#and how it makes its final appearance with the death of mary and rudolf

[theresamouseinmyhouse]

proportions? whats that?💀 cest la fucken vie i guess.

[beccalendsahand]

Toho Elisabeth 2022: Der Tod Comparision Analysis

After years of being a fan, I finally had the opportunity to see Elisabeth live for the first time this autumn. Me and a friend managed to defeat the odds and nab tickets for not just one but two dates, each with a different Der Tod (It's customary for most Toho musicals to have double, triple, or sometimes quadruple casts of its principal characters in their musicals). It was such a fantastic opportunity to see different actors' interpretations of such an iconic character, and seeing as the last Toho-beth was not filmed and previous recordings have not included every cast member, I thought I'd write up a report here for those curious!

Both Tods, Furukawa Yuta (Silver Tod) and Yamazaki Ikusaburo (Purple Tod) brought new and interesting things to the character that I’m really excited to discuss!

Here we go!

What is Toho-beth?

Toho is a big musical theatre company in Japan who are best known for bringing Broadway, Westend, and other foreign musicals to the country. They have been performing Elisabeth for 22 years now! Their production came off the back of the popularity the musical had with Japanese audiences thanks to the Takarazuka version which was first staged in 1996. The show is directed and translated by Koike Shuuichiro, the same writer and director for the Takarazuka version, but with many changes. The Toho production is praised by fans as striking the right balance between the gothic romance of the Takarazuka version, and the darkness and serious themes of the original Vienna production, whilst still managing to keep Elisabeth the main character of her story.

Disclaimers before we begin:

I have not watched every Elisabeth so my knowledge of previous versions is: Takarazuka: 1996, 2014 and 2018, Toho: 2016, Vienna: 1992 and 2006.

Each of the days I saw Der Tod was starring alongside Manaki Reika as Elisabeth, I do not know how their performances differed if at all when they costarred with Hanafusa Mari

This production had stage kisses instead of real kisses which may have influenced the actor's portrayal of the famous Rudolf x Der Tod kiss scene. I think this must have been a covid related choice, however, it's hard to tell as other Toho productions I've seen recently have had real kisses and Der Tod still walks through the audience in act one… But Lucheni does not walk into the audience or interact with them during Kitsch, so make of that what you will, I guess we won't know for sure till future productions!

Day 1: Furukawa Yuta as Der Tod

My first performance was with Furukawa Yuta. Furukawa's Tod is the most soft, gentle, human Tod I've ever seen. I wasn't sure what to think at first of his portrayal as its so different from other versions, but as the show went on I really became captured by his performance. I left the theatre with so many thoughts, trying to analyze the motivations and psyche of his character, it really made me think about Der Tod in a new way, and just made me more obsessed with the show. I'll try and put my thoughts into words here.

From his gentleness, its very clear that Furukawa plays him as genuinely in love with Elisabeth, however this does not mean that his Tod is not without his dark sides. I think what makes his Tod so good is he lulls you into a false sense of security. He speaks to Elisabeth as a pleading lover and baby Rudolf as a caring adult, but every now and again a flash darkness or anger will appear, reminding you that underneath his human appearance is Death himself.

Furukawa Tod and Elisabeth

His love for Elisabeth is perhaps the first time I've fully understood their relationship. Despite being a big Takarazuka fan I've always found the ending very jarring, as one scene ago Elisabeth says she doesn't love Tod and then suddenly she's running into his arms at the end and singing about their love for each other. Even in previous Toho and the Vienna versions despite the lyrics for the song being different, I've still found it a strange ending, but Furukawa and Manaki did it incredibly. I think as Furukawa's Tod is more gentle, already it is easier to understand why Elisabeth is drawn to him. Elisabeth is seeking independence and comfort, so why would she fall for a Der Tod who is literally pushing her around? When Furukawa comes to her it is always like an infatuated man hoping for his love to be returned, but because he is Death he doesn't know how to express his feelings, and things become muddled for him. I got the impression that he wanted to give Elisabeth his love but sadly he couldn't help who he was, and that part of him that is Death manifested itself still in his actions. Like creating chaos amongst the people, and killing baby Sophie and Rudolph. My favourite scene between the two of them was the doctor scene in Act 2. When Elisabeth says she wants to die, Furukawa says the line “おお、エリザベート、待っていた！” “Oh, Elisabeth! I’ve been waiting (to hear those words/for this moment)!” he says it with such happiness and almost child-like excitement it’s both creepy and sweet at the same time. His happiness in dark contrast to the reality of what he will do to her. Also, this is the first scene where we have Tod do more than just hold Elisabeth in his arms, as he runs his hands up and down her body, a very bold move for Furukawa Tod who until this moment has been relatively reserved around Elisabeth. This really added to the unsettling feeling of the scene, Tod is so carried away in this moment, running about the stage excited to take his bride back to the underworld, all the while Elisabeth is just stood there rigid in shock. Such an interesting moment in the show. I really liked how Tod’s emotions toward Elisabeth felt very consistent throughout the show, it was refreshing to see such a genuine feeling of love from Death towards Elisabeth, even if he did not act on his love in the right ways. The song before Elisabeth’s death again really gave us this message. When Franz Joseph says that Elisabeth is his, I feel that usually, Tod's reply that no, it's in fact him that she loves, is very confident, he knows he has the upper hand over Franz, but Furukawa sings it like a human cry, like he's trying to convince himself. There's this uncertainty in his mind but he is willing it to be true. When he and Elisabeth are together finally it is not a big romantic gesture, it's a very small moment and he gently kisses her and sets her onto the coffin and looks on sadly. He finally got her, but only for the briefest moment.

Furukawa Tod and Rudolf

The Rudolf arc has always been my favourite part of Elisabeth, so I was excited to see how it was performed in this version. This was definitely the part where I fully got on board with Furukawa's Tod and started theorising in my head about what his interpretations meant. As said above, Furukawa Tod talks to baby Rudolf like a caring adult, there isn't the usual sinister undertones that you feel with most other Tods in this scene. Furukawa stretches out on the stairs, propping his head up with his arm, and listens intently to Rudolf when no one else does. A part that I found particularly interesting is how when Tod takes the gun from baby Rudolf and Rudolf faces away from him, standing at the front of the stage looking at the audience, Tod looks on at him, with his arm outstretched, gun laid on his palm as an offering. This is in stark contrast to Shirota and Yoshio in the 2016 version who both pointed the gun at him as if about to shoot him.(something else I just wanna mention is his hilarious reaction to the "I killed the cat" line, Furukawa first raises his eyebrows in shock, then narrows them in confusion and then smiles and nods like a proud dad, brilliant) When we get to “yami ga hirogaru/Fie schatten werden langer”, and the famous kiss scene, it's a very interesting moment. Usually, at least in the takarazuka and Vienna versions i've seen, the kiss is a very aggressive and/or possessive move from Tod. In the 2016 Toho version, it is Rudolf that kisses Tod after Tod gives him the gun. This time Tod kisses Rudolf, but it is, like everything Furukawa does, a gentle kiss. As said in the disclaimer stage kisses are used this time so perhaps that contributed to this direction, but what makes it even more striking is that after he kisses him, he slowly steps back and watches on with a sad, almost regretful look on his face as Rudolf turns to the audience and slowly raises the gun to his head. A moment that is usually interpreted by previous Tods as a victory moment, is painted as one tinged with sorrow by Furukawa. As I said before I get this impression that his Tod is fighting with his duty as Death and this human emotion he's feeling for Elisabeth. And this scene really made me think that. Perhaps he came to care for Rudolph too, but he befriended him for a reason and now he has to see it through. Or maybe in this version Tod isn't even doing these things to get Elisabeth, perhaps Rudolph's death was always his fate and Tod is just doing his duty.

It’s questions like these that really made me fall in love with his Tod. Well done Furukawa!

Day 2: Yamazaki Ikusaburo Der Tod

2 weeks later I was back in the theatre for Yamazaki Tod! Ever since Yamazaki got cast as Der Tod back in 2020 I have been so intrigued as to how he would play him. I consider his Lucheni as my favourite out of all the ones I’ve seen so I was wondering if his Der Tod could live up to his Lucheni... AND IT DID!

Yamazaki put David Bowie back into Der Tod, he had so much command over the stage, strutted around like a rock star and went full commitment to the glam rock androgynous style. The long purple hair, eyeliner, and amazing costumes (black mesh billowy shirt HELLO???!!!!) a bi-icon. I think whilst Furukawa made a completely new version of Der Tod I feel that Yamazaki took us back to the origins of role but added in the Japanese influence. My first impression was a man playing Der Tod like a Takarazuka actress, but as it went on a realised that wasn't quite it. If I was to compare him to any other Tod I’d probably mention Kim Junsu from the Korean production, whilst I haven’t the full show, from the few clips of it I’ve seen I instantly thought “this is the KPOP der Tod”, I feel like Yamazaki did a similar thing, but instead of KPOP it was JRock. He was really reminding me of Visual Kei Rock bands like The Gazzette and SID with his performance. His vocals were out of this world, merging visual-kei sound with undertones of musical theatre training creating this ethereal and at times sinister sound. I think this was so cool to see as originally Der Tod was inspired by David Bowie and Glam Rock which Japanese Visual Kei music was inspired by. This influence has been absent from the Toho and Takarazuka versions with more of a focus on the fantastical elements so it was nice to see that added back in. I must say when watching the show before I had found Furukawa and Kuroba Mario's pop/rock style high notes endearing (affectionate), like they were trying but couldn't quite get there, so it really was amazing hearing Yamazaki sing them like a true rock star would. In terms of acting, his take on the role is a lot more classical, in that this is definitely a Tod that loves chaos, someone who takes pleasure in toying with people's lives.

Yamazaki Tod and Elisabeth

Unfortunately, Yamazaki’s Tod does fall back into my problem with Tod’s I’d seen before, where at the end of the show I was left thinking “yeah but why is Elisabeth with him?”. Yamazaki’s Tod is definitely more obsessed with her on a surface level rather than being in love with her. His take on Tod is much darker in comparison to Furukawa’s, he has much more of an eerie presence and quite vacant expressions that make you wonder what he is thinking. Whilst Furukawa's darkness is hidden by his gentle exterior, Yamazaki’s is all there for you to see. He is very in control of his movements, everything feels very precise, whilst Shirota gave us an in-human Der Tod by playing him with animal-like gestures to make him seem almost like some kind of "creature", Yamazaki achieves this in-human Der Tod by being completely devoid of feeling. There was just something incredibly unnerving about him like you could tell something was not quite right behind the eyes. I think this feeling is best described by this Twitter user who did these beautiful Der Tod illustrated head cannons saying “I feel like he sleeps upright in a coffin…I’m not sure if he actually sleeps though”.

A moment I particularly liked was when he appears to Elisabeth in her chambers and pops up from behind her chair. Whilst most Tods seem to play this as a quick jump scare before stepping out from the shadows straight after, Yamazaki just stays there, arms draped over the top of the chair like “oh you poor thing”. It reminded me of a cat toying with its pray. I think that moment sums his Tod up very well. 

To compare his Tod to the moments I liked from Furukawa, the doctor scene also feels very different, Yamazaki’s Tod feels very confident, he isn’t running around the stage with glee, and he surprisingly isn’t as heavy handed as Furukawa was. Though he stilll runs his hands over Elisabeth it’s a much more subtle moment, perhaps in his eyes, he’s had her from the start so doesn’t feel like he needs to act so desperately.

The song with Franz Joseph is again more classic Tod, he sounds very confident that he has her. I don’t have any analytical things to say about this scene but I think it's worth mentioning that he licks the knife before giving it to Lucheni, make of that what you will...

Yamazaki Tod and Rudolf

So after seeing Furukawa’s interpretation I was so intrigued to find out if this was unique to Furukawa or if it was a new direction the Toho production was taking Der Tod's character, and I'm excited to say, both actors had completely different interpretations! So let's start with baby Rudolf. Yamazaki sits beside Rudolf and intently listens to his story, the “I killed a cat” moment did not get any laughs from the audience this time as Yamazaki played it completely straight, continuing to listen, nodding along as if it's the most normal thing in the world to hear from a young boy. When Rudolf goes to and faces the audience, from behind him Yamazaki Tod puts the gun to his own head whilst watching Rudolph. His Tod is not subtle with where this story is going. The kiss scene was gentle like Furukawas but it felt much more sinister and instead of looking sad and watching him kill himself like Furukawa did, Yamazaki is cold and unfeeling, he turns his back on Rudolph and leaves him to kill himself, alone in his final moments. I re-watched the same scene in the 2016 production to see how it compared and it was very interesting to see that whilst both Yoshio and Shirota turned their back to Rudolf too, they were still stood beside him. Yamazaki turns his back and walks up centre stage and pauses with his black angles flanking him in 2 lines on either side as Rudolf slowly realises what he's about to do and shoots himself. I can't remember what the black angels did with Furukawa but it was definitely different as Furukawa chose to stay beside Rudolf in that scene. It's so fascinating to me how these interpretations weren't just individually chosen by the actor but were actually worked on to involve the ensemble cast as well, creating differently choreographed scenes depending on which cast you saw. Any similarities between them? I think I would have to see the show again to notice more similarities, but sadly that won't be happening unless we get a recording (please Toho we are BEGGING YOU) but the one thing that did stick out to me was they both do this same gesture. I don't know how to describe it. They do this thing where, -again I wish I could see the show again so I could work out if there's a pattern of when they do this gesture- they like take their hand and starting from wrist at their lips run their hand down, fingers caressing their lips, and they kind of have this fascinated/spark in their eyes? I have no idea if that makes any sense...actually that artist I mentioned earlier, drew it on Furukawa here. It's quite a creepy in-human gesture, I like to think maybe he's feeding on human emotions when he does it...Whatever it was I find it so intriguing that that's the one link between them. I'd also really like to know if either of them were inspired by any particular Takarazuka actresses. Yamazaki has a scar-like tattoo on his hand that makes me think of Mizu Tod and Furukawa's whole look with the wig and costumes and even some of his acting choices reminded me a lot of Asumi Tod at times.

Closing thoughts It’s so hard to know who was my favourite as they both had such completely different interpretations, it felt like I was watching two completely different characters. I think for me personally what one lacked the other made up for. For example, as a long-time fan going to see Elisabeth live for the first time Furukawa took me a while to get on board with as his human portrayal meant that he didn’t have the big bombastic stage presence that you expect from Der Tod (his singing is gorgeous by the way, I mean this more in the nature of his character choices mean his performance is overall much more subtle), so going back and seeing Yamazaki gave me that big showman performance that I had been wanting to see. However, Yamazaki didn’t give me the full satisfying gothic romance feelings that I've always felt missing from Elisabeth that Furukawa managed to really pull off. And his new interpretation left me with my mind buzzing. What they both did though was prove that there is still so much to explore with this character and this show and I love how Toho is still letting Der Tod be an androgynous fantastical being when it seems the Vienna productions have been trying to pull away from that in their recent productions. I really hope this production gets filmed so that everyone can see the talents of not just these men but the entire cast, seeing this show was a dream come true and I know it will give everyone so many new thoughts and theories about this wonderful musical!

[chibimyumi]

Interview Furukawa - Der Tod

Host: To you, Mr. Furukawa, “Elisabeth” is the play you wished to take part in the most, right?

Furukawa: “Indeed. I was allowed the honour to partake in 2012 starting with Rudolf, and this time [the play] shall be based on the 2016 version with new members, the cast division has also changed. As such I am in especially high spirits. However, this is the first time that I take up the challenge of playing Der Tod (Death), so even before the rehearsals had started I have been crushed under pressure and have been especially nervous (laughs). The rehearsal hall of “Elisabeth” has the theme of the production’s graveness, and the members who have assembled until this point also carry around them a very unique kind of atmosphere. As such I wish to give it my all and face this challenge.

Host: What kind of role is Der Tod according to you?

Furukawa: “In its simplest sense, Der Tod is the symbol of human ‘death’, and a character who is the personification of Elisabeth’s wish for ‘death’. [Der Tod] is a being that emerged from the inside of her, as well as a being who may lead people who confront her into death. I have always looked up to Der Tod. The moment I joined this company I have been searching for a way to play him, but I have not been successful so far.

Host: What is the charisma of Der Tod?

Furukawa: “First of all, he is appearance-wise very beautiful, Furthermore, his songs are very cool. Regardless of the song, I can adjust to the fantastic melody line and sing, and there are also important scenes wherein [Der Tod] makes his different entrances depending on how Elisabeth changes on the inside. It is a delicious role in my opinion.”

Host: I heard that Der Tod is a very special role to you, Mr. Furukawa?

Furukawa: “I considered [Der Tod] my ultimate goal within my career as performer. As such, in this production, I definitely want to make him a satisfying character to both the spectators and myself. Nevertheless, even if I manage to make Der Tod my own role, I shall still strive for new developments, and continue to seek new roles that I think I should challenge (laughs).

Host: (Laughs) So more concretely, how do you shape your roles?

Furukawa: First of all I need to gain an understanding of the various characters that are featured. I wish to bear in mind that he is a character born from Elisabeth as I approach the rehearsals. [He] is still an unknown domain, so starting from the director Mr. Koike Shuuichirou, I wish to listen to everyone’s voices and aim for flexibility in shaping this role.

Host: Is there something specific in the relationship with the lead role Elisabeth you value especially?

Furukawa: “The ‘love’ that strays between Elisabeth and Der Tod is an important thing in this production, but that mostly reflects just how much she desires a peace of mind, or in other words, freedom. I wish to understand what Elisabeth’s thoughts are in such times on a deep level.

Host: Well then, how are you going to approach the double-cast for the role of Elisabeth, Ms. Hanafusa Mari and Ms. Manaki Reika?

Furukawa: “No matter in what production, or who of the double- or triple cast I have in front of me, I wish to approach them without influencing my feelings. However, I do need to be careful as also not to change my approach towards a character just because of the actor behind it. “This person is like this, so I will engage them like this,” is something I try not to think.

Host: Well then, how do you wish to express yourself in “Elisabeth”?

Furukawa: “I wish to get close to Elisabeth properly, and draw out her strength as a woman with infallible determination to live through ‘death’, and provoke her with even greater charisma.

Host: Mr. Furukawa, you have the experience of playing all kinds of roles, so what would you say is the ‘Furukawa-style’ of character building?

Furukawa: “I pay most attention to how to deliver the emotions of the characters I play to the audience. For that sake, I take distance from myself and look at [the character] from bird-view perspective. Firstly, I start building my characters while keeping my task [as actor] of delivering the content of the script in mind. I myself also write lyrics and compose, and I think the writing of lyrics is very similar to building characters, in the sense that in lyrics writing I also need to convey my intended thoughts concretely into lyrics. Obviously there are many many ways of interpretation, so my biggest endeavour is to make sure my own interpretations reach my audience.”

Host: Just like you said before, Der Tod is the notion of ‘death’, but how will you express your notion of ‘death’ in practice?

Furukawa: “Most importantly it is to remember that it is fine that the audience might not understand this concept of ‘death’ as expressed through Der Tod. I asked myself: “is it not al right if a question mark will pop up in the minds of the spectators?” Just like with real death, I strive for a portrayal of Der Tod that will provoke the audience to think about what ‘death’ means.

Host: What is ‘death’ that is the motif of Der Tod to you, Mr. Furukawa?

Furukawa: “To put it in one word, it is ‘fear’. It might be my age that is speaking, but I catch myself thinking “I don’t want to die yet.” Nevertheless, humans know that they will all die one day. Despite having this knowledge, humans reject this knowledge and therefore they fear. Once you think about this opposition of logic, humans start running around in circles in their heads, and that is the core [of fear]. [Death] is something that inspires this strange thought in humans.”

Host: Well then, not just to the fans of musicals, but also to the anticipating people and the people who will be seeing this for the first time, what would you say is the biggest attraction?

Furukawa: “Everything about “Elisabeth”. Not just the music and the play itself, but also the clear differences offered by the double- and triple cast; it is filled with interesting aspects. I myself am striving to portray a version of Der Tod that is unprecedented, and will try to draw out the maximum potential of this delightful production to the best of my ability.”

Host: Finally, the most important emotion of this production is ‘love’, what is this to you?

Furukawa: “I think it’s a strong emotion of determination to die protecting others in the face of overwhelming danger.”

Original Source

Note: This is not a complete translation of the full interview. The parts on other musicals are omitted.