From this article.
The Mitsui Sumitomo Visa Platinum Card motto is, “Now, more than ever, let’s shine.” and we have two women here who live by this expression: actresses Maya Miki and Dan Rei, who originated in the Takarazuka Revue. These two were by no means honor students. Amidst adversity they found their own special way to shine, and they talked together about their thoughts and the possibility of expressing themselves as Takarazuka meets its 100th anniversary.
MAYA: There are definitely a lot of people who have never gone to see Takarazuka, aren’t there. Actually, I was one of them. I think the symbols of Takarazuka are the otokoyaku appearing on stage laden with feathers, and things that can’t exist in reality. This is the shape of the tradition that has been built over the last 100 years.
DAN: That’s something that isn’t represented anywhere other than Takarazuka, isn’t it. During the performances you forget about reality, and through the eyes of the musumeyaku, the otokoyaku make your heart flutter. To me, offering that dream is the essence of Takarazuka.
Please set the scene for your feelings on the importance of Takarazuka reaching it’s 100th year.
MAYA: Whenever I tried to express myself in a new way, I was always worried about destroying the tradition that my senpai had built. What finally gave me a push was something the iconic Takarazuka otokoyaku star, the late Kasunago Yachiyo-sensei, said to me. She said, “Every person who starts something gets knocked in the head, but still, you either want to do it or you don’t,” and then I resolved myself.
DAN: In the days when Maya-san led Hanagumi, she expressed a new sort of urban type of guy, and some really stimulating performances unfolded from that. Everyone admired her.
MAYA: Seriously? I wish you’d told me that sooner! (haha). But, the senpai-kouhai relationship in Takarazuka makes it difficult, doesn’t it.
DAN: Haha. Takarazuka’s traditional hierarchy and etiquette really are strict, huh. But then, it creates a certain kind of unity, and I feel as though it’s precisely because of that that each individual Takarasienne can concentrate on being able to construct that single dream world.
MAYA: Thanks to the discipline I got in Takarazuka, I feel like now I can obediently take advice and criticism. For sure after I left Takarazuka, I felt the real weight of my gratitude for that tradition.
On your journey to become top, it wasn’t smooth sailing.
MAYA: Right after I enrolled, my rank was 37 out of 39… almost last. Since I was burning with the hope of being #1, I was shocked.
DAN: Actually my grades were terrible too……..so no one would sense my frustration at not getting roles, I pretended to be tough.
MAYA: Me too! I briefly thought I’d quit. But little by little I started to receive kind words from fans, and I got to the point where I was able to think it’s just like how life is a long haul—you never know what’s going to happen.
DAN: For me, my impetus was the closing of the theater because of the Hanshin earthquake. Even though I wanted to stand on stage and I’d entered Takarazuka, I didn’t know what the heck I was doing. Alone in my dorm room I told myself, “instead of being defeated by the things you can’t do, do the things you can do with a smile.” That was my breakthrough.
Maya-san, as a liberal otokoyaku in suits with long hair, you were called a “Takarazuka revolution.” What was your driving force in your pursuit of self-expression?
MAYA: My number one motivation was the desire to turn even people who didn’t have an interest in Takarazuka into fans. So, as one troupe among 5, I wondered if it would be ok to suggest that the otokoyaku dress stylishly in suits. For the purpose of people-watching, I rode the Yamanote line around and around, and studied the modern man.
DAN: Outfits consisting of felt hats and suits in those days in Takarazuka were really fresh. From the point of view of a musumeyaku, seeming to get close to an otokoyaku like that appeared natural and had a lot of appeal.
MAYA: The otokoyaku’s ability to shine on stage is thanks to the support of the musumeyaku. So, it’s very difficult for the musumeyaku. In order for the fans to see the dream, the musumeyaku’s role is very important.
DAN: Thank you. I had the privilege of being top musumeyaku of both Tsukigumi and Hoshigumi. In order to carry out that responsibility the second time, I decided that I’d cut myself off at 4 Grand Theater shows. After that, I concentrated single-mindedly on those performances. On the last day of my final show, it didn’t hit me while I was giving my speech in my hakama, but during the curtain call when the audience stood up and applauded, the feeling that I’d not made a mistake in taking on this challenge, that I’d done it, finally surged up.
After leaving Takarazuka, you’ve both expanded into movies and dramas. Up till now have you ever felt lost in a different world?
DAN: There truly have been times when I’ve felt helpless standing in a different place than on stage. But anyway I’d lost the career I’d cultivated as a top musumeyaku, and I had to start from zero and take it on like a first-year student.
MAYA: Having played an otokoyaku for so many years, as an actress I felt like I was starting as a -15 year student (haha). But since I felt incomplete, I was able to accept a new challenge. Being able to take on this unknown world in the second half of my 30s was so much fun. To decide you can’t do something because of your age or experience is ridiculous. Precisely because of the accumulation of all of that, I have the depth of an adult, and isn’t that interesting?
Lastly, please tell us your thoughts about Takarazuka reaching its 100th year, and your dreams for the future as actresses.
DAN: No matter what generation we’re in, I hope they’ll protect the wonderful tradition of Takarazuka to the end. As for me, I feel like I’m still inexperienced. Even now as when I was new, I face struggles from day to day. For this reason, even if from yesterday to today, and today to tomorrow, my growth is only a millimeter, I want to continue to refine myself.
MAYA: The soul of Takarazuka is “learning from the past.” From now on, while taking in younger generations and expanding further, they’ll present themselves as a passionate and broad-minded theatre company. Beyond the shining tradition of 100 years, I expect they’ll continue to dream up a whole new Takarazuka. The work of an actress is to touch people’s hearts through your performances. As an actress I’m aiming toward being able to experience my aspirations for tomorrow, and enjoy my challenges.