#anju mira

[giro-revuescope]

Anju Mira with a young fan (1994)

[zukadiary]

10 years, 10 top stars: pt 2

ICYMI, which is understandable since I haven't followed up in like TWO MONTHS, I'm celebrating my blog's 10th birthday by streaming 10 of my favorite top stars.

(This, once again, will be done over some amount of time, at absolutely not a regular cadence, because unfortunately I live a busy life).

Hopping from recent to definitely not recent...

10 years 10 top stars profile #2: Anju Mira

A few things I love about Yan-sensei:

Anyone who knows me knows I'm weak for tiny dancers with deep voices

Her Hanagumi is one of my favorite eras of Takarazuka in any troupe. Some of that is because she happened to have like, 8+ future tops under her, but a lot of that is the tone she set and how she led those diverse personalities.

She has an indescribable aura, like you'd disintegrate if you got too close

To this day she consistently choreographs some of my favorite revue scenes

Top memories:

The first time I got up the courage to go to Japan was in 2013, primarily to see all my favorite former tops in DREAM A DREAM, the final OG showcase of the 99th anniversary. Seeing her live led to instant obsession (especially when your options for watching 90s Takarazuka were secondhand VHS or passing DVD-recorded Sky Stage through a CPRM stripper that only ran on Windows XP or earlier, triggered all the antivirus software, and made you guess what the buttons did because the Japanese text didn't render) ((yells at cloud))

I had the privilege of seeing the Umegei production of Grand Hotel in 2016, and her Elizaveta was without flaw

The OsaAsa talk where they essentially said if she murdered them they'd just say thanks

Stream #2 will be Sorrowful Cordoba (Flower 1995) and It's a Love Story (Flower 1993)

(cw: incest for Cordoba)

I decided to mix and match play/revue, not because I don't love Mega Vision, but because I have the shiny NHK version of Love Story, and it's way more presentable!

While I don't have subs for this one, @chemicalperfume and I translated the script of the 2015 Snow Troupe version for @zukalations, and you can read it ahead of time (or follow along) here!

WHEN: Friday, June 30, 7:30am ET (That's NY time, I'm waking up early for everyone who was boxed out of my last stream timezone wise)

WHERE: DM me for link/password (please don't be shy!)

[yuzukahibiscus]

Musical “Li Kou Ran – Flower and Flower” Hiryuu Tsukasa (Kawashima Yoshiko) Comment and Photoshoot Making Video

(Note: Hiryuu Tsukasa is a former Takarazuka sienne who graduated in September last year in the Flower Troupe Grand Theatre Performance “Years of Pilgrimage”/”Fashionable Empire”. She’s currently rehearsing for her post-Takarazuka stage performance – Li Kou Ran – Flower and Flower *rough translation of title*. She was recently featured in a comment and making video which you can find here.)

I am Hiryuu Tsukasa who plays Kawashima Yoshiko.

Question: Thoughts about the musical

This is my first musical stage after graduating from Takarazuka Revue. This is Nishiuchi Mariya-san's first musical stage performance and she plays Li Kou Ran. I'm honoured and happy to work with her together in this commemorative performance. Also Anju Mira-san plays as Yamaguchi Yoshiko and doing this together with her makes me very, very happy!

Question: About the role you're playing?

Acting as Kawashima Yoshiko is called as a beauty dressed up as a man, I'll do my best to emphase and play her role while thinking "what did she think about life?" "how did she want to live as a person?"

Question: Message to the audience?

The title is Hana to Hana (花と華, Flower and Flower?) and it focuses on Li Kou Ran and Yamaguchi Yoshiko, but I'll blossom like a flower and do my very best as Kawashima Yoshiko in the performance too.

I hope to deliver a performance that the audience will enjoy the time and hoping that they will think "It's great that I've watched this!" and endeavour my efforts. I'll be waiting for you in the theatre!

[kittychan-sings-enka]

tonight i would like to present to you my new favorite way to experience takarazuka...

THE DEAD HUSBANDS SCALE OF DINNER SHOW QUALITY

It happens less now, but especially in the 80s and 90s almost all the otokoyaku stars seemed to be grabbing the chance to wear dresses that scream ‘beautiful high society lady whose third husband just happened to die under mysterious circumstances, officer, no i have no idea who possibly took the ladder out of the pool :0′

so. on to a few of my favorites

Tsurugi Miyuki, Step by Step (1986) 8/10 spousal fatality

A little more ‘lounge singer’ than ‘tastefully grieving high society widow’ but her enthusiastic audience work covers a lot of distance.

Mori Keaki, Footsteps of Youth (1988) 4/10 spousal fatality

Listen this one is just adorable. I think she’ll get there eventually but right now it’s just the bachelorette party.

Anju Mira, Miracles of Love (1994) 2000/10 spousal fatality

HE! IS! IN! THE! GROUND!

[wtheckzukasubs]

“Spartacus” subs

Download here: wtheckzukasubs.tumblr.com/shows

Timed to Sky Stage, so it might from your VHS rip but it should still be the same day. Let me know if you find trouble retiming. :-D

I can’t point out why I feel so attracted to this play, but it really engaged me. I swear it’s not because we get Yan and Miki and Miharu and Tamo and Mami and Charlie and Rika and ZUNKO... this list goes on but Zunko is just so cute in there I had to mention her. The story itself is pretty much what you’d expect. I really don’t know.

Many, many, many thanks for the script!

By the way, this talks about slavery, including for sex. They also describe crucification. And there’s a war, including deaths in battle. I can’t remember more trigger warnings, but it doesn’t mean they aren’t there, so apologize.

[lilywilde]

The alpaca is clearly a fan....

[eternalyjun]

Trois Violette

[don-dake]

『トロワ·バイオレット』[參照]

[chemicalperfume]

Stream alert!

Streaming hanagumi's "Fancy Touch" and "Hyper Stage" in approximately 90' from now (8pm GMT) for @captainsconsort

Check trello for time conversions. (I'm on mobile so cannot link)

Channel is the usual: rabb.it/chemicals

I am unfortunately very sick today so not sure if I will chat in the stream myself, but you're most welcome to come and watch / chat if you want

edit: Finished! Thanks for coming ^^

[oksana810000]

[lilywilde]

Red hot

[don-dake]

今日は４月９日だ。 ㊗ 🎂 千田さん、お誕生日おめでとうございます! 🎂

４月１日:　あさちゃんの誕生日 ４月９日:　千田さんの誕生日

同じ誕生月の夫婦、いいね! 😊 [參照: X, X]

[chemicalperfume]

Winter Storm / Hyper Stage stream

Watching this 1994 Hanagumi thing tonight with @captainsconsort at 8PM (check trello for time conversions)

If you happen to be free, join us at rabb.it/chemicals

Play is an adaptation of Pushkin’s “The Queen of Spades”, also includes: Anju Mira’s cheekbones framed by a mullet and dressed with military uniforms, righteous blonde prince Maya Miki in a hairstyle  inspired by the McDonalds logo, more bad life choices than you can shake a stick at.

edit: FINISHED. Thanks for coming!

[zukalations]

Farewell Takarazuka Grand Theatre: 4 Top Stars Special Talk

This interview, published in the December 1992 Kageki, features the four Top Stars of the time (Shion Yuu, Mori Keaki, Anju Mira, and Suzukaze Mayo) reminiscing as the Takarazuka Grand Theatre was about to be entirely rebuilt. There’s a lot of details about their early careers and time as fans themselves before entering the company.

Farewell Takarazuka Grand Theatre: 4 Top Stars Special Talk

Participants: Suzukaze Mayo, Shion Yuu, Mori Keaki, Anju Mira

Shion: I’ve been watching Takarazuka e~ver since I was in my mother’s womb, so I’m very sad to lose the Takarazuka Grand Theatre we have now. I love the atmosphere…getting off at Takarazuka station, walking down the road lined with souvenir shops, and going past the onsens to see a show at the Grand Theatre. And then heading back along the Hana no Michi humming the show’s theme song.

Mori: The first time I went inside the Takarazuka Grand Theatre was when I took the TMS entrance exam.

Shion: Really!?

Mori: Until then I had only seen Takarazuka on TV. When I first set foot in Takarazuka, it sort of reminded me of Sendai somehow.

Suzukaze: Ah, I think I understand what you mean.

Mori: It’s a very peaceful area, and everything’s really pretty. When did you first see Takarazuka, Kaname (Suzukaze)?

Suzukaze: I first saw Takarazuka on a field trip in my third year of middle school. I just had a seat behind a pillar, but it was a really vivid memory for me.

Shion: I love that pillar, you know. It really makes me feel like I’m in the Grand Theatre. When I was first a fan and didn’t understand how to get tickets ahead of time, I’d line up for tickets and if I got one it would always be behind that pillar. I’d watch everyone heading up to the seats in front and wonder who on earth they could be to get seats so close.

Suzukaze: When I first saw Takarazuka during the field trip, I thought anyone could meet the stars of the show whenever they liked. So I went to the place where they were renting the opera glasses, pointed to a picture in the program, and asked ‘Please, I’d like to meet this person.’

Shion, Mori, Anju: So cu~te!!

Suzukaze: The young lady there told me 'You can’t do that.’ (laughs)

Mori: When I first saw Takarazuka, I bought same-day tickets and ended up in the very back of the first floor. Watching from that far back the stage looked so far away that it seemed like something I could never reach: it felt like watching TV.

Anju: I first went to the Takarazuka Grand Theatre for Shime (Shion)-san’s TMS Culture Festival.

Mori: I was there too, in the yokasei drum and fife ensemble. (laughs)

Anju: Oh, you were there together~. I came for the entrance exam and saw the Culture Festival, and I was just in time for Snow Troupe’s Gone With The Wind, so I watched that as well, feeling like I was going to fall from the third floor the whole time. I couldn’t see faces clearly, and there was a ton of applause at the opening announcement 'This is Migiwa Natsuko of Snow Troupe,’ so I was really startled. At the Culture Festival, I even saw Shime-san leaving through the stage door.

Shion: The Culture Festival was the first time I set foot on the stage of the Grand Theatre, so I was really emotional~

Mori: You had a quick change coming through the audience, right? That was so moving.

Shion: The costumes were hanging up in the wings, and just seeing that I was like 'Real Takarazuka costumes~’ so it was really emotional for me. I knew it wasn’t like Koshien [1], but I thought 'Maybe I could just take this home after getting off stage…’ (laughs)

Anju: I don’t really remember my Culture Festival well, but when I was doing the address for my debut I was so emotional I thought I would cry.

Suzukaze: I remember being in the yokasei drum and fife ensemble better. For my Culture Festival I feel like I was just desperately trying to get through it.

Shion: And after debuting and gradually becoming a senior actress there are even more various emotions to encounter.

Anju: It’s delightful going up through the lifts, or being on the silver bridge - it’s like your dreams are coming true one by one.

Mori: While when I was started I was always way off to the side where it says 'Hankyu Department Store’ [2], gradually I moved more towards the center until before I even realized it I’d ended up here - that sort of thing is so fascinating.

Suzukaze: On the last day of the Moon Troupe show in the Grand Theatre I felt like it was the most emotional performance we’d ever done. From the start everyone was so enthusiastic and then during the last curtain call we all said 'thank you’ to the Grand Theatre together with the whole audience, which was a really happy moment. I love that theatre, it feels like it raised me…it’s really hard on me to see it go. They told us that by the time Moon Troupe gets back from the Tokyo performance, all the electricity will have been shut off, even the emergency lights, so that made closing day even more emotional.

Mori: Snow Troupe will be the very last to perform in the current Grand Theatre [3], which really is deeply moving. What I keep thinking about is how it’s not just part of my career, but that it’s connected to all the other performers who have stood on that stage for nearly 70 years - to be at the end of that is something that makes me feel happy, pressured, all sorts of emotions. When I start thinking about it I can’t help but feel that the Grand Theatre is a truly amazing place.

Anju: It’s a theatre full of so much history and so many memories.

Shion: It’s so sad~

Suzukaze: Did you take video when you were doing your last Grand Theatre performance?

Shion: I did, I did! From the dressing rooms to the baths (laughs)

Suzukaze: During the Moon Troupe performance, to commemorate it we let even the most junior actresses use the Uni Baths [4], so everyone was happy.

Anju: The stars to the dressing rooms after the shrine to Inari-san leave such an impression, right?

Suzukaze: And don’t the dressing rooms have their own unique scent?

Shion: They do, they do~

Suzukaze: It’s really calming somehow.

Shion: It’s like our home after all…

Mori: I feel like in a way an era is ending with this Grand Theatre and after this will be a fresh start.

Shion: Of course I have to be happy about a brand new Takarazuka Grand Theatre being built, but it’s actually a very complicated feeling, and I’m so sad I can hardly bear it…

Mori: I think there is going to be a bit of a dividing line between those who will only know the new Grand Theatre, and it’s going to be hardest on those like us who will experience both theatres. Which would be everyone here now…

Suzukaze: On the last day of the Moon Troupe performances, during the curtain call our kumichou said 'I feel the new Grand Theatre will inherit all the gathered memories that our current Grand Theatre has protected.’ When I heard it I thought 'That’s really it.’ The new Grand Theatre will be good in its own way, and since humans are territorial creatures we’ll surely get used to it, but emotionally, the current Grand Theatre seems to know all our joys and strengths so it’s very sad.

Mori: It’ll be really tough until we get used to the new theatre, I’m sure. When we were doing the photoshoot in the audience seats I was thinking 'this is really our home’ - it really feels like it’s full of the souls of so many different people.

Shion: it’s a living building. You can feel the life in it.

Mori: I heard that in the new Grand Theatre, the state operations will be controlled by a computer system, but I won’t be able to forget the artistic skill of all the stage staff who have supported us until now. For example, how happy a feeling it is when the spotlight operator shuts off the light, bam! at the perfect moment. It’s a really great feeling, like, 'we’re in perfect sync!’ It’s rather like a mental art so it’s very unfortunate that it will go away. There are so many stagehands doing hard, sweaty work to support us, and all sorts of other staff giving their all out of love to put these productions together. I loved that feeling of what we do being a collaborative art.

Anju: In Fancy Touch I’m on top of a pyramid in the prologue, and they got me up there backstage through human power. I think if you didn’t have a trusting relationship with the stagehands you’d surely be too scared to do that sort of thing. So it makes me wonder what will become of that in the future as well.

Suzukaze: Like Yan-san (Anju), when I was in PUCK there were mechanisms moving me through the air and such, and there wasn’t a single error through the whole production. When I’m in this current Grand Theatre I can really feel that us actresses can’t make a show all by ourselves, but it starts with all the people supporting and helping us. My strongest memory is the warmth, how people would do things like say 'good luck’ during a performance. I’m sure that won’t change even when we go to the new theatre, but I still have a lot of worries.

Mori: I’m sure everyone has a lot of doubts and concerns about starting over, but I feel that once we get started in the new theatre we’ll be able to enjoy it. But still, this theatre is filled with so many memories they can’t even be expressed in words.

Shion: I can’t forget the performance of War and Peace when the Grand Theatre stairs broke. They weren’t able to repair them in time for the last performance, so even though so many people were retiring - Shou-chan (Haruna Yuri), Rin-chan (Tajima Kumi), Pucchii-san (Azumi Reika), Maimai (Minakaze Mai), and so many others - through the whole run we had to use a staircase with only a few steps, as if it was a regional production. If we start talking about all the memories of things like that that have happened in this Grand Theatre there’ll be no end to it.

Mori: By the way, it’s quite unusual for all 4 of us to be able to talk like this. What’s really interesting is that there’s only one class year between each of us [5].

Shion: That’s right, even though I feel like some of us are together for magazine features and such regularly. I’ve had newspaper intervieews and such together with Yan often, so if I’m asked about her reason for joining the company or something I can answer easily. (laughs)

Anju: I can do the same for Shime-san! (laughs)

Mori: I’ve done events and special appearances for a while, so I feel like we’ve been well acquainted for some time. When we’re all face to face like this it ends up feeling like a school reunion.

Anju: We were able to appear together in The Rose of Versailles [6] as well.

Suzukaze: That’s right. Even though I was a yokasei when Yan was a honkasei, we didn’t have any interaction [in TMS], but we became close when we were playing Oscar in The Rose of Versailles. After that, when you saw Memories of You, you told me 'your dancing has gotten better’, and that one sentence made me so happy I felt like jumping for joy and I started crying.

Anju: No way~ (laughs)

Suzukaze: That one statement gave me energy all the way through to the end of the run. I think Takarazuka is fascinating because of all the different sorts of shows all four troupes can do.

Shion: It’s great that each troupe has its own specialty.

Anju: I could never do Puck.

Suzukaze: If you put the ears on anyone could do it! (laughs)

Anju: They’d say I was an evil spirit, not a fairy. (laughs)

Shion: But it’s really sad that even though all four of us are together, Karincho (Mori) is about to retire. I feel like I’m losing my last comrade-in-arms I’ve spent all this time with, together with the Grand Theatre, which makes it all even more painful. I have so many memories welling up, but I’ve already told the person in question (laughs) so I won’t repeat all that! But I’m really so happy we will be able to perform together in the new Grand Theatre in January [7]!

Anju: Karincho-san was already a star even when she was still in TMS. You were somehow different from everyone else, and you were amazing even then. Being in the center seemed to suit you, so you would be placed in the center naturally from the beginning, and you could change the whole atmosphere around you.

Suzukaze: When me and Mori-san played Oscar and Andre together in The Rose of Versailles [8], I was so affected I wished I couuld steal even a tiny bit of Mori-san’s unique qualities for myself… While I think it’s really appropriate that you are the last to perform in the Grand Theatre, personally I wish you could be there forever. Please don’t leave~!! I’ll be there behind you taking notes as long as you’re here.

Mori: Thank you so much, everyone. Takarazuka is such a wonderful place, and I’ve had so much fun working with everyone to put on the shows, and the Top Stars all help each other out so warmly. Gosh, I’m going to cry… (laughs) Having the opportunity to be Top for four years, I had so many different experiences as both a stage performer and a human being, and I don’t have any regrets.

Shion: I’m really happy that Karincho-san and so many others will be there in January for the opening performance of the new theatre. Star Troupe is happy to have you.

Mori: I’ll be there getting in the way from the first show~ I’m glad I’ll be able to make one more good memory. I’ll have to investigate e~verything about the new Grand Theatre. I’m looking forward to it, hahaha.

Anju: While I’m sure I’ll be a bother in a lot of ways, I think I’m very lucky to have a special appearance in Star Troupe productions in both the old and new theatres. Thank you to everyone in Star Troupe for having us.

Suzukaze: I’ll give it my all. While I don’t know yet what they’ll be having me do, I want to be myself and enjoy the show with the kind help of the Star Troupe members. My dream to do a Japanese-themed show is coming true, and while I’m sure I’ll be terribly clumsy I’m prepared to do whatever it takes. Directors, Senka members, everyone in Star Troupe, please take care of Suzukaze Mayo. I think when I’m onstage at the new Grand Theatre in the Star Troupe performance I’ll feel even more that this Grand Theatre is really gone.

Anju: Even if I wail and cry, this Grand Theatre will still be gone, so although I’ll be sad and miss it dearly, I would like to go onstage at the new theatre with fresh emotions.

Mori: I’m very grateful that Snow Troupe will be closing out the Grand Theatre. There’s only one thing remaining for me, which is to give this Grand Theatre, that has been filled with everyone’s memories, a brilliant conclusion. Every day I express my gratitude to the Grand Theatre so I feel confident it will go well.

Shion: Thank you!! After this when you appear in the new theatre’s opening production, we can begin building a new history together.

1. I think this is a reference to the special uniforms worn by teams competing in the Koshien baseball tournament.

2. In very old shows, the Grand Theatre drop curtain said ‘Hankyu Department Store’ on the side, where lower-ranking actresses would end up.

3. The Takarazuka run of The 47 Ronin was the last production to take place in the old Grand Theatre.

4. The Grand Theatre (old and new as far as I can tell) has three bathing areas separated by rank, with the Uni Baths reserved for the most senior actresses.

5. Shion Yuu, 64th class; Mori Keaki, 65th class; Anju Mira, 66th class; Suzukaze Mayo, 67th class.

6. 1990 Fersen production starring Ooura Mizuki.

7. The Star Troupe Houjushou/Parfum de Paris was the opening performance in the rebuilt Grand Theatre, featuring guests from the other troupes.

8. 1991 Oscar production starring Suzukaze Mayo.

[eljc00]

It’s a Love Story was one of the first Takarazuka shows I watched and I found it so incredibly charming and alluring. I love how the show oscillates between light and dark, comedic and mysterious, ballet to swing dance. The music doesn’t sweep me off my feet, but it’s pleasant and catchy. Oh yeah, I also fell hard for Anju Mira and her cheekbones. I had no idea cheekbones could be that perfect. It also made me hungry for more ‘90s shows. 

[zukadiary]

Takarazuka (etc.) week-end roundup 10.11.19

Tragically, performances at the Tokyo Theater on Saturday 10/12 have been canceled due to the impending typhoon and there are currently no plans to reschedule. This means that assuming the theater can open on Sunday, Kurenai Yuzuru and Kisaki Airi’s sayonara shows have been cut from two to one. I sincerely hope that the impact of the typhoon is minimal, that these two can have a beautiful sunny graduation on Sunday, and that their fans are able to travel to the theater or their respective live view venues! (Some Yukigumi performances have also been affected, although both shows are just beginning and still have the full run ahead).

Soragumi spring small theaters have been announced. Makaze & Madoka will be leading the Akasaka ACT show Flying Sapa, a cryptic space adventure directed by Ueda Kumiko. Sakuragi Minato will be leading the Seinenkan/Drama City split Magnificent Emperor about Suleiman I of the Ottoman Empire, directed by Kashihata Aiko, who has previously done the Bow Halls Le Muget and Arkadia.

El Japon Señor Samurai shinko leads were announced: Kazeiro Hyuuga will be playing Makaze’s role, Hanamiya Sara will be playing Madoka’s. Both are 102nds, both first-time shinko leads. Anon Yuusei will be playing Kiki’s role. 

Tsuki’s Grand Theater performance that begins in April has been announced: they’ve poked Ueda Shinji awake for a very classic-sounding nihonmono revue, followed by Harada adapting Twelfth Night to take place at the Moulin Rouge in 1900.

We have a visual for Dance Olympia and a poster for Masquerade Hotel

Anju Mira will be staging the 14th iteration of her (mostly) solo show Female, this time featuring Sagiri Seina and Senna Ayase

Insisting on being included in every single one of my roundups, Nanami Hiroki will be voicing the male love interest in this anime which begins airing in January 

Saou Kurama will be in Elf the Musical at Christmas time