#micchan's theme :3

[mtdthoughts]

Analysis of the Migi & Dali Opening Lyrics

OK, now that I've put the lyrics up, I can finally give my interpretations of the opening.

I will first go section-by-section, and then give my thoughts on the song overall.

Furthermore, for the first few sections I will also include the shots from the anime opening, which may help with our analysis.

Brace yourself, it's going to be a very, very long post. There will also be spoilers! :)

Verse 1

Wandering mischievously, a strange life. Endless loneliness, the needles that can't go back. Tick tock, tick tock. Weaved with fate and grudge.

The first verse introduces the themes of a strange life, loneliness, and the passage of time, and sets up the song's mood. It reflects the strange and isolated lives of the twins (e.g. tricking the Sonoyamas), and the ticking of the needles that can't turn back symbolizes the passage of time after they lost their mother. The twins are thus tied with fate and resentment, only having each other.

In the anime opening, the mischievous strange life is given by the twins secretly living as one in the Sonoyama house. The ticking of the clock is given by the panning of the view from Migi to Akiyama to Maruta to Dali, and then the Ichijo family and its shadows are shown, which is very likely what the "fate" and "grudges" refer to.

Verse 2

In an eerie high-society diorama, Holding one's breath, at the end of an empty journey. Tick tack, tick tack. Welcome back to the Garden of Heaven and Hell.

This verse continues to build on the eerie, unsettling, and mysterious atmosphere, given by the high-society façade and the juxtaposition of Heaven (Sonoyama house?) and Hell (Ichijo house?) which describe the setting of Origon Village. It also captures the uneasiness and anxiety of the twins' quest as they navigate their environment, hide their true motives, and get closer to the truth surrounding their mother's death. Given what the actual truth is, it's not too hard to see that the "empty journey" likely refers to their quest, as it's arguable that they would've been better off not pursuing it in the first place. Furthermore, the duality of Heaven and Hell could also emphasize the twins' divergent paths/choices as the story progresses.

The shots shown in the opening during this verse further enhance the strangeness and mystery of the story, with the twins at school (e.g. eye occluders and Migi in bed with Dali(?) sneaking around), Micchan snooping around for secrets, and with the twins moving in different ways around a house to emphasize the duality mentioned earlier.

Verse 3

Night, day, after tomorrow. Turn around, even if everything now seems meaningless. Cloud the eyes to obscure reality, During the impish twilight*.

This verse is quite ambiguous and its lines could have several interpretations. For example, the "impish twilight" or "the time when playful demons/spirits meet" (遊魔ヶ時) could refer to the twins' (mis)adventures in Origon Village. Of course, since twilight serves as a boundary between day and night, the twilight could also symbolize a critical stage in the twins' lives when they transition from childhood to adulthood (*cough cough* puberty). Perhaps that's why the twins were 13 in the story and why they were small for their age, looking like young children while actually being troubled teens. Furthermore, the twilight could also symbolize in the critical juncture in the twins' lives: whether they would choose to go down a path of revenge (Hell?) or accept the new peace they've obtained (Heaven?).

With the shots from the anime, the idea of "twilight" makes more sense, since twilight is between day (= sun = Migi) and night ( = moon = Dali). Furthermore, the short of the young twins before the sun seems to represent the fleeting childhood that Migi and Dali still have before growing up.

In addition, the line about "clouding eyes" could indicate the twins' efforts to maintain their facade in Origon Village, emphasizing an element of deception. In a similar vein, it could also refer to the twins' actions (particularly Dali's) in hiding things from each other in order to satisfy some self-imposed expectations (e.g. Migi grumbling to himself about getting the worse jobs and Dali hiding his bedwetting).

Finally, this verse once again brings up the passage of time, and perhaps gives some insight into the twins' perception of time. The days may have blended together, and the second line gives off vibes of doubt by questioning the meaning of the current moment as meaningless. Yet at the same time, it establishes firm resolve as the target is commanded to turn around and cloud eyes, as if echoing the twins' mentalities.

Chorus 1

Sweet peace is like a dream, Love through masks is also fake. In this intricate world, this intricate world, If our hearts melt together, the truth will eventually be revealed. I'm not loony. What is the separately ticking second hand’s destination? Days of laughter? Days of tears? The scars we hid from each other, In hide-and-seek, Come on, let’s find them.  

The chorus contains the "meat" of the song, i.e. the most important messages that dominate the story. The first two lines ("Sweet peace... also fake") depict the dreamlike but fake lives of the twins in Origon Village, and demonstrate that despite the twins' good intentions in trying to keep each other happy, their acts of deception and the hiding of their emotions behind a metaphorical mask (especially Dali's) will only obscure the love they had for each other and cause problems in their relationship, as seen later in the story.

The next two lines ("In this... be revealed") also support this, essentially saying that the twins need to fully open up to each other to get to the truth and perhaps a true "love without masks". The next few lines ("I'm not loony... Days of tears?") reference the choices the twins face, asking whether the destination at the end of the twilight is happiness (i.e. day) or sadness (i.e. night), something that the viewer is meant to pay attention to throughout the story.

Finally, the last few lines ("The scars... let's find them") of the chorus emphasize "hidden scars", which likely reference the things that the twins hid from each other as mentioned earlier. It could even allude to Dali's burn scar, as it serves as a symbol of the guilt and trauma that he hid from Migi. These lines also seem to beckon for the twins to discover these scars, as if they could only be healed by each other, and all these ideas are encompassed in a childish and metaphorical game of hide-and-seek.

As for the shots from the opening, we have:

Migi chasing after Sali, representing the dreamlike but fake love

Migi looking around for Sali followed by a few shots of himself and his reflection (possibly Dali) behind him, which I suppose is an example of the "intricate" and obscure world that the twins lived in.

A Sali-like figure covered in the paisley pattern running off into the light, possibly representing "truth"

The twins submerged in water, seemingly going in different directions (Migi up, Dali down), emphasizing the different destinations that the twins might wind up going to.

The twins riding their bicycle together, possibly meaning that their fates are tied together no matter what.

The twins sitting on top of the tree, with Migi looking at Dali, possibly alluding to the "hidden scars"

The twins' mirror dance, which could represent how they forced themselves to act in certain ways because their brother was watching.

The twins taking off masks to reveal the other, ending with Dali putting on a Hitori mask, which reinforces the previous point and also alludes to "love through masks" earlier in the song.

The twins at the mirror, with Dali giving a smirk to the viewer, giving a mischievous vibe befitting hide-and-seek and the "impish twilight" (Note: Dali's smirk is one of my favorite faces in Migi & Dali)

Verse 4

Mischievously wandering, a strange tea party. The served sweets, hidden insides ('sweet,' 'bitter,' 'spicy,' 'bitter'). Spouting universally acceptable impressions.

This verse, which has the same tempo as Verses 1 and 2, once again reminds the viewers of the eeriness of Origon Village, particularly the Ichijo house. This is given by the word "insides" or "guts" in the second line, which is the exact terminology the twins used when investigating the Ichijos in Episode 6. This verse may also refer to the superficial interactions the twins engaged in Origon Village, masking their feelings and intentions while blending in, saying "sweet" or "spicy" when they're thinking "bitter".

Verse 5

Bad day after tomorrow. Turn around, even if past mistakes are immortal. Shine the eyes to see the truth During the twilight.

This verse follows the same tempo as Verse 3 before the next chorus, and is similarly ambiguous with several potential meanings. It reflects on the past and the mistakes made, focusing on the pursuit of truth during a critical time (twilight). The "past mistake" could have been referring to Metry's experience in the Ichijo house and her eventual death, or perhaps it could refer to the mistakes the twins made in hurting each other (e.g. Dali breaking Migi's heart with the "Sali" ruse, Migi abandoning Dali). Yet despite the tragedies haunting the twins, the song encourages them to remain vigilant and to open their eyes to the truth during a critical and fleeting time (twilight). The truth could be anything, such as the fact that they loved the Sonoyamas, or the love they had for each other.

It's also worth noting that the terminlogy used here (かたわれ時/Katawaredoki) could roughly translate to twilight, particularly the twilight before dawn. Furthermore, a more literal translation is "a time of fragmentation", specifically when something that was once one is broken apart (e.g. when a relationship breaks down). Thus, this verse serves as a foil to Verse 3, where 遊魔ヶ時 refers to the twilight before dusk/darkness (i.e. end of daytime) and a time when the twins were united in their mischievous quest to avenge their mother, while かたわれ時 refers to the twilight before dawn/light (i.e. end of nighttime) and a time when the twins were separated. Furthermore, the messages are different, where Verse 3 is about deception, while Verse 5 is about revelation. These interpretations especially make sense considering that shortly after the twins separated, they reunited after their near-death at the hands of Reiko and their fight at the shrine, realizing the love that they still had for each other.

Chorus 2

Lazy superstition is the dust of dreams, Love through the screen is nothing but lies. Hearts drenched in this tragic rain, If you offer an umbrella, they might warm a little. Chirping, 'Are you done?' The reluctant but ticking second hand says, ‘Not yet’ Singing, disappearing, vomiting but continuing while the carillon bell is ringing.

This chorus once again echoes important messages in the story. The term "lazy superstition" is a bit unclear, but I believe it refers to the belief the twins had that their (codependent) relationship (i.e. the status quo) was okay. Thus, the first line establishes the idea that their belief was misguided, i.e. that it would only cause problems for them as seen later in the story. This idea is reinforced by the second line, which echoes the sentiment from the second line of Chorus 1 (i.e. "Love through masks is fake") that their acts of (self)-deception would obscure the love they had from each other.

The next two lines "Hearts drenched… warm a little" establish a key theme in the story, namely that no matter how much one is sunken into darkness and despair, even the littlest gesture of kindness and affection might give them hope. The "hearts drenched in tragic rain" likely reference the twins' hearts which were once hardened because of their mother's death and their bleak childhood. The "offering of an umbrella" thus refers to the various acts of love and kindness that were shown to the twins in Origon Village (e.g. by the Sonoyamas and Akiyama), which gradually softened and warmed their hearts, and this was more visible with Migi's development.

The last four lines ("Chirping…is ringing") metaphorically represent both struggle and persistence in a critical and fleeting time established by the ringing of a carillon bell. The first two lines of this passage could represent the twins' thought process (particularly Dali's) as they continue their quest to avenge their mother, where despite the number of hardships they encounter, they continue to press forth. The other two lines of this passage metaphorically represent a (self-destructive) cycle the twins repeated in their quest, where singing refers to the twins' cutesy Hitori act, disappearing refers to the twins' acts of deception, and vomiting refers to the moments of emotional hardship experienced during their mission (e.g. Migi crying after seeing their old doodles, Dali's state after their stay at the Ichijos').

As a final note, I thought it was quite interesting that "singing" and "vomiting" seem to be used in the lyrics, since singing is strongly associated with birds (and part of "Hitori" means "bird), and since in the story, both Dali and Eiji vomit right before they steel their resolve in continuing to live their lives as they always have.

Verse 6

Brand new day after tomorrow. Pray that now is not all meaningless. The finale is near, the "ugliness"-filled Birthday party.

This verse shares the same tempo as Verses 3 and 5, once again establishing a tone of apprehension, yet somewhat optimistic reflection as the finale of an "ugliness"-filled birthday party approaches, which likely refers to the reunion of Migi, Dali and the Ichijo family where they learn the entirety of the family's dark past. The word "meaningless" is quite fitting here, considering that given the entire truth, there doesn't seem to be much meaning to Migi and Dali's mission, as they probably would've been better off not avenging their mother in the first place. Yet, despite the uncertainty and the mistakes they've made, there's still hope that their current actions and lives still have meaning, given by "brand new day". This verse pretty much gives me vibes of the twins' ride home as they prepare to confront Reiko.

Bridge

Knowing different words, bearing different wounds, loving different people, singing different songs. Becoming different during the impish twilight.

This section stands out given its unique tempo and tone, as well as its use of parallelism (i.e. "_ different _"). Thus we can consider this the song's bridge before the final chorus. It captures a key motif of the story, namely that despite identical in appearance and living together their whole lives, the twins are distinct from each other, especially given their roles they played without their mother (i.e. Dali being a protective older brother, Migi being an obedient younger brother). The twins developed different mindsets growing up, and once they arrived in Origon Village, their divergence accelerated as was seen in the story. The bridge thus highlights this transformation into different people as the twins developed different identities and underwent different experiences.

Chorus 3 (Final)

Sweet peace is like a dream, Love through masks is also fake. In this intricate world, this intricate world, White or black alone can’t paint over nightmares. I'm not loony. What is the separately ticking second hand’s destination? Days of right? Days of wrong? I will embrace any kind of future. Our synchrony, Even if it ends, We know our hearts are one. In hide-and-seek, Come on, let’s play again.

Come on, don’t get in the way.

The third and final chorus reiterates many of the messages in Chorus 1 while providing a few differences, as if adding a new and more nuanced understanding that wasn't in the song before. This could reflect the twins' better understanding of each other and themselves, as well as their feelings during the final arc (i.e. when Dali locked himself in the shadows)

The first two lines are an exact repeat of the first two lines of Chorus 1, echoing the sentiment that one cannot properly express love if they hide behind a metaphorical mask. The "sweet peace" could represent the twins' continued facade in the Sonoyama house after the Ichijo house fire, and the "love through masks" could represent Dali's barely disguised facade of calm acceptance as he struggles to keep himself in Migi's shadow.

The next two lines ("In this… over nightmares") build on the previous lines, with the use of duality (i.e. black and white) to represent the twins. It likely means that despite the twins being very different, they still need each other in order to be happy, i.e. that they can't overcome the nightmares of their past if they don't do it together.

The next four lines ("I'm not loony… kind of future") are reminiscent of the corresponding lines in Chorus 1, bringing attention to the different paths the twins take (i.e. Migi living with the family, Dali living in the shadows) during this "twilight" period of their lives. It's interesting that "right" (正解) and "wrong" (間違い) are used here, as it may reflect Dali's view of his own morality which developed as the story progressed, seeing himself as "wrong" and unworthy of happiness as he stayed in Migi's shadow. However, despite this, the line "I will embrace any kind of future", along with the context provided in the next lines, is a reminder that no matter what how uncertain the twins' futures are, it is okay as long as they are together. This idea reminds me of Migi's decisive words to Dali on Christmas morning, that their happinesses are inextricably tied to each other.

The next three lines (also my favorite lines) further reinforce this idea. The term "阿吽　ツーカー" (Aun tsuka) combines 阿吽 (from a Buddhist mantra that describes a deep, almost spiritual synchronicity or harmony between two people) and ツーカー (a relationship where two people understand each other perfectly without needing to speak), so it can be roughly translated as synchrony or synchronicity. This represents the twins being the same, epitomized in their shared persona as Hitori. Thus, the lines convey that no matter what, Migi and Dali's hearts would always be connected as one and that their souls would always be together, united by the love that they have for each other. This idea is expressed to Dali through Migi's words, and is essentially what convinced him to step out of the shadows so that both of them could finally live happily together.

Finally, the last few lines ("In hide-and seek… in the way"), which include the outro, finish off the song by bringing back the song's original playful/mischievous tone as well as the usage of hide-and-seek. It ties together all of the messages that were conveyed by the song through a metaphorical game of hide-and-seek, almost as if beckoning the twins to seek out each other, with the outro encouraging them not to get in each other's way.

Symbolism

Throughout the song, we've also noted the following symbols:

Clock: With its relentless "tick tock", the clock establishes not only the passage of time and sense of urgency, but it also shows how the twins were bound to the darkness of their past. It could also reflect the twins' meticulous, structured, and synchronized way of maintaining their facade through their shared Hitori persona. Furthermore, the ticking second hand that is mentioned in all of the song's choruses could represent the uncertainty of the twins' future at the end of the twilight, i.e. whether it is light or darkness.

Diorama: It represents the artificial and illusory environment that is Origon Village, where pretty much everything is controlled from the shadows (by Reiko), and nothing is as it seems. In a less obvious way, it could also represent the way the twins planted themselves in the Sonoyama house as the "perfect child".

Garden of Heaven and Hell: It symbolizes the duality of Origon Village where both good/innocence and evil/malice lie, such as with the Sonoyama and Ichijo houses. It also represents the different paths the twins take throughout the story.

遊魔ヶ時 (Yūmagatoki) : This term, akin to "Ōmagatoki," symbolizes a time of transition and ambiguity, where boundaries blur (e.g. between reality and the supernatural, the known and the unknown). It could represent an important time of growth and development for the twins as they transition from childhood, as well as a transition from being fixated on their dark past to living a bright life in the Sonoyama house. With this in mind, the sun and moon symbolism shown in the OP animation makes more sense.

Masks: Since masks are known to represent deception, secrecy, and hidden identities, then the masks referenced in the song likely refer to the metaphorical masks that the twins wear to hide their true selves and intentions from everyone. In a less obvious way, it could also be the metaphorical masks that the twins worn before when facing each other.

Scars: Much like the masks, the scars could represent the emotional and psychological wounds that the twins carried, which they kept concealed from others much like their true identities. It could also represent the wounds that they hid from each other, so as not to cause the other to worry.

Hide-and-Seek: This children's game could symbolize the twins' deception in hiding their true selves from the others in Origon Village as well as their pursuit in seeking the truth behind their mother's death. Additionally, it could also refer to the process of the twins concealing things from each other and seeking each other out as mentioned earlier in this post.

Tea Party: Tea parties typically represent social conventions, politeness, and superficial social interactions. Thus, in this song, the strange tea party symbolizes the twins' interactions with the Ichijo family, which maintains a facade of perfection while hiding many dark secrets.

Carillon bell: A carillon bell is often used in clock or church towers, and thus similarly represents the passage of time, important events, and sometimes awareness or awakening. Thus, it could represent the approaching moment of truth as the twins get closer to revealing the truth of their mother's death.

Birthday party: This could symbolize the moment of truth when Reiko reveals everything about Metry's history, including the twins' birth inside the Ichijo house.

Themes

Based on everything we've seen throughout the song, we can pick up on the following themes.

Identity and Individuality: The song explores the concept of individual identity, which can be seen in the story with the twins pretending to be one boy, as well as their journeys of self-discovery as they became more and more different from each other.

Loneliness and Isolation: The references to "endless solitude" and the "hollow/empty journey" hint at these feelings of loneliness experienced by the twins, stemming from their emotional struggles of coping with loss and abandonment because of their traumatic past.

Duality and Conflict: The lyrics juxtapose dual/opposite elements such as heaven and hell, day and night, laughter and tears, black and white, right and wrong, possibly exploring the complexities of human nature. The duality reflects not only the environment of Origon Village, but it also reflects the twins' way of life as well as the inner conflicts (i.e. a struggle between right and wrong) that they (particularly Dali) encounter in their mission to avenge their mother.

Truth and Acceptance: There are repeated references to "seeing reality" and "seeing through truth," suggesting a quest for understanding, acceptance, and redemption amidst the confusion, deceit, and loneliness surrounding the twins' lives. This theme emphasizes the importance of confronting one's past, acknowledging truths (e.g. that all the twins needed was each other), and accepting oneself fully (something that Eiji and Dali struggled with towards the end of the story).

Transformation and Growth: The bridge alludes to the twins' evolution as individuals, their journey of personal growth, acceptance, and embracing change, despite the challenges uncertainties, and pain experienced along the way.

Love and Illusions: The mention of love behind a mask or screen in the choruses points at how despite the twins' close relationship, their acts of deception (particularly Dali's) will only serve to obscure their love towards each other and threaten to tear them apart, which was best seen with the Sali arc.

Closing Thoughts

Wow, I never thought I'd be writing so much about a three-and-a-half minute song. To prevent this post from becoming even more unreadable, I won't write much here, as I said pretty much everything that needed to be said.

A neat thing about the song is how vividly and accurately it paints the picture of the story of Migi and Dali. Sure, it seems like a catchy tune at first, but if you pay close attention, you can really appreciate how well the song covers the plot and character developments as well as the important themes and messages, and it wraps these things all nicely into one beautiful and riveting package.

But anyways, I had fun writing this, and I'm curious to see if anyone else had any thoughts. :)

[foolish-spectre]

Valentines Day Special: Making Chocolates for You HCs (Kasen, Izuminokami, Mutsunokami)

Pairing: Kasen Kanesada x Reader, Izuminokami Kanesada x Reader, Mustunokami Yoshiyuki x Reader (all pairings intended to be romantic, but you can ignore this if you want)

Content Warnings: Swearing but that’s it, also fluff

Word Count: 500ish words

Characters:  Kasen Kanesada, Izuminokami Kanesada, and  Mustunokami Yoshiyuki

A/N: Ok I wanted to do more characters and might post some late ones but I wanted to get this out on Valentines Day, sorry I haven’t been posting, college is killing me lol, so have this lol some of the characters I wanted to do were Kashuu, Sanchoumou, Hasebe, Micchan, Tomoegata, and many more but here have this ehe. Surprisingly Izuminokami was the most difficult for me to write since there’s so many interpretations of him lol, but Imma try and experiment with him because he’s our lovable Kanesan! Might also post something similar on White Day but the reader making something for these lovable Touken Danshi ehe~ anyways Happy Valentines Day whether you be single, in a relationship, or do not wish to have any of that and want everyone to stfu <3

Kasen Kanesada: 

- Would be torn between making you a traditional chocolate and wagashi or some other traditional Japanese sweet 

- Either way it’s going to be pretty as hell and tasty so you can’t complain 

- Ultimately he sticks with what he’s familiar with and makes flower themed wagashi that look like your favorite flowers 

- Will mostly likely present his Valentines Day wagashi to you in the morning so you can spend the rest of the day thinking about it and spending time with him, of course being the poet that he is, he gives you a poem along with it 

- The poem is mostly about how despite this special occasion lasting for only a day, the love the two of you share is something he’ll cherish forever and how you seem to enchant him everyday no matter how many days, weeks, months, or years it’s been since he’s known you

- “This holiday does a disservice to our love because it’s impossible for me to express my love to you all within a single day.” 

Izuminokami Kanesada: 

- When he first learned of the holiday, he was so sure he’d make the best chocolate for you but then reality struck him 

- He wanted to make a cool and beautiful chocolate of himself and you, but then it exploded 

- He had to ask Kunihiro to help him make it, it took many tries and he had to deliver it to you at night but the smile you gave him while eating him made all of it worth it 

- Originally he wanted it to be a decorative chocolate but it kept on either hardening too fast or burnt him so Kunihiro and him decided to make some simple chocolate cookies with your initials on them 

- Even though it wasn’t his original plan, he was glad that he could convey his effort and love to you in these cookies and hoped that next year he’ll improve and make you even better ones 

- “Of course, they’re good, they were made by me after all! Besides I’ll make as much as you want, it’s the least I can do for the one I love!” 

Mutsunokami Yoshiyuki: 

- Of course being the lovable Mucchan we know him to be, he really really got into Valentines Day especially since he got to express his love to you

- Unfortunately he wasn’t the greatest at cooking and like Izuminokami burnt himself with the chocolate a lot and had to get help

- Mostly looks up trends with current Valentines Day chocolates to get inspiration and while he was fucking around with the chocolate, he made a mini gun 

- The end result ended up being based off the ocean, aka a chocolate in the form of a seashell with hearts frosted all over it, because whenever he sees the vastness of the ocean, he can’t help but be reminded of you 

- He gives it to you in the afternoon since he stayed up all night, making it and spent all of the morning and a good chunk of the afternoon too 

- “I decided to make it based on the sea since the sea is full of endless possibilities and whenever I’m with you, I constantly feel like we can take on the world!” 

[zukadiary]

MESSIAH / Beautiful Garden ~ Flower Troupe 2018

Disclaimer: I’m scraping the bottom of my brain for this one. I saw this show a total of one time a week and a half ago, and when I didn’t have time to write it up immediately I didn’t really plan to review it at all... I don’t love spouting opinions based on spotty information, and Messiah, while not too complicated for me to understand, struggled to hold my attention enough that I didn’t feel super comfortable assessing it after one viewing. BUT, I’ve never not reviewed a Takarazuka performance that I’ve seen live, and I do have specific thoughts about Beautiful Garden, so here we go with an attempt.

Messiah was not a winner for me (though thanks to Wind Over Yamataikoku it’s definitely not the worst thing I’ve seen recently). I actually don’t think it was a bad play, and it portrayed an interesting little slice of Japanese history that I really didn’t know anything about, but I don’t think Takarazuka was the stage on which I wanted to see it presented. I have pretty mixed feelings about Harada; he’s got Sekkashou under him which was utterly fantastic (please do more nihonmono revues, Harada-sensei), and he’s done a few killer small theaters. But I didn’t care for either of his Grand Theater shows that I saw, and between those and the less-than-killer small theaters of his that I’ve seen, I get a vibe that he cares more about his play than the women performing it. All I could think of while watching it was how un-Hanagumi it felt (his second most recent Grand Theater was Hoshigumi’s Berlin, My Love last year, and while I did not see it myself a lot of people who did seemed to think that was similarly a poor fit). Mirio did a solid job making that character look cool, but outside the surface-level pleasure of seeing Chinatsu in an evil mustache and Taso as a prominent bad guy, I can’t think of a single actress who was given a character suited to her strengths. Yuki especially can (and did) act the pants off anything, but I really can’t wait for them to give her a sexier role for a change (looking at you, Ikuta, especially if it turns out to be the last chance). 

I did find the music to be nice, and there was a POWERFUL ensemble number in the middle that genuinely knocked my socks off. Perhaps if Yamataikoku hadn’t existed, Messiah would have at least felt fresh? Since they are visually similar and both on the dull side, I couldn’t help but feel like I was watching something I didn’t want to for a second time. 

Beautiful Garden was a trip. Aside from my unconditional love for UeKumi, I don’t think any Takarazuka director has engendered definitive opinions in me quite like Noguchi has. Maybe it’s because after very swiftly graduating from Bow Hall, he’s only done revues in the Grand Theater, and I demand a base level of enjoyment from revues that forces me to hold them to a higher standard. I personally found The Entertainer to be average, and if you break it down, ALL of it’s value came from Micchan’s ability to pull it off—specifically Top Micchan ft. Nibante Beni, a combi the likes of which I don’t think will appear twice in the entire lifetime of Takarazuka past or future. While there is certainly something to be said for knowing your stars, I think if you give that show to anyone else it’s downright bad... and there’s something to be said for that too. I assessed SUPER VOYAGER to be disappointing at the time of my review, and as it’s ripened in my brain since then, “disappointing” has evolved into WILDLY OFFENSIVE... It’s my least favorite revue of all time, and the fact that it was my favorite’s ohirome was salt in the wound. 

When the pre-opening interviews with Noguchi-sensei suggested that Beautiful Garden would contain AWFULLY FAMILIAR-SOUNDING CONTENT, my expectations were pretty much rock bottom. When I re-entered the theater after intermission to find that the very CURTAIN was one of his much-beloved goddamn projections—pixellated, even!—my expectations drilled through the rock and got even more bottom. However, while the show was, in fact, a hot mess, overall I was pleasantly surprised and hopeful that maybe he’s learning.

Once that pixellated projection took us on an animated journey into a forest and the curtain rose onto an actual set, I was actually slack-jawed for a good 3-4 scenes (however many it took to get through the rainy number). The prologue has a bug/flower theme, and the little dancing bug girls who got to flit around for atmosphere before the real action started were en pointe and I LOVED that. Mirio, like every top star in a Noguchi show will probably do for all time, descends from the ceiling on that dumb swing, trying to sing without letting the fear in her eyes show. Then we have a lovely opening with a very Anna Sui aesthetic (it even! features! the top! musumeyaku!). The kickline comes in early, right after the prologue, centered on Maitii and her muscles dressed as a bee (in fact, the very best thing about this show as a whole was the overwhelmingly prolific use of Maitii and her muscles). She does a one-handed cartwheel! I thought this was a real cute number, although a friend told me it was swiped almost as-is from OSK... I cannot personally confirm or deny that. Maitii feels raindrops and the scene transitions to a lovely Rei-centered rainy Paris dance with umbrellas, just as I was complaining at intermission after Messiah that I felt like Rei hasn’t gotten to show off her dancing skills in a while (IMO her best asset). If you pair these scenes with the lovely lavender finale numbers, you have the bones of a GORGEOUS cohesive revue. Unfortunately, we need a middle... 

After the umbrella number, things start to go off the rails. I forgive the first departure because it was a GREAT SCENE despite being a total deviation from the garden theme (but lord knows every revue has at least one scene out of left field). It’s a matador thing, but Maitii is the BULL, and boy was that a good idea. For some reason whenever I mentally tally the top tier dancers in current Takarazuka I forget Maitii, but never again; I don’t think anyone else right now has her raw power. 

Next we have a series of tropical numbers leading up to the chuuzume (including a ~dramatic reveal~ of Mirio in sunglasses, get out of here Noguchi). It was upbeat and fun and there was MORE MAITII, and I guess if it were surrounded by less nonsensical scenes it would have felt a little more appropriate. However, it was followed by a truly bizarre Greek? Roman?? Golden Desert??? scene that I really wish I could just snip out crumple up and throw away.

In a lovely surprise, Yuki then leads what appears to be the kickoff of the finale, singing S’Wonderful (in a little tailcoat and hot pants, if memory serves). A+ if not for the Pavlovian anxiety that song gives me (my brain expects it to be followed by Kizuna). The otokoyaku dance is an equally lovely parade of top hats and sticks. And then... Oh wait! Gotcha!! It wasn’t the finale at all!! Did you think Noguchi wasn’t going to make you listen to a terrible lip synching boyband?? You were wrong!!

Seriously, get out. The sung solo lines don’t make the recorded chorus any less offensive. If I want to watch boy idols, I have a plethora to choose from. That is NOT WHAT I’M HERE FOR.

And now I’m all hot and angry for the actual finale, the aforementioned lovely lavender one. While the fake-out finale numbers were good in isolation, once I saw the whole picture they ruined the flow. Use one, save the other for your next show.

Upset as I still was at parts, I’ll take the progress... anything that makes the prospect of one of my troupes getting him even an iota less than totally hopeless. Even some of the projections were an improvement, but I wish he’d stick to effects (like rain and falling petals) and eliminate the others entirely. Someone tell him they’re invisible in the spotlight.

[zukadiary]

Bakumatsu Taiyouden / Dramatic “S”! ~ Snow Troupe 2017

nngg…

I always feel this weird sort of out-of-body sense of detachment in the Tokyo theater. It’s not home, I’m not grounded… you leave and it’s just Tokyo, no bowl of homemade oyakodon and sympathetic conversation waiting for you with open, friendly arms. I wound up watching Sou’s taidan here too, also in blistering heat. I so wish I’d seen this in Takarazuka, more times, and without such a vast sea of heads in front of me (although having the opportunity to read the July GRAPH talks first added some lovely nuanced depth to the pain).

I did not expect to be this invested in Chigi when my much-loved Sou left. The evolution of my interest in Chigi went from “I wish Kaname was still here” to “eh, I guess” to shattering my personal record for in-theater crying (and I’ve cried in *a lot* of theaters). She lasted longer than I expected, and no one leaving with her is a huge shock, but this taidan is gutting me. I love this Yukigumi so much. I’ve loved a lot of Yukigumis, but this one has its hooks in me real deep. And it feels like its soul is being torn out. 

At my first viewing my friend flawlessly described Bakumatsu Taiyouden as “distilled essence of Chigi ft. Miyu’s beautiful voice.” It’s a perfect, lovingly crafted tribute to the Chigi-est parts of Chigi, which also means it’s an amazing troupe show.  

::insert 7 minute crying break::

Koyanagi-sensei transformed what I thought was a really mediocre movie (that had me particularly worried Miyu would get shafted) into such a playful, fun, well-orchestrated musical. There are so many opportunities for ad-libs I think I could have gone every day of the run and not gotten tired of it. Even though I’d seen the movie, it was a bit difficult to follow at first; Chigi uses a silly voice and a lot of slang, and it’s kind of a slice of life story with a lot of random happenings going on as opposed to one continuous plot line… but it gets easier once you have a general picture of the character relationships. EVERY CHARACTER’s personality comes across so clearly even with no background (which was soooo refreshing after three viewings of Yamataikoku no Kaze), and I adore Koyanagi-sensei for how well she executed that. 

Chigi’s character, Saheji, has contracted tuberculosis and has come to this inn/brothel by the sea to live out the rest of his life (I thought tuberculosis was highly contagious, but *SHRUG*). He winds up meddling, mostly hilariously, in all of the brothel’s drama. The best parts should be seen fresh so I won’t spoil them, but in general, this was so on-brand for Chigi’s comedic abilities, and it looked like she was having a TON of fun. Saheji and Osome (Miyu’s character) aren’t romantically involved, but they play off each other so well and there are so many opportunities for primarily MIYU TO TEASE CHIGI that it’s just beautiful. 

Miyu is so heartbreakingly good in this show. Her growth over her tenure with Chigi has been incredible, and her Osome is overflowing with sass and confidence. She’s also dancing the best I’ve seen her dance and singing like an absolute angel; the last time I saw her live was in Kenshin when her voice was broken, so I was beyond happy to hear this. I’m so glad she’s going out on such an amazing performance, but also IT HURTS SO BAD. Lord I hope she continues a career on stage, because she is really blossoming right now… and depriving the world of the full bloom would be such a travesty.

The other taidansha: Anri landed the role of a lifetime with Koharu, Osome’s rival (and almost equal in terms of importance), and she slayed. Dai and Gaori don’t have a ton of stage time, but they each have their own very funny and memorable scenes, so charming that they don’t feel slighted. MomoHina and Miki are primarily dancers, but they get their time up front.

Daimon is the calm and collected leader of a team of hot-headed isolationist samurai comprised of Kiraha Reo, Tachibana Kou, Kanou Yuuri, Hinata Haruki, Suwa Saki, and Manomiya Rui (interestingly, Kari may have had more stage time than anyone other than Chigi and Miyu). And Shou I guess?? She seems to be part of their team but not 100% on board with their plans, which are to blow up the foreign traders’ living quarters. It’s definitely an amusing group; Daimon’s character is all SERIOUS BUSINESS, but between the ridiculousness of their plot and the buffoonery of her comrades it’s just as silly as everything else going on.

I was fawning over Saki after my jet lagged, unfed live viewing of Takarazuka senshuuraku. Unless she was particularly on fire that day, I’m not sure exactly what hit me quite so hard then… BUT, I DO really like this character for her. She’s the spoiled, kinda flamboyant, completely useless son of the two kumichou innkeepers, and she wore that really well. Since Kenshin was the first place I saw her start to level up, it was nice to see her do such a good job with something that could not be more different. 

HIME was used properly, which is REALLY IMPORTANT TO ME. 

My heart’s not really in summary and analysis… I just want to gush. Spoilers ahead.

Dramatic S is a roaring river of tears. 

It doesn’t have a flashy theme; it reminds me of My Dream Takarazuka in that way, all soul-crushing lyrics and simple but sharp, passionate dance numbers. I find myself referencing most of the scenes by the color of the suit, versus “the pirate number” or “the gigolo number” or, you know, “the passion of the christ number,” etc. There isn’t a scene I don’t love, and all the music is beautiful; I’m excited to cry my eyes out at work while listening to the CD. 

The part choreographed by Bryant Baldwin, in particular, was a spectacle. It wasn’t a flashing lights and glitter spectacle, but the dance was cool, aggressive, and visibly challenging, and it was full of little Chigi things—a Lupin heel click, a kizuna fist pump…

My kangeki schedule last year included HOT EYES!! and The Entertainer, both of which featured breathtaking special top star numbers: Maakun’s barefoot dance to Chopin under blue starlight, and Micchan ascending from the floor singing while playing a glass piano. I’ve had my fingers crossed since leaving The Entertainer that Chigi would get hers. At first I thought she didn’t, but she completely did. You’ve probably at least seen the mint green outfits in pictures floating around if you haven’t seen the show; they’re from this cruel, devastating Kizuna number. Everyone is in it, everyone is gushing Yukigumi pride… everyone lines up and Chigi looks at them one by one. Chigi’s masterpiece is this close-knit family she built, and they showed it off absolutely spectacularly. I have no idea how they’re going to be able to do it the last time without breaking down.

The kuroenbi is also devastating. Every otokoyaku (except for the newly assigned 103rds) is in it, because that’s what Chigi wanted. I lost it every time they knelt down on the stairs in her direction.

It’s hard to decide whether the Kizuna number or the duet dance is the most awful part. The dance is so stupid and tender and terrible, I need them to stop touching foreheads and looking at each other like that on loop in my memory so I can stop crying and see my damn screen. 

……….

But as if that’s not bad enough, the song is so incredibly beautiful… Chigi starts singing it up on the stairs, and when she meets Miyu to dance Daimon’s voice takes over from the kage box. I was hoping that would happen… in her personal book’s Special Talk, Tomu mentions how much she loved dancing to Daimon’s voice, because it created a whole world she could get lost in. It did, and it was a lot… arguably too much. Honey and silk and love and admiration and maddeningly soft at times…

On a personal note, whoever thought of giving first Miyu and then Daimon to Chigi is an absolute genius. Not only did they support her in the exact way she needed to be supported, but she took these two insanely talented but somewhat shy/awkward ladies and nurtured them until they bloomed into something so BEYOND… And I seriously can’t think of a top 3 whose collective chemistry I love more. 

And on an even more personal note, as a Daimon fan, I watched Fancy Guy in my despair on Tuesday night and was struck anew by how awkward Daimon was when she came here, and how despite my JOY at my FAVORITE coming to MY TROUPE of all places I couldn’t help but think “Oh honey, I’m so sorry…” And now I get choked up looking at this bit of a photo…

…because look at how fully entrenched she is in our warm beautiful family, I’m so overflowing I genuinely can’t stand it. 

I remember Lupin shonichi too clearly for it to have been 2.5 years ago, even though I wasn’t there. It was New Year’s Day and snowing. How fucking perfect is that?

Chigi, I really can’t thank you enough for this ride.