#margrid arnaud

[margridarnauds]

I'm fine with the child endangerment, I'm fine with the mob violence, I'm fine with the "plotting a coup d'etat that leads to thousands dead, not including the long-standing repercussions of it", I'm fine with the bitchiness, but the one thing I can't forgive Orléans Marie Antoinette das Musical for is making Margrid cry.

You monster.

[margridarnauds]

I noticed my beloved Marie Antoinette is falling behind and, let's be honest, I can't stand for that. So, let's talk about one of the best musicals of all time and the reason for my url.

-- Marie Antoinette is popularly thought to be an adaptation of the famous Austrian born French queen's life -- in reality, it isn't. It's an adaptation of the historical fiction novel by Shusaku Endo. Therefore, while it, like a number of the currently winning entries, is set in Europe, it is based on a Japanese novel by a Japanese author, it premiered in Japan, it was rewritten in Korea. While most people know it from either the failed German production or the Hungarian production and it does have Kunze and Levay attached to it (though more Levay than Kunze these days ngl), it represents a collaborative effort on behalf of two Asian musical industries.

-- The music. Again, when you hire Kunze and Levay, you know you're going to get something good at least from Levay, and they really outdid themselves here. From the haunting Blinded By The Lights of A Thousand Candles to the defiant Enough Is Enough to the ambitious villain song I Am The Best to the melancholy romance and regret of The Only Thing I Ever Did Right.

-- The historical accuracy. Look, this is a musical. Musicals have to change things in order to condense history in two hours. But I've had plenty of people who are far more into the Frev than I am say that this is one of the single best, most nuanced portrayals of Marie Antoinette's life they've ever seen, even if it does repeat some common myths like the Duc d'Orléans starting the Revolution or Marie Antoinette and Fersen having an affair. It includes the Affair of the Diamond Necklace, it includes the September Massacres, it includes projections from *actual pamphlets used to discredit Marie*, it includes *a legit replica of Marie Antoinette's actual bed in the Toho production*

Compared to the real bed at Versailles

-- The costumes are gorgeous. Both the Toho and the Korean productions went out of their way to create absolutely gorgeous costumes. Just searching for "Marie Antoinette das Musical" on my blog will turn up a few of the gifsets I've made of the costumes, but just for one of my favorite examples:

The stage design is gorgeous:

Like, seriously. Look at this. Or the projections they used to tell the story of the Varennes Flight.

-- The characterization, especially of the two female leads. There are quite a few musicals that have two female leads these days (Wicked, War Paint, Chicago, to name a few examples off the top of my head), but I think that Marie Antoinette really does a great job balancing them out, especially given tbh a lot of the musicals that are making it thus far are kind of sausage fests that either have one token female character or no female characters on the stage at all. Both Marie Antoinette and Margrid Arnaud are given sympathy and respect even as they're both allowed to be wrong. Margrid in particular is one of my favorite characters of all time -- everything that people say they want with a messy female character is there with her -- she's a gremlin, she's either directly or indirectly responsible for multiple catastrophic events in the French Revolution, she has daddy issues, she might or might not be fucking the king's cousin who is helping the Revolution out for his own ends only for the two of them to have a breakup in the middle of the trial of the century, she cries on stage, she has religious trauma. Literally everything you could possibly want in a female character. And she is also a rare example of a lower class woman in 18th century France given any amount of nuance or compassion, and she's double-billed alongside the most famous woman of the time and shares equal screen time with her! Literally no one is doing it like her.

・*.+.*・・*.+.*・・*.+.*・・*.+.*・・*.+.*・

Championship Bracket

Cyrano ∼𝓋𝓈∼ Marie Antoinette

・*.+.*・・*.+.*・・*.+.*・・*.+.*・・*.+.*・

[thegirlisuedtobe]

“Little by little, the old world crumbled, and not once did the queen imagine that some of the pieces might fall on her.” – Jennifer Donnelly

[illaneous]

i finally submitted my vcom folio so i’m free for like three days til I start the next one haha so have some MA toho fanart

[fallenidol-453]

for ship asks: 💓💦🌹

I FINALLY GOT TO ANSWER A QUESTION FROM YOU. 💓: Look, I looked up Brienne/Sansa fanfic out of curiosity and you know what? I have. A fair few. Bookmarked on AO3. Also, Jiāng Yànlí/Wēn Qíng, thanks to like. One gifset. 💦: Genuinely cannot think of any. At least, none that are going to get me six feet under.

🌹: I do, admittingly, find it difficult to go feral over OTPs nowadays because I do find it mentally difficult to get invested in ships, but these are not in any kind of order and I'm absolutely forgetting some.

- Kellen/Vestakia, Jermayan/Idalia [Obsidian Mountain trilogy] - Hardison/Parker/Eliot [Leverage and Leverage: Redemption] - Ahiru/Fakir [Princess Tutu] - Soléne/Olympe and Ronan/Lazare [1789: Les amants de la Bastile] - Margrid Arnaud/Philippe Égalité [Marie Antoinette das Musical, 2018 Japanese production] - Gunedwaen/Harwing [Dragon Prophecy trilogy] - Murtagh/Nasuada [Eragon] - Too many pairings from CLAMP's works - Too many pairings from the Fire Emblem series, most recently Tailtiu/Erinys - Richard/Kahlan [Legend of the Seeker only, I don't like the Sword of Truth books] - Raistlin/Crysania [Dragonlance novels and The Last Trial] and Takhisis/Crysania [The Last Trial] - Fairytale Detective/Briar Rose, Rapunzel/Ross, and James/all of his wives [Dark Parables] - Emma Ravenhearst/Rose Somerset [Ravenhearst series] (Eipix Entertainment can retcon this series all they want but they will have to pry this ship from my cold dead hands after I challenge them to a fight behind a local Denny's for everything else they did to games 4 and 5.)

[queengurako]

Sonim (Margrid Arnaud’s actress in Marie Antoinette das Musical) did her own version of Usewaa by Ado for Margrid and it’s...fabulous. 

[chibimyumi]

Hi I have a question if you don't mind I would like to know what your thoughts are on the musical Marie Antoinette and what the story about and what for character Axel von Fersen is and what he does in the story? Thank you for answering my question

Dear Anon,

TOHO’s ‘M.A.’ is either my favourite or second favourite musical EVER. The story and script are SO well written, and the characters feel so real, I have never seen anything like it in the stage media form.

The story focuses on two women with the initials M.A. (Marie Antoinette and Margrid Arnaud). These two women are legit the titular characters and never get their spotlights stolen by others. They are both equally strong and flawed characters in their own rights, no bullshit like ‘she is strong because of GIRL POWER’ or ‘she is strong for the sake of romance’. The writers had the guts to make Marie stupid and Margrid a vicious snake, but also had the skill of never dehumanising either.

I really hope that more people could watch this musical (I offer free English subtitles for A-Version in exchange for proof of legal ownership), so I without spoiling anything essential:

Prologue

This show starts with Fersen receiving news of Marie’s execution. He is well aware that the revolutionaries have grossly dirtied her name for the sake of propaganda, and mourns how the slanders about the Queen will be passed down as canon history. Indeed, the infamous phrases ‘let them eat cake’ or ‘madam deficit’ are what most of us get taught about her, but recent historic research has found that Marie Antoinette was in fact innocent of most claims against her name.

In the prologue, Fersen reminisces about Marie as he knew her, and serves as some kind of narrator of the opening scene. As Fersen sings he brings the audience back in time to meet Marie Antoinette and the events before the revolution broke out.

Main Story

The main story opens on one evening in Paris. Margrid storms into a party organised by Duke d’Orléans where the Queen is also at. Margrid communicates the dire situation the common people are in, hoping that the people with the power to make a difference would open their eyes. The nobility however, seemed most unconcerned, and that event becomes a catalyst of the French Revolution.

Conflict

One of the most amazing things about this musical is the antagonist who wishes to remove the King and Queen, Duke d’Orléans. He has his own view on politics, and just like the people, he can no longer bear to watch France perishing under the incompetence of Louis XVI. This person is the man who would later be known as Philippe Égalité.

He is played by Yoshihara Mitsuo, and the only single actor I have seen in ALL versions that managed to make this ‘villain’ a character so three-dimensional he could be the hero of his own story. In an interview Yoshihara said in accordance with his own performance:

“Can you imagine being the person who has the potential to provide for the French people, but having to witness the country suffer while doing nothing? From d’Orléans’ point of view, if he had not stood up to fight for the legal power to make a difference, he would have been the bad guy here.”

Margrid and d’Orléans decide to cooperate. With intelligence, ambitions and fierce hatred combined, their growing team manage to use the people’s bias against the foreign Queen to turn her into the scapegoat of the toxic monarchy.

Hans Axel von Furusen

Anon, since you asked, I shall do a mini-deep section on Count von Fersen played by Furukawa Yuta. (I only watched the version with Tashiro Fersen once, so I only have an ‘impression’ of him. If you are interested in Tashiro’s Fersen, I trust @wildandwhirlingwords would fill you in on him ^^)

⚠️ If you don’t want to spoiled then stop here! ⚠️

Role

Many would think that Fersen is the love interest of Marie Antoinette, and would therefore fulfill a main role in the musical, perhaps the tragic hero to whom the two M.A.s are the fuel of his heroism. But no, just like I said above, the two M.A.s are the legit titular characters of this production, and Fersen is support cast. Though a phenomenally important role, he never even threatens to take over the main spotlights.

The script for him is relatively minor in comparison to the two leads, but Furukawa’s amazing eye for detail has managed to flesh him out so thoroughly you still know exactly what type of person Furusen is. This ‘fleshed out result’ is something that I have yet to see in any other version of him, even in other musicals, mangas and movies.

Background and Personality

Fersen played by Furukawa is calm, fiercely intelligent, and a jaded war veteran. Having seen the American revolution first hand, he understands the   mechanisms behind mass dissatisfaction and the power of people’s anger. Furusen rushed back to Marie from whom he has separated for years to warn her against the dangers he foresees. As isolated as she is however, Marie cannot manage to understand what the war veteran is warning her against.

“I have witnessed a revolution with my own eyes. I learned that much more than any cannon or rifle, it is thoughts and words that are powerful.”

Except worldly savviness, Furusen is likewise characterised by restraint. As Furukawa himself puts it:

“I tried to approach this role from a platonic perspective. He loves Marie deeply, and he realises very well that only by loving her platonically can she remain safe. Rather than proximity, the more sustainable way of love for them is restraint.”

Indeed, Furusen's love is not a fiery romance, instead it is more akin to courtly love. He constantly tries to maintain a safe distance from the Queen.

Finally Marie and Fersen manage to reunite after many years, and she eagerly grabs for his hand. Furusen’s expression however communicates clear concern, and he respectfully takes a step back.

Furusen is not aloof towards Marie because he doesn’t love her anymore. In a later scene it becomes clear that his restraint is his ultimate display of love; he knows too well how Marie’s reputation can’t afford any more blemishes.

After they sing “because my love for you will never disappear,” Marie attempts to kiss him on his lips, but Furusen quickly dodges, silently reminding the Queen of their respective statuses as Lady and vassal. This is a very noteworthy detail that can only be seen between Furukawa’s Fersen and Sasamoto’s Marie. #HyperDetailedActing

Frustration

Another characteristic of Furusen is his immense frustration. Furusen is constantly desperately trying to find a way to save Marie. But with the ever-growing rumours of Marie whoring around, he finds himself bound hand and foot. If he takes action to help her Marie will be hurt; if he does nothing Marie will also be hurt.

Instead, this famed strategist finds his chances reduced to... being passive-aggressive... After d’Orléans had his first clear victory and the Royal entourage take their leaves, Furusen makes a show out of going up to his foe to warn him. They don’t exchange a single word, but the tension and history between these foes are clear as day.

Furukawa and Yoshihara were very passionate about their roles, and they shared in a talk-show how both of them spent hours together discussing their histories. The amazing chemistry between them cannot be described in words, but the result of their character-building are self-evident in the musical. (Click here for an in-joke between these actors.)

Masculinity and Aura

Furusen displays a very gentle, non-toxic kind of masculinity. As discussed above, he knows when to restrain himself, and he knows when to admit wrong. He is also not shy to show vulnerability, COMMUNICATE, and shed some genuine tears.

Generally he just displays a very elegant type of masculinity, never taking up more space than anybody else. It is very pleasant to watch!

Sass

Furusen is not just elegant though! He also displays a very sassy and sarcastic side that are evidence of his highly critical mind.

In this post I expanded on Furusen’s sass, but to put it very short; Furusen is REALLY funny too. In the race against the clock to evacuate the King and Queen, the King steps out of the carriage and suggests they go for a leisurely picnic, and dismisses Fersen. Unable to defy the King’s command, Furusen then makes a cross while ROLLING his eyes.

So yes, I can’t tell you why exactly M.A. is one of my all time favourite musicals without spoiling the critical things, so I highly, HIGHLY recommend you buy the musical for yourself.

I know this DVD is very expensive, and normally I would not dare suggest anybody just spend this amount of money based on my word. But please, this one will surely NOT disappoint you!

If you really are unsure, @wildandwhirlingwords hosts live-streams from time to time, and she told me she is also willing to take requests if she has the time/capacity. She hosts the streams without subtitles out of respect for me (thank you, dear), but she does give live commentary to explain the essentials. Her blog is absolutely great and contains lots of interesting info about Japanese musicals, and M.A. specifically ^^

Here is the purchase link of Version A (Furukawa x Sasamoto x Sonim) from TOHO Mall.

MASTERPOST How to buy DVDs/BDs, and get Free English subtitles from me.

[sijjak]

Impact Star 2019 - Leo Cut

Leo's Muse VIXX's main vocal, LR (Leo & Ravi), musical actor Jung Taekwoon. There are numerous modifications stuck to the beginning of his name. And one more, solo singer LEO. He has successfully finished his promotions for his second album <MUSE>. From now, let’s hear about his impressions and the forces that make Jung Taekwoon run.

Q: What are your thoughts about successfully finishing your promotions for your second solo album? Is there a moment that you remember the best from your promotions for <MUSE>?

LEO: First, I received a lot of love for three weeks and because I could promote, I was really happy every moment. I remember every moment from promoting with <MUSE>, but out of those the thing I remember most is the independent concert I had within a year. I introduced the new songs, and I was really worried more than I thought. But like always, because of Starlights I was able to finish up enjoyably. I’m really thankful.

Q: For this album <MUSE>, as expected you participated in composing and writing lyrics for all of the songs, like your last album. Usually, being passionate is not easy work. I am curious about your usual music process and how you get inspiration.

LEO: Usually before I make a song I pick a theme. To get that theme, I use my personal experience or different material. To get inspiration, I utilize the material in books and movies. For example, I imagine in detail like “after this book or movie is over, what happens to those people?” This is how I get inspiration.

Q: You said that your fans are your muses. When was the moment you felt most proud to be LEO?

LEO: I think it is every time we are together. When I do pre recording, when fans come from far away to support me, or the moment I’m standing on a big stage, because of all of the Starlights, I think I am able to feel proud.

Q: You released the single album <the flower> with well-known German singer songwriter Maximilian Hecker. How was working with him?

LEO: Since I was young I was a Maximilian Hecker fan. I really liked the sensitivity that Maximilian Hecker has and I thought that being able to do a collaboration with him was a great honor. After we decided to do the collaboration, every moment was really enjoyable. Because I’m satisfied with how the song we did together came out, it was really happy work for me.

Q: You have the new musical <Marie Antoinette> currently ahead of you. Please introduce the role you will be playing. Also, what are your thoughts about the new production?

LEO: <Marie Antoinette> is a story about the contrasting lives between Marie Antoinette and a daughter of the poor, Margrid Arnaud, who appears as a fictional character. This musical shows the gleaming and breathtaking lives of these two women twisted in fate. The character I play, Count Axel Von Fersen, is the object of envy of all women. He is a charming and brave Swedish aristocrat, and he is the role who loves Marie Antoinette. As expected, for this production, there are many various spectacles which you won’t be able to take your eyes off for even a moment, so please look forward to it a lot.

Q: Now too, you are a respected musical actor with many productions. Do you remember the feeling you had when you stood on stage for your first production? It seems like it would feel very different from now.

LEO: When I was doing my first production, I was really nervous and worried. But because many of my seniors, supervisors, and staff lead me well, I think I was able to come this far. Actually, there are still many points where I am still clumsy or lacking, but while receiving a lot of help and studying, I am getting along.

Q: When you are doing musicals, promoting as a soloist, or promoting as VIXX, the energy you emit is all different. What are the pros and cons of each?

LEO: When you are doing musicals, you have to stand on stage for two and a half hours carrying all the character’s emotions with you. Because of this, being able to share those difficult emotions is a point that I enjoy. As you know, when I promote as VIXX, the performances I make together with the members and the conceptual images are shown strongly. What’s different about the group and being solo is that it’s solely my color that I can show. I think this point is an advantage.

Q: When you first debuted, you didn’t speak and had a very mysterious feeling. But these days, you seem like a person who honestly expresses their emotions. While promoting, could it be your personality has changed? If that’s the case, what is one force that made you change?

LEO: I think one of the biggest factors is the fans. Actually, when I first debuted, broadcast stations and locations were very unfamiliar, but while promoting I became close and comfortable with the fans, so at one point the broadcasting stations and locations didn’t feel unfamiliar. On the contrary, it changed to a familiar feeling. Rather than me changing, I think it’s more correct to say that things became familiar and comfortable.

Q: Until now, it seems like you are always running without a break with VIXX, unit, solo, and musical activities. If you were given a one week break with no limitations, how would you want to live for that one week?

LEO:  I want to leave without thinking. Either Korea or a foreign country. I want to listen to music and read books,  watch TV and eat as much as I want. I want to spend the break like that.

Q: I’m curious about your vision of LEO in 10 years. After 10 years, if you think about the happiest moment that will arise, what will it look like?

LEO: Actually, I don’t have a judge on what I will be like in 10 years. More than planning the future, I go more in the direction of living life with the flow. More than anything, I hope I’m a person that can stand happily on stage for a long time. I want all the moments together with Starlights to remain as happy memories.

Singing Muse

Last month, with the independent concert <LEO 2nd CONCERT ‘MUSE’>, the promotions for the second album <MUSE> started. Like the name, the concert was a stage entirely for Leo’s muses, Starlights, stages with Leo as a solo singer, a musical actor, or Jung Taekwoon.  Like the meaning held in the songs on <MUSE>, it was a time for the fans and Leo, who have become muses for each other, to confirm their close relationship. Like this, Leo and his fans have been running for the never short time of seven years. As much as the strong time they have spent watching each other’s growth, we can expect the time they will spend together in the future after 10 or 20 years to be their driving force. Leo, for Impact Star, expressed his gratitude for the fans who will protect the time going forward. “To everyone who was by my side as my muses for such a long time, I want to express how thankful I am. Let’s go for a long time!”

[meeedeee]

Engel Aus Kristall

Fandoms: Marie Antoinette - Levay/Kunze

Major Character Death

Margrid Arnaud/Philippe Égalité

Philippe Égalité

Margrid Arnaud

Fanvids

Angst

So much angst

Canon Compliant

An Implied Guillotining

Past Relationship(s)

Pining

Betrayal

(From both sides tbh)

English subtitles

After being Margrid betrays him, Orléans broods on their relationship and how they reached this point.

(Feed generated with FetchRSS) source https://archiveofourown.org/works/22426795

[operaglass-blog1]

Marie Antoinette

The long-awaited “Marie Antoinette” came and went at the Imperial Theatre.

When it was first announced in February of this year, I was ecstatic for several reasons. I had just seen Furukawa Yuta’s performance in “Kuroshitsuji -Tango on the Campania-“ and just couldn’t wait to see him sing again. Not to mention, who doesn’t love beautiful Versailles and all the gorgeous dresses and decadence of that era? I remember having watched the Marie Antoinette movie that starred Kirsten Dunst at least ten times in my university days, and I was completely enamoured with the lifestyle of the French royalty in the 18th century.

Since I had half a year from the announcement of the musical to the actual show, in preparation, I ordered books on the history of Marie Antoinette, read a bit on the French Revolution, started studying French again, and rewatched the movie a week before I went to see the musical for the first time. The more I read the more fascinating it became, and when it opened at the Hakata Theater in Fukuoka, I was browsing the pictures and digest videos pretty much every day until it finally arrived at the Imperial Theatre in Tokyo. (Talk about obsessed.)

This is the second time for “Marie Antoinette” to be shown in Japan, the last time being the musical’s first performance ever in 2006. Despite the story being set in France, its origins are actually in Japan, with the musical written by Michael Kunze and Sylvester Levay (who also wrote “Mozart!” and “Elisabeth”, both of which I also love) and inspired by the Japanese novel Ohi Marie Antoinette (“The Queen Marie Antoinette”) by Endo Shusaku, published in 1985. I have not read the novel, so I will be talking about what I saw in the musical only.

The story revolves around Marie Antoinette as she is taken from Austria to France to marry Louis XVI, serving as the Dauphine of France before becoming the Queen several years later. In the midst of that, she meets Count Axel von Fersen, a Swedish count serving as a diplomat to France, and the musical also zooms in a little on his relationship with Marie Antoinette. However, rather than only focusing on the secret (or not-so-secret) love affair between Marie Antoinette and Count Fersen, the story also brings in a fictional character named Margrid, a girl who lives on the streets and spearheads the French Revolution, leading to the downfall of the royal family. What I really enjoyed about the story was that rather than looking at what Marie Antoinette did in her life, her involvement with the diamond necklace affair, and other events she is typically known for, it shines light on her growth as a person and the conflicts she encounters both as a woman and as the queen of France, and gives depth that goes beyond being a famous historical figure.

The musical this time features a double cast for the roles of Marie Antoinette (Hanafusa Mari/Sasamoto Rena), Margrid Arnaud (Sonim/Kon Natsumi), Count Fersen (Tashiro Mario/Furukawa Yuta), and Louis XVI (Sato Takanori/Harada Yuichi). Since I went to see the musical four times, twice in October and twice in November, I was able to see the same scenes through different “lenses” depending on the actor. It’s unfortunate that I didn’t have the chance to see Tashiro-san as Fersen (as Furukawa-san is fixed for me...), but I really enjoyed each show, and I found that while particular lines by particular cast members left strong impressions on me, they didn’t necessarily strike an impression when said by the other actor in the same role, and vice versa.

Hanafusa Mari, a past top star in Takarazuka Revue as a musume-yaku (an actress who only plays female roles), always had a kind of elegant joy written in her expression even when she wasn’t smiling. Her Marie Antoinette was someone who wasn’t so ignorant as much as voluntarily carefree; the part of her that chooses to ignore the poverty of her people is strong. The voice and nuances she says her lines are very meticulous, and I loved watching her performance. One of my favourite scenes by Hanafusa-san is when Marie has an argument with Fersen in the garden, and right after she says “Meirei yo! Watashi wa Furansu no ohii yo!” (“That’s an order! I’m the Queen of France!”), she immediately regrets it, reverting back to herself as simply a woman, and says in a small voice, “…Chigau no, ima no kotoba, imi ga nai no. Axel… Modottekite…” (“…No, the words just now, they didn’t mean anything. Axel… Come back…”). This part unexpectedly made me teary. I really felt in this scene that she was a girl, yet not just any girl, and that there was a conflict between the two even within herself as she struggles between her own desires, and her responsibilities and privileges.

On the other hand, the Marie played by Sasamoto Rena, another musical actress with a strong musical background, had a more mischievous and young smile, and Sasamoto-san’s Marie looked more like a girl in love who was going through life as any other woman. Sasamoto-san’s voice was deeper than I had first expected, but I found that it fit very well with a lot of Marie’s solos that required her to belt, like Aite wa Hebi (“Going against a snake”). It was my first time seeing the same musical several times with different people playing the main role, and it was fascinating for me to look at how and where they kept things the same, yet different for other parts, and how each cast member’s interpretation of the scene and his or her own character affected this.

I was happy to find that Count Fersen has the first and last solo in the musical. In the beginning, he has a long solo where he sings about his encounter with Marie Antoinette (I believe they were both 16 years old at the time) and explains her history of being married off to France. At the end of the story, he reads a letter informing him that Marie Antoinette (at 37 years old) had been executed. The solo he sings in the last scene is written with the same melody as his solo in the beginning and starts off similarly, which I thought was brilliant in pulling the audience’s heartstrings and bringing the musical full circle. I really like how the music Levay creates in his musicals is reused (this is true for both “Mozart!” and “Marie Antoinette”), first appearing in the first act during the characters’ innocent and ambitious days, then arranged and reused later in the second act when change is forced on the characters and circumstances are no longer within their control. When Furukawa-san sang this solo at the end, I could almost see actual tears glittering in his eyes.

After reading extensively about Fersen and Marie’s relationship beforehand, I did find Furukawa-san’s portrayal of Fersen a little colder than I had expected. I had always imagined Fersen to be a subtle man (this part is okay) with a loving heart who is secretly but completely enamoured with Marie. However, maybe from the influence of Furukawa-san’s own personality, I found that he was portrayed as someone who loved Marie in his own way, but his logic and coolheadedness to be above that (although that may be accurate in a way since their relationship was able to last for so many years). There were several duets and various conversations between the two lovers; however, they were relatively short compared to the other interactions in the musical. Strangely, I didn’t find the dynamics between the two to be overly romantic, but their scenes together to be more like catalysts, briefly describing their relationship and ultimately move Marie’s life story forward.

In the scene in the garden when Fersen tells Marie to look at reality and shouts, “Otona ni narunda, Marie!” (“It’s time to grow up, Marie!”), despite their fight, the Fersen portrayed remains to be a patient man who, seeing Marie happy in her own little paradise, is hesitant to destroy one of her sole oasis in the midst of her turbulent life. Though he had only wanted to give her advice as an act of love, Fersen reconciles with Marie despite their different opinions, as seen when he asks her if she is still angry at the night masquerade. It is unfortunate that this may have ended up being one of the factors that led to Marie’s ignorance of the situation outside of the palace until it was too late for her.

In terms of the set, it was very elaborately made and changed quite frequently, with sets coming in from the back, the sides, and down from above. In many of the scenes that involved a large number of people gathering in one place (the ball at Versailles, the garden, the revolutionaries, etc.), a revolving set was used so that the overall scene could be seen by the audience, with the stage turning at some point to focus on something else that was happening at the same time. The revolving circular set was made with a slope, allowing the scene to make use of the depth of the stage without anything being obscured from the audience when characters moved further into the back. I was also impressed with the details of the set for Leonard and Rose’s shop. The shop set came down from overhead, and real items lined the shelves that were built into the back wall of the set. The door attached to the wall could actually be opened, and every time it opened, the sound of a bell sounded to make it more realistic. Furthermore, the usage of lit torches at the masquerade scene in the garden was particularly beautiful and mystical. Other sets that I particularly enjoyed was the printing shop where the revolutionaries make the posters, and the garden scene with leaves coming down from overhead and an image of the riverside projected onto the back wall, the circular stage in the middle covered in a green carpet of grass.

As for the characters and how they resonated with me, I wanted to support both Marie, a kind girl making the best of her own situation and trying to be happy in it, and Margrid, fighting for her people who were suffering every day while the wealth of her country was dwindling away. Kon-san’s Margrid was portrayed as very energetic and young, whereas Sonim-san’s Margrid was more rebellious, yet with a hidden kindness that shows when she interacts with Fersen and stands up for Marie at the trial.

I really appreciate the fact that the women in Kunze and Levay’s musicals are so strong and three-dimensional. For “Marie Antoinette”, one scene that really touched me in terms of its female characters is when Madame Ranmarre and Marie comfort the children, tucking them into bed and telling them not to be afraid. Even with the revolutionaries storming Versailles and the fear that this must instill in the two women, they choose not to run and play the pillars of support for each other and for the royal family. Although Madame Ranmarre does not have a very big part overall, I was very touched by the scenes in which she does appear, gracefully supporting her mistress and the children. Surprisingly, Madame Du Barry does not make an appearance in the musical—which I’m completely fine with as, honestly, too many depictions of Marie Antoinette’s life focus on her struggles in her early married life as the Dauphine of France.

I did find Marie’s letter that Margrid tries to use as possible evidence at the trial a little hard to believe, seeing how according to historical records, Marie and Fersen used such extensive codes and methods to exchange letters in addition to using pen names and designated messengers. However, the letter does serve as a catalyst for the trust and relationship between Marie and Margrid, and it’s how the musical employs both fact and fiction that made it so entertaining and allows the audience to see Marie Antoinette and her story in a new light.

The music, of course, is amazing. There were so many catchy tunes, and the lyrics were so beautifully written. The ballad between Marie and Fersen when he tells her that he must leave, reused again when he sneaks in to see her as she is detained by the revolutionaries, really pulls the heartstrings, with the sound of the harpsichord and heart-wrenching lyrics: Nakanaide, naku no wa yume ga kanawanai toki / Jiyuu na wakai hi ya shiawase ga mou kaeranai toki / Dakedo ima wa nakanaide / Kono ai dake wa kienai kara (“Don’t cry, crying is for when your dreams are not to be / For when the days of freedom and youth, and happiness are never to come back / But for now, don’t cry / Because only this love will never disappear”). Fersen sings these words again when Marie is separated from Louis XVI and struggling to keep herself and her children together; even in that impossible situation, he tells her not to cry despite her dreams having already been shattered. Despite the lyrics saying otherwise, I cried at this part every single time. Although all of the songs in the musical are spectacular, this song always particularly struck me in the heart.

I was extremely impressed by Sato Takanori, in the role of King Louis XVI, and Yoshihara Mitsuo, playing the role of Count of Orleans. It was my first time seeing both of their performances, but their voices were so mesmerizing and the portayals of their characters so magnificent, I’m sure it was something that only the two of them would ever be able to pull off. I would love to see them again in other productions in the future.

I have so many things I want to say about this musical, and despite nearing the end of December, my mind is still so full of memories from watching “Marie Antoinette”. Fortunately enough, a DVD of this performance of the musical is set to be released next spring, so although it won’t be the same as watching it in person at the theatre, I can’t wait to see it again and relive the wonderful world of “Marie Antoinette” that this production has built.

Although the shows in Fukuoka, Tokyo, and Aichi have finished, there are still upcoming performances in Osaka starting from New Year’s. I really recommend going to see this production if you can—it is amazing and it will not disappoint. You can also pre-order the DVD at each respective theatre for the duration of the musical.

I’m so happy to have had the opportunity to experience “Marie Antoinette” this autumn. And with “Roméo & Juliette”, “Les Misérables”, and “Elisabeth” lined up next year as well, I guess I’ll be quite busy until the end of summer. I can’t wait!

—Official site: https://www.tohostage.com/ma/

[margridarnauds]

Rules: Make a poll of your favorite female characters (no limits - as many or as little as you want) and see which your followers like the most!

Tagged (via broad tagging) by @hurremsultanns

Tagging: @musical-chick-13 @marzipanandminutiae @drewsaturday

[87fan-club]

「小花Blog」 2018-08-14 終於到齊了！

Mari’s Life

  每天都是超讚稽古中，然��一直都分開在兩個稽古場，王族組和市民組各自進行稽古，大約從昨天開始，兩邊一起的場面的稽古終於到來。

  不考慮舞台關係，氣氛融洽的4人(汗)

    玲奈醬，Sonim，昆醬(≧▽≦)

  (註)

花女王和笹本玲奈飾演瑪麗安東尼，Sonim和昆夏美則是飾演瑪格麗特．阿諾（Margrid Arnaud）這角色在劇中原本是位敵視貴族的平民，最後卻與瑪麗．安東尼相知相惜。她姓名的縮寫也是MA，而且設定上與瑪麗安東尼同齡，兩人都是這齣戲的女主角。

  本日翻譯與註釋：艾樂芬

  看起來排練的進度越來越快惹！好期待正式演出啊～

[musihsoo]

Musical MARIE ANTOINETTE 2014 Korean cast (2/2) Concept profiles

Axel von Fersen : Yoon Hyeong lyeol / Kai(NOT THAT kpop idol!) / Jeon Dong suk Margrid Arnaud : Yoon Gong joo / Cha Ji yeon Louis Philippe d'Orleans : Min Young ki / Kim Jun hyun Louis 16 : Lee Hoon jin Madame Lamballe : Yim Kang hee

[constanzewebersisonbreak]

Sabrina Weckerlin as Margrid Arnaud

[margridarnauds]

Rules: make a poll with five of your all time favorite characters, then tag five (or however many!) people to do the same. See which character is everyone's favorite. Tagged by @musical-chick-13, let's goooooooooo.

(Honestly, atrocious showing for the female characters, if I say so myself.)

@drewsaturday @tybaltsjuliet @marzipanandminutiae @harveydentures @shivrcys

[margridarnauds]

Your mission:

You have been asked to direct the first Takarazuka production of Kunze and Levay's musical Marie Antoinette, which has done well in Toho co-ed productions and in Korea (we do not discuss Germany or Hungary.) You've got to make a call as far as which role you want to be at which stage of the star track, and the musical MUST follow the usual star track expectations (it isn't being produced at a time where one of the leads is being replaced, because that would be cheating.)

(For non-Zuka people who might see this: Takarazuka productions are often strictly cast according to certain roles, even though sometimes, actresses can be cross-cast. Usually, the two top stars are given the largest roles, often cast as romantic interests, but this can change in some cases where the director wants to put more of an emphasis on a certain role, so you can get instances where the two top stars don't interact for most of the musical. Top Musumeyaku - the top star who specializes in female roles; Top Otokoyaku - top star who specializes in male roles.)

(Note: The expectation is that, if Fersen is played by a top star, then Orléans or Margrid is the Nibante; if he isn't, then the role can go to either Fersen or Orléans)

As a bonus, reblog with which troupe you would cast.