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chibimyumi · 5 years

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Metamorphosis - Uehara Grell

【Related post: What is your opinion on Uehara’s Grell?】

Dear everyone,

In the post linked above I said that I’d bend over making a comparative analysis of Uehara’s portrayal of Grell if demand was high, and quite some people have consequently showed their interest. I thank you for your warm enthusiasm. So let us look at how Uehara Takuya changed his portrayal of Grell from flamboyant gay man to troubled transgender woman.

A note before we start however: when I use male pronouns in relation to Grell, it is only, solely, exclusively to refer to Uehara Takuya - the male actor.

This post shall be divided into the following headers:

Character Introduction

Femininity

Sexuality

Motivation

Conclusion

Afterword

1. Character Introduction

The first impression is the most lasting impression, and that is all the more true for fictive characters. The way in which a character is introduced has the power to dictate how a reader is going to interpret any and all information given later on about said character. Grell was first introduced as the demure butler to Madam Red. This was revealed to be a false front however, so the audience is expected to scratch any first impressions they have of the character for the sake of the new.

A reintroduction of a character carries much more weight than a standard introduction, because a deliberate reintroduction usually comes with consequences that affect the plot directly. “You ask us to discard our prior knowledge, but what is so important we need to make space for then? NOW the truth comes.”

Now, what is the impression that we are given of Grell in the two versions of the musical respectively?

【2014】

In the first run of ‘the Lycoris that Blazes the Earth 2014′ when Grell judged she could no longer hide behind her guise, she drops the act altogether. She sheds the demure and nervous posture to reveal a flamboyant T-pose paired with a shrill voice.

Grell turns around with her face partially covered and approaches while dramatically shaking her hips. Hereby Uehara effectively draws the attention to Grell’s flamboyant walk rather than her face revelation, giving the audience a first impression of an over-the-top performance iconic for queer-coded men.

How is this over-the-top performance framed? As a threat.

We see Matsushita!Sebas (whose perspective we follow) shielding the boy as he backs away into a safe distance, despite the fact that Grell has not yet revealed herself to be a potential danger to the demon. Sebastian’s alertness here points to his discomfort in the face of Grell’s queerness. The threat of Grell’s true form is further emphasised by the red lighting from beneath; a convention in theatre to signify hellish danger.

【2015】

Contrast this to the rerun in 2015, wherein Grell simply turns around immediately revealing her face. The attention here is drawn to the contrast between Grell’s previous anxious expression (the guise), and her current confident expression (true face). The introduction pose she strikes wherein she leans against the wall also communicates that Grell has a type of casual confidence.

It is likewise in this confident posture that Grell comes forward to meet the audience for real this time. It isn’t before she is fully in the spotlights that Grell strikes the bolder pose. This signifies that Grell is indeed the actress like she proclaimed herself to be.

The lighting is a cool blue from above, a display that is the polar opposite to the 2014 version. In line with this stark opposition to the first run, we also see Sebastyun (whose perspective we follow) approach Grell instead of backing away. Sebastian’s arms are relaxed, communicating neutrality.

Sebastyun’s reaction to Grell’s revelation is impassive as she has not given him any information to form an opinion yet. Accordingly, Sebastian reserves any judgement for later, and instead closes the distance with Grell to assess this person who finally revealed her true colours.

2. Femininity

The portrayal of Grell’s femininity is in stark difference between the first run and the rerun of this musical.

【2014】

In the first run, Grell’s femininity is without exception portrayed as the butt of the joke. When Grell was formally being reintroduced, Uehara stands in the spotlight and is preoccupied with comically brushing the hair, making high and shrill sounds while making very clumsy attempts at performing ‘femininity’. For this post’s sake, I shall call this display ‘comical femininity’. The way Uehara brushed the hair almost looks like a monkey picking lice from its fur.

The timing wherein Grell performs comical femininity also always happens during moments of importance. In this example, it was when Sebastian was ‘expositionining’ to the audience what reapers are, and openly questions Grell’s legitimacy as a reaper known for their hard work. “Well, is Grell a legit reaper?” the audience wonders. The implied answer is clear: “this lice-picking monkey with a shrill, effeminate voice? No.” This too is part of the impression-establishing reintroduction of Grell’s character - Grell’s character as the ‘gay monkey’.

Later when Sebastian imagined a ‘skeletal old guy holding a scythe’ as a reaper Grell protests against this stereotype by blowing a raspberry. It is possible to take this protest serious, but this much cannot be said for Grell as a person whose bold reactions have already been degraded to comic relief material.

Yet another example of Grell’s ill-timed comical femininity is when Sebastian has found a way to neutralise Grell’s best card against a demon- the Death Scythe. When Grell is desperately trying to save her chainsaw, she frantically wipes her hair out of her face as she shrieks and yells unintelligible words.

As is apparent, Grell’s femininity in 2014 is not a character trait, but a cheap tool employed to delegitimise Grell’s female identity, used for comic relief to lighten any threat, and undermine Grell’s status as potent reaper.

In this scene we are not supposed to laugh at Grell’s weapon being stuck by a tailcoat; we are supposed to laugh at Grell failing so hard at femininity. In practice, in the 2014 version, the hyper-masculine Matsushita!Sebas serves as foil against Grell’s “lack of proper masculinity (because she is ‘supposed’ to be a man)”, whereas Madam Red’s successful femininity is the foil of Grell’s failed femininity. Y------------ikes.

【2015】

Now let us look at the revised portrayal of the same scenes with the same script in 2015. In 2015 when Sebastian is giving the exposition he stands in the full spotlights, while Grell stands in dimmed spotlights. In the shadows Grell is adjusting her glasses and lip-gloss, but the monkeyness is largely replaced by just extravaganza. By casting the full spotlights on Sebastian instead of Grell, the audience’s attention is drawn to the exposition, thereby shifting weight to what a reaper is supposed to be according to Sebastian (who has - mind you - never met a reaper on Earth before.)

Now instead of questioning whether Grell is a legit reaper, the question shifts to: “is Sebastian’s account legit?”

Script-wise, Grell’s protest against Sebastian’s stereotyping is the same, and yet the performance is quite different. Instead of blowing a raspberry, Uehara tones it down and gives a melodic ‘bububu’ in simulation of a buzzing sound at a quiz. Right after this comic display however, Uehara resumes a straight posture.

In short, while in 2014 all of Grell is the humour, in 2015 this slight change turns Grell into someone who has a sense of humour.

Unlike in 2014, in the rerun of the musical, Grell’s femininity is a constant expression, and therefore not a performance. When she was attempting to pull the tailcoat from the chainsaw she was just busy yanking at the fabric. She had her priorities straight and knew that she could not afford to waste time on her hair.

Instead, the only moment wherein Grell fixes her hair is after Sebastian mercilessly punched her in the face. In this revised version, it is more clear that Grell is untangling her hair from the glasses before readjusting said glasses back onto her face.

Not only is the necessity of Grell fixing her face something that we can get behind, but the way Uehara performs this also shows a much clearer elegance and natural femininity than in 2014.

This constancy of Grell’s femininity in contrast to the sporadic ‘outbursts of femininity’ in 2014 is ultimately what distinguishes the 2015 ‘transgender woman with flair’ from the 2014 ‘effeminate gay man’.

3. Sexuality

Grell’s sexuality is probably the most problematic portrayal in the first run of the musical. Not only is it portrayed as ‘perverse’, but it simultaneously functions as a delegitimisation, as well as the amplifier of Grell’s threat as villain. What better way to deal with fear than to laugh it off, right?

【2014】

When Grell first reveals herself to be the wielder of a dangerous Death Scythe she expresses how she really wants to engage in ‘intense exercise’ with Sebastian. When she says this phrase, Uehara explicitly swings his behind towards Sebastian. This sexual provocation is unsolicited and so aggressive that Sebastian censors it from his master.

Here, Grell’s sexuality is portrayed as this irrational emotional this ‘gay man’ cannot control, as is the stereotype that haunts homosexual persons.

Similarly when Grell and Sebas are engaged in brawl, Grell aggressively cocks her head in Sebastian’s direction threatening to rape-kiss him, singing “Oh, Sebby-darling, Sebby-darling”. Sebas is in clear distress; the chances of him getting away grow increasingly slimmer. The music is intense and the lighting frantic, inducing clear discomfort for the viewer. This discomfort is designed to be seamlessly linked to Sebastian’s discomfort at Grell’s provocative sexuality.

By weaving Grell’s deadly attacks using the Death Scythe with her sexual advances, Grell’s sexuality is being equated to deadly aggression.

Similarly when Sebastian’s Cinematic Record starts, we see Grell literally drooling with sexual arousal, while Sebastian is powerless to save himself from being the object of the reaper’s sexual aggression. This again is in accordance with the stereotype of queer people’s romantic/sexual desires being a threat to “““normal people”””. Classic queerphobia in a compact package!

Later when Grell is on the brink of being murdered and desperately trying to get away, Uehara turns Grell’s literal butt into the figurative butt of the joke, again. As she is desperately trying to get away from the demon, she purposely stops to shake her behind at Sebastian, saying: “I want you to come, but don’t come”. Just like before when Grell was fixing her hair like a monkey, here too this ‘gay’ cannot get the priorities straight.

After having established Grell as a real threat to the protagonists we are supposed to follow, we then get this scene wherein we are not supposed to take her seriously. This time round however, the stakes are even higher, because this is after Madam Red has been murdered.

Madam Red and Grell are both Jack the Ripper, but Madam Red died of betrayal after a very emotional song that begs us to sympathise with her. We are supposed to take Madam Red seriously, and understand that Madam is both the culprit as well as a victim to misfortune. Grell however, is not supposed to be taken seriously, and she is simply seen as a manic murderer.

【2015】

The portrayal of Grell’s sexuality is dramatically improved in the rerun. In the same scene wherein Grell says the line that she wants to engage in “intense exercise”, instead of shoving her behind in Sebastian’s direction, she makes the gesture with her lips and shoulders. This is still unwanted sexual advancement, but it’s already more acceptable.

The effect is quite different and it is reflected in Sebastian’s reaction too; he simply ignores Grell’s advances and does not invite the audience to be grossed out, unlike Sebas did in 2014.

The frantic “Oh, Sebby-darling, Sebby-darling” moment in 2014 is changed into a softer and much calmer reinterpretation in 2015. Instead of the chaotic electric guitars and drums, the 2015 version plays it in a soft tune of the piano. The attempt at rape-kissing Sebastian is entirely removed, and Uehara does not make a single sexual advance physically.

I cannot show you what’s not there, so you’ll just have to see it for yourself. But trust me. Unlike in 2014, Uehara refrains from using Grell’s sexuality as a weapon against Sebas.

In line with this less-sexually aggressive Grell, in the scenes wherein Grell successfully cuts Sebastian, she also no longer drools. Instead of drawing attention to Grell being a perverted voyeur, Uehara now uses this scene to demonstrate to the audience what a reaper like Grell is capable of: playing a cinematic record.

When Grell was trying to get away from Sebastian who has now secured the Death Scythe, the line of “I want you to come, but don’t come” is removed, and Grell simply tries to get away. Unlike in 2014, this Grell DOES have her priorities straight, and we also understand her legit fear for the demon.

4. Motivation

The most meaningful change in Uehara’s portrayal in 2015 is Grell’s motivation in my opinion. While in 2014 Grell was portrayed as the psychopathic murderer who kills for the sake of killing, in 2015 we get a much better understanding of Grell’s motivations.

【2014】

In the original staging of this musical when Madam Red shows hesitation to kill her own nephew, Grell is infuriated and berates Madam for her weakness. “If you don’t kill him, you will be killed!” Grell doesn’t even give Madam proper time to respond and already scythes her down in seeming cold-blood.

At first I thought to understand the spoken line as: “if you don’t kill Ciel, you will be killed by him.” But the way Uehara said it in his low voice, it basically sounded like: “then you will be killed by me,” which...she did.

“You disappoint me!” Grell challenges in pure anger and explains how she has even broken the reaper law for Madam to “kindly” help her create alibis and killing the victims.

The way Uehara sums up the trouble Grell’s gone through for Madam’s sake is like summing up a list of chores she did in hope to get entertainment in return. The fault Grell accuses Madam of is not paying her back with something that weighs up against the effort she put into helping Madam.

“You are unworthy of wearing red,” Grell says as she rips Madam’s coat from her body. What is striking here is the perverse grimace on Grell’s face. This is vindictiveness!

The Cinematic Record of Madam is very emotional and I bet it has made quite many people shed some tears. We now learn of the misery Madam has gone through and how she was trying to find an outlet for her crippling pain (albeit in a very problematic manner, but that’s a different can of worms which I will not open here). But the point is, we sympathise with Madam and we understand that her pain is legit.

What does Grell do though? She yawns. She f*cking yawns using her ‘comical femininity’. This confirms that the motivation behind Grell helping Madam was because she was bored and craved entertainment; not because she feels a connection with Madam in not being able to bear children. In the 2014 version, Grell’s pain of not having a uterus and suffering from dysphoria (which was likely the reason she killed herself in the first place) is entirely skimped over.

Before Grell commits the murder we see her circling Madam and looking at her with total apathy in her eyes. She simply walks up to her as though nothing is up and seemingly “suddenly” decided to stab the woman. Grell cocks her head to the side with the corners of her lips tucked up, suggesting an air of casualness in doing so.

What is made of Grell’s motivation to be Jack the Ripper and killing her soul mate? Nothing; she is rendered just a manic murderer with too much power and too little entertainment.

【2015】

In the reinterpreted version of 2015 Grell also warns Madam that if she doesn’t kill Ciel then she will be killed. The tone in which Uehara says the line however carries way more emotion and weight. When Grell judged that Madam would not come around to her side, she felt betrayed and hurt.

In a moment of rage Grell let her heart be hardened and stabbed Madam. It is but a split second of a moment, but here Uehara communicated very clearly that this was Grell’s personal pain, not cold malice.

Grell approaches Madam and sums up the trouble she’s gone through for her. Unlike Uehara’s cold up-summing in 2014, he now simply names a few things Grell has done for Madam, as though letting all the emotions flow freely.

Here Grell quivers with pain and anger and we see how she very clearly is trying to restrain herself from bursting into a bigger rage or tears.

Grell holds Madam’s dying body and presses her closely against herself. She shakes her head in defeat and her entire face screams her pain at Madam’s betrayal. “WE were in this together, you said we would be,” is the silent message here. As Grell rips Madam’s coat off here, the callous grimace from 2014 is nowhere to be seen, and is instead replaced by Grell squeezing her eyes shut as though this all is too much to bear.

In the Cinematic Record of Madam when her resolve is wavering, we also see Grell reacting to this with disapproval. But unlike in 2014 wherein Grell showed boredom, Uehara here chose to show disbelief and turns away until what Madam says is no longer bearable for Grell.

When the murder of Madam is replayed, Grell looks Madam in the eyes, making this murder far more personal than in the 2014 version.

This change in portrayal has effectively transformed the manic murderer into a pained woman who was betrayed by not just the world, but also her kin; the only person Grell thought would actually understand her and never betray her.

5. Conclusion

In conclusion, after Uehara Takuya realised that Grell is not the Flamboyant Gay™ he was instructed to play following the anime’s popularity, he changed the portrayal of Grell dramatically.

The most problematic aspects of Grell is sadly engraved into her original character design, and there is not much anybody can do about it. She is likewise still the comic relief even in the revamped version of 2015, but in the very least her sexuality, femininity, and by extent her transgender identity are no longer demonised and played for laughs.

In Uehara’s message in the pamphlet of the 2015 musical he wrote the following:

“Now 6 years have passed since the first staging of ‘Kuroshitsuji’ I feel like there is a part of me now that understands the core of Grell. The gap between her cruelty and how she is loved is very charming in my opinion, but personally I think it is the enormous pain that she shoulders which is the most appealing about this character. What I like about her is this eeriness in the emotions she carries...

Now I have reconsidered this [musical] and the directing has now fallen into Mr. Mouri’s hands, now resulting in a new story with new characters. This is the chance wherein I can start from a clean line with all my might.

The comical moments with Sebastian are also new now and we have been trying different things out during rehearsal; that will always be imprinted in my memory. Now that Sebas is played by Furukawa-kun and now that he is the Troupe Lead, I feel I can finally make a new start.

[...] Everyone, I hope that after having seen this new performance, you can all think: “that was fun, I was touched”. I hope you can all enjoy everything thoroughly!”

And indeed as he aspired to, Uehara Takuya managed to portray an entirely different Grell from what he used to from 2009 to 2014. His portrayal of Grell was ‘enjoyable’ in the past, but highly problematic to say the least. After 2015, I would say that he fully redeemed himself and is an excellent example of however bigoted you might be, it is never too late to learn.

6. Afterword

Dear everyone, thank you all again for your warm enthusiasm. This post took a tremendous amount of time to make, so I really hope this was meaningful! Please do share this post if you can. I think Uehara is a very inspiring example of how even with the same script and all, it is the effort and good intention that matter most in respectfully portraying Grell even with all her flaws.

Most importantly, Uehara Takuya’s Grell is now the first and only official portrayal of Grell as a transgender woman in all her rights besides the manga canon, and I think this deserves attention. As shown in this post, Yana herself was brave enough to ask Uehara to help rectify the mistake she could not on her own. Without Uehara’s influence and help, who knows until when we’d have to wait until we’d get an official portrayal that does do Grell’s identity justice?

Thank you Uehara Takuya, I love you, your growth is admirable!

#Uehara Takuya #Grell Sutcliff #Grelle Sutcliff #Kuromyu #The lycoris that blazes the earth #Comparative analysis #Kuroshitsuji #Black Butler #Musical #Lycoris 2014 #Lycoris 2015 #Toboso Yana #Yana Toboso #Huge ass Analysis #LGBT #Transgender #Tw transphobia #Rewatching 2014 was torture...

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