI: I take long breaths. Anyway, Billy has to manipulate everything.

ASAMI: That’s true. I wonder how you’ll manipulate me.

“What is the source of your energy?”

- carlyas
[Translated from here]

MIZU: This was also true while I was in Takarazuka, but recently the number one source of my energy has been strength training and having my body change.

ASAMI: You’re strength training? Now?

MIZU: I am, I’m doing it. I’ve been doing it since my previous show “Argentango,” but if I do it as much as possible my muscles won’t betray me (haha).

ASAMI: I’ve heard that before (haha)

MIZU: But really, because it’s tied to good health, and it’s tied to being able to get through performances without injury.

ASAMI: Weight training?

MIZU: I don’t use weights, but there’s this thing called a stretch ball, and I do things like raising and lowering my leg on it, sit-ups, etc. Since I sweat so much just from dancing in Chicago too, I’m looking forward to the gratification of the body training I get through Chicago exercise.

ASAMI: Amazing〜!

MIZU: It puts me at ease. It’s reduced the times I feel worn out. Because my base stamina is rising. So it’s become the source of my physical and mental energy. What about you, Komu-san?

ASAMI: The source of my energy is………I guess it’s work, at the moment. When I have that I feel alive.

MIZU: Work and play are the same for you aren’t they.

ASAMI: Yes they are. I really look at Chicago as fun. Because I love it.

MIZU: Well then, of course it’s your energy right now.

ASAMI: So every day is fun! Even just listening to the music and watching the choreography is fun. Of course when I get involved myself, it’s not only fun, but there are feelings and other emotions that I have to put into it. Anyway, work is fun. The thing that makes me the happiest is, since I’ve had the privilege of being called on by a number of different fields, I’m amusing myself in a good way and really enjoying my work. But on the other hand since I’m a workaholic I don’t have any hobbies at all (haha). So just going to see shows is a hobby, I love it.

MIZU: I see a lot of shows for work, but as a hobby, I don’t really do it much.

ASAMI: Ehhh, seriously? Of course I only go see the shows that interest me too, but I love seeing different types of performances, and while I’m there I often think things like, “This play was interesting. I want to try working with that director next time. I want to do this kind of show.” Since that ties back in with work again, it seems like work is the source of my energy. But that’s a little too cool isn’t it (haha).

MIZU: No no, it’s wonderful.