#mariko miyauchi

[marikokida]

http://geimoriballet.jp  

Sapporo, JAPAN! I came back here after 20 years, this time as a teacher. Wonderful to be a part of Sapporo Art Park Ballet Seminar 2017 together with amazing teachers led by Josè Carlos Martinez. . 札幌芸術の森バレエセミナー2017に講師として参加しました。20年前は受講生として参加していたので感慨深い。元パリ・オペラ座のエトワールで主任講師のジョゼとアニエスはブノワ賞の先輩で、宮内真理子さんはジャイロキネシスの先輩。なんだか不思議なご縁に感謝です。

＊Teachers＊ ジョゼ・カルロス・マルティネズ Josè Carlos Martinez （主任講師/Head teacher for Seminar) - アニエス��ルテスチュ（クラシック/Classical Ballet） Agnès Letestu - アナエル・マルティン（クラシック/Classsical Ballet） Anael Martín - イザベル・エルアール（キャラクター/Character) Isabelle Hérouard - 木田真理子（コンテンポラリー/Contemporary dance） Mariko Kida - 宮内真理子Mariko Miyauchi （ジャイロキネシス/Gyrokinesis）

- 伊藤さよ子Sayoko Ito（ジャイロキネシス/Gyrokinesis）

素晴らしい通訳さん、ピアニストさんにもお会いできました。

It was such an amazing week at Sapporo Art Park Ballet Seminar 2017! I gave everything possible to the younger generation, I believe that they find a way to shine in the future. Thank you everyone who involved in this seminar. The best team ever!! . 昨日、札幌芸術の森バレエセミナー2017が無事に終わりました。本当にこれ以上ない最高のチームに恵まれ感謝しています。関わったすべての方が大きな心と情熱をもっていて、経験や知識を共有しながら皆でベストを尽くせたこと、セミナーを進めていけたことは、ほんとうに宝だと思いました。 . 受講生のみなさんがそれぞれ自分の道を見つけ輝き続けることを願っています。 お疲れ様でした〜!

ーーー　ーーー　ーーー

photo(up) by Josè Carlos Martinez

Photo(down): 1997(pictures) & 2017(article)! Happy to be a part of Sapporo Art Park Ballet Seminar's history. 北海道新聞　夕刊 2017.07.31

20年前は受講生として(写真)、今年は講師として(記事)、札幌芸術の森バレエセミナーに関われたこと嬉しく思います。 これだけ充実した内容のセミナーを30年近く続けてきた方々が本当にすごいです。

[fractionallystruckout]

Second String (Part 2)

(Part 1 - Part 2)

Inspired by @rainbowjunko's great drawing of Jun and Tetsu playing guitar and bass, respectively.

AU: rock band!AU

Also on AO3.

Jun's band practices every day except Monday and Thursday. Yuuki shows up on Monday.

—

Jun stood with the door open, staring at Yuuki on his front step.

"What are you doing here?" he asked. "It's Monday."

He was pretty sure. He hoped it was or the date he'd written on every receipt at the bookstore was wrong.

"I know," Yuuki said, easing some of Jun's concerns. He shifted the bag on his shoulder. "I was wondering if I could practice here."

"Why here?"

"I live in a 1K and the walls are thin."

Jun wanted to say no.

It was Monday, that much was confirmed. Monday was Jun's day to catch up on everything that had fallen by the wayside during the previous week like grocery shopping and laundry. It was why he was standing in front of an unexpected guest wearing a threadbare shirt and a pair of old sweatpants. Yuuki's neatly pressed office attire, including an expensive looking coat, made Jun feel underdressed in his own home which was ridiculous and annoying.

He wanted to say no.

His stupid, stupid dream said otherwise.

You'll only be better if he gets better.

"Fine," he said, stepping back in reluctant invitation. "Come in."

Yuuki nodded and stepped inside, setting his case down so he could take off his shoes. Jun watched him put shined dress shoes down next to his own scuffed boots. Yuuki picked up his case and moved towards the stairs, pausing for a moment to glance at the hallway leading to Jun's kitchen.

"You know the way," Jun said, pushing Yuuki on the shoulder.

They went downstairs, the short trip lit only by ambient light falling down from the entryway until Jun reached out to turn the lights on. Everything was still set up from their practice yesterday, for their practice tomorrow. Yuuki stepped over the cords strayed across the floor as he took up his usual spot, stage left of Miyauchi's drums.

Jun leaned against the wall.

"There's a metronome in that box somewhere," he said, pointing to a box in the far corner behind Miyauchi's seat. It was a mess of cords and tape and anything else that didn't have a proper place. "If it's dead, there's a pack of batteries in the closet."

Yuuki looked up from unpacking his bass. "You're not staying?"

"No," Jun said, shaking his head. "It's Monday."

The day Jun caught up on everything he hadn't had time for during the previous week.

The newest issue of his favorite shoujo manga was calling his name.

Not that Yuuki needed to know that.

"Have at it," he said, starting back up the stairs. "Give a shout if you need anything."

Yuuki nodded. Jun heard him searching through the box as he left.

He walked past his kitchen, letting out a heavy breath as he sat down at the small table next to his bed. In terms of space and rent, Jun technically lived in a 1DK but he'd given up the bedroom to use as a practice space, shrinking his actual living space down to a single studio room. It was fine on most days. He didn't spend a lot of time at home not practicing or sleeping.

More importantly, it was what he could afford.

Jun pushed away the meager remains of his dinner - day old fried rice from the convenience store Ryousuke worked at - and picked up his manga.

He heard the metronome start up below him, sharp electronic beeps measuring out a quick beat. He shook his head at Yuuki's insistence on always playing at full tempo. He chose to ignore it in favor of finally finding out which of the suitors Mariko, the manga's heroine, would pick. The climactic decision was coming and he was only pages away.

Yuuki started to play, pulling Jun's eyes down to the floor.

He could hear the low notes of Yuuki's bass. He could hear the rhythm and the constant beep of the metronome.

He could hear Yuuki being wrong.

Jun lasted ten minutes and two pages before he threw the manga onto his bed and marched downstairs.

"They're upbeats!" he shouted, taking the stairs two at a time. Yuuki looked up at him as Jun stalked over to where he stood, pointing at the rhythm in the music. "Upbeats," he stressed.

Yuuki frowned. "I know."

Jun bit his tongue.

He knew Yuuki knew. They played a surprisingly good set only two days ago. That didn't make waiting for the rhythm to sink in any less tortuous.

He picked up the metronome and turned it off before tossing it carelessly at the box. The beeping was starting to hurt his head and he could only tolerate one persistent annoyance at a time. He grabbed his guitar, keeping his back to Yuuki as he plugged into an amp.

Jun eventually met the subtle question in Yuuki's gaze.

"Next time, bring food," he said, pointing a pick at him.

Yuuki nodded easily.

"Okay," Jun said. "From the top."

—

Jun remembered to put on better clothes before answering the door the following Monday.

There wasn't a lot to choose from. He still hadn't done laundry but the jeans he wore all day and a relatively clean shirt made him feel better when faced with Yuuki's neat, pressed professionalism.

Yuuki stood on his front step, holding his case and a plastic bag in either hand. He held the bag out to Jun.

"Ryousuke said you like oyakudon," he said.

Jun laughed which made Yuuki frown, his hand dropping a little.

"Do you not?" he asked.

"I do," Jun said, holding his hand out to accept Yuuki's offering. He stepped back to let Yuuki in, peeking into the bag as Yuuki took off his shoes. There were two bowls and two sets of chopsticks. "I'm just surprised Ryousuke told you the truth. Saying I like goya or something just to mess with me is more his style."

Yuuki picked up his case. He frowned hard like he was struggling with a rhythm.

"Do you not like goya?"

Jun scrunched up his face. "I hate it."

"I see," he said.

Jun shut the door, suddenly feeling uncomfortable being the topic of conversation. He glanced down at the bag in his hand, the floor, and then the hallway to his kitchen.

"Do you want something to drink?" he asked, changing the subject. "I have water and... water."

"I'll take water," Yuuki said, without a hint of judgment. "Thank you."

"Sure," Jun said. "Go ahead. I'll be right down."

Yuuki nodded and headed downstairs.

Jun went to his kitchen and set the bag of food down on the counter. He searched through his limited collection of dishware, selecting two cups that were the most presentable, meaning clean and not cracked. He filled them with ice and water before grabbing the bag and going down to the practice space.

Yuuki had cleared a stack of books and magazines off a neglected end table and placed it between the couch and a chair. Jun set the cups down on the table and began unpacking the food. He handed Yuuki a bowl and chopsticks before taking the other for himself and dropping into the chair.

Jun was three bites in when he had to stop.

"This is really good," he said.

Yuuki set down his water. "It's from a shop in the train station by my office," he said, as if he was considering it for the first time. "It's very popular."

"I can see why," Jun said. Yuuki smiled as Jun ate vigorously, too caught up in the satisfaction of good food to be bothered with polite pacing. He paused about halfway through and sat back in his chair. "Thanks for dinner."

"Thanks for letting me practice here."

Jun shrugged. His letting Yuuki practice wasn't exactly altruistic. If Yuuki got better, the band would be better. It was all in service of Jun's dream.

He set his bowl down and looked at Yuuki.

"So, what else do you do?" he asked. "When you're not butchering our music?"

Yuuki frowned.

Jun laughed.

—

Yuuki liked routine.

He was consistent and predictable. Jun could set his watch by him, if he wore a watch.

It was something Jun learned, gleaned, picked up over time and shared meals eaten in their practice space. He also learned that Yuuki had a degree in management and had been at his job since he graduated from college. He liked it well enough, it paid the bills. He learned Yuuki had a younger brother who was still in college. They talked regularly, on Thursdays, coincidentally, which was probably the only reason Yuuki didn't show up asking to practice on those days too.

But most of all, Yuuki liked routine.

It was that preference towards routine that brought him back to Jun's front step, week after week, Monday after Monday, always with food in hand. After oyakudon it had been curry, paitan ramen, yakitori, and shio salmon.

Today it was okonomiyaki.

And beer.

"Don't make that face!" Jun said, pointing at Yuuki.

In Yuuki's defense, the range of his expressions was small but Jun could tell. He had the advantage, the high ground, standing while Yuuki sat on the couch. He also had years of experience with people's opinions on shoujo manga.

He could tell.

"What face?" Yuuki asked.

"That face," Jun said, stepping up to the end table that separated them, pointing at the amused tilt to Yuuki's mouth. "That 'shoujo is for girls' face."

"But it is? It's in the name."

Jun groaned, his body drooping in disappointment.

"A target demographic doesn't define the entire audience!" he said, gesturing a bit too widely given the beer in his hand. "They're still good stories, they just focus more on people than action. It's like a kids movie," he argued, approaching the table again. "Are you never going to see another kids movie just because you're not the target audience?"

Yuuki blinked, the amusement subtly falling off his face.

"No," he said slowly.

"Exactly," Jun grinned. He took a long, victorious drink from his beer. "It's the same thing."

Yuuki stayed quiet as Jun returned to his seat. He had no rebuttal for Jun's bulletproof argument.

Jun dropped into the chair as he surveyed the remains of the food. He turned at an angle, throwing his leg over the side arm, giving him leverage to reach across the table and pick a neglected piece of pork off Yuuki's plate. He righted himself as he put it into his mouth.

Yuuki didn't seem to notice the theft.

"Do you have a favorite?" he asked.

"I can't pick just one," Jun said, between chewing.

"Which would you recommend?"

"It depends on what you're looking for."

Yuuki frowned, which was a weird response.

It made Jun want to press his finger to Yuuki's brow to see if the crease would go away.

"What's your favorite manga?" he asked instead.

"Lone Wolf and Cub."

Jun laughed.

"Of course it is," he said, not noticing when his laughter floated almost into giggle territory. He tried to take another drink, peering into the bottle when it came up empty. He put it down on the table with the others. "You seem like the type that likes sword fights that go on for a hundred pages."

"It's a story about sacrifice and determination-" Yuuki started.

"It's people fighting with swords," Jun moaned, dragging the words out.

Yuuki smiled, which was a weird response.

Jun narrowed his eyes at him.

"If shoujo is more than just a genre for girls," Yuuki said calmly, "then Lone Wolf and Cub can be more than just people fighting with swords."

Jun stared at Yuuki as he considered his argument.

The stark professionalism that gave Yuuki an untouchable air was gone, shed slowly, piece by piece, over the passing weeks. His tie was gone, the top two buttons of his shirt were undone, and his long sleeves were folded up to his elbows. Jun could see his watch, the calluses on his fingers, the flex of his forearms as he turned his beer in his hands. He could see the flush of alcohol that warmed Yuuki's face, the color running down his neck to where lines were still drawn.

It made Jun wonder if Yuuki felt as warm to the touch as he looked.

"I guess you're right," he said, turning his attention away. Having nothing to do with his hands, Jun crossed his arms over his chest. "Maybe we can swap later. You can read some shoujo and I can find out what's so good about sword fights."

Yuuki laughed, brief and soft.

"I'd like that."

"Me too."

Jun glanced at him, feeling his face warm when Yuuki smiled.

He blamed the alcohol.

"Although I expect you to take good care of my books, Yuuki," he said, forcing the usual edge to his tone. "Some of them are out of print."

"I will," Yuuki said with a nod, unquestionable as always. He looked at Jun for a moment before adding, "And Tetsu's fine."

Jun fought the smile trying to overtake his face.

"Jun's fine too."

[demifiendrsa]

Shousetsu Gendai May 2019 cover illustrated by Takehiko Inoue.

It features special coverage about the winners of the Yoshikawa Prize.The Yoshikawa Prize is named after famous epic novelist Eiji Yoshikawa and has been awarded for more than 50 years. 

This issue also presents in full the novel "Five Rings of Evil" by Tsukimura Ryo'e (winner of Yoshikawa Prize for newcomer in 2013).

There are also pieces by Minakawa Hiroko, Koike Mariko, Sato Takako and Miyauchi Yusuke.

[thesinglesjukebox]

FULL TAC FT. LIL MARIKO - WHERE'S MY JUUL??

[6.11]

Do we choose rule, or do we choose suck?

Alex Clifton: Juuls. Juuls. Juuls. Oh my god, Juuls. [7]

Katie Gill: It's a little bit telling how all the comments on the YouTube video are comparing this song to other meme songs and not talking about the merits of the song itself. Still, there will always be a place in the world for meme songs that are serviceable memes but less than serviceable songs that teenagers can obnoxiously quote on the bus. "Where's My Juul" fits that niche perfectly. I expect a fleet of TikToks featuring people lip-syncing to this and will be very disappointed when this inevitably doesn't happen because I am out of touch with the youth. [6]

Kalani Leblanc: I can see there's already an abundance of blurbs submitted for this song, and the number will have risen by the time I finish this. After thinking so hard about how to go about being the fifteenth person to say "It sounds like "Shoes"," I'm realizing it's not really "Shoes" anyway. While they're both jokes that bear a resemblance in the thrash of a breakdown, "Where's My Juul??" is also listenable. The comparison is getting tired because it's like did anyone listen to "Shoes"? As a song? In earnest??? While this is not an entirely impressive piece, no concerto or FKA Twigs production, it's enough. Since 2006, we've been making everything into jokes, so it makes perfect sense. Nicotine-induced freakouts would've been the subject of an after school special ten years ago, but now they're joke material for hypebeasts and others on Twitter. Lil Mariko makes an impressive case while trying to find her Juul; I can't find anything this song did wrong, sorry. [8]

Will Adams: The mid-song 0-to-11 ramp is what takes this past the mean-spiritedness of "#Selfie" and the meme-spiritedness of "Phone" into effortless "Shoes"/"Let Me Borrow That Top" absurdity. The Juul is a placeholder; sub in any other monosyllabic cultural artifact, and Lil Mariko's rage against Full Tac's electroclash-y beat would cut through just as effectively. "Sorry, guys!" she says at the end, except there's nothing to apologize for. [7]

Jacob Sujin Kuppermann: I wrote 20 pages about Juul culture in 2018 so I should in theory be the exact target audience for this. Yet "Where's My Juul??" doesn't really click for me. It's charming and funny in parts (Lil Mariko's spoken verses, which transmit nervy anxiety and barely restrained fury effectively) but the hook, which takes up most of the very long minute-forty-five, is comedy via brute force principles: repeat a phrase enough and it will transfigure into a joke. [5]

Brad Shoup: About as funny as the related TikTok meme, though not as menacing, surprisingly. I wish so badly that Full Tac had gone full hardcore -- or even brostep! -- but am glad that Lil Mariko's Danny Brownian ad-libs and sudden reversals grind "#SELFIE" into the dirt. [7]

Oliver Maier: I need not catalogue the myriad ways in which this is transparently designed to blast off on TikTok -- you would probably know better than me -- but that cynicism detracts from "Where's My Juul??" for me. There's none of the spontaneity or sense of genuine fun that animates certain other genre-agnostic, threat-spewing, extremely online weirdo duos, more savvy than it is genuinely silly. It's not badly executed, but I felt like I got the picture before even hitting play. [4]

Will Rivitz: I get this is supposed to be more meme than song, but I so wish it had leaned into the latter for more than half its runtime. The "FUCK!!!" at the beginning of its second chorus is worth at least a [7] on its own, and its redlining nu-metal production is such a tight fusion of XXXTENTACION's sonic fingerprint and simplified TikTok trap that I'm surprised the "oh my God" ad-libs aren't followed by a "Ronny." As it stands, "Where's My Juul??" and its just-a-little-too-long interludes that grate after listen number four or so functions as a sort of "Thrift Shop" for the current day, a track defined by its novelty that we as an Internet music-Twitter hivemind all agree was genuinely good about five years after it's exited the public consciousness. It deserves more. [8]

Ian Mathers: Both less musically compelling and with less of a point than "Can I Get a Box?". [5]

Katherine St Asaph: It's kind of amazing how it took seven years for Rebecca Martinson to release her debut. [1]

Nortey Dowuona: Lil Mariko is actually kinda weird in the lol so random funny way that people think that [insert overrated white comic who had a Comedy Central show] is and has a really great metal screaming voice. I don't know who made this dull approximation of Kenny Beats and Pi'erre Bourne, nor do I care. Lil Mariko will hopefully get a recurring cameo role on Nora From Queens and get her own show from that. [5]

Mo Kim: The best joke here is the escalation of nonchalance (hey, where's my Juul?) into something desperate, and therefore dangerous: it hits like the drop in a rollercoaster when Lil Mariko finally breaks out the deep-throated metal screams, but the moment wouldn't have half the thrill without the masterful way she gradually ups the heat on the song's first chorus before that. Both of her spoken monologues, where she merges Valley Girl affect with murderous menace, only sweeten the deal. [8]

Ryo Miyauchi: "Where's My Juul??" gets spiked with an infectious dose of adrenaline when it suddenly turns a lot more aggro than you'd expect from a meme-y cross-section of Rico Nasty's mosh-pop and PC Music's ironic bubblegum. The demented beat stings with a pungent metallic sourness, and while her Valley Girl accent scans as an obvious put-on, Lil Mariko's blood-curdling scream is legitimately hair-raising. The song rapidly combusts, ensuring the joke doesn't overstay its welcome. [7]

Joshua Lu: Yes, hearing the unassuming Lil Mariko scream and snarl over a missing Juul is intrinsically funny, especially accompanied by a music video that knows exactly how to push the limits of its concept. But the real strength of "Where's My Juul??" lies in its sheer relatability. The title could be anything -- where's my wallet, my phone, my eraser -- because anyone who has ever misplaced anything can relate to the escalating panic and rage in not only the cataclysmic vocals, but also Full Tac's discordant production. Also crucial to the song is its sense of plot, as it steadily progresses from confusion to blame to outright violence. The ending, though predictable (Lizzo used the exact same twist not that long ago), is a necessary denouement, as it provides the moment where everyone involved can look back on the last minute and a half of chaos and laugh. [8]

Iain Mew: As a song structure trick, I love the fake-out final verse, those ones that seem like something slowly developing before the artist brutally cuts it off for the chorus or instrumental to come back stronger than ever; the "Don't Speak" and "Your Best American Girl" kind of thing. The key moment of "Where's My Juul??" comes in taking that same trick to a ludicrous, brilliant extreme. It has a drawn-out, jittery verse, a cartoon scowl of a chorus, and then one question into verse two it veers straight into swearing, screaming and fucking everything up. That's perfect enough that it would ideally be even shorter than it ends up. [7]

Kylo Nocom: Full Tac and Lil Mariko do in less than two minutes what took Justice five. The gimmick is the least fun part, and judging by my sample size of BigKlit's "Liar" and Full Tac's very own "CHOP" the producers behind this might not even be as funny as this video would imply. But I've long settled with music that's good on the merits of just being fun; when the production here is layered with discordant guitar sampling, analog drum kits, and distant screams of "piss!" and "fuck," I'm willing to buy into the ugliness. [8]

Joshua Minsoo Kim: Full Tac returns with another take on "Liar," succeeding because the goofy conceit here finds an appropriately goofy (that is, unexpected) vocal performance. Part of the appeal is how "Where's My Juul??" could sit comfortably alongside songs from Rico Nasty and Rina Sawayama, but has the appeal of shoddy viral videos from yesteryear. It's that "Kombucha Girl"-type reaction it's striving to elicit, and it accomplishes that as soon as the screaming starts. The best detail, though, is the most subtle: the moment Lil Mariko stops herself from saying "who" and politely asks "have you seen it?" [7]

Michael Hong: Have you ever been dragged to a party only for your only friend to disappear, leaving you to mingle with a group of people you don't know? And one person makes a comment so absurd that you just giggle along with the rest of the group even though you're not really sure if they're layering their statement with even a hint of irony or if there's something much more unsettling lurking underneath? But the jokes are getting more and more uncomfortable and suddenly fewer people are laughing along, instead furtively glancing across each other with an exasperated look as if to say "is this person for real?" And instead of backing away, that person instead starts doubling down, getting more and more aggressive, screaming across the room for what feels like hours and surely people must be ready to head out. Instead, when you finally catch a moment to glance down at your phone, you find that only two minutes have elapsed since you arrived and you realize that not even a quarter of the time has passed before your ride will come and you can leave this godforsaken party. You have absolutely no choice but to continue standing in the group in discomfort, waiting for this moment that feels like an eternity to finally finish, with the only background noise being the stereos blaring what sounds like someone's first attempt at using GarageBand. [0]

Crystal Leww: While I was digging through "likes" on SoundCloud, I noticed that a friend of mine had liked "Baby Let Me Know" by Full Tac, which sounds like the synth heavy dreamy pop that was popular at the beginning of last decade. I did not stick around for "Where's My Juul??" so imagine my surprise today when I turned this on and it's umm, screaming. A consistent genre as an essential part of an up-and-coming artist's brand is less essential than ever, especially in an age where (waves hands) dance music has eaten itself alive in its swirling storm of troll energy. Chaos in and of itself is a brand -- from 100 gecs to Alice Longyu Gao's dueling sister tracks "Rich Bitch Juice"/"Dumb Bitch Juice" to any DJ Bus Replacement Service set, it has fully infiltrated dance music. How this goes from sweetly threatening to full-on psychotic and back to cutely apologetic is chaotic so yes, I think Full Tac could make some noise (both in creating a fanbase and also like literally) with this. [8]

[Read and comment on The Singles Jukebox]

[aintnolionpridelands]

Basic info on the Japanese production of Natasha, Pierre & The Great Comet of 1812

Official Site: https://www.tohostage.com/thegreatcomet/

Date: January 5th - 27th, 2019 Venue: 東京芸術劇場 プレイハウス (Playhouse, Tokyo Metropolitan Theatre)

Produced by Toho / Nippon Broadcasting System / Mixzone

Cast

ピエール：井上芳雄 (Pierre: Yoshio Inoue) - Video

ナターシャ：生田絵梨花 (Natasha: Erika Ikuta) - Video

エレン：霧矢大夢 (Hélène: Hiromu Kiriya) - Video

アナトール：小西遼生 (Anatole: Ryosei Konishi) - Video

ソーニャ：松原凜子 (Sonya: Rinko Matsubara) - Video

ドロホフ：水田航生 (Dolokhov: Kouki Mizuta) - Video

マリア：はいだしょうこ (Mary: Shoko Haida) - Video

バラガ：メイリー・ムー (Balaga: Meili-Mu) - Video

マーリャ・D：原田薫 (Marya D.: Kaoru Harada) - Video

アンドレイ／ボルコンスキー老公爵：武田真治 (Andrey/Old Prince Bolkonsky: Shinji Takeda) - Video

Ensemble

亜久里夏代 (Kayo Aguri)

会田桃子 (Momoko Aida)

Alyssa Chetrick

木暮真一郎 (Shinichiro Kogure)

森山大輔 (Daisuke Moriyama)

村松ハンナ (Hannah Muramatsu)

大嶺巧 (Takumi Omine)

大月さゆ (Sayu Otsuki)

酒井翔子 (Shoko Sakai)

菅谷真理恵 (Marie Sugaya)

武田桃子 (Momoko Takeda)

塚本直 (Nao Tsukamoto)

山田元 (Gen Yamada)

山野靖博 (Yasuhiro Yamano)

Creative & Crew

Music, Lyrics, & Orchestration: Dave Malloy

Direction & translation: 小林香 (Caori Covayashi)

Choreography: 原田 薫 (Kaoru Harada)

Music supervision: 前嶋康明 (Yasuaki Maejima)

Artistic direction: 松井るみ (Rumi Matsui)

Lighting design: 高見和義 (Kazuyoshi Takami)

Sound design: 山本浩一 (Koichi Yamamoto)

Costume design: 中村秋美 (Akimi Nakamura)

Hair & Makeup: 宮内宏明 (Hiroaki Miyauchi)

Vocal direction: 亜久里夏代 (Kayo Aguri)

Assistant director: 斎藤 歩 (Ayumu Saito)

Stage manager: 二瓶剛雄 (Takeo Nihei?)

Producers: 小嶋麻倫子 (Mariko Kojima), 塚田淳一 (Jun-ichi Tsukada), 中出 桂 (Kei Nakade?), 近藤久晴 (Hisaharu Kondo)

Stage/Seating

There will be 5 sections on the stage (gold area) that have seats for audience. They’re called “Comet Seats S/A” (black areas, except the bottom right one, which will be the orchestra pit). Normal seats are in the auditorium (gray area). The image above does not necessarily show the actual set/seating design.

Fun Facts

Yoshio Inoue (Pierre) is one of the most popular musical theatre actors in Japan.

He’s btw two years older than Josh Groban.

Erika Ikuta (Natasha) is from a girl idol group called Nogizaka46. She's been in a few musicals including Les Misérables and Mozart!.

Meili-Mu (Balaga) is a drag queen who identifies himself as a gay man.

* Actually I’m not really familiar with this show, but it seems it’s drawing a great amount of attention from non-Japanese speaking musical theatre fans, so I made this post. I’m happy that people are getting aware of Japanese musical theatre! There's been a lot of great productions in the past and the future.

[tamaillustration]

cinderella pas de deux video 6

Mariko Miyauchi & Ryuji Yamamoto