Kozuki Wataru

Special Talk: Yuzuki Reon x Kozuki Wataru

- carlyas

From Graph, July 2014.

YUZUKI: When I first met you, Wataru-san, it was Rose of Versailles 2001, wasn’t it?

KOZUKI: That was when I made a special appearance as Andre while I was in Senka.

YUZUKI: I was still only ken-3, but I wanted to talk to you at all costs, so I started the conversation with “So, about how you hold that cloak…” during the part where you were gradually ascending.

KOZUKI: Oh yeah! (haha)

YUZUKI: Even though it was so random, you taught me very politely!

KOZUKI: Well, I’d heard there was this really promising young otokoyaku named Yuzuki Reon…

YUZUKI: Seriously??

KOZUKI: Yep! Things like how your dancing was extraordinary, and that the hope was you’d carry us in the future!! So I thought, “Eeeh, you’re asking ME?” (haha)

YUZUKI: No way no way, it wasn’t like that at all. Afterwards you became top of Hoshigumi, and in your debut show A Song for Kingdoms the troupe settled nicely with laser focus on you at the center.

KOZUKI: Ahh, you guys… It was because everyone welcomed me so warmly…

YUZUKI: My memories of putting on your shows are really passionate… The upperclassmen felt as if you’d left on a trip and were so glad you’d returned, and we underclassmen were truly happy about all the things we got to learn from you. How long had you been apart from Hoshigumi?

KOZUKI: I moved to Soragumi, and then went to Senka, and I think it was about 5 years. As a member of Senka, I got to perform with each troupe’s top without belonging to a particular troupe, and it was so worthwhile and I got to study so many different things. From there it was decided that I’d return to Hoshigumi, and when the upperclassmen said “welcome home” to me, I teared up, and in my heart I really felt like I’d come home after all… So I was extremely happy. I thought alright, together with this Hoshigumi I’ll give it everything I’ve got left.

YUZUKI: That’s so moving! During A Song for Kingdoms it felt like Hoshigumi came together as one, and that’s still continuing even now.

KOZUKI: And it wasn’t really a show where everyone played the same role all the way through. At rehearsal for the last scene of act 1, even though I was facing front and singing, I really wanted to turn and face everyone and sing, and when I did everyone reciprocated so much and I remember that really clearly.

YUZUKI: (shy smile)

KOZUKI: I looked at everyones sparkling eyes, and that was the moment I felt like we were going forth, starting out together…

YUZUKI: Because you were like the sun in how much you shone your love onto us, each and every one of us was trying to receive that love, and we all wanted to reciprocate somehow, and collectively as a troupe we were able to. I wonder if I’m able to create that kind of atmosphere now… Even now I’m constantly thinking wow, Wataru-san was really amazing back then.

KOZUKI: Whenever I have a chance to meet with a Takarazuka choreography teacher through work, they tell me, “You’ve bestowed your energy even on current Hoshigumi,” and it makes me happy to think about it.

YUZUKI: Eeeeh?!

KOZUKI: They say “Chie is leading with everything she’s got!” I answer, “I’ll cheer her on next time I see her!” (haha)

YUZUKI: I’m so happy! You’ve also said you can feel Hoshigumi’s passion when you come to watch us… I want to make sure that continues forever. But, even if it’s mental, there are times when I can do my best and times I can’t… during those times I think back. What would Wataru-san have done? Because when you were watching us from close by, you were always the sun… But if I think about it now, you had so much going on…

KOZUKI: Hahaha. Me too, when I watch you sparkling on stage, I think, “You’ve got so much going on, keep it up Chie～” (haha). Of course, when I think about it everyone must have that same experience.

YUZUKI: Yes, they must. As for me, more than anything, I have so much respect for your attitude and your sincerity when you went out on stage!

KOZUKI: What?! What’s this all of a sudden! (haha)

YUZUKI: You taught all of the troupe members that there is a mountain’s worth of work to do before you have fun on stage!

KOZUKI: Hehe.

YUZUKI: Everyone in the troupe could feel your precision as you faced the audience. So, I want to make absolutely sure I place a lot of importance on that part.

KOZUKI: Right now everyone is looking at your back and giving it all they’ve got!

YUZUKI: (shaking her head) I’m looking at your back…

KOZUKI: No no, I had the opportunity to look at the backs of many fabulous senpai too. During the show DREAM, A DREAM a little while ago when I met with all those past generations of senpai, I remembered standing behind them and doing my best, and my heart filled up with feelings of gratitude. It’s these kinds of relationships that made me into the person I am today.

YUZUKI: Definitely.

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KOZUKI: There’s a sports festival this year too, isn’t there. I’ll never forget the sight of you going mad with rage when we lost the tug of war in the 90th anniversary sports day (haha).

YUZUKI: (bursts out laughing)

KOZUKI: Even your cute aspects will become overzealous on sports day. You’ll even get fired up about the after party.

YUZUKI: Haha.

KOZUKI: So, I was in charge of a group trip at the time of my retirement, right? So, so I did this cute maid cosplay (hehe). I learned in Hoshigumi that even just doing something like that with all my might and no regrets is really important. There might come a time when it proves useful.

YUZUKI: Eeeeh!? Seriously!?

KOZUKI: Yeah! It’s been tremendously useful to me. Maybe not really something I could put to use as an otokoyaku top star though (haha).

YUZUKI: Of course.

KOZUKI: Life is long! So nothing is pointless! Not even your after party performance!!

YUZUKI: (Haha).

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YUZUKI: In my shinjin kouen performances, I had the privilege of playing your roles. I learned so many things, and I feel nothing but gratitude.

KOZUKI: Really! Thank you!

YUZUKI: It allowed me to form my foundation, I’m really thankful for that fate. I recognized that I couldn’t have been more fortunate in my roles! Because you really spoke with what was best for me in mind, your words always left a sharp impression in my heart.

KOZUKI: Although it was difficult to decide when and how to convey certain things, because there are so many things I was glad my superiors said to me too, I thought I had to pass that on. And you’d listen so obediently!

YUZUKI: Aaahh, nooo, really…

KOZUKI: At those times I’d watch your eyes, your behavior, and the way you’d take on the performance, and I’d be so happy you gave me the sense that you’d actually gotten the message.

YUZUKI: You’d tell me things not just on the level of how to sing and dance.

KOZUKI: Really?

YUZUKI: I wonder if I’d call it the root motive or something… You just taught me so many things back then and I’m so glad you did.

KOZUKI: I don’t remember that clearly, but when I was in Soragumi, during rehearsal for a soran bushi* (*traditional song/dance) scene, I was saying things to everyone like, “Become fishermen in your hearts and cast your nets!!” (haha).

YUZUKI: Hahaha. But that’s the sort of thing I’m talking about! Motive!

KOZUKI: Even in the first national tour upon my return to Hoshigumi, the cheer during the line dance was really on my mind. Everyone was saying “hyuuu～” but I thought it should be different. You could also do it like “HYUUUU!!” with great joy, and I wondered if you weren’t going to put the feeling in there, what’s the point of saying anything at all?

YUZUKI: (nodding deeply) That’s true, isn’t it. The things I’ve been giving my careful attention lately might all be like that. As long as you understand those things, it opens the way for everything.

KOZUKI: Yes!

YUZUKI: I love the “Homage” scene in Neo Dandyism, and I usually watch it when I’m feeling down, but it moves me every time. If I think of what’s so great about it, of course it’s that everyone’s motivation is amazing!

KOZUKI: Thank you, that makes me happy.

YUZUKI: Just thinking of you appearing in that scene, my feelings toward you are already overflowing.

KOZUKI: It was made so that I could get involved with everyone little by little, wasn’t it. The end required so much energy and stamina!

YUZUKI: It was tough… But in the end, you walk to the back. You look at everyone and then, the way you leave!

KOZUKI: My emotions from that time are still carved in my heart. I’ll never forget it.

YUZUKI: I really love that scene!

KOZUKI: Speaking of scenes, it seems like my love scene rehearsal has gotten around too (haha). I heard that from Ryu-san when I ran into her during work recently, and I thought, huh, they were even doing it in Tsukigumi (haha).

YUZUKI: (Haha) you taught me so much too!

KOZUKI: You guys like me, don’t you (haha)

YUZUKI: Well you know, because the fans’ hearts ache at those parts.

KOZUKI: That’s right!

YUZUKI: So now I…

KOZUKI: Are you taking care of that?!

YUZUKI: Yes! I made sure to take care of it!

KOZUKI: Ooooh! (applause). It’s a very serious matter, of course!

YUZUKI: What you taught me, even in regard to dancing, was about the part of your feelings that dictate why you move a certain way.

KOZUKI: Your ability to leap is amazing, and so is your instep (haha).

YUZUKI: Yeah, I’m always destroying my shoes (haha).

KOZUKI: (haha). Now that you’ve added those skills to your heart, it’s like you’re unstoppable. So every time, I see that you’re dependable, and that even since you’ve become top you haven’t been stingy with your effort, and I really understand: this is the grand sum of what you’ve been aiming for as an otokoyaku, and it’s dazzling.

YUZUKI: I feel warm… I’m so moved!!

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KOZUKI: By the way, when I saw the 100th anniversary poster, it filled my heart so much I wanted to tell you about it. I thought wow, Chie is one of the representatives of Takarazuka… without thinking I snapped a picture!

YUZUKI: Thank you so much.

KOZUKI: I’m happy that the Chie I’ve watched since she was an underclassman has become this handsome!

YUZUKI: But, I’ve got to work harder… When we did “Eternal Prayer”, Junko-san (Ema Naoki) and the other upperclassmen worked together with those of us who played the “dream cross” roles in the rehearsal room and showed us how to dance.

KOZUKI: That did happen, didn’t it!

YUZUKI: Even though they told us so much, probably because I couldn’t get the heart of it, I couldn’t do it at all.

KOZUKI: Often you can only understand half at a time, and you’ll look at each other in rehearsal but it’s only the underclassmen who aren’t doing very well.

YUZUKI: Yes. But, since I hadn’t been shown many examples, I was really moved. I may not be able to do it like that… I’m teaching people and also learning myself, there are so many good things.

KOZUKI: Yeah, definitely!

YUZUKI: So I’ll work harder.

KOZUKI: You’re working hard enough though (haha)

YUZUKI: But Wataru-san, after you’d show us things, you’d stay late doing your own rehearsal, and you’d even come to the morning lessons. It was truly amazing! I always felt like when the heck does she sleep.

KOZUKI: Ahaha, I was really energetic, wasn’t I (hehe).

YUZUKI: No matter what, if I don’t get a good night’s sleep…

KOZUKI: That’s good, isn’t it?! It’s obvious! (haha). When I was in rehearsal I pushed myself to my limits. If I did that, during the actual performance I got more time to sleep, which made it feel really easy.

YUZUKI: Eeeeeeeh! (earnestly) Ahh…I’m glad I got to meet such a stoic person.

KOZUKI: What?! (haha)

YUZUKI: When I met you, you taught me the joy of stoically persevering all over again.

KOZUKI: I think I learned it from a lot of different people too. My Hoshigumi upperclassmen were like that, and then I was transferred to Soragumi, and I saw that Kotobuki-san and Yuuki Kaoru-san and others took lessons even on their days off, and I remember feeling a sense of impending crisis, like even though I dance with them I’m going to get left behind! From there I increased my efforts.

YUZUKI: Is that so.

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KOZUKI: You got to put on the revival of “Too Short a Time to Fall in Love,” didn’t you.

YUZUKI: I did! At the time of the first performance, I’d already graduated from shinjin kouen. I watched Kazu Ryouka who played your role darting around by your side, and I said “I was always the one doing that!!” (hehe)

KOZUKI: Hahahahaha

YUZUKI: I’d thought about how that was the only role of yours I did not have the pleasure of playing, so when the Chunichi performance was decided I texted you “It’s like fate!”

KOZUKI: I remember that.

YUZUKI: I was so happy.

KOZUKI: I also learned so many things from the real performers of my shinjin kouen roles like Shion Yuu-san and Asaji Saki-san, and even now they shower me with affection, but I think being able to build connections like that is not so common.

YUZUKI: I agree.

KOZUKI: So being able to hold on to my bonds with you up until now, for me that’s such a treasure… What I mean is, you make me so happy!

YUZUKI: Iyaaaaa!!

KOZUKI: It really makes me happy, going to see you perform.

YUZUKI: You come every time even though you’re so busy.

KOZUKI: I remember so well, when I had my debut performance, Hyuga Kaoru-san, Shion-san, Asaji-san, everyone came and they were so glad…

YUZUKI: Yes.

KOZUKI: Now I wonder if they were watching me with these kinds of feelings and I feel thankful all over again, and the fact that I also have someone like that makes me really happy… Aaah, I want to stay in Takarazuka forever!!

YUZUKI: (haha)

KOZUKI: Like, don’t snatch away my fun! (haha). It really makes me so happy.

YUZUKI: It’s love, isn’t it, your relationship with Takarazuka.

KOZUKI: It really is!

YUZUKI: The relationship between us and the fans is also like this, but the bonds of affection between upper and underclassmen in the company are so profoundly deep. We’re taught so much love, we’re all brought up with it.

KOZUKI: That’s really true.

YUZUKI: Moreover, how considerate you are to all your fans and your staff is so magnificent. I’m always thinking about how each and every thing about you is so impressive!

KOZUKI: No no, stop it. Every bit of it I learned from my senpai.

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YUZUKI: All the way up until the 100th anniversary, so that the fans have a good time, during their time everyone put out their very best to the point of exhaustion, yet there are people who say, even if it’s only a little something, is that really enough? I think it’s because people continue to say this that we are here currently, so I resolutely want to leave that behind too. And more than anything, I want to feel the happiness of being able to exist in Takarazuka at this moment, and I want to have fun!

KOZUKI: I think Takarazuka resembles a long-distance relay race. Everyone runs eagerly through her era, and then passes the sash on to the next person. The fact that it continues in this way despite various difficulties, that’s the power of everyone with this connection, the passion of the actresses, tied together by the love of the fans. I’ve gotten to wear that sash, and I passed it on to the next person, and now you’re wearing it, Chie!

YUZUKI: Yes.

KOZUKI: When I heard that we’d be doing this talk I was glad. It’s part of the charm of Takarazuka that we’re linked by these bonds, and I think that’s the reason we’ve been able to continue to the 100th year. I want everyone to continue running, tied together without breaking the chain.

YUZUKI: Ahhhh… Now I want to cry. Thank you so much for today!

KOZUKI: Thank you!

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.

“Kuzariana no Tsubasa” – Kozuki Wataru Interview

- carlyas

Original interview here.

“Kuzariana no Tsubasa,” the most recent work in the drama series “Chikyu Gorgeous” supervised by Kishitani Goro & Terawaki Yasufumi, will be performed at the Akasaka ACT Theater starting on January 8, 2014.

Approaching their 20th anniversary, these two are extremely popular for creating singing, dance, and laughter-filled entertainment, and in this performance Kozuki Wataru will be making a guest appearance. The setting is a fictional country called Jameria which is bound by 4 social classes, and in this large-scale production that illustrates the pictures of various people desperately living in defiance of each of their fates, the brilliant popular talents Nakamura Masatoshi, Kazama Shunsuke, Yamamoto Yusuke, Miyazawa Sae (SNH48), and Satou Eriko in addition to Kozuki will all appear together. Prior to this performance, we asked Kozuki, a huge fan of Chikyu Gorgeous since her Takarazuka days, to discuss her feelings about “Kuzariana no Tsubasa” and the 100th anniversary of Takarazuka.

Chikyu Gorgeous, Thrust at the Origin of Entertainment

—Kozuki-san, you’re well known for being a fan of Chikyu Gorgeous, and during the press conference you talked about it passionately.

I got ridiculously excited (haha). I was told to conduct myself exuberantly at the press conference, but truly from the moment I stepped out under the lights and music, I was able to talk passionately (haha).

—I want you to talk about the magnificence of Chikyu Gorgeous one more time.

Singing, dancing, drama, fighting, tears, laughter… it condenses the entire true charm of theater into its world, and I think it’s the ultimate form of entertainment. Kishitani (Goro)-san also talked about this, but there are themes concerning these times that everyone has to think about, and as for me every time I finish watching it I get a sensation sort of like threads being unwound inside me. I think it’s the kind of entertainment that gives me courage, like I’ve advanced one level from where I was before.

—That seems like something you’d have encountered during your time in Takarazuka, right? Since you’re in a position to deliver your own hopes and dreams, it just feels a little bit surprising.

Precisely because I had the privilege of appearing on stage every day, I feel like I’ve been thrust before the origin of entertainment a second time. What I really want is to jolt the emotions of the people watching in this manner. Chikyu Gorgeous was the show that renewed my conviction that this is the road I should be progressing along.

—Including video recordings of past performances [of Chikyu Gorgeous] you’ve seen all of them, but which is your favorite?

For sure, “Claudia” (from 2004), the first one I saw live, left the biggest impression. The use of music by the Southern All Stars, and the appearance of the now deceased Minako Honda, still remain in my heart.

—This time for “Kuzariana no Tsubasa,” you play two parts, and there’s a little bit of a trick, isn’t there?

That’s right. But right now, that’s a secret (hehe), and there are also many other parts that I’m not allowed to talk about. Please look forward to going to see it (haha).

—According to Kishitani-san, you possess two kinds of appeal from your time in Takarazuka.

That is what he said. Kishitani-san is the sort of director who can draw out both the quintessential aspects of a person and the parts that he/she has never shown before, and since this time also it’s an original work that Kishitani-san was able to write, I think I ought to lay my heart bare and plunge in.

“Kuzariana” means “Rebirth” in Swahili

—Concerning the play’s story and your own characters, what sort of image are you keeping in mind?

I was wondering what the “Kuzariana” part of the title means, and it turns out its meaning is “rebirth” in Swahili. I think this is a relevant theme that Kishitani-san fell in love with, and while the characters are each dealing with various class struggles, they collectively grab hold of a new dream. Within this sort of human drama, I think there are a lot of parts you can sympathize with and a lot of elements that give you courage. In the story, I’ve been given the opportunity to play both a character of the second highest rank and also the lowest rank, but even though it’s the first time I’m playing two roles, I want to enjoy myself.

—Working with Kishitani-san and Terawaki-san, is there anything that has been particularly enjoyable?

With Kishitani-san writing, directing, and performing in the show, I think he’s given himself a difficult amount of responsibility. With him shouldering that much responsibility, by the time we arrive at opening day, I wonder what kind of study I’ll have been able to accumulate… I’d like to follow him very closely. Every time, I wonder how we’ll be able to become such a cohesive team. As someone who has also produced shows, I have all the more interest in that. As for Terawaki-san, how should I put it… he’s the sort of person that makes you feel relieved. The two of them are kind of like a married couple (haha), and I think Terawaki-san is the one who stands by in support and creates a calming atmosphere. But the sparkle in his eyes when things get serious is amazing, and I think I’d like to be beside and closely observe the Terawaki-san you can only see on stage. Moreover, my heart is filled with happiness at having the privilege to participate in the Kishitani/Terawaki-produced Chikyu Gorgeous series that has had reason to continue for 20 years, and I’d like to perform wholeheartedly.

—What about your co-stars?

There’s really been a fantastic atmosphere ever since the press conference. Nakamura Masatoshi-san talks to everyone extremely calmly, and when he greeted me for the first time I thought, ‘Wow, he talked to me!“ and I was overjoyed (haha). In spite of the fact that he’s such a big star, how should I put it… he’ll spring to lend a hand, or step back when necessary. The significance of the top-billed person being this way, I think it creates a very gentle atmosphere and an incredibly warm company. When I first saw Kazama Shunsuke-san in “Claudia,” he left a very stoic impression, he’s someone who has an absolutely incredible ability to concentrate on his performance, and I think he’s someone who definitely has the image of an actor. Since I have the privilege of working so closely with him this time, I feel honored! Yamamoto Yusuke-san, more than anything from watching him on TV I got the impression that he was “big-boned.” Although he plays a villain this time, his fresh face gives you the feeling that he’s got a heart. He’s someone with an extraordinary number of faces. Miyazawa Sae-san, as expected of an idol, is ridiculously cute! She’s straightforward and she shines with all her might. As for Satou Eriko-san, she has an air that’s exclusive to her. When I met her she was practically even more slender than I’d thought, and she’s a very feminine person. But, she’s someone whose conversation isn’t very flowery, and that gap is lovely.  I’m truly happy that I’m able to take part in such a lovely company with so many different charms.

The Feeling of Wanting Everything Fostered over 25 Years to Come Out

–By the way, since the 100th Anniversary Ceremony for your old home Takarazuka is finally approaching, would you share your thoughts on that again right now?

In 2013, through performances like DREAM LADIES and DREAM, A DREAM, I had the privilege of performing in a lot of shows with OGs, and being able to spend time once again with all the fans who were looking forward to that, I thought, ah, this is true happiness. Since Takarazuka has continued for 100 years, the performers span an extensive period, but all of those people are linked together by Takarazuka, and just like that we become a single company. I think Takarazuka is really amazing in that way. Therein once again, as a graduate myself, more than ever, if I can’t perform activities that live up to the name of Takarazuka, my heart feels tense.

—As for one of those activities obviously you’re going to perform in your beloved Chikyu Gorgeous, but as the actress Kozuki Wataru, what do you want to become going forward?

2014 will be the 8th year since I left Takarazuka, and my 25th anniversary since my debut. Because they were consecutive years, I think that’s why I have the privilege of doing Chikyu Gorgeous, and why I’ve been able to give it my all on my own up until now. Everyone from the Takarazuka world who has been cheering me on, I’ve come to depend on them tremendously. Next year I’ll also be participating in in a performance called “Celebration 100! Takarazuka ~This Love is Eternal~” as well as the ceremony before that, so it’s with love and thanks in my heart that I’ll be participating. Right now first and foremost, approaching this Chikyu Gorgeous production, I’d like my maximum potential and everything I’ve fostered over the past 25 years to come out, and if I can do that I want to show a fresh Kozuki Wataru. What I mean is, right now with “Kuzariana no Tsubasa,” I want to strive to give it my best effort and work up a storm, and put my thankfulness for being able to perform into my performance.

INTERVIEW! “DANCIN’ CRAZY 2” Kozuki Wataru-san x Asami Hikaru-san

- carlyas

Original interview here: part 1, part 2

Presenting from March 17. TAKARAZUKA WAY TO 100th ANNIVERSARY Vol.3『DANCIN’ CRAZY2』.  In 2007, like glittering stars a supreme cast of former Takarazuka top stars celebrated as dance experts performed a dream collaboration—the original dance show “Dancin’ Crazy” —and it will return to achieve a “scale-up.”
Having performed in the 2007 version as well are Kozuki Wataru, Asami Hikaru, Kazahana Mai, Hoshina Yuri and others, with Shizuki Asato participating as a special guest. Before the performance, I asked to speak with Kozuki-san and Asami-san!

—2007, when the previous installment of “Dancin’ Crazy” took place, was the year after Kozuki-san and Asami-san left Takarazuka and graduated from being male performers. Today again you are dressed splendidly in tailcoats, but how has your mindset changed?

ASAMI: Wata-san might feel this way too, but before I could always return to being an otokoyaku; it was my “comfort zone” so to speak. But now that there is a gap between me and the otokoyaku roles,  I’m enjoying that. I’m playing other roles, both visually and psychologically, and I think my range of choices has expanded.

KOZUKI: Yes, yes. Before we were literally acting as men, but now that we’re both dressing like men and also wearing pumps and the like, again the image is different. Also this time from the point of view of a person from Takarazuka, I think I appear on stage with the sense that I’ve mixed the male and female roles. Komu-chan too, nowadays her hair has thoroughly lengthened, hasn’t it.

ASAMI: I can be Oscar with my real hair!

KOZUKI: In that case I can be Andre (haha)

—Today’s tailcoats, are those something you wore in the 2007 performance of Dancin’ Crazy?

KOZUKI: That’s right. We’re commemorating the atmosphere of the time we were able to produce the show together with Ooura Mizuki.

ASAMI: All of the actors have that sort of feeling. Through the tailcoats, that atmosphere is handed down in a way; it’s Oura-san’s wonderful place.

KOZUKI: Speaking of Oura-san, she was the “tailcoat expert,” wasn’t she.

ASAMI: So, there is an image that can continuously be inherited. I myself also have to convey that to my juniors, I think.

KOZUKI: Yes that’s really true. Oura-san has been in heaven for two years. We will remember her in this performance, and we will do our best to convey the feeling of the soul of her dances that were passed down to us.

—This time Dancin’ Crazy 2 is organized into 2 parts.  In Act 1, you perform a selection from Chicago under the guidance of the Broadway staff and specialists from Chicago’s Japan performance.

ASAMI:  Even in Takarazuka shows they often adopt Fosse’s dances, and since he’s an icon for dance enthusiasts, I’m happy to be able to study the real thing.

KOZUKI: When we were in the troupe, whether it was how to hold the derby hats or move your hips, everyone referred to him a lot.

—Kozuki-san as Velma Kelly and Asami-san as Roxie Hart, is there anything in particular you like about your own numbers?

KOZUKI: As expected, the opening, “All That Jazz.” So far I’ve seen it many times from the audience, and it’s interesting that depending on the actors the atmosphere can be completely different, but anyway every time I hear that melody I get chills.

ASAMI: Since that’s a wonderful piece of music I can’t make up my mind, but I love the finale with Velma and Roxy singing and dancing resolutely. In Japan too nowadays women are strong,  but even performing under those circumstances I want to be able to feel like, “that was refreshing!”

KOZUKI: That finale is really great. As far as we as Takarasienne OGs are concerned, staging Fosse’s world with only women is a big challenge, and I feel that because we are OGs this is a show we can certainly tackle. Although the journey is treacherous, to that extent the feeling of accomplishment will be huge. The two of us will scatter sparks in a good way, won’t we!

ASAMI: I’ll do my best not to hold anyone back!

KOZUKI: No no no no. I should be the one saying that, haha.

—Act 2 of “Dancin’ Crazy 2” is the “All New Dancin’ Crazy” show you prepared. It seems like we can expect a brilliant spectacle.

KOZUKI: Now, constantly staging revue shows, I think it’s similar to Takarazuka. Using the things that were cultivated there, I want to create a sophisticated atmosphere different from before with the members of this group.

ASAMI: That’s right. We want to do a show characteristic of ourselves as Takarazuka OGs.

—In Act 2, there is a revival of the theme song from “Tsukiyou Utagoe,” the play in which you appeared together in Takarazuka. Do you two still often remember that play?

ASAMI: I remember it every time it’s December, the same time as that performance. Since my retirement was also in December, feeling the cold air, looking at the moon, somehow it’s deeply moving.

KOZUKI: This time we use the original play’s music, and I think it’s a magical scene reminiscent of that world of love, so please look forward to it.

—You two were certainly considered a golden combination in your Takarazuka days, but please tell us how you see each other as dancers.

ASAMI: In Wata-san’s dancing there is the presence of her fully utilized long limbs, and everyone is captivated by it. Even though people with larger physiques usually have a hard time controlling their bodies and tend to fall behind the music, Wata-san on the contrary is totally not like that, she expresses the music magnificently and I think she’s really amazing. These are things I don’t have myself… I guess the grass is always greener, haha.

KOZUKI: No, no. But of course if the two of us danced the same piece, the mood that would emerge would undoubtedly be different. Komu-chan perhaps has a mystique that I don’t have, she gives off a feeling like she’s hiding her thoughts. That’s why I’ve come to want to see inside her. Moreover, her body also really surpasses mine. She raises her legs up incredibly high, and her flexibility is magnificent. With our individual personalities blended smoothly, I hope we can make a wonderful scene.

—From now on I can’t help but look forward to it. Now then, “Dancin’ Crazy 2” will raise its curtains on March 17, a full year past the Sendai earthquake. Would you tell us about your current feelings?

KOZUKI: During this year, everyone’s minds have been whirling about that day and every day after it, but the only thing we can do is continue performing and deliver our smiles and energy to the audience. I want to stand on stage wholeheartedly and make the people who come out to the theater feel glad they saw the show.

ASAMI: Absolutely. We’re getting on with the things we can do ourselves. It’s the simplest thing, but even if it’s difficult, we’re taking note of what’s important once again. We want to deliver the best show we can with conviction. For that reason, we’ll even practice till we collapse…

KOZUKI: Yes!

ASAMI: Right. We want to do our best with all we’ve got!!