#people: Matobu Sei

[flo-n-flon]

Terrible human beings Daniel and Stan for @kittychan-sings-enka, @leecifer-cynic and @chemicalperfume for their work on Melancholic Gigolo. Thank you for letting me join in!

[yuzukahibiscus]

reimai during melancolique gigolo NOS...

(so yes i really miss NOS with more people and it just clicked like “right! if dance olympia NOS was pre-reimai NOS how haven’t i seen melancolique gigolo/exciter NOS where they should’ve sat together???” )

れい：私たち、水美と柚香は、初めての全国ツアー參加が公演⋯最下級生で、參加的公演が真飛聖さん出演のメランコリーク・ジゴロですで。一番ショーですで。

まい：ね。 れいまい：駅人でね~

rei: both of us, minami and yuzuka, our first national tour performance ever...when we’re like very kakyuusei, was matobu sei-san’s melancolique gigolo. it’s the best show.”

maiti: yes

reimai saying it together: train station staff

thus maiti smiling and looking away

[zukalations]

We Are EXCITER! - Farewell Talk (Matobu Sei and Fujii Daisuke)

This talk between then-Flower Troupe Top Star Matobu Sei and Takarazuka Revue director Fujii Daisuke was published for Matobu’s retirement in the April 2011 issue of Kageki.

We Are EXCITER! - Farewell Talk (Matobu Sei and Fujii Daisuke)

Fujii: Thank you so much for selecting me on this occasion. Even though we do talk once in a while already (laughs).

Matobu: But we don't talk in depth very often (laughs). Ever since EXCITER!!, I've been working with you the whole time. I think it must have never happened before, to work with the same director for 3 revues in a row.

Fujii: Yeah. Even though we hadn't had much of a connection before them. I'm glad to be able to work with you on your final show as well.

Matobu: I think the first time I worked under you might have when I did the Revolt of a Gallant Poet junior performance, while I was in Star Troupe. The other day, I read in my memorial book* some of the commentary you gave me back then...you don't remember, do you!? (laughs)

Fujii: Huh!? I don't remember a bit...

Matobu: I didn't remember it clearly myself, but you told me something like although I gave a sexy performance I was lacking in the subtle details. So after that, even now I'll wonder if I'm lacking in the subtle details (laughs).

Fujii: What...You put in so much subtle detail currently (laughs). I remember thinking that you were a really Takarazuka-esque otokoyaku, and that you were really pretty and Japanese-style productions suited you well.

Matobu: Before my transfer, I also worked with you on Soul of Shiva!!, but didn't really get a chance to actually talk to you. Therefore EXCITER!! must have been the first time we talked.

Fujii: Yeah. My impression of Yuu-kun (Matobu) back then was that you were really suited to acting-heavy plays like Shigure Hill Road in Nagasaki or The Rose of Versailles.

Matobu: Is that right, I hear that a lot...

Fujii: But since I felt that you were full of modern appeal, I thought that the show EXCITER!! would draw that out. And I think it went pretty decently (laughs).

Matobu: It was so much fun!

Fujii: Sometime when I wasn't paying attention it became a really sexy show. Although that gave me some concerns when I was creating the Mr. YU** scene. Before rehearsals started I tried asking you 'I put in a bit of a comedy section, is that okay?'...

Matobu: I told you I was also wanting something with the concept of goofing around during the day and turning into a gigolo at night and you said you were really happy. We felt like if we were going to do it we should go all out. ...How did that guy [Mr. YU] come into existence, anyway laughs).

Fujii: If I was investigating his background, I think it's most likely originating from Lina-chan, in Singin' in the Rain. You might have forgotten by this time, but I was attached to that production as an assistant.

Matobu: Ah, I'd totally forgotten that! (laughs)

Fujii: Yuu-kun's Lina was so funny and I thought you were amazing. "This girl is so clever and talented to be able to make her voice come out like that," I thought. I think it was starting there that I gradually got the impression of you as a comedienne. And then I went to see the show right before [EXCITER!!], Me And My Girl, and I thought "wow, this is great," so that's how MR. YU happened.

Matobu: I see, Bill's character was one of the elements then. So that's how it ended up as something so funny.

Fujii: But I never expected that it would be revived a year later.

Matobu: Although my partner had changed***, it was with the same troupe and the cast members were largely the same. I feel like being able to do EXCITER!! is my biggest achievement. I think it was a show that really showed off Flower Troupe, as well as being able to tie together with what Flower Troupe might become in the future.

Fujii: Right. Between the first performance and the revival, Yuu-kun became even more manly, like your manly intensity had leveled up. By the way, I actually really liked Xiang Yu from Yu the Beautiful. He's so honorable. At the end I had tears pouring down my face.

Matobu: That's the first time I've heard about this! (laughs)

Fujii: Xiang Yu suited you personality-wise so well that it was almost too much. And right after that was the revival of EXCITER!!, but even though your style and intensity had increased so much you were still willing to do something like MR. YU...

Matobu: I think I have so much of that side to me that I'd end up wanting to do it anyway (laughs).

Fujii: For some reason I have the notion that you can always hear lots of laughter from the area around Yuu-kun.

Matobu: (laughs). I think its because I have a really proper foundation of being a Takarazuka Otokoyaku that I can put a character like MR. YU on top of that. In the past I found it kind of embarrassing to do fanservice things, though.

Fujii: Actually, for this show, Le Paradis!!, I really struggled over whether or not to put in a MR. YU segment. Although in the end of course I gave it up (laughs).

Matobu: When EXCITER!! was restaged, I was able to discover new things about Flower Troupe and myself, so I feel like because we had that time working together, I was able to have a sense of comfort going into this show. I've felt so much love from all the directors and staff, with their consideration of "Since it's the last time, let's...". Sometimes it makes my heart ache.

Fujii: Right. I have so much love (laughs).

Matobu: (laughs) Also, it's so lovely to watch all the Flower Troupe junior actresses cheerfully enjoying themselves. For this black tux number, all of the otokoyaku are participating down to the ken-1s, and it made everyone really happy.

Fujii: That's right. After all, you wouldn't normally get a chance to be in a black tux number at ken-1.

Matobu: It's actually my first black tux number, at least in a finale, since I became Top Star. I think it's a great opportunity to demonstrate "This is our Flower Troupe!" When they were making the poster for my dinner show, too, I said it would be nice to wear just a simple black tuxedo without any decoration. Like, back to my foundations or something...

Fujii: Right, you said that in the end you wanted to be totally otokoyaku. I have to display the culmination of the otokoyaku Matobu Sei in this dinner show, so that's a lot of pressure for me...

Matobu: (laughs)

Fujii: I knew that no matter what I gave you you'll do it without any concern for yourself, Yuu-kun. Even if you're in difficulties or struggling you won't show it; obviously not on stage, but even during rehearsals you're really cheerful. If I was going to compare you to the sun or moon I think you're like the sun. Since you're someone who gives power to other people, you give the troupe a lot of energy as well. I really respect the way you refuse to show weakness.

Matobu: This is the first time anybody's told me this!  This is such a big thing for me (laughs).

Fujii: Therefore, I think the momentary shadows that you'll sometimes allow to show, as well as your sexiness, are all part of the allure of the otokoyaku 'Matobu Sei'. In this revue, I wanted to let you show off your ultimate manliness as part of your send-off, so I had you doing a gigolo kind of thing. You can do romantic leads and comedy characters, men and women...your breadth is so large, not even as just an otokoyaku but as an actor.

Matobu: I'm so happy to hear you say that about my skills as an actor.

Fujii: You've played so many different types of roles on your way here, haven’t you. In The Rose of Versailles, last year****, your Andre had such a strong core and seemed so well put together. And then when your partner changed in Sabrina, you naturally had such a feeling of generosity about you, and it felt like you'd really grown up into a mature man.

Matobu: It's sort of hard to put into words, but my goal as an actor is not to personally decide on a set style, but be someone where the directors can imagine 'she could do this kind of role, or she could do that kind of role', so it makes me really happy to hear you say that as a director.

Fujii: It seems like it would be an easy thing not to decide on a 'color' and remain 'clear', but it's actually very difficult. I think it's very rare for a Top Star to be like that.

Matobu: When I first became Top, I was over-eager, so I thought 'I've got to be like this now!', but now I've become used to letting everyone in the troupe spoil me and letting them take care of things. I think without that side to me I can't achieve a full-sized performance onstage. An otokoyaku's heft, maybe, or that feeling of big-heartedness, or something...

Fujii: You already had achieved that by the time of the first EXCITER!! I thought you looked like someone who would think things over in detail in a rather cool manner, but you actually went for it full-on, which made me really glad.

Matobu: Thank you. Right now I'm having such fun being an otokoyaku. Since I've been told for so long that I'm really feminine, I want to be the manliest one on stage, to let the audience enjoy the incongruity of it, and also enjoying myself performing as well. There's no point in telling yourself 'I have to be like this' among so many other performers. What's the matter with my being a Top Star and having that 'gap', I thought, and decided I wanted to own that side of myself and stick with it. When I made that decision, things became so much fun I could hardly handle it.

Fujii: I think that's having a wonderful effect on the other Flower Troupe otokoyaku currently. Although they all work together so well, they also have such a sense of individuality, and I can sense how they each display their own strengths in performance, so I think it's because Yuu-kun is such a good leader.

Matobu: No, no...

Fujii: I think you've left the stamp of 'Matobu Sei' on them, and I think that's a wonderful thing both for Takarazuka and for Flower Troupe. It's hard to see someone I had achieved such mutual understanding with retire, but being able to stand together with you at the end is such an honor for me. I don't know what your future path will be, but since you're such a positive person I'm sure you will continue giving energy to people, so I'm not worried about you at all.

Matobu: I don't think I'll change at all even after I quit (laughs). Actually, if I hadn't had that first EXCITER!!, I might not have decided to retire.

Fujii: Huh, I made you decide to retire!? (laughs)

Matobu: (laughs) I felt I wanted to go on until I felt the current Flower Troupe had really been able to display itself, and it had parts where I could really show off, and besides that, when I felt that atmosphere of unity from all of Flower Troupe, I thought 'this is the moment one of my dreams came true'. Also, I could feel so much of the audience's feelings, and I felt so happy since I thought 'We're really sharing something amazing'. That was the moment I made that decision in my heart. The revival was hard since it is always a challenge to do the same thing again, but I was able to feel everything even more deeply, and recieving so much love made me so happy, so I was really happy to be able to do this last show together with Director Fujii. Director, I'm so glad I met you! Thank you so much.

Fujii: I should be saying the same thing to you. Come back and see Takarazuka sometime.

Matobu: Of course I will! Please invite me out to eat! I hope we can continue to have a good relationship!!

* It’s unclear if Matobu is referring to a private scrapbook or if she means the officially published compilation book of Takarazuka content put out for her retirement.

** A comedic ‘alter ego’ who appears in some of Matobu’s performances.

*** From Sakurano Ayane to Ranno Hana.

**** The Rose of Versailles: Andre Side Story, from 2009 (more like 18 months prior)

[zukalations]

Which side are you on? May 2008

In the Kageki Top Star feature for 2008, all 5 Tops were asked to pick a side on 2 different questions. 

For the May issue, the questions the Top Stars were asked were...

Question 1: If you were going to challenge yourself, would you try… A - Skydiving B - Scuba diving

Question 2: If you could be reborn, would you rather be… A - A man B - A woman

Flower Troupe - Matobu Sei

Q1: A - Skydiving I’d have to go with skydiving. I’ve experienced scuba diving, and it was a really nice feeling, but in the end, I love the sky, so I’d like try flying. I’d like to try flying straight on, you see (laughs). Since I’m Matobu (laughs)*.

Q2: B - A woman Right now, I’m experiencing what a man’s life is like as an otokoyaku, so if I was going to be reborn I’d like to be a woman. If I was born as a woman again I’d like to wear really cute clothes, with a fluttering skirt, and stroll through town (laughs). I see that sort of look in magazines and I think it’s really cute, but since I’m an otokoyaku currently I can’t have that, so I’d like to experience life as that kind of woman.

Moon Troupe - Sena Jun

Q1: A - Skydiving I’d like to go skydiving once again. I went skydiving once before in Saipan, and it was really fun. It didn’t feel like falling; it seemed just like flying. I’m afraid of heights, but in skydiving, the ground is hidden by clouds so I can’t see it, and I’m so high up that I don’t actually feel scared at all. Back then, I even had to sign a form agreeing that it was alright even if they couldn’t guarantee my survival (laughs).

Q2: B - A woman I’d want to be a woman. Since even if I’m a woman I can still experience being a man if I become an otokoyaku (laughs).

Snow Troupe - Mizu Natsuki

Q1: A - Skydiving I’m not good with water (laughs), so skydiving would be good. I’ve always wanted to go skydiving, actually. Although I think it would be something else to have all the wind blowing in my face (laughs), I’d like to try battling the fear of that moment of falling out of the sky at least once.

Q2: A - A man Since I’m a woman now, I’d like to be born as a man next. I’d like to try doing all sorts of things, but...of course I’d like to go and see Takarazuka. I want to know what it looks like through a man’s eyes (laughs).

Star Troupe - Aran Kei

Q1: A - Skydiving I’ve already done scuba diving, so… I’ve done guided dives many times, and several years back I got a license. Therefore if I was going to challenge myself it would have to be skydiving. I’m a bit scared but I’d really like to try it.

Q2: A - A man Since I’m a woman right now, I’d like to be born as a man next time. As for what I’d like to do as a man, I’d like to travel all around the world by myself. I’d like to travel freely all over the world going to all sorts of places. I feel like travelling alone wherever your whims take you is a bit difficult for a woman, you see.

Cosmos Troupe - Yamato Yuuga

Q1: B - Scuba diving I’m scared just thinking about skydiving (laughs). I often see people doing it on TV and such, but I think I definitely couldn’t ever do that myself. I think scuba diving would suit me a lot better. When I see fish in a fish tank, I get really caught up with looking at them - “What are they thinking?” “Does it feel nice in there?” - so I’d like to spend some time with the fish (laughs).

Q2: B - A woman I think it would be fun to be born as a woman again and try a totally different way of life. For example, I’d like to have a complete opposite profession from what I’m doing now, like desk work or something.

* ‘Matobu’ contains the kanji characters for ‘straight/true’ and ‘flight’

[zukalations]

Keep Smiling! - Misaki Rion retirement talk with Yuuma Rin

This is Misaki Rion’s farewell invitation talk in Kageki, which was published in the April 2017 issue. She invited Senka member Yuuma Rin, who she had also performed with when they were both members of Flower Troupe.

Keep Smiling! - Misaki Rion retirement talk with Yuuma Rin

Misaki: I was with Marin-san (Yuuma) during my time in Flower Troupe, and then last year when we were together again for Elisabeth, it was really nostalgic, and I was so happy. I thought ‘I would love to have a chance to talk thoroughly with her’, so I took the liberty of requesting you.

Yuuma: For this precious page!!!

Misaki: I really owe a lot to you, and I like you a lot, so I thought it would be simply perfect.

Yuuma: I’ve received a love confession. Basically, I’ve always been fond of Mirion (Misaki). Recently I was talking with Daimon (Nozomi) and Akira (Seto), and we were all saying we were really weak for Mirion, and so we just couldn’t help supporting you, and all that (laughs).

Misaki: I just...really like you…

Yuuma: I really like you too, with your laughter and your open personality. Mirion-san, didn’t you stand out ever since you were first assigned to Flower Troupe?

Misaki: No, no...you mean because my makeup was terrible? (laughs)

Yuuma: Your makeup… (laughs). Although I did have the feeling that your wig and makeup styling was going to need...a lot of work (laughs), I thought that a really pretty girl had joined the troupe. In EXCITER, the first show after you were assigned to the troupe, you were on the Silver Bridge in one scene…

Misaki: During the fashion show scene, where 5 couples cross the Silver Bridge.

Yuuma: You were with Maa-kun, right?

Misaki: Yes! I was with Maa-sama.

Yuuma: The youngest couple was Maa-kun and Mirion. I’ll never forget how stiff and nervous you were in the rehearsal room (laughs).

Misaki: My face was so frozen, so even if I was trying to laugh it wouldn’t show at all.

Yuuma: And then when it came time for the dress rehearsals, that incredible wig (laughs).

Misaki: And I just thought ‘Yup, this will do!’ and came out in that.

Yuuma: Right, right. “You know you’re a Ken-1 when…” And then...or was it after you had already become a senior actress? That show with Eritan (Sou Kazuho)...

Both: Canaria!!!

Misaki: You were playing the director of the Demon Academy, and you were just amazing. Your characterization and your acting and everything!

Yuuma: Now, now. I had the feeling that Maittii (Minami) and Mirion were weaponizing your youth and using all your energy towards your performance! (laughs) Were you still ken-1 then?

Misaki: I was ken-3!

Yuuma: That was incredible for ken-3. The role of Adjani was perfect for you.

Misaki: I am told that a lot, and it’s still a performance that holds a lot of memories for me.

Yuuma: How long were you in Flower Troupe?

Misaki: Three years. I was transferred just as I was about to become ken-4.

Yuuma: So in the end it was only three years? Wow! You left such a deep imprint on the troupe...amazing.

Misaki: (laughs)

Yuuma: I remember that duet dance you did with Eritan on the boat in Canon really clearly.

Misaki: That was another situation where I was really suddenly able to join that scene, and also the duet dance with two couples in the finale. I felt so much pressure internally.

Yuuma: You didn’t look it at all.

Misaki: I actually cried over that a lot. But I remember that Eritan comforted me really brightly: she would say “The heck’re you crying about? This isn’t the time for cryin’~ (laughs)”

Yuuma: You looked like you laughed your way through it. That brash laughter is the image I have of Mirion. Your laughter helps you make it through all kinds of things, and you don’t really show frustration on the outside, right? Even if I think you look like you’re having a hard time it’s like ‘but she’s still laughing!’ (laughs). After all, if you laugh you can get through the difficult things.

Misaki: That’s right.

Yuuma: Your last Flower Troupe performance was Chikamatsu: Journey on the Road of Love, right.

Misaki: That was also my first traditional Japanese-style performance, so I really struggled in rehearsals.

Yuuma: Even though here we are as Kansai folks, at times we couldn’t even manage the Kansai dialect in the script (laughs). But those days in rehearsal…

Misaki: I’ll never forget them.

Yuuma: I remember it as if it just happened the other day. I can picture Mirion feverishly working to deal with the trouble spots. So in turn the rest of us felt like we had to put in our best effort too.

Misaki: I was fighting with myself, and fighting with the difficult parts in the show, so I was totally wiped out every day (laughs).

Yuuma: Our conversation every day would be like “You don’t look so great, do you?” “Neither do you!” (laughs)

Misaki: But, once the performance started, every day was so much fun. That performance was full of so many different emotions.

Yuuma: It didn’t have anything to do with it being your last Flower Troupe show, since you didn’t have the time to think about that, did you?

Misaki: Not a bit. But on the last day it hit me, and when I thought ‘Oh, this is the end of my time in Flower Troupe…’ I started crying. Although for some reason Yuzuka (Rei) cried more than me (laughs). As I was saying “I’ve never cried this much before…” I went from having tears pouring down my cheeks to being able to laugh (laughs).

Yuuma: Of course you’d still laugh (laughs).

Misaki: Even though I was crying too, you [Yuzuka] crying even more than me was funny, was the thing (laughs). But since I really felt that it was my last show in Flower Troupe, it got mixed up with loneliness and doubt, so it was a really complex feeling.

Yuuma: I felt like you matured a lot when you went to Cosmos Troupe. Did you feel that you had to make sure you had it together?

Misaki: I think so. I thought ‘I’d better do this right.’ I really felt conscious of being watched, and it was my first troupe transfer, so I was thinking ‘Well, they probably don’t know that I’m actually such a weird person,’ (laughs) so I was really putting on a different personality. So at the start some of that was faked, and thinking back on it it was pretty stressful.

Yuuma: We really worried about you. When all of us from Flower Troupe would go to see your shows, or when we would get a glimpse of you in the dressing room after a performance we’d confirm ‘It’s ok, she’s alive, she’s laughing’ (laughs). And then when you went on National Tour with Melancholic Gigolo…

Misaki: The Niigata performance!

Yuuma: Four of us—Yuu (Matobu Sei), Eritan, Miwacchi (Aine Harei), and I—all went to see it together.

Misaki: Having all of you gorgeous people there was so exciting!

Yuuma: I was so happy that you were together with Maa-kun. When you crossed the Silver Bridge together in EXCITER and I thought about how you were both coming out as Top Stars, the feeling was like ‘Oh, your old dad’s gonna cry~’

Misaki: Dad (laughs). My bond with Maa-sama is really miraculous. I still think that all the time. I feel like something brought us together.

Yuuma: Your atmospheres really match. When you were with Ouki (Kaname)-san, you fit well with Ouki-san’s aura of nobility, and it was a really Takarazuka-esque feeling, but when you were with Maa-kun it seemed as if Mirion’s good qualities came out even more...and now in the middle of that you’re retiring, is how it feels (laughs).

Misaki: But then during Elisabeth we were able to meet again. I was so happy when they announced the cast members! I was like “It’s Marin-san!!!”

Yuuma: Every day when you would come over saying ‘Papa~’ it was so cute and I was so happy. During the wedding ball scene, it was as if my character’s feelings at his daughter being married, and my feelings at sending you off from flower Troupe, became linked. Although I was nervous since it was my first time with that troupe, Maa-kun and Mirion being there gave me strength. That was a big relief.

Misaki: It was a great relief to me too. I just love Marin-san’s personality. The way you can think positively about everything was a big encouragement to me.

Yuuma: During Elisabeth, even though I wanted to take the time to talk with you thoroughly, of course it was a really busy performance, so yet again I just got glimpses...I’d end up doing welfare checks-- ‘Alright! She’s alive!’(laughs)

Misaki: You always check on me (laughs)

Yuuma: It would have been nice to do one more show together…

Misaki: It really would…

Yuuma: I was able to see your farewell recital, and it was so good! You were so dazzling and it made me think ‘retiring Takarasiennes are really glowing’. I’ve seen you at times where I thought ‘maybe she’s not happy about things right now’ but now you’re totally in high spirits. After I saw the performance, didn’t I say ‘you’ve become young again’? (laughs) You’re young already, but it felt like you had so much life force, or something…

Misaki: Hearing that makes me so happy. I’ve always been more quiet and reserved, so I end up being seen as older. I’m glad I could become young again at the end (laughs).

Yuuma: (laughs) Are you enjoying yourself right now?

Misaki: I think so. I think I just feel full of gratitude. In each and every scene I feel full of love towards the director and the choreographers.

Yuuma: Takarazuka is amazing, isn’t it.

Misaki: Everyone retiring would say that there is so much warmth, and now I’m feeling that for real, and every single day I’m performing full of gratitude for everything.

Yuuma: I think it would be good to see more of Mirion’s brash side in the Tokyo performance.

Misaki: Is it okay to show that on stage? (laughs)

Yuuma: You could stand to put in a little more.

Misaki: I’ve always ended up putting on airs a bit onstage.

Yuuma: The top-student side of you comes out.

Misaki: I think that’s always been an issue for me. Therefore, like you said, until the end I want to try and put something of my true self in.

Yuuma: To think little baby Mirion has grown up so wonderfully… I saw you keep on growing, and while I thought ‘you do your best’ actually I think I was the one impacted by that. And a lot of times that positivity of yours, and your brash laughter, really helped me as well.

Misaki: What, really!?

Yuuma: Therefore, until your last day, I think you should just be like that, and be yourself.

Misaki: Wah~ Yes!

Yuuma: I want you to enjoy Takarazuka and use your laughter, and your brightness, to envelop all of Cosmos Troupe, and the whole theatre. I think you can really do it!

Misaki: I’m going to fight till the end while enjoying myself and living life in Takarazuka to the fullest.

Yuuma: Yes, yes! Laugh your way through it! (laughs)

Misaki: Your final summation is ‘laugh your way through it!’ (laughs) Thank you so much!

[zukalations]

Debut Roundtable Talk: 104th Class - Let’s bloom as diversely colorful flowers!

Every year, the Top Star of the show in which the new class of Takarasiennes debuts will hold a roundtable talk with the 5 students who graduated with the highest grades. In 2018, the 104th class debuted during the Star Troupe production Another World/KILLER ROUGE, and Kurenai Yuzuru hosted the talk which was published in the June 2018 issue of Kageki.

(Please note that 2 of the students in the talk have very similar last names, Mashiro/Mahiro, so keep that in mind while reading)

Some outtakes from the back of the magazine are also included.

Debut Roundtable Talk: 104th Class - Let’s bloom as diversely colorful flowers!

Participants: Kurenai Yuzuru (Star Troupe), Aone Towa, Mashiro Yuuki, Mahiro Ren, Chihaya Mao, Kiyora Haryuu (Debuting Students)

Kurenai: Alright, let’s start with introductions from all of you. First is…

Aone: Yes! I’m Aone Towa.

Kurenai: (looking through Takarazuka Otome*) Your nickname is ‘Aone’-san, right. Is there any specialty you have? You’re top of the class so you must be able to do everything (laughs).

Aone: No...I like singing and dancing.

Kurenai: I see. Which one do you like best between them?

Aone: I like dance best.

Kurenai: I see. Alright, next person, go ahead.

Mashiro: Yes, I’m Mashiro Yuuki.

Kurenai: (looking through Takarazuka Otome) Your nickname is ‘Piikoro’. That’s so cute! What is your specialty?

Mashiro: It’s acting. I loved the role I was given in the Takarazuka Music School acting recital, so I decided I wanted to get better at it.

Mahiro: I’m Mahiro Ren.

Kurenai: Your nickname is ‘Rooren’, that’s funny. What’s the reason?

Mahiro: It’s from MahiRO REN…

Kurenai: So that’s where it came from (laughs). According to Otome, your specialty is piano?

Mahiro: Yes.

Kurenai: Got it. Next is Chihaya-san.

Chihaya: I’m Chihaya Mao. My nickname is ‘Youko’.

Kurenai: (looking through Takarazuka Otome) You like classical ballet?

Chihaya: Yes.

Kurenai: Yes, your face certainly says you like it (laughs). So, Kiyora Haryuu-san, go ahead.

Kiyora: Yes, I’m Kiyora Haryuu. I like singing and acting.

Kurenai:  ‘Ryuu’... That’s quite a name, isn’t it. Why did you choose that stage name?

Kiyora: It’s from my real name.

Kurenai: I see! (looking through Takarazuka Otome) Your nickname is ‘Ohane’. Next, I’d like to ask what each of your motivations was for taking the entrance exam.

Aone: The first Takarazuka show I saw was the debut of the 96th class**, and afterwards I saw An Officer And a Gentleman and I thought Yuzuki (Reon)-san was just amazing…

Kurenai: So then you thought you would try out?

Aone: Yes. I continued studying ballet, and I kept thinking ‘there really is a world like that’, and I decided to take the exam when I was in my second year of middle school.

Mashiro: When I was in elementary school, my mother took me to see Sena Jun-san in Elisabeth, and the moment I saw the program I was shocked and couldn’t think about anything else.

Kurenai: She was really cool. So you decided because of that?

Mashiro: Yes.

Mahiro: My mother would watch the Takarazuka Revue on television a lot, and when I was in elementary school she said we should go to see a show together, but at first I didn’t want to… But after we watched the performance, I was so impacted by it that I couldn’t even eat.

Kurenai: What show did you see?

Mahiro: It was The Legend of the Great King and the Four Gods, starring Matobu Sei-san.

Chihaya: When I was in elementary school, I saw AQUA 5*** on TV, and I thought they were really cool, and afterwards I watched a Takarazuka Revue show on TV and thought ‘so this is where AQUA 5 is originally from…’

Kurenai: Originally (laughs).

Chihara: My first time seeing a performance in the theatre was Mizu Natsuki-san’s retirement show****, and since I had always liked dance I longed to be able to dance so much.

Kiyora: My father would watch Takarazuka on the TV once in a while, and I came to like it, so when someone recommended that I try out, I started to learn more about Takarazuka and really got into it.

Kurenai: A lot of the time we hear that pattern of ‘So my mother…’ but for someone to get in to it through their father is unique. Did anything happen that caused you to get into Takarazuka?

Kiyora: It’s not that I saw a particular show, but as I began to research Takarazuka on my own I came to like it.

Kurenai: I see. So, how was it to be onstage for the first time?

Aone: When I watched a line dance from the audience I just thought it looked amazing, but wearing the feathers and dancing myself, I realized that it was much harder than it looked. During the audience address, I felt so happy the first moment when I opened my fan.

Kurenai: Yes, yes, it’s like that.

Mashiro: I can hardly believe that now I will be on the same stage that I used to be watching from the audience… However, it’s amazing...it’s an amazing feeling.

Kurenai: You’re feeling amazing emotions, aren’t you (laughs).

Mahiro: I was so moved during the rehearsals, and then on opening day I was struck once again by how many people were there in the audience. And then at the same time I was thinking, this is the goal I was aiming for…

Kurenai: You were enlightened! (laughs)

Mahiro: I was really happy.

Chihaya: When I would watch from the audience, I felt like the silver bridge was a holy object I could never touch, so I couldn’t believe that I was to stand there myself, and when the curtain went up I felt so nervous I didn’t know what to do with myself, but now I’m enjoying it.

Kurenai: Yes, yes, that’s good.

Kiyora: I’m so happy to able to stand on the same stage as Kurenai-san and all the other Takarasiennes I admire. When we opened our fans during the audience address, I was completely overwhelmed by the warm applause from the audience and the atmosphere of the theatre.

Kurenai: You were? I see. I can still clearly remember my debut. It’s all totally fresh in my mind, not just the rehearsals and opening day, but also what was going on in the dressing room. I think you should all remember those feelings as well. That way, when you are a senior actress yourself, you will be able to think of how it feels to be a newly debuting student. You can only ever have one debut, there won’t be another debut for you next year (laughs). You can only feel these things right now, and I think they will be a treasure for you in the future.

All Ken-1s: Yes!

Kurenai: Before the line dance scene in this show, there is a scene where I introduce you all, but when I had my debut we were being introduced by the Top Star at that time, Kouju Tatsuki-san. And then shortly before that, I happened to meet Taa-tan (Kouju) at the theatre. It was really amazing timing. Although the first time I was together with Taa-tan was when we were presenting the line dance for the senior actresses... Ah, you did it with me before too, didn’t you?

All Ken-1s: Yes.

Kurenai: I was really moved this time, to meet with you in the rehearsal room the same way as I did [for my debut]. Therefore I feel a lot of responsibility this time around and I want to look after you as much as I can.

All Ken-1s: Thank you so much!

Kurenai: ...you tell that to all the others, alright? (laughs) Next, you all can go ahead and ask me questions.

Aone: What is it that gives you the most energy?

Kurenai: I think it must be performing onstage. Although it’s really difficult, I get such an amazing feeling of accomplishment after a performance. Also, since I personally love Takarazuka, if I think ‘I’m able to be on this stage’ it blows away any despondent feelings.

Mashiro: Do you perhaps have a routine that you follow before going on stage?

Kurenai: I arrive at the dressing room pretty darn early; did you all know that? (laughs)

All Ken-1s: Yes.

Kurenai: Oh, you knew (laughs). The truth is I’m secretly rehearsing. Of course I do a lot during the rehearsals, but even after the show opens, I’ll keep reading over the script, or thinking about issues from the day before and what I can do about them, or listening to recordings of my vocals during the performance...I keep that up every morning until closing. It’s because I think that I want to make it as good as I possibly can. Also, my morning constitutional. Since I take my walk before going to the dressing room it’s really early. My lifestyle is like a little old man (laughs).

Mahiro: What is it that is most important to you, as you have been performing as an otokoyaku for such a long time?

Kurenai: This doesn’t have anything to do with being an otokoyaku or musumeyaku, but I think it is that I never take being in Takarazuka for granted. Of course being onstage isn’t something that just happens, it takes help from so many other people for me to be able to perform onstage, so you mustn’t ever take it for granted. I think everything must still seem totally new to you, but gradually you will get accustomed to it, I think. At that time, I think it’s important to return to your roots, and make sure that you keep a feeling of gratitude, since you are able to be in a world that not just anybody can get into.

Chihaya: How do you get into character for plays, Kurenai-san?

Kurenai: I write down the first impression I get from reading the script. Getting into character is a cycle of building up and breaking down, but in the end my initial feelings are really important, so I keep remembering that as I gather up other things through my various detours. Also, as I am performing I keep asking myself if I’m really saying the lines as if they come from my own heart.

Kiyora: What do you think is the appeal of the current members of Star Troupe?

Kurenai: It’s that they’re so full of energy. Apparently my troupe is really loud (laughs). We’re all athletically minded, and when we get angry we really blow up, but we have just as much love in us, so we can clearly tell each other ‘this about you is no good’ and the person who hears it can accept that. I think we’ve built up really close bonds built on trust. Are you all done with the questions?

All Ken-1s: Yes!

Kurenai: You all here today are the students with the highest grades, so I’m sure you all have something you’re especially good at. Of course it’s very important to display your skills, and it’s great to be able to do that, but I want you all to become performers full of heart as well. The only thing that can make you a performer who can make people think ‘they’re so wonderful to see, that was so moving’ and stir their emotions, is your hearts. I want you to make sure you don’t forget that.

All Ken-1s: Yes! Thank you so much.

Outtakes:

Sayumi when one of the Ken-1s was overcome with emotion… “What is it? Are you okay? Hm? Is it allergies? No? Eh, you’re too emotional? ...what a good kid. And here I thought it was allergies… (laughs)” Sayumi was able to make fun of herself after the disturbance was over.

Even during performances, she keeps reading her script over and over… Kurenai: It always ends up in such terrible shape, my script is practically falling apart, so I’ll always be holding it together with cellophane tape (laughs).

* Takarazuka Otome is a book published each year with profiles of all current Takarasiennes.

** The Scarlet Pimpernel, 2010

*** A ‘boy band’ group of Snow Troupe otokoyaku headed by then-Top Star Mizu Natsuki.

**** Roget, 2010 

[zukalations]

CARNIVAL #10: Ashizawa Jin interview with Akatsuki Chisei

Ashizawa Jin’s 2015 interview column was called CARNIVAL. This interview with Akatsuki Chisei was published in the October 2015 issue of GRAPH.

CARNIVAL #10: Ashizawa Jin interview with Akatsuki Chisei

Something about Akatsuki Chisei makes me think of a young highschool baseball player passionately taking on the challenge of Koushien. It’s her youth and energy. Although her cuteness still catches the eye, she has an abundance of genuine talent as an otokoyaku, and her dreams are expanding as her appeal comes into full bloom.

Ashizawa: In 1789 - Les Amants de la Bastille, you played Fersen in the main cast, and also had the lead role of Ronan in the shinjin kouen, so you must have been having such a hard time day after day.

Akatsuki: Right. The rehearsals were really difficult, and once the performance started I was being taught so much about acting; my own performance in the show kept changing. I learned a lot from that show.

Ashizawa: Considering your level (ken-4 at the time), there must have been a lot for you to take in, so you must have been discovering new things day by day.

Akatsuki: [My performance] was totally different comparing opening day and the last show.

Ashizawa: What sort of things changed over that time?

Akatsuki: I achieved a bit of breathing room, I suppose.

Ashizawa: So once you had that space, you were able to have more ideas, and make new discoveries?

Akatsuki: I suppose so.

Ashizawa: At the very beginning, it must have been a struggle just delivering your lines properly. Especially since in the main cast, your acting partner was Manaki-san’s character, Marie Antoinette.

Akatsuki: You’re right. It was the most I’d ever been allowed to sing in a show, so I was really nervous about that too.

Ashizawa: I feel like you must have been under so much pressure from those two roles every single day for four and a half months.

Akatsuki: It was such a long time, but looking back, it just went by in a blink.

Ashizawa: Since you spent so much time constantly thinking about your roles, didn’t you just want a bit of a break at times?

Akatsuki: At the time, I was solely thinking ‘I have to do this!’ so that was running through my head even on my days off, and I had trouble resting.

Ashizawa: Rehearsing let you get some release from that, maybe.

Akatsuki: While I was still stressed no matter how I rehearsed, it was better than doing nothing, I think. And through that, I think I picked up a bit more confidence.

Ashizawa: Fersen appears so often in Takarazuka, so I feel like that must have helped you settle on the character.

Akatsuki: Although I knew what he was like, it was still very hard to play him. It’s difficult for me to play adult men.

Ashizawa: Since you have so much boyishness remaining, right (laughs).

Akatsuki: Exactly (laughs). Ryuu-san and Kumichou-san (Asuka Yuu in 2015) taught me a lot about doing my makeup so I could at least look a little more mature.

Ashizawa: And how do you going about looking more adult?

Akatsuki: Making the distance between my eyes and eyebrows a bit further, for example, or since my eyes are still quite round, trying to line them so they look longer.

Ashizawa: Your voice is so good. It’s very masculine, and although it’s soft it carries so well.

Akatsuki: Wha~t, really? But my natural voice is very high, so I struggle to make low sounds, and I’ve been constantly training to lower my voice.

Ashizawa: And have you seen any difference?

Akatsuki: My method of speaking and way of using my body has changed, and I think even in normal conversation my voice has become lower.

Ashizawa: How did you manage when receiving criticism on your performance?

Akatsuki: Director Koike is really something. ‘Your singing is fine but everything else is terrible!’ he said (laughs).

Ashizawa: Are you crushed to hear things like that?

Akatsuki: I just take it like ‘Oh, I get it!’ Although sometimes it’s frustrating, it’s clear that I can’t do it, so there’s nothing to do but accept it. If he didn’t say those sorts of things I wouldn’t know, and the more errors he points out the more I can correct.

Ashizawa: You had your first shinjin kouen lead as ken-3, in Guide to the Future (Jake - Ryuu Masaki in main cast). How was that?

Akatsuki: I didn’t have a clue about anything (laughs). Although the play was only about 30 minutes, my concentration didn’t even last that long. I didn’t know the first thing about acting.

Ashizawa: But you graduated from the Takarazuka Music School as the top student, so your grades in acting class must have been good, right?

Akatsuki: Before entering Takarazuka I had only done dance, so I didn’t start singing and drama until I joined, and as a yokasei I was really bad at those things.

Ashizawa: Was Jake your first real acting role?

Akatsuki: No, before that I was in The Merry Widow, where I was able to play Hokushou-san’s character Danilo’s butler, and in my first shinjin kouen I was given Seijou-san’s character, Ganimard. But it was my first time having to advance the story as the lead, so it was really difficult.

Ashizawa: For some reason my impression of you ended up being a rather minor-league performer, but when I saw the next shinjin kouen, PUCK, where you played Bobby (Tamaki Ryou in main cast), you were really going all out and giving such an amazing performance, so I thought ‘this can’t be the same person?’

Akatsuki: Ah… (laughs)

Ashizawa: That was a really life-sized role, so were you able to achieve some freedom in the performance?

Akatsuki: Since playing Bobby, I started to realize how fun acting can be. The character was also close to my age, so that was really fun.

Ashizawa: When did you start studying ballet?

Akatsuki: When I was 5 years old, and continuing until my second year of middle school.

Ashizawa: Was it at your mother’s urging?

Akatsuki: No, apparently, when I went to see a friend’s recital, I was dancing in the audience seats afterwards (laughs). So then my parents say they thought ‘let’s get her lessons!’ (laughs).

Ashizawa: So you liked dancing.

Akatsuki: I enjoyed it a lot. Although I would go to the studio every day, when I started going to middle school it dropped to around once a week.

Ashizawa: Why was that?

Akatsuki: Um, I ended up overdoing it, and then I didn’t like it so much (laughs). In middle school I ended up joining the volleyball club, but…

Ashizawa: Oh!? Ballet and volleyball?*

Akatsuki: Yes (laughs). At the time I preferred volleyball, and I was the club captain, so I only began concentrating on ballet again in my second year of middle school.

Ashizawa: The agility from that must have helped you bring Bobby to life.

Akatsuki: That might be it (laughs).

Ashizawa: When did you first encounter Takarazuka?

Akatsuki: When I was in my third year of middle school, the mother of one of my ballet friends said ‘have you thought about Takarazuka?’ and was recommending it, but I didn’t know much about Takarazuka, and I wasn’t really into the idea of women playing men… But I thought I might as well watch it once, so when a national tour came to Hiroshima I went to see it. That was Flower Troupe’s Sorrowful Cordoba and Red Hot Sea II, and when I saw Matobu Sei’s back I thought ‘I’ve got to get in there!’, and totally fell in love with Takarazuka immediately (laughs).

Ashizawa: Coming up is your first Bow Hall lead, (double lead with Asami Jun) A-EN. You must feel a lot of pressure from that.

Akatsuki: Obviously (laughs). Since I have to be the one building up the show from the center, I’m wondering how to lead everyone else… And I also have to keep going over several days. A shinjin kouen is one time only, so it works if you just put everything out there and go for it, but…

Ashizawa: It seems like you dance a lot in the revue portion.

Akatsuki: Yes. Apparently there are both modern dance and ballet sections.

Ashizawa: Since I’ve heard dance is your strongest point, I’m looking forward to seeing what sort of dance you will show us.

Akatsuki: Oh no, if you put so much expectation on me it will only make me more nervous (laughs).

Ashizawa: Is there any sort of dance that you dream of performing in the revue portion, for example?

Akatsuki: I’d like to dance barefoot. In Takarazuka I dance wearing heels most of the time, but it’s difficult. I want to dance freely in bare feet.

Ashizawa: What is your biggest issue performing as an otokoyaku currently?

Akatsuki: There’s a lot, but as for the biggest one, hmmm… there is a lot about the way of moving that I don’t get at all yet, and I don’t really have enough charisma.

Ashizawa: If you could do all that at  your level you would have a terrifying degree of star-power (laughs).

Akatsuki: Haha… (laughs) Those people who can make you think ‘wow, they’re so cool’ when they’re just standing there are really great, I think. I want to be able to make the audience swoon with just my expressions.

Ashizawa: Is there anything where you think ‘I want people to notice this aspect of Akatsuki Chisei!’

Akatsuki: Hmmm, I mean, I really want people to look at me when I’m dancing…

Ashizawa: I see. When compared to singing and acting, you like dance a bit better.

Akatsuki: Just a little (laughs). But I’m bad at remembering choreography, and I’m not the type who can just do it right away, so if I don’t rehearse a lot I’ll be embarrassed to have people see me (laughs).

* In Japanese, the words for ‘ballet’ and ‘volleyball’ are very similar so Ashizawa is making a joke about that.