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flibbityflob · 5 years

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When the Last Sword is Drawn (Shinjinkouen)

I got to see the last sword shinko!! It was a pretty damn fun experience, my first ever live yukigumi shinko, and whilst the casting didn’t end up what I wanted it to be (I was praying for Agachin to get that lead), I was still REALLY impressed, and had a great time!

Ayami Sera, 102nd Class, as Yoshimura Kanichirou (Nozomi Fuuto) – she’s rough, really really rough. She didn't have Daimon’s accent and it really affected the story and the character. She was clearly trying to emulate Daimon a lot and I really think it hurt her interpretation. Daimon has this natural aura and maturity about her and Amichan, being a baby, just. Didn't. I thought she was good, but nothing solid. Her voice is sweet and she's very very earnest, but boy is she lacking. Apparently she's come a long way since phantom earlier this year but I'm not sure she's gonna beat the hulking titan that is Agachin, a year older than her but so much more tracked. Good for her though. Yoshimura is a deceptively hard role, kind and earnest and youthful and yet sad and mature, a killer who does so because there's no other way. He's ruthless and moneygrabbing but he needs to be sympathetic and amichan is just. Young. She plays the role well but she doesn't convince me for even a second. She’s also the GIRLIEST person I’ve ever heard in my life, holy SHIT. It’s cute!

Irodori Michiru, 99th Class, as Shizu/Miyo (Maaya Kiho) – Holy hot damn michiru can sing now?? She's never been an amazing singer in my mind, and this role isn't that heavy on singing, but man she impressed me. I found her better at playing miyo than I did shizu, but I think that kind of bratty selfish teenager is something that she's naturally just brilliant at. She doesn't quite have the natural grace that Kiichan has, she doesn't portray the loneliness and agony shizu faces in the way I've grown accustomed to, but she impressed me.

On the topic of these two, I felt Daimon and Kiichan's absence so hard in their relationship. Daimon and kiichan made it work, their romance wasn't hugely explicit but holy shit was it the basis for a lot of the entire show. Amichan didn't sell the pure primal fear Daimon did when she found out shizu tried to kill herself. Not did I feel the longing and desire Daimon fucking radiated when given the option to hold someone who looked just enough like his wife to make the pain go away, even for only a second. It's a super personal thing for me but it just makes the show worse in my eyes.

Suwa Saki, 99th Class, as Oono Jiroemon (Ayakaze Sakina) – I love this girl. It's her last year of shinkos and she's really fucking good guys. She was quiet and restrained, yet also really emotional. I found her friendship with Amichan a lot more earnest and giddy than Saki and Daimon, and it worked a lot better for the youthful nature of this shinko. It’s not necessarily better, but I REALLY liked that friendship. She seems angrier about a lot of stuff than Saki was, at least to me. Saki was playing it a lot more akin to traditional Japanese customs of honour, and duty, and Suwa was a little more prone to expressing her emotions. Her emotionality might partly be because she only has to put that into this role once, but I was impressed.

Agata Sen, 101st Class, as Hijikata Toshizou (Ayanagi Shou) – BOY I'm almost incomprehensibly biased, this girl has taken me in and ruined my life and I'm not entirely sure I can BE objective. She was different to Shou. Where Shou was endeared by the combined nonsense of Harada/Nagakura/Okita/Saitou, Agachin just wants to get rid of them. She just wants them all to go away and stop being so annoying so she can finally go to bed. She's perfect and hot and beautiful and she got the lightest role she could have but she ROCKED it. I honestly feel like her honkouen role was bigger than her shinko role, or at least far more impressive and more likely to stick in her mind, but I don’t really care? She’s handsome and imposing and carries a kind of maturity and strength FAR beyond what she should be pulling out as a ken-5. She was perfect I will hear nothing against her it was exceptional.

Seika Rian, 100th Class, as Saitou Hajime (Asami Jun) – she was really impressive!! I wasn't sure what I was expecting from shinko Saitou, but she impressed me. I don't have TOO much to say but I loved her and especially her relationship with Ikenami. She’s adorable at iride, has the nicest smile in the world, and I just really love her. I think she’s one of those kids to keep an eye on, she won’t be going anywhere but she’s a talented actress and I really like her.

Manomiya Rui, 100th Class, as Okita Souji (Towaki Sea) – another surprise!! I love Rui, she's got the sweetest smile and the friendliest face and she always seems so delightful at iri and I didn't know what I was expecting from her Souji but it was different. Hitoko plays him with an anger and a charm and Rui plays him a lot more. Sad, I think. Melancholic and restrained and I really liked that interpretation. If you’re looking for someone who has a lovely smile and a charming energy, I really can’t recommend someone more than Rui. I’ve always said, there’s a version of Alex who isn’t in her current club, and is in Rui’s, and that Alex is very happy because Rui ROCKS.

Other mentions

Arisu Himeka (102nd) playing Hime’s role. She’s having fun literally every time she’s onstage, and she was entertaining in the background.

My personal MVP, Yume Maoto (100th). She’s funny as HELL, upping everything Souno Haruto was getting up to, leaving the whole audience in STITCHES.

Soumi Haruma (103rd) coming out of nowhere looking like a 70s mafia baron and having a voice like an angel. She sounded amazing, and I was expecting absolutely nothing. She’s the most masculine otokoyaku I’ve ever seen in my life, it’s AMAZING.

Kirara Umi (100th) had Ai Sumire's role, and it turns out she's an enka style singer. It didn’t change her solo that much, but it was a really fun surprise and it just added a little extra charm to the song

Aoha Reiya (104th) as Kari – I don't have anything much to say other than I just thought she was really charming?

Jun Hana (102nd) did a really good job as the older version of Mitsu, even though that role really is just. Nothing. I just thought she was cute and I'm excited for Hollywood Gossip.

Ichika Ao (102nd) was ADORABLE, she was adorable and I liked what she was bringing to the role more than Ayana did? That’s not really a slight against Ayana, just that I found Ao REALLY impressive, and fucking adorable.

Hiyori Haruma (101st) had her douki (Agachin)’s role as Ikenami. She wasn't anything exceptional but she WAS cute and her and dynamic with saitou was cute, I thought. She was more teasing than Agachin was, but I think a substantial part of that was due to the fact Rio’s Saitou felt a lot softer than Aasa’s. I think with this role especially, I’m VERY biased, but she did a good job, so props to her! I will say, Agachin and Izumiko have a super cute dynamic in skystage content, and I love them together. They’re really cute together, I enjoy their friendship a lot. Izumiko also really captures the feeling that Ikenami is the underclassman of the Shinsengumi, trying to butter up the superiors before having a change of heart and developing as a person. Her scream of “Yoshimura-san!” was also… really good. Heartbreaking, and really good.

#takarazuka #yukigumi #ayami sera #iridori michiru #suwa saki #my reviews

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saulo-izumi · 4 years

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Epic Seven VA jp

Since the launch of tha Japanesse server, I’ve been colleting the names of VA of all heroes until now, if somebody know another VA than I miss, please let me know.

Arky - Katsuyuki Konishi & Yuri Yoshida Ras - Yuya Hirose Mercedes - Arisa Sakuraba

Guilty Gear Baiken - Mayumi Asano Dizzy - Kazue Fujita Elphelt - Aya Suzaki Sol - Joji Nakata

5* Ravi - Aoi Yuuki Violet - Nobuhiko Okamoto Sigret - Yuuko Kaida Cermia - Kana Ueda Tamarine - Nana Mizuki Yuna - Rina Satou Tenebria - Manami Numakura Ludwig - Junko Minagawa Ruele & Destina - Ami Koshimizu Baal - Katsuyuki Konishi Kise - Rie Tanaka Yufine - Yumiri Hanamori Luna - Marina Inoue Basar - Tomokazu Sugita Aramintha - Takako Honda Lidica - Emiri Katou Sez - Tomoaki Maeno Haste - Ayumu Murase Chloe - Kana Asumi Diene - Chiwa Saitou Iseria - Yukana Krau - Yuuichi Nakamura Bellona - Ayako Kawasumi Vildred - Hikaru Midorikawa Cecilia - Yui Horie Charlotte - Rie Kugimiya Luluca - Rie Takashi Tywin - Kayron - Ken - Alencia - Charles - Elena - Kawerik - Lilias - Lilibet - Pavel - Roana - Melissa - Vivian - Zeno -

4* Lots - Daiki Yamashita Angelica - Yukari Tamura Karin - Rina Hinaka Rin - Chika Anzai Rose - Shizuka Ishigami Dingo - Masakazu Morita Achates - Misaki Kuno Clarissa - Ayaka Suwa Purrgis - Rikiya Koyama Maya - Saki Fujita Cidd - Shin'nosuke Tachibana Serila - Kana Yuki Silk - Ai Kakuma Armin - Satomi Akesaka Cartuja - Kenta Miyake Leo - Mariya Ise Coli - Dominiel - Zerato - Roman - Corvus - Furious - Khawana - Khawazu - Schuri - Crozet - Surin -

3* Carrot - Asami Setou Aither - Natsumi Takamori Rikoris - Taishi Murata Inquisitor - Satoshi Tsuruoka Nemunas - Sawako Hata Montmorancy - Yuuko Ono Enott - Ryouta Suzuki Jena - Chiyuki Miura****new Roozid - Daisuke Hirakawa Chaos Sect Axe - Tooru Sakurai Doris - Ueda Hikaru****new Arowell - Ruriko Aoki Hazel - Satomi Arai Pyllis - Mitsuki Nakae Kluri - Juri Kimura Gunther - Satoshi Tsuruoka Bask - Atsushi Abe Lorina - Yu Serizawa Rima - Ruriko Aoki Judith - Anzu Haruno Hurado - Tomokazu Sugita Kiris - Juri Nagatsuma Alexa - Mitsuki Nakae Elson - Shun Horie Wanda - Airi Othsu Adly - Ains - Azalea - Batise - Carminerose - Celeste - Eaton - Gloomyrain - Hataan - Helga - Jecht - Kikirat V2 - Lena - Mirsa - Mistychain - Mucacha - Otillie - Pearlhorizon - Requiemroar - Sven - Tieria - Taranor Guard - Taranor Royal Guard -

#epic7 #epic seven #e7

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zukadiary · 5 years

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Takarazuka week-end roundup 11.30.19

Hanagumi actresses Chiyuki Aki and Natsuha Kotori will be retiring at the end of January after their respective small theater shows

The Grand Theater version of Haikarasan ga Tooru will have two separate finale patterns: a Taisho version and a Romance version (a tactic presumably to get the same butts in the seats twice as many times). 4 of the roles have also been announced: in addition to the two leads, Seto Kazuya will be playing Aoe Tosei and Minami Maito will be playing Onijima Shingo.

5 of the shinko roles for Once Upon a Time in America were announced. Suwa Saki got the lead right under the wire before 99ths graduate shinkos in April, alongside Jun Hana. Agata Sen and Ayami Sera got Ayakaze Sakina and Ayanagi Shou’s roles respectively, and Irodori Michiru will be playing Asami Jun’s role.

Yukigumi’s summer 2020 Grand Theater show was also announced: “fff -Fortississimo- ~Sing with Delight!~,” an original musical about the life of Beethoven by Ueda Kumiko; and “Silk Road ~Thieves and Jewels~,” the first ever revue directed by Ikuta-sensei. Bold of Uekumi to call what I’m betting will be Daimon’s taidan essentially ffffffffffff. And reading the blurb, “a life colored with every imaginable misfortune” does not fill me with hope that Daimon’s Takarazuka career will ultimately amount to anything other than 6 Grand Theater tragedies. Sigh.

I AM FROM AUSTRIA opened in Tokyo, the Dessert Guy went with “Macchoko Macchoko” which I assume is a pun I don’t get because I haven’t seen the show yet.

And finally some DRAMA AROUND HERE: Hoshigumi 101st musumeyaku Seira Hitomi will be moving to Senka to focus on video work for the foreseeable future, her next stage performance as of yet undecided. Weird as it sounds, this was quite commonplace way back in the day, and more recently—or at least in the post-top star era—Haruka Kurara, Junna Risa, and Ayu Yuuki did similar work. Interesting to see them bring it back!

#takarazuka #announcements

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beldarius · 5 years

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Valkyrie Connect voice actors

I’ve been looking all over the Internet for a cast list of this game, but came up with nothing (really, people?). So I figured I’d make one myself! Mind you, I don’t have all characters so feel free to let me know anything I missed. MALE CHARACTERS Akira Ishida: Kaworu Nagisa Aoi Yuuki: Utgardar Asami Shimoda: Kagamine Len Daisuke Ono: Odin Hiro Shimono: Loki Hiroki Takahashi: Ryu Hironori Kondo: Krozak, Vidofnir Hiroshi Kamiya: Levi Hiroshi Okamoto: Fafnir, Lucio, Ymir (Armored) Jouji Nakata: Morphia Jun Fukuyama: King Junichi Suwabe: Archer Kappei Yamaguchi: Sigurd Kenjiro Tsuda: Skirnir Kouji Haramaki: Prastos Makoto Naruse: Alviss, Hrungnir, Nagato Mamoru Miyano: Gilthunder Marina Inoue: Baldr Megumi Han: Arnaud, Ymir (Boy) Megumi Ogata: Shinji Ikari Motomu Kiyokawa: Filsius Nobutoshi Canna: Lancer Noriaki Sugiyama: Shirou Emiya Shoutaro Morikubo: Bergelmir Shunsuke Kanie: Heidrun Taishi Murata: Hodr, Wolfgang Takanori Hoshino: Iori Yagami, Loewe Taketora: Akuma Tatsuhisa Suzuki: Ban Tomoaki Maeno: Kyo Kusanagi Tomokazu Seki: Gilgamesh, Thor Tomokazu Sugita: Gylfi, Tyr, Vidar Toshiya Chiba: Sleipnir Tsuguo Mogami: Omega Rugal, Volundr Volcano Ohta: Froggy, Geyser Yasunao Sakai: Ofnir Yasunori Masutani: Fenrir, Heimdall, Jormungand, Surtr Yohei Azakami: Ragnarok, Zato Yuei Takagi: Gowther Yukari Tamura: Magni Yusei Oda: Boelthor, Nidhogg, Thiazi, Welver / previously known as Katsuaki Arima Yuuji Kishi: Ken Yuuki Kaji: Eren, Meliodas Yuuki Ono: Helblindi, Huginn, Susano-o Yuuma Uchida: Hraesvelgr, Reginleif Yuuta Kasuya: Xiang Tong Yuuya Uchida: Hendrickson FEMALE CHARACTERS Ai Nonaka: Kyoko Sakura, Mani, Nautica, Ranco, Verdandi Ai Sasaki: Luflit, Momiji, Nadia Akane Fujita: Jord, Nerthus Akira Sekine: Cenia, Ines Ami Koshimizu: Alice, Mai Shiranui Aoi Koga: Clarisse Aoi Yuuki: Diane, Eihwaz, Hyuga, Madoka Kaname, Randgrid Asami Shimoda: Etricia, Granfelt, Kagamine Rin Aya Endo: Karin Aya Suzaki: Raspi, Rota, Verossa Aya Uchida: Dielle, Nyatasha, Saskia, Tamamo Ayaka Fujimoto: Kushinada, Soable Ayaka Fukuhara: Clarice, Hrist Ayaka Maeda: Stella, Sylva Ayaka Ohashi: Elena, Elsa, Sortishia Ayako Kawasumi: Saber Azumi Asakura: Authumla, Osiris Chika Anzai: Fubuki, Nori Chiwa Saito: Akemi Homura, Skuld Eri Kitamura: Sayaka Miki Eri Sendai: Izuna, Rapunzel, Ultima Fumiko Orikasa: Chun-Li Haruka Terui: Liciela, Liesa, Matisse, Maully Haruna Ikezawa: Athena Asamiya, Lamina Hiromi Igarashi: Blodu, Chihaya, Forte, Livy & Lo, Tesla, Velfell Hisako Kanemoto: Tholin, Tinker Kaede Hondo: Porte, Viola Kana Ueda: Aquaria, Carliss, Estella, Rin Tohsaka, Risa, Sif, Urd Kanae Itou: Herja, Lorelei Kanako Nomura: Bylgja, Gaia, Oboro Kaori Mizuhashi: Arte, Mami Tomoe, Mimir Kaori Nazuka: Hervor, Roveria Konomi Kohara: Mervelin Kotono Mitsuishi: Misato Katsuragi Maaya Sakamoto: Hel, Mari Makinami Maaya Uchida: Esquire, Quarys Madoka Yonezawa: Forseti, Vili Mai Aizawa: Anubis, Idun, Luca, Mele Mai Kadowaki: Amaterasu, Illyasviel, Mia, Zodie Mamiko Noto: Frey, Lolo & Nana, Neviria Maria Naganawa: Camilly, Mogthrasir Maria Uno: Solstis Marina Inoue: Bertha, Dora, Ipsum Masumi Asano: Avencia (?), Brunhild, Litany, Muninn, Sakeko Megumi Han: Kubira, Michelle Megumi Hayashibara: Rei Ayanami Minami Takahashi: Hanna, Kaguya, Lorone Minami Tsuda: Materia, Sandra Miyu Tomita: Aurora, Frigg Miyuki Sawashiro: Cammy, Freya, Gullveig Nanaka Suwa: Beatrix, Eysith, Walpurgis Naomi Oozora: Angrboda, Marmalade, Niji, Noa, Passo, Zweilie Nozomi Sasaki: Grace, Yatsude Nozomi Yamamoto: Terra, Vesmeral Rie Kugimiya: Demolisha, Hymir, Norn, Nott Rie Murakawa: Rita, Ulin Rina Satou: Sara, Yvette Romi Paku: Hange Rumi Ookubo: Igna, Mei Hou, Radgrid Ryoko Shiraishi: Lu Ling, Siluria Saki Fujita: Hatsune Miku, Senna Saori Hayami: Bestla, Cherie, Mikagura, Nabby, Sanngrid Satomi Satou: Gardina, Medjed, Petra, Sol Sayaka Senbongi: Bear, Kagutsuchi, Lipka, Svipul Shiori Mikami: Flora, Mirka, Krista, Sinmara Shizuka Itou: Cleo, Fenia Sora Amamiya: Elizabeth Sumire Morohoshi: Nocturna, Tomoe Umeka Shouji: Corona, Skadi, Sonia Yoko Hikasa: Ayame, Bara, Dinna, Ran, Sentia Yui Ishikawa: Mikasa Yui Kano: Jest, Sasha, Shiena, Thrud, Vali Yukari Tamura: Pallone, Poelle Yuki Nagaku: Fei Lang, Sakura, Soara Yukiyo Fujii: Lyrist, Tsukuyomi Yumi Hara: Eleneige, Shuirin Yumi Kakazu: Kula Diamond, Mizuki Yumi Sudou: Aegir, Canon, Kili Yuu Asakawa: Megurine Luka Yuuki Kuwahara: Mona, Souffle, Vendetta Yuuko Miyamura: Asuka Langley Sohryu Yuuko Sumitomo: Curtana, Lumiere UNKNOWN OR UNVOICED 6th Angel Armored Titan Garm niconico televi-chan Pseudo DMS Unit-13 COMMENTS 1. Aoi Yuuki, Asami Shimoda, Marina Inoue, Megumi Han and Yukari Tamura are the only women I’ve found so far that play both male and female characters. 2. Listen to the differences between Taishi Murata’s characters. His range never ceases to amaze... the only English voice actors with similar ranges (that I know of) are Ben Diskin and Sean Chiplock. 3. On the female side, Umeka Shouji has a surprisingly large range. I’ve mostly heard her play deeper-voiced roles, and then Corona shows up... 4. I love Hiro Shimono’s evil laugh. He doesn’t go all out with Loki, but he sounds like an insane seagull when he does. 5. As a mythology fangirl, I’m a little annoyed by all the changes. Frey, Mani and Vali are supposed to be male; Skuld is supposed to be a Norn (with Verdandi and Urd); Hel, Fenrir and Jormungand are supposed to be Loki and Angrboda’s kids; Idun is supposed to be Bragi’s wife; Thrud is supposed to be Thor’s daughter and Magni and Modi his sons. I’ll update this “lore correction” once I find more characters.

#valkyrie connect #voice actors #cast list #voice actor #cast

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recentanimenews · 4 years

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Girls Face Zombie Apocolypse in Alice in Deadly School Anime PV

One day before its regular broadcast begins, the first episode of Hoods Entertainment's idol-themed original TV anime Gekidol and the special edition of Alice in Deadly School, which will be told as a story within in the anime, will be aired in a New Year's special program on TOKYO MX and AT-X on January 4, 2021.

Alice in Deadly School is originally a stage play series launched by a Japanese theatre producing group Alice in Project. Its first show was performed in 2010, and various sequel and spin-off shows have been followed for ten years since then. Its anime adaptation's story is introduced as follows:

Yu and and Nobu are practicing manzai (a two-person comedy act) act on the roof of the school. At the same time, the school building is overflowing with the presence of non-human "something else." It is said that if a person dies after being bitten by one of them, it will turn into the same "something else" and attack people. In the chaos of the school, Will Yu, Nobu, and the other surviving students be able to escape from its evil hands--.

"Alice in Deadly School" PV:

youtube

Key visual:

Main voice cast:

Yu Sumio: M.A.O

Nobuko Momomura: Chihira Mochida

Shizuka Murasaki: Hikaru Akao

Kiriko Tounuma: Ayaka Suwa

Yumiya Akashima: Nozomi Yamamoto

Iori Hikyo: Aya Akiyoshi

Kazuma Aoike: Asami Takano

Asayo Takamori: Amina Sato

Imei Kaihara: Kaori Mizuhashi

Megumi Ouicho: Saki Ogasawara

Kaoru Inokari: Sarara Yatsushima

Yukifumi Shigemoto: Rei Suzuno

The TV anime Gekidol is set to premiere on AT-X in Japan on January 5, 2021, then on BS Fuji five days later.

Story introduction:

It has been five years since the mysterious disaster - Global Simultaneous City Disappearance. While still being in turmoil, but the world has been slowly recovering. In such a world, There are girls who are attracted to the stage plays using "Theatrical Material System" with 3D holograms and aiming for the shining stage. With each thought in mind Now, the curtain goes up on the stage.

1st PV:

youtube

Key visual:

Main voice cast:

Seria Morino: Hikaru Akao

Airi Kakumu: Chihira Mochida

Izumi Hinazaki: Ayaka Suwa

Kaoru Sakakibawa: Kana Hanazawa

Doll: M・A・O

Akira Asagi: Nozomi Yamamoto

Aimi Fujita: Asami Takano

Kazuharu Yamamoto: Aya Akiyoshi

Mayuri Nakamura: Amina Sato

Hirokazu Takezaki: Kosuke Toriumi

Makoto Higuchi: Sarara Yashima

Tomoko Hinata: Kaori Mizuhashi

Source: Happinet press release

©Gekidol Production Committee

By: Mikikazu Komatsu

#Anime #News #Latest in Anime News by Crunchyroll!

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gamehayapkmod · 4 years

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アートコードサマナー

Game アートコードサマナー là dòng game Role Playing

Giới thiệu アートコードサマナー

世界の有名画家たちを召喚して絵画スキルを駆使して戦う新感覚RPG！人気声優が実在した画家をモデルにしたキャラクターで多数登場！【バトルシステム】・誰もが知っているあの名画がスキル技として使用可能！・オートバトルとスキル攻撃で簡単操作と戦略性を実現！【ストーリー】・メインストーリーでは有名画家たち繰り広げる異色コラボが実現！・すべての画家のオリジナルストーリーも収録！【キャラクターCV ※順不同】小倉唯 / 諏訪ななか / 吉咲みゆ / 水瀬いのり / 市原えりさ / 小原莉子 / 本多真梨子 / 岡咲美保 / 星守紗凪 / 須田のりえ / 桜田芽久未 / 雨宮夕夏 / 榊原智美 / 森嵜美穂 / 武田羅梨沙多胡 / 伊藤麻菜美 / 岩崎孝次 / 斉藤朱夏 / 松永あかね / 湯浅かえで / 冨沢竜也 / 髙橋麻里 / すずきももこ / 安里唯 / 七瀬彩夏 / 上坂すみれ / 冷水優果 / 富田美憂 / 雨澤祐貴 / 小野早稀 / 山岡ゆり / 巴奎依 / 岡本理絵 / 荒牧慶彦 / 田所あずさ / 深川芹亜 / 富沢恵莉 A new sensational RPG that summons famous painters from all over the world and uses their painting skills to fight! A number of characters have been modeled on the painters of popular voice actors! [Battle system] -That masterpiece that everyone knows can be used as a skill! ・ Realize easy operation and strategicity with auto battle and skill attack! 【story】 -In the main story, a unique collaboration unfolding among famous artists is realized! -Includes original stories of all painters! [Character CV * In any order] Yui Ogura / Nakanaka Suwa / Miyu Yoshisaki / Inori Minase / Erisa Ichihara / Riko Ohara / Mariko Honda / Miho Okazaki / Sanagi Hoshimori / Norie Suda / Mekumi Sakurada / Yuka Amemiya / Tomomi Amemiya / Tomomi Sakakibara / Miho Morizaki / Takeda Rarisa Tahu / Manami Ito / Koji Iwasaki / Shuka Saito / Akane Matsunaga / Kaede Yuasa / Tatsuya Tomizawa / Mari Takahashi / Momoko Suzuki / Yui Asato / Ayana Nanase / Sumire Uesaka / Yuka Cold Water / Miyu Tomita / Yuki Amazawa / Saki Ono / Yuri Yamaoka / Yuri Tomoe / Keie Tomoe / Rie Okamoto / Yoshihiko Aramaki / Azusa Tadokoro / Fukakawa Seria / Tomizawa Eri 【更新内容】・新ルール：アリーナバトル

Download APK

Tải APK ([app_filesize]) #gamehayapk #gameandroid #gameapk #gameupdate

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puellamagishowdown · 4 months

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Round 1 Has Finished!

Thank you all for voting! Some results are exactly what I expected but quite a few were confusing to me. Sometimes I wish I knew why people voted the way they did. Also, just for the record, I did randomize these. None of these pairings were planned.

Now for something important I'm going to say before things get too bad.

I've seen a few heated replies that are getting too close to aggressive for my taste. Guys, this is for fun. There are no real world consequences to the result of this poll bracket. If I believe someone is getting too aggressive or insulting towards other voters (or me), I will block. I don't want any true negativity here and if preventing some people from interacting keeps peace, I will do it. You all are free to try and convince others to vote the way you want, but keep it civil.

If you would like a list of results along with some commentary, feel free to click the keep reading button. Otherwise, see you all soon for the next round.

Suzune Amano vs Ayame Mikuri (54.3%) - The first result gives me sadness. I'm a real fan of Suzune's character.

Niko Kanna vs Miyuri Yukari (63.8%)

Pia Undo (59.2%) vs Yuuri Asuka

Tsubasa Hanekawa (50.4%) vs Alexandra Kurusu - This one was close. It was switching back and forth until the end.

Toyo (81.1%) vs Ebony

Sasa Yuuki vs Madoka Kaname (91.2%) - I wonder how Sasa would have done against someone other than Madoka. You know, the magical girl who will probably be in the top 5 if not win the whole bracket.

Livia Medeiros (67.1%) vs Hikari Kirai

Hayate Yagami vs Rena Minami (81.3%)

Tart vs Sana Futaba (67.1%)

Arisa Narumi vs Asahi Miura (68.1%)

Manaka Kurumi vs Kaede Akino (68.9%)

Ranka Chizu vs Sudachi Suwa (52.6%)

Mikoto Sena (81.5%) vs Hagumu Azumi - I'm sad we'll probably never see Mikoto animated. Her design is really pretty.

Hotaru Yura (83.3%) vs Moka Megumi

Himika Mao vs Saki Asami (60%)

Melissa de Vignolles vs Mikage Yakumo (58.9%)

Yukika Nanase vs Sasara Minagi (55.4%)

Amaryllis (61.3%) vs Shizuka Tokime

Ren Isuzu (83.1%) vs Pernelle

Shizuku Hozumi vs Kokoro Awane (56.1%)

Kuro (58%) vs Kaoru Maki - The character without eyes won. Okay.

Kagome Satori vs Nanaka Tokiwa (54.1%)

Kagari Hinata (66.7%) vs Mayoi Hachikuji

Alina Gray (69.1%) vs Ria Ami - I really love Ria's design. I would like to think she would have moved on if she wasn't against a major character like Alina.

Mikura Komachi (60.3%) vs Umika Misaki

Yu (77.5%) vs Lavi Himuro - Why? Is there some real love for Yu out there for some reason or is it just voting against Lavi? I really don't understand this one.

Kushu Irina vs Himena Aika (50.6%)

Sayuki Fumino (51.7%) vs Chika Aoba - The first of two tiebreakers. What a peculiar duo to be a tie. And I messed up the title of the poll like a loser.

Ashley Taylor (73.2%) vs Akira Shinobu

Yuuri vs Meiyui Chun (87.7%)

Hinano Miyako vs Mel Anna (67.1%)

Satomi Usagi vs Ryoko Natsu (76.1%) - Satomi was the reason I decided to use fan art for the Kazumi girls. The only colored art of her I could find had SAMPLE across the front of it. And she didn't even win.

Ayase Souju vs Hazuki Yusa (75.7%)

Tsukuyo Amane vs Eternal Sakura (75.3%)

Kanami Honoka vs Mayu Kozue (92.3%) - Poor Kanami got bodied.

Kako Natsume (58%) vs Hanna Sarasa

Maria Yuki vs Rui Mizuki (65.8%)

San Kagura vs Kanoko Yayoi (65%)

Chizuru vs Masara Kagami (70.4%)

Ryo Midori vs Juri Oba (66.7%)

Isabeau vs Kyoko Sakura (84.6%)

Tsubaki Mikoto (70.8%) vs Chisato Shion

Riz Hawkwood (83.9%) vs Temari Kira

Kanna Hijiri (52.6%) vs Jun Kazari

Sunao Toki vs Chiharu Hiroe (55%)

Aimi Eri vs Mito Aino (66.7%)

Kuroe vs Corbeau (51%) - The cloak girl showdown was really close. I really never knew who would win.

Nemu Hiiragi vs Tsuruno Yui (70.2%)

Kazumi vs Yuma Chitose (52.6%)

Hitagi Senjougahara vs Mitama Yakumo (59.6%) - I'll be honest, I kinda thought the Monogatari fans would have risen and voted. Then again, I have no idea how large the Monogatari fanbase is in the first place.

Shinobu Oshino vs Yuna Kureha (62.5%)

Yuuna Kaharu vs Riko Chiaki (70.5%)

Ayaka Mariko (53.5%) vs Takina Inoue

Meguru Hibiki (60.8%) vs Akari Mai

Nadeko Sengoku vs Momoko Togame (55.6%)

Mirai Wakaba vs Ui Tamaki (86.2%)

Ao Kasane (57.3%) vs Matsuri Hinata - I'm actually a bit crushed. I love both Matsuri's design and character. The fact she didn't get through but her sister did is almost worse.

Suruga Kanbaru (52.8%) vs Fate T. Harlaown

Seira Mihono vs Gunhild (69.8%)

Rion Yuzuki vs Homura Akemi (93.1%) - Rion was destroyed. I almost feel bad.

Asuka Tatsuki vs Sae Kirino (58.1%) - Fun fact, when the poll ended the first time it said 50.6% Asuka. Only the next day did it say it was tied. That's why the tiebreaker poll went up so much later.

Nagisa Momoe (83.2%) vs Sakuya Suzuka

Iroha Tamaki (66.9%) vs Chisato Nishikigi - I have no idea what Lycoris Recoil is about, but both of the crossover girls had really nice designs.

Mitsune Miwa vs Yachiyo Nanami (74.6%)

Seika Kumi (61.9%) vs Emika Kisaki

Nayuta Satomi (52.6%) vs Tsuyu Mizuna - The first time I saw Tsuyu, I just thought Ayaka Kamisato. Keep in mind, I was not playing Genshin at the time.

Yozuru Sasame vs Karin Misono (50.9%)

Urara Yume vs Kanae Yukino (75%)

Konoha Shizumi (61.5%) vs Eliza Celjska

Shigure Miyabi (62.4%) vs Haruka Kanade - Really? I thought Haruka had one of the better designs but apparently I'm wrong. Or maybe Shigure's story is really that good.

Tsukasa Amane vs Oriko Mikuni (63.8%) - Also a little sad neither Amane twin got through. I like their designs but that might just be my personal bias towards kimono-styled outfits.

Hotori Yuzuki vs Lapin (72%)

Tsumugi Wakana vs Olga (75.2%)

Mifuyu Azusa (59.2%) vs Mabayu Aki - Mabuyu has a design I think would have fit with the Holy Quintet if she was released back in the day (and the clothes were green). But I have heard Scene 0 is pretty meh so that probably held her back quite a lot.

Natsuki Utsuho vs Felicia Mitsuki (83.3%)

Mami Tomoe (71.4%) vs Touka Satomi

Rika Ayano (58.7%) vs Heruka

Sayaka Miki (86.1%) vs Nanoha Takamichi - I also thought the MGLN fans would have risen from depths and really voted for their titular character. But then again, Sayaka is a force to be reckoned with in this bracket.

Mitsuru Inami (73.6%) vs Luca Souju - Every single one of the characters I used fan art for didn't even move onto the second round. I could have just not included them and nothing would have changed. And that's a shame because I feel Kazumi has some real underrated designs, especially the Soujus.

Ikumi Makino (66.3%) vs Minou

Kanagi Izumi vs Kirika Kure (52.9%)

Konomi Haruna (76.5%) vs Leila Ibuki

#poll results

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imasallstars · 2 years

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THE IDOLM@STER MILLION LIVE! 10thLIVE TOUR

Further information regarding the MILLION LIVE! 10thLIVE TOUR live has been revealed! The SAITAMA Stop occurring in SAITAMA SUPER ARENA on the 2nd and 22nd and 23rd of April 2023 will be labelled Act-1 H@PPY 4 YOU!

The voice actresses participating in this stop are as follows:

DAY 1

Haruka Yamaaki (Mirai Kasuga), Saki Ogasawara (Akane Nonohara), Asuka Kakumoto (Elena Shimabara), Yuu Kahara (Emily Stewart), Yuka Saito (Subaru Nagayoshi), Rie Suegara (Fuka Toyokawa), Risa Taneda (Kotoha Tanaka), Atsuki Nakamura (Roco Handa), Shiina Natsukawa (Anna Mochizuki), Kanako Nomura (Chizuru Nikaido), Nana Hamasaki (Noriko Fukuda), Emi Hirayama (Reika Kitakami), Yukiyo Fujii (Megumi Tokoro), Keiko Watanabe (Momoko Suou), Yui Watanabe (Nao Yokoyama)

DAY 2

Machico (Tsubasa Ibuki), Aimi (Julia), Momo Asakura (Serika Hakozaki), Rika Abe (Mizuki Makabe), Eri Inagawa (Tamaki Ogami), Eri Ozeki (Minako Satake), Ibuki Kido (Kana Yabuki), Choucho Kiritani (Miya Miyao), Kotori Koiwai (Tomoka Tenkubashi), Yuri Komagata (Sayoko Takayama), Yui Kondo (Karen Shinomiya), Ayaka Suwa (Matsuri Tokugawa), Minami Takahashi (Konomi Baba), Akari Harashima (Iku Nakatani), Rikako Yamaguchi (Rio Momose)

#event rundown

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flibbityflob · 5 years

Text

When the Last Sword is Drawn/Music Revolution!! (Yukigumi, 2019)

After 6 viewings and the shinko, I'd say I've seen this show a lot. I had high hopes going in, and for the most part, this show met them. The movie is stunning, and the story at its core is heartbreaking. The revue didn’t immediately stun me, but after watching it as many times as I have, it’s really grown on me. Beware for Many Many spoilers within. Also this thing is LONG, it’s a fairly detailed summary and i have a LOT of opinions about this show, this troupe, and the revue.

In brief. Or as brief as I can be with this confusing show. In a framing device, we see a ball at the Rokuemeikan in 1885, attended by a group of high ranking people; Matsumoto Ryoujun (Nagina Ruumi), his wife Toki (Chikaze Karen), and Nabeshima Nagako (Himehana Yukino). It's interrupted by a group of thugs who are swiftly defeated by Police Inspector Saitou Hajime (Asami Jun) and his deputy, Ikenami Rokusaburou (Agata Sen). The doctor and nurse of the Rokuemeikan, Oono Chiaki (Aya Ouka) and his wife, Mitsu (Asazuki Kiwa), come by, and it turns out there is some kind of history between Saitou and Mitsu's long dead father.

(For eases sake, I'll skip commenting on the rest of the transitions, just know they're there at fairly regular intervals. I'll get to my opinions on those soon).

We flash back around 40 years. Yoshimura Kanichirou (Nozomi Fuuto) proposes marriage to Shizu (Maaya Kiho), who, after some teasing, accepts him. They're poor, but happy with each other. She meets Yoshimura's best friend, Oono Jiroemon (Ayakaze Sakina), the lord of their domain, who at one point also wished to marry her. After a short scene with Oono's mother, we skip forward 20 years or so. Yoshimura's mother has just passed, and his son, Kaichirou (Ayami Sera), comes to tell him the news that Shizu has attempted to drown herself. After rushing home, he finds Shizu safe and alive. It comes out she tried to kill herself because she's pregnant again, a third child that they won't be able to feed, they're struggling as it is with the harvests as poor as they are. He'll have to find another way to provide for them, and he resolves to abandon his position as a samurai and join the Shinsengumi in Kyoto.

In Kyoto, we meet the Shinsengumi. The introduce themselves with their theme song (something I have not been able to stop singing). The three most important members are Saitou Hajime, only now with long hair, Hijikata Toshizou (Ayanagi Shou), and Okita Souji (Towaki Sea). They lead the rest of the group in a number excelling how good they are. After some conversation, the group has a photo taken of themselves, one ruined by Tani Sanjuurou (Souno Haruto), a man trying to push his brother to succeed Kondou Isami. He is not popular.

Yoshimura leaves his home, gifted a travel pass to allow him safe passage through the country by Oono. Yoshimura and Shizu sing a duet as they part in the snow, Yoshimura leaving his children and wife behind to ensure they survive another year. Yoshimura swears to return home no matter what and after a really fun song sung by Ai Sumire, he's officially part of the Shinsengumi.

This is one of my favourite scenes in the whole show, it's this chaotic mess of a scene where everyone is doing something fun. Tani is entertaining the crowd, whilst his brother Shuuhei (Manomiya Rui) looks on ashamed. Agachin and Nagakura Shinpachi (Machi Yuuka) are bickering in the background. Yoshimura is running around keeping the sake flowing, and soon sits next to Saitou, who he enthuses about his homeland of Morioka to. Saitou fucking hates him almost instantly. The next scene, Saitou tries to kill him for being a sappy, uneducated, family man from the country, before Yoshimura handily bests him.

The Shinsengumi too, do not approve of Yoshimura. He constantly asks after money, not caring much for propriety, and he doesn’t care much for the senseless violence that most of the Shinsengumi are rather famous for. Back home, we see how Yoshimura’s family is. Shizu, Kaichirou, Mitsu, and the baby have been left in the care of Otora (Satsuki Aina) and Okane (Anno Konnomi), who steal the money Yoshimura sends back. In essence, they’re unhappy, still poor, and often ill. Shizu has to sell a hairpin Yoshimura gave to her in order to pay for the medicine her youngest child needs. All in all, nobody is particularly happy.

Back in Kyoto, Ogawa Shintarou (Kujou Asu), has been accused of theft. Hijikata tries to make Souji, Harada Sanousuke (Tachibana Kou), and Nagakura all take on the role of his second (the person in a seppuku who beheads the one killing himself), but all resist his commands. Saitou argues the one who should act as second should be his division comander, Tani, and Hijikata agrees, but Yoshimura will also aid, given Tani’s reputation. During the seppuku, Ogawa fails to properly cut his stomach open and Tani fails to behead him. After a small scuffle, Yoshimura beheads him (in a truly fantastic bit of design, wherein Asu and Daimon head behind a screen, and by using lighting design, sihlouettes, and sound effects, it genuinely does look like a beheading). Many of the Shinsengumi call for Tani’s death, but as personal disputes are banned in the Shinsengumi, Kondou puts a stop to this. Saitou is not happy. Yoshimura begs Hijikata for more money, and after he leaves, Saitou comes onstage to tell Okita, Harada, and Nagakura his plan to eliminate the man they all hate. Some members of the Shinsengumi have defected, and during a fight they know will be happening soon, they can take advantage of the confusion to execute him and pass his death off as casualty in battle.

After a brief interlude in Morioka, where we hear that Oono is moving to Osaka with his family, and that by and by, Yoshimura’s family are doing well, we come to the Aburakouji incident. Kondou and the Shinsengumi ambush Itou Kashitarou (Kiraha Reo) and Toudou Heisuke (Suwa Saki), who are attempting to asssasinate Kondou. After a scuffle, Yoshimura excecutes both Itou and Toudou, and soon after Saitou assasinates Tani. This leads to my favourite encounter in the whole play, wherin Nagakura and Harada “discover” Tani’s body. They comically overact the whole thing, and Okita and Saitou make some snide comments about how bad of a pair of actors they are.

Following this, we’re introduced to Miyo (also Maaya Kiho), the daughter of the family hosting the Shinsengumi in Kyoto, who’s been in love with Yoshimura for years and wishes to marry him. She wants to convince Kondou and Hijikata to let Yoshimura leave the Shinsengumi and lead a peaceful life.

Saitou comes across Yoshimura investigating the body of Tani, and Yoshimura quite deftly points out that there’s no way Tani could have died in the brawl, and that the only person who could have assasinated him was Saitou (Saitou wields a sword with his left hand, and the wound was inflicted by a left hander). Yoshimura blackmails Saitou into paying him off, and walks away twenty ryou richer. Shuuhei comes on, desperately screaming at the murder four (Saitou, Okita, Nagakura, and Harada) to bring his brother back. Hijikata pays Saitou back the twenty ryou he paid to Yoshimura.

After another of the framing device sections, we come to the marriage interview between Yoshimura and Miyo, Yoshimura clearly completley distressed by the whole affair but too terrified of losing his position to say anything. Hijikata and Kondou speak of their plans to let Yoshimura divorce Shizu, and to leave the Shinsengumi. Yoshimura cannot find the words to reject them, but Ikenami steps in and tells them all how they don’t understand the pains of the common people. Yoshimura slaps him, hugs him, and then leaves, followed by Miyo, who he waxes lyrical to about his wife. This leads into a beautiful tanbata scene, where Yoshimura allows himself for just a second to indulge in hugging Miyo, before the guilt gets the better of him and he runs off.

The people of Kyoto and Oono’s forces in Osaka sing of the troubling times as the Shinsengumi begin their march to Osaka, ending as the curtain rises on the thoroughly beaten and bruised Shinsengumi. After some time, Hijikata orders a retreat which Yoshimura rejects, leading a suicide attack on the government’s forces, during which he is shot and stabbed. He makes his way to his clan’s storehouse, to get permission to return to Morioka to be with his family, and meets Oono there. Oono, bound by his duty, orders him instead to commit seppuku, which he does, after a truly heartwrenching sequence in which Yoshimura counts the money he was going to spend on things for his family. His sword and hair are brought back to his family, and his son resolves to fight alongside Oono in the upcoming conflict. Both die in battle, with Oono dying heartbreakingly so onstage.

We return to the framing device, where the Meiji players contemplate what kind of man Yoshimura was. Ryoujun leads a reprise of Yoshimura and Shizu’s duet, which they take over, as the whole troupe joins in and cherry blossoms finally bloom.

I loved this show a whole lot. A whole whole WHOLE lot. My tastes lie deep in “tragic nihonmono that don’t involve a lot of politics,” “Nozomi Fuuto as a dad,” and “Agata Sen having just The Best Time.” I got all three in SPADES. This show is a character driven one, in my eyes, with the core conflict being internal. Yoshimura does arguably terrible things to keep himself afloat, and to keep providing for his family, and all the while daimon ACHES with this need to return home. Whenever given the chance, he waxes lyrical about how much he loves his homeland, his family, and especially his wife. When dying, the last words he speaks are his wife’s name. Yoshimura loves his family more than anything else in the world and it comes through with literally everything Daimon does. The tragedy is clear from the start, and once the last 15 minuites or so start you know there’s only one ending. But there’s even more beautiful tragedy that I can’t bring myself to spoil that just makes everything worse, more painful.

My biggest issue with the show is the framing device. Whilst I don’t mind it too much, I know others hate it a LOT more than I do, and I get why. Every so often, the Rokumeikan crew will walk along the ginkyo or across the stage and exposit about where certain people were at certain points, and it did have the effect of completely breaking the flow of action and tension. Hime and Agachin stand out as the MVPs of those scenes, but Agachin was only in a few of them and Hime can only do so much alone. I didn’t hate them, but I do get why one might.

Nozomi Fuuto as Yoshimura Kanichirou was fucking fantastic, genuinely one of the best performances i’ve ever seen her bring. She has the unenviable task of delivering a really nuanced, sad character whilst also speaking perfectly in a very strong accent, and does it without breaking a sweat. I don’t have enough good things to say about her accent, by the way. I feel like it could be a touch controversial, and it does make her impossible to understand (my Japanese friends agreed, it’s a HARD one), but it adds so much to her character. Daimon’s face was designed to look good when sad, and this show is no exception, she has a kind of mastery over these faces that just ache lonliness like nobody else in the world does. Her voice as she’s dying is so broken, these little gasps of pain are just sublime and her voice as she’s counting out the coins she’s earned over her six years is so beautifully sad. Her performance is exceptional in how subtle it is. She doesn’t bring anything big or ballistic to the table, she just tries to create a picture of this man desperate to do what’s right for his loved ones and to his own code of honour to the table. His last moments are so desperaetly sad because you know full well he regrets everything he’s done to get there, and in the same breath knows it’s his supposed duty as a samurai to have done what he did. Yoshimura is a hard role and Daimon made him look easy, and carried off the accent too. I can’t imagine anyone else in this role.

Maaya Kiho played two roles in this, and I fucking loved them both. I will say, I wish her role as Shizu had been given a little more weight, but I loved Miyo enough that I can’t stay too angry. She plays Shizu at two points in her life, first young and giddy in love, and then older, married, a mother, and far far more tired. As that younger Shizu she plays her with such life, her Shizu is teasingly affectionate to Yoshimura, but clearly in love with him. On my last performance I noticed that during her first scene, before Yoshimura proposes to her, she’s fixing up her hair and kimono, making herself look as pretty as she can. It’s adorable. As the older Shizu she carries this utter grace with her, world weary and hard done by. Her and Daimon have amazing chemistry together, they play this old married couple so well, both softly amused by their children even when it’s their last moments together. Her maturity is so quiet, so calm, and it’s another half of these two incredibly subtle performances the top combi give. As Miyo she’s a bratty selfish teenager, and it’s her earlier maturity as Shizu that makes Miyo even more entertaining. She’s selfish in that way only spoiled kids are, saying she’s completely in love with Yoshimura when she’s barely shared a conversation with him, and acting as if he’d be perfectly willing to abandon his whole family to marry her. It’s not the biggest role but she imbues it with such grace and charm I can’t help but adore it.

Ayakaze Sakina was unfortunately typecast again as the best friend, and it’s absolutely detremential to her. Oono, in my eyes, is just straight up not an interesting character. His major role is acting as the exposition dumper, and his few scenes of humanising moments don’t work for me like they should because I don’t buy him as a character properly. I want Saki to get a good, interesting role that forces her out of her shell as just the best friend and I’m annoyed she didn’t get it here.

Asami Jun was the nibante, to be frank. Her Saitou was gruff and angry and simmering with barely restrained loathing for Yoshimura, and I fucking loved it. It didn’t blow me away like I think that role could have but Aasa I think tried her damn hardest, biting onto what she got given and trying with all her might. The relationship between Yoshimura and Saitou didn’t land quite as it could have, and I can’t blame all of that on the writing (only a decent chunk of it). Aasa’s Saitou hated Yoshimura too much, which I think made her sudden face turn at the end of the play towards sympathy to Yoshimura feel a little flat, but I’ll be honest, I wasn’t really looking at her during that scene at all (and we’ll get to why soon).

Shou is still our sanbante but it’s entirely in name only at this point. Hijikata is a tiny role, she gets to sit and scowel, and grumble “Mendoksei, mendoksei” at the murder four, and it’s just. Not interesting. And I so wish it was, because I love Shou. She’s quietly endeared, to my eyes, by their nonsense, which I think was perhaps more of Shou than the role, but it was rather fun all the same.

Towaki Sea got a role on the smaller end too, but definitely one bigger than Shou. Okita Souji is a fun role, a violent shitty dude, but also a really fun genki one. Her and Aasa have a really fun dynamic together, really fed up with the bullshit of everyone around them, especially from Yoshimura and Tani, who they hate for very different reasons. Her adlibs with Aasa, Macchi, and Tachi were really fun, and she really played the heart of that group, if a very violent angry one. I don’t know what I CAN say about her Souji, though, because he wasn’t the biggest role in the world. What I can say is that Hitoko is putting her heart and soul into everything, even moreso than I think she was in mura, what with the looming transfer and all.

Aya Ouka was… I don’t think she’s tracked any more. On paper she has a role the same size as Agachin’s but whilst Agachin was taking what she was given and running with it, Ayana was projecting at a brick wall. Ayana played Chiaki, Oono’s son, who I think could have acted as another half of the emotional core of the story, but it would have required a damn sight more than what Ayana was giving. I don’t want to be too harsh on her, but she just wasn’t bringing anything at all to the show. The script wasn’t amazing towards her but I think she well could have made something of it. I know this, because…

Agata Sen fucking DID. I have fallen completely and utterly head over heels with Agata Sen and anyone who knows me knows that fact but I am writing this with as little bias as I can be (but I WAS watching her with opera glasses for literally every show so like. Only so much). Ikenami Rokusaburou also wasn’t a huge role on paper, and could well have been boring and forgettable but Agachin did SO MUCH for it. Ikenami is one of the only survivors of the Shinsengumi, and ends up a police inspector with Saitou. She’s present in the Shinsengumi scenes and ends up forming a very sweet bond with Yoshimura in the process, going from actively antagonising him (with the aim of sucking up to Kondou) to defending him in a really lovely scene, calling out the bullshit of Kondou and Hijikata, and how they just don’t get the struggles of common people. Her line delivery of her speech to Kondou and Hijikata told a story without saying any of it, and it’s absolutely fantastic. And she’s the fucking BEST in the background, I know full well the blu-ray won’t capture any of it but every single day she and Macchi were pulling out new types of bullshit and I think Macchi is going to kill her sometime soon. I love her so very much and she’s going to be Something very very soon. Just you wait.

Kacha was. There. Completely irrelevant and doing nothing for the plot, just awkwardly hanging around during the Rokumeikan scenes. I don’t think anyone enjoyed this role, she didn’t actually DO anything, and I took particular insult to her starting off the finale because there was no emotional reason for her to do so! I didn’t like this role and I can’t imagine her die hard fans did either.

Other people of note

Mana Harutou was a really fun Kondou, playing him as a rather useless leader, stuck in indecision and almost inept at points. It was a nice role, and I hope she keeps getting roles like this, not enormous, but still big. She’s one of my favourites.

Kiraha Reo is still playing two roles in a show (though only one of them matters) and I can’t help but laugh. Itou isn’t the biggest role either, but she gives him a decent amount of depth, clearly holding some resentment towards the Shinsengumi from the start, and dripping with loathing as they take him and his rebellion out.

Kujou Asu gets the worst role of the lot, a nothing samurai who has to commit seppuku and fails terribly at it, but she has a lot of fun running around with her hair loose, covered in blood.

Souno Haruto, our new Kumichou, also having the time of her life as the comedic side relief Tani Sanjuurou. Every day during one scene she’d force Manaharu into a love suicide and every day it had me quietly losing my SHIT. She’s the best.

I’ve wanted better things for Ai Sumire for the longest time and so hearing her get a solo in this? Thank the LORD. she’s a great singer and it’s great we’re using her more.

I just really like Manomiya Rui, y’all? She has the friendliest otome picture and her energy is so nice. She was fun as Shuuhei.

Tachibana Kou and Macchi Yuuka were my absolute favourite part of this show by a country MILE. Comedic side relief and vicious killers all at once. I can’t wait to see how absolutely awful their fake acting gets by raku.

Music Revolution grew on me. It’s a Nakamura revue and it is, to its core, a Nakamura revue, but in my eyes it’s one of his best. Not just because of copious amounts of Agachin but good GRIEF she is a spectacular dancer and this revue shows that off.

The theme song is a complete banger, black and dark grey outfits and some really genuinely tight choreography from Yukigumi. Daimon’s voice could fill the whole theatre without a microphone and so could Kiichan’s and they absolutely owned the show. Daimon seems absurdly full of energy, and it’s REALLY nice to see her leading the troupe having so much fun at the same time. Everyone on the track gets a little moment, even down to Agachin and Ayana, and I can’t help but feel an enormous amount of pride for the whole troupe. I love them, they feel like home so very much.

The revolution scene fucking OWNS. Daimon leads a group of argentinian revolutionaries against the forces of the British army and comes out on top. Everyone’s singing at 200%, especially Maaya motherfucking Kiho, and dancing in really tight formation. They look and sound amazing. Aasa and Hitoko lead the British forces and they also look DAMN good in those red uniforms, and dance REAL good too. I would say it’s my favourite number of the revue but practically every number is, so.

Then comes your standard Nakamura B jazz number, led by Saki with Agachin and Ayana behind her. It’s a really fun couple minutes, just the whole troupe leaping around and dancing, culminating in a fake music duel between Agachin on the trumpet and Ayana on the saxaphone, and it’s super fun! Agachin does this flying leap every day and it’s fucking fantastic, I love watching her dance. Aki and Hime get a duet (a reoccuring feature, and not one I’m mad about, they’re really fun together), and it’s just a really good time.

The chuuzume I couldnt love more. It goes on forever and yet every single kangeki I was sitting in my seat BEAMING when Aasa starts singing and neon lights blast, it was so fun. It goes from one extreme to another with lightining speed, and yukigumi moves in absolute harmony, and it’s just. Great. Every day Daimon, Kiichan, Kacha, Saki, Aasa, and Hitoko find new nonsense to do on the ginkyou as the rest of the troupe goes into the aisles and it’s just such a warm feelgood time I can’t help but be happy watching it.

Hitoko gets a really fun little number, to fucking Pachabel’s Canon, which I went in expecting to hate (as a musician i’ve heard that damn song too many times) but ended up loving (I’m a sucker for electric guitars). Following the transfer announcement the amount of applause Hitoko got for this scene skyrocketed and that’s something I can’t help but love. She’s an excellent dancer (not that i’d know it. Agachin was in that scene. I was looking at her literally every single time).

Inexplicably Nakamura decided to add in a taidan number for Daimon and Kiichan, though I suppose the real taidan is for Hitoko’s heart (poor dear is already starting to crack and will absolutely be a wreck by raku). It’s fun and catchy and it’s nice to see the remaining 89ths have fun together, and for Daimon and Kiichan to just be completely nerdy.

We finally, after two years, have a Daimongumi kuroenbi and it’s absolutely fantastic. Everyone looks stellar in tailcoats, we dance with precicion and order and Daimon sings like nobody’s business. They look good, they sound good, and it’s just. The best.

I adore the duet dance. Daimon and Kiichan gently dance whilst Ai Sumire sings and it’s just overall really really nice. It’s almost ethereal, purple outfits and a shit ton of smoke and Daimon and Kiichan clearly just. Adore each other. Their freindship is clearly so strong and sweet and they really suit each other.

I loved this whole show. Whilst I think I prefer Hikarifuru as a show, this takes the cake for my favourite pairing of shows. They’re both super strong and I can’t help but love the shit out of them. Daimon and Kiichan’s chemistry feels so easy and comfortable, two people who just Get Each Other, and it’s so nice to see them play off each other. I wish Kiichan had more to do, but like. She deserves everything. Fingers crossed our next revue does right by her (please give us an Uekumi revue i’m BEGGING you).

#takarazuka #yukigumi #nozomi fuuto #maaya kiho #ayakaze sakina #my reviews #this is long and not proofread and goes from highly analytical to me crushing on agata sen you cannot make me change or stop #also dont read if you dont want spoilers for this show ajdknjasd it is spoiler heavy

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zacekova · 7 years

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Rules: List the first lines of your last 20 fics (or however many you have altogether) see if there are any patterns. Then, tag some of your fave authors.

I was tagged by @pinkheichou and you can find all of these works on my AO3 (also onoheiwa)

I tag @sabraeal @superhappybubbleslove @hello-my-stars @infinitelystrangemachinex and @archaicsextoy

1. Put Your Arms Around Me (Mitsuana)

The whetstone rasped its sharp tone around the room, creeping into the corners and along the floor as he ran it over the edge of the blade. Repetitive.

2. The Ship Story (SNK - multiple pairings)

“Well I caught th' jim laddie in th' middle 'o a right indecent meetin’ wit' that horse-faced arsehole.” “...What?” Just because Levi was a pirate, didn’t mean he could understand a damn word the man was saying.

3. It’ll Be Okay (ANS)

The phone ringing caught her by surprise, the sun having just cleared the horizon, and she answered the call without checking to see who it was. “Hello?” “Yuki? It’s Dad.”

4. Drink of the Night (Obiyuki)

One of the best things about bars, Shirayuki thought, was the strict adherence to a stereotypical aesthetic; not even the brightest of blushes on her pale skin was significantly noticeable in the dim lighting. She sent up a prayer of thanks to the gods of the night scene for watching over her.

5. Important (Captain Harlock/Logan )

Swirls of blue and green trailed past the window like brush strokes, fading into the darkness of space and reforming again from one moment to the next. Tendrils wove around one another in a graceful dance, an ebb and a flow; together and apart once more.

6. Legacy (Voltron)

Sweat dripped down the side of Keith’s face, sticking his hair to his neck and sliding under the collar of his shirt. He swung his bayard again.

7. Now I Just Can’t Hide It (Obiyuki)

A knock at the door pulled Shirayuki back to awareness of her surroundings and dragging her attention away from the herbal text she was poring over.

8. A Good Knight (Obiyuki)

“We’ve just received word from Prince Raj,” Mukaze was saying. “It seems that he and the Princes of Clarines have reached an agreement on how to solidify the bonds between our two kingdoms. He wants to meet with us to discuss the terms.”

9. Wish I’d Stayed Inside My Mother (TRC)

Colossal wardens loom with grins like teeth and gravestones and he, dragging body after body in diminutive fists to their feet, piles them as high as he can climb and it is arduous with the thousandth, as so with the first.

10. Older Than I Look (Kurofai)

The first time Sakura brought up the problem of birthdays, Fai stayed quiet.

11. Good Morning (Harlock x Logan)

Harlock woke slowly, the warmth trapped beneath the blankets singing to him softly and alluringly that waking up was simply unnecessary. The siren call was tempting and he rolled over to burrow more deeply into the covers, sheets wrapped around his toes and the plethora of pillows caging him in.

12. The Phoenix and the Komainu (Kurofai)

The trenches stank – the blood, excrement, and sweat sloshing over Kurogane’s boots and the acrid smoke lingering thickly from the burning bodies stung his eyes and nose.

13. The Phoenix of Fire, The Immortal Bird (TRC)

Sit quietly, dear children, and let me tell you the tale of how the great Phoenix of Fire died.

14. Best Years of Our Lives (Kurofai)

“Fai-sama, Lord Suwa has returned from his morning rounds. He says he is ready to leave whenever you are.” Fai looked up from the bed of flowers he was tending with a nod. “Thank you, Saki-san.”

15. Morning Moon (Kurofai)

The world of Nihon was quiet, peaceful. Princess Tomoyo said it was because of the season - when the cherry trees bloomed everyone became more reflective and kind in an effort to maintain the beauty, to appreciate it and make it last. The memories born during the short days in early spring were just as sweet as the gentle scent of the blossoms.

16. Donuts and Phone Numbers (Kurofai)

“Yuui? Yuui, where did you go?” Fai called out, restraining himself from running along the aisles, but just barely.

17. Uncommon Lullaby (Kurofai)

Kurogane’s eyes fluttered as a quiet voice filtered through his cloudy mind and roused him, just a little, from his fast descent into sleep.

18. It Ends in Blood (TRC)��

I know how it all ends. I know. I simply forgot how it began.

19. One By One, They’ll Come Undone (Kurofai)

Kurogane planted himself firmly on one of the tall stools and flagged down the bartender. “Whiskey.”

20. Volcanic Wood and a Pliable Figure (Reicon)

Reiner finished scrubbing the sweat out of his hair and off his neck and rubbed down with one of the towels that always hung by the sinks in the bathhouse. The fabric was scratchy but clean and it smelled like springtime - liquid and green and alive. He inhaled deeply for a moment before hanging it neatly back on its hook and walking out into the open air.

#I mostly start by setting up the scene visually #which makes sense #since i'm a visual learner #the second go-to is always dialogue #there are a few deviants from the norm #not many #those are usually my more unique works #and the ones that i think are not as good usually

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zukadiary · 5 years

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On The Twentieth Century ~ Snow Troupe 2019

Oh boy. Oh dear. If you'd like some background, here is a fairly comprehensive Wikipedia summary, but since all signs point to this show disappearing forever (a tragedy), I will do my best to go through it roughly scene by scene in hopes of extending the memory.

“Perfect” is a word I’m still reserving for A-cast West Side Story ‘18, but boy is this close. It’s exactly what I’ve been waiting for, what in my wildest dreams I wanted Daimongumi to be, and feared it might never be. It’s hands down the best time I’ve had with my beloved Yukigumi since Chigi retired, and god I hope they continue on something even VAGUELY resembling this trajectory (tragic nihonmono, not optimistic, but,,,). I hope I can convey even a fraction of the joy that is this show.

Firstly, although it is the site of the first time I ever saw Komu live and thus a house of very treasured memories, I do NOT objectively like Theatre Orb. The third floor is too high for musical theater, the back of the second floor should not be A-seki, and the sound is abysmal. Unless you’re close to the front on the first floor, the instrumentals overpower the vocals, and everywhere I sat, including a pretty good S, there was an unpleasant echo. Like, if you can tamp down the power of DAIMON’S voice, something is wrong with your acoustics. The only time I had an improved experience I was on the extreme side of the 4th row and basically hugging a speaker, but if that’s the range for decent audio it’s a problem. And for some of the impressive songs in this show (and also just for Japanese comprehension of the speedy dialogue), it was a shame.

Everything else was outstanding. I can’t describe how WONDERFUL it was to hear Yukigumi, the tragedy troupe no one asked for, get not just giggles but consistent roaring laughter again. The overall casting—both in taking a chance on giving this troupe this show, and assigning roles to some maybe unexpected people—was brilliant. I’ll get more into the individual performances as I go through the story, but in quick summary:

Maaya was absolutely the star, in both the weight of her role and the extremely satisfying application of her many talents. Lily is, in my opinion, unquestionably the crown jewel of her Takarazuka career so far, and if something ever tops it we’ll be luckier than anyone has any right to be. I’d kill for more of this treatment going forward; she’s talented enough to carry a show, and I think the dynamic of the entire troupe improves when she’s in this strong of a position.

Daimon, whom I love to death, was SO above and beyond what even I thought she’d be able to do with a comedy; I always suspected she could pull it off IF she had the perfect formula of support (which I wasn’t confident the current Yukigumi lineup could give her), but she was SO good and SO in charge and SUCH a tone-setter for the entire comedic situation, I was truly blown away.

Owen and Oliver are in my opinion the juiciest roles after Lily and Oscar, but maneuvering around rank to cast Aasa and Manaharu was brilliant. Aasa has been average for me after leaving a huge impression in Robespierre, but her performance as Owen was back to MVP status, and Oliver is an absolute jackpot role for Manaharu, who rarely gets to do much of anything.

I wouldn’t have wanted to see Saki in any role but Bruce; he’s the big dumb just-a-pretty-face movie star, the butt of many jokes and the most slapstick of all the roles, and her exaggerated physicality was I think better suited to that style of comedy than the quick banter in the Oscar/Owen/Oliver group (also, for the sake of their dynamic, I wouldn’t have wanted Bruce to be someone physically smaller than Oscar).

That put Shou, who conceivably could have been cast higher, in the leftover train conductor role. It’s not as exciting a part, but it was perfect if only to clear the way for the other casting choices. She got to be the center of several musical numbers, and she got to tap dance!

After a little introductory tap number by the four main train boys (Tachibana, Suwa, Manomiya, and Seika), the show opens with famous Broadway producer Oscar Jaffe’s right hand men, Owen (Asami Jun) and Oliver (Mana Haruto), running from an angry mob of unpaid theater crew from Oscar's most recent abysmally failed production (again!). They all but crash into Daimon cameoing Al Capone (because Chicago in the 20s!) as he’s escorted away by a policeman. Owen is more laid back and pretty much always drunk; Oliver is high strung and also prone to drinking. As far as my off-the-cuff brain will take me, Aasa and Manaharu have not had much experience playing off each other, but they worked SO well together. They were so funny, so in sync, perfect foils for each other’s characters, even physically similar enough that they just really looked like a matching set of long-suffering assistants. Since Owen and Oliver don’t have any money, they give the angry mob the slip, and read a note from Oscar instructing them to meet him on the 20th Century Limited, a 16-hour luxury train ride from Chicago to New York, and secure Drawing Room A. Then we go into the prologue number (pics are from the little bit of digest video and like one online article they gave us).

Although in retrospect I think it kind of subconsciously stressed me out the first viewing, I LOVED the music and choreography in this. Almost all the numbers mimic the rhythm of a train chugging along, and much of the choreography—when it isn’t just tap literally designed to sound like a train—has a feeling of commuter busyness to it. It wasn’t just on theme, it also enhanced the chaotic screwball atmosphere.

Owen and Oliver board the train to find Drawing Room A occupied. When their best middle-aged-white-lady-insisting-to-speak-to-a-manager voices claiming (falsely) that they booked the room weeks ago failed to work on the train staff, they deduce from some nearby luggage that Drawing Room A’s occupant is Congressman Lockwood (Touma Kazuki in a hilariously disgusting fat suit and combover with her shirt sticking out of her pants at all angles) reserved under a fake name. Suspicious, Owen and Oliver burst into the room under the pretense of delivering said luggage and catch the congressman fondling his much younger secretary (Sara Anna). They win the room by threatening to leak what they saw if he doesn’t leave—Riisha scrambling around in such a disheveled huff while Aasa loudly counts down from ten. Score! But just then the train starts moving and Oscar is still nowhere to be found.

Whoops. He loses his hat, Owen and Oliver pull him through the window, and despite his abject failures in both life and train boarding, he lands dramatically front and center, all pomp and ego, waxing lyrical about the glory awaiting them in New York. Poor Oliver, despite being generally more sober and organized, is also more abused.

Daimon, always so delicately pretty and deeply sad, nailed Oscar so hard I don’t have nearly enough words for it. Her eye makeup was stern and crazy (and pretty monochromatic, nice touch for the 20s vibe), her mustache was GROSS, her neurotic mannerisms were so on point and so funny. She AD LIBBED!! WELL!! I was CRYING of laughter on senshuuraku, and she wasn’t just reacting; she was DOING THE AD LIBBING. The way she fidgeted and flailed and whimpered and yelled and modulated her voice WAY high and back down again to drag us though Oscar’s manic journey was just soooooo perfect. Not that I had any doubt she’d kill the songs, but they were hard, so it was all the more impressive. As perfect as Aasa and Manaharu were together, the three of them played flawlessly off of each other too.

Interrupting Owen and Oliver’s failing attempts to convince Oscar that they are in fact heading for insolvency rather than glory, the conductor informs the passengers that they are approaching Englewood and Oscar flips out. He reveals actress Lily Garland, his former protégé and lover, is boarding there and will be staying in Drawing Room B. He gleaned this information from a bellboy who told a maid and stalked Lily onto the train without her knowledge, but insists that in the 16 hours to NY he’ll be able to convince her to star in his next show, solving his financial problems. Owen and Oliver are Stressed.

This leads into my absolute favorite progression of scenes: a flashback introducing how Lily and Oscar came to meet. Oscar is auditioning Imelda Thornton (the goddess Satsuki Aina) for the role of Veronique, a Parisian street singer who refuses to sleep with Otto Von Bismarck so he attacks Paris and starts the Franco-Prussian war as revenge (men!). If only the photos from this scene showed the parts I want; Daimon was SO funny. Imagine like, the face you make when you try to give yourself 8 chins and take the ugliest low-angle selfie you can. Daimon was that + a thousand-yard stare of skepticism, fidgeting neurotically and tapping the arms of the director’s chair, with Oliver and Owen standing behind, simultaneously goofing off and keeping things running smoothly. Also in the picture at this point: Max Jacobs (Agata Sen), a successful Hollywood producer trying to sign Lily in the present, but in the flashback, Oscar’s (later fired) useless assistant who can’t even take Imelda’s coat correctly. Imelda, an all-ego-no-talent diva, is freaking out because her regular pianist was sick so she had to hire a substitute last minute and she’s late. Enter now Midred/soon to be Lily (Maaya) through the audience, in oversized glasses, tacky pink house dress, and matching hair cap, dropping her sheet music all over the place. Imelda is furious, Oscar is disgruntled, Max is Stressed. Mildred sits down at the piano, Imelda declares she’s going to sing “The Indian Maiden’s Lament,” and tries to begin but Mildred is still dramatically warming up her hands and shoulders. Finally she gives the ok and starts playing something completely different (Imelda, furious; Oscar, melting into a pile of gooey discontent).

Take 2, Mildred begins playing the correct song beautifully, while Imelda sings horrendously and Oscar tries violently and wordlessly to convey to Owen and Oliver in moments of Imelda’s averted gaze that they need to stop this somehow. Imelda hits a sour note that’s just the last straw for Mildred, and she stops playing and corrects her (gorgeously, flawlessly, Maaya’s voice is a treasure). Imelda, flustered, thanks her and tries again, but isn’t any better. Mildred keeps stopping and correcting her, eventually just singing the end of the song herself, while Oscar, moving his chair closer with hilarious little Flintstone car footsteps, stares at her agape and then gives her a standing ovation. Imelda loses her cool and fires Mildred on the spot for ruining her audition; Mildred hulks out and demands her pay for the day plus train fare (Oscar, fully Team Mildred at this point, is mimicking all her movements behind her). Imelda pays and storms off, telling her assistant to call her an ambulance. Just as Mildred starts packing her things to go, Oscar declares he wants her for Veronique and asks her name.

I wish I could share with you all the sound that both of them made saying “Mildred Plotka,” pronounced “Mildred BLEGCH” with copious spit. I’m embarrassed to admit I just spent a good 30 minutes? trying to chase down a vivid childhood memory—I was 11, and watching Spaceballs on TV with my bff, and in the combing the desert scene they censored “we ain’t found shit” not with a bleep but with some absurd SCHMUSCHSG noise, and my bff and I laughed for approximately 8 days, because we were 11 and probably eating Gushers—and in my memory this and Mildred BLEGCH were the exact same sound, and I wanted you to experience it so much I watched every combing the desert clip on youtube fruitlessly, hoping one would be this exact censorship (sorry... I’m just... Daimon was funny??? and I’m very emotional about it????). Anyway, since no one can say Mildred BLEGCH, Oscar decides her new name will be Lily Garland. After some hemming and hawing about not being an actress, Lily decides to give it a shot. The house dress tears away and we have the snazzy number “Veronique.”

Maaya was absolutely brilliant throughout the entire show, but this number hit me extra hard. Not only was she exceptional vocally through a very challenging song (dancing all the while), but her aura of a freshly hatched starlet, packed with youth and hope and freshness and naiveté and raw unpolished talent, contrasted so vividly with the successful Hollywood actress still fueled by Mildred Plotka spitfire that we see in the rest of the show; I found it VERY striking. It was subtle but so effective and truly masterful acting. Veronique ends, Daimon re-enters from the audience and tosses a bouquet (the first time I saw it she missed the stage, and Maaya, fully in character and without missing a beat, just parkour’d off the stage and grabbed it and hopped back on), and we’re ushered back into the present.

The conductor enters Oscar’s room to inform everyone that a religious nut is vandalizing the train with REPENT FOR THE TIME IS AT HAND stickers, but not to worry because they’re doing everything they can to catch the culprit; and to drop off a play that he’s written about a day in the life of a conductor (to Oscar’s annoyance). Then the train arrives at Englewood station, and Lily boards with a flurry of paparazzi, her assistant Agnes (Chikaze Karen), and her attention-whoring movie actor boyfriend Bruce (Ayakaze Sakina). Maaya (in a GORGEOUS dress) is instantly the Hollywood diva instead of the wide-eyed starlet; Saki is the comic relief in what’s already a screwball comedy. Oscar is a terrible person, so if you can imagine how big and dumb and sappy and suffocating and clumsy Bruce has to be to make you root for Oscar, Saki was all that.

The two lovebirds put on quite a show of excessive PDA for the photographers while Agnes rolls her eyes, until it’s time for Bruce to leave the train.

Lily falls to the floor dramatically, wailing oh WHAT will I do without him, when Bruce bursts back into the room, declaring he can’t possibly let the love of his life go to NY all by herself (Lily, all sorrow a minute before, is not 2 seconds later annoyed to see him). So he’s now along for the ride to witness Oscar’s whole scheme.

Owen and Oliver, trying to take matters into their own hands, show up in Lily’s room to beg her sincerely to do a play with Oscar, hoping she’ll pity him and his dire financial situation enough to do him a favor.

Lily sings a whole song about how that’s never ever ever going to happen, and Bruce freaks out to learn that Oscar is on the train. Lily insists they have no romantic history, and then immediately lights up when she hears Oscar’s voice in her head. They sing a lovey duet representing that they’re still clearly both on each other’s minds. Despite the comedic and not at all tender nature of this show, and the love-hate relationship between these two characters, Daimon and Maaya’s chemistry, in my opinion, has never been better. I wouldn’t have thought it would take playing two self-centered assholes who both despise and desperately want each other to send the sparks flying, but BOY did it do the trick.

Meanwhile, the REPENT sticker situation is getting worse, and the audience at this point realizes that the culprit is the unassuming little old Letitia Primrose—played brilliantly by Kyou Misa.

She sings about how she’s taken it as her mission to encourage young people to repent for their sins.

Oscar hears from Owen and Oliver that Lily is with Bruce and is despondent; he declares that he still loves her will definitely steal her back from both him and Hollywood. Oliver is fed up with his nonsense and tells Oscar he’s off his rocker (bless Manaharu and her ability to simultaneously look like a squirrelly little dude in her suit and bowtie and also not only stand up to Daimon but rile her up and get even more out of her). They get into a big fight and as Oliver storms out of the room, Oscar notices a giant REPENT sticker on Oliver’s back and chases after him to remove it. When he removes and reads it, he’s struck with divine inspiration for a new play about Mary Magdalene, a part so good Lily can’t possibly resist it.

Oscar is so sure this will work he instructs Owen to go buy him a bible so he can start writing the script immediately. Owen reminds Oscar that the train is in fact moving and they can’t really do anything at all, when they see Ms. Primrose’s bible on a chair (and all fall dramatically to the ground). Oscar takes that as a second miracle, insisting this means there will be a third, and Owen and Oliver agree to play along with his demands.

Oscar, now filled with renewed confidence, and Bruce, just as big and dumb as ever, sing a duet about how Lily is theirs (not at each other, separately in their own rooms). Both of them are just awful men.

While the two of them are non-confrontationally fighting over the same woman, Owen is in the bar trying to write a press release about the triumphant return of golden duo Oscar Jaffee and Lily Garland. Ms. Primrose picks up a crumpled draft from the floor and muses that she’d love nothing more than to sponsor some big artistic project. That gets Owen’s attention, and she reveals to him that she runs a patent medicine company and doesn’t know what to do with all her money. Owen calls to Oliver that they’ve found their third miracle!

Back in her room, Lily emerges in lime green negligee, to Bruce’s delight. Things are just getting uh sexy I guess when Oscar interrupts them and actually confronts Lily for the first time.

Bruce is furious that Lily lied about her history with Oscar, who is sitting on the couch in back of the room drinking their champagne and eating all the olives out of their martini glass as they argue. Bruce eventually storms off, slapping his headshot onto the wall as he leaves the room (Oscar immediately stands and tears it up). Lily sits down on the couch, now arguing with Oscar and angrily joining him in eating olives. Their hands touch going for the glass at the same time; Lily sternly tells him to let her go but then turns around and caresses her hand happily. Oscar takes this moment to spring his play idea on her; Lily reveals that she heard the whole story of his bankruptcy from Owen and Oliver and tells him she’s on her way to NY to sign with a reliable producer (the formerly useless Max Jacobs who Oscar himself fired). Realizing he’s out of game, Oscar starts hurling insults and they sing another spark-flying duet—Lily insisting she has everything, and Oscar insisting movies are beneath her talents and she’ll rot in Hollywood and fall into obscurity.

Lily eventually kicks Oscar out, EARNESTLY throwing and smashing a champagne bottle against the door behind him. Oscar, without even taking a breath between Lily’s room and his, screams at his two traitors for ruining his plan and strangles poor Oliver (on senshuuraku Daimon held on for a comically long time, and Manaharu, refusing to concede that ad lib, then played dead on the floor for a good minute). Oliver and Owen save their own asses by telling Oscar about the sponsor they managed to find on board, and THAT’S ACT ONE (right before curtain, we see a tiny little plane labeled “Max Jacobs” flying above the train).

During the big ensemble number (”Life is Like a Train”) that opens act 2 we discover that the train is now absolutely covered in REPENT stickers, then Owen and Oliver take Oscar to meet Ms. Primrose.

I can’t stress enough how delightful Kyou Misa was, the perfect little ostensibly earnest but just subtly batty old lady; the way she stiffly hobbled around was adorable too. Ms. Primrose is thrilled to work with the great Oscar Jaffee, and even more thrilled to share the story of Mary Magdalene with the world, and asks him how much money he needs. Oscar nervously asks for $20,000, at which Ms. Primrose balks that that CAN’T possibly be enough and writes a check for $200,000. Oscar, Owen, and Oliver giddily sing “Five Zeros” in a manner not unlike Scrooge McDuck swimming in his gold coins, and over the course of the song Ms. Primrose bumps it up to $20,000,000 (in the 1920s!). Now they’re sure they’ll be able to lure Lily back.

Oscar is about to go grab Lily and introduce her to Ms. Primrose when the train doctor Dr. Johnson (Kujou Asu) busts into his room with yet another manuscript (A day in the life of a doctor!). I mention this mostly because a) I LOVE ASU DEEPLY, she is so underused, and b) the three musketeers leverage this manuscript situation later on in my other favorite scene. They get rid of Johnson and Oscar finds that Lily wants to see him also. She sits him down and asks Bruce to give them some time alone (on his way out, he goes to replace his torn head shot with a new one that comically unfolds into five headshots before Oscar violently chases him the rest of the way out the door). Oscar is fuming, and Lily tenderly asks him to sit, which he does with a grumpy face and a flamboyant kick as he reluctantly crosses his legs on the sofa. Lily explains that she’s embarrassed by her behavior so far, is so grateful to Oscar for her career, and wants to help him after all... so she reaches into her bra and pulls out a check for $35 so at least he’s not dead broke. Oscar, amused, stands up and, acting as if he’s a magician, folds up the $35 check and dramatically asks Lily to blow on his hand. Out comes the $20,000,000 check.

Oscar ushers Lily into his room to prove to her that Ms. Primrose is in fact a real person who wants to sponsor his new play, if she’ll star in it. Lily, despite still generally feeling like she’d rather die than work with Oscar again, is now enticed both by the role of Mary Magdalene, which is much juicier than what she’s been allowed to do on screen, and the prospect of raking in this much money without being beholden to the jerks who run Hollywood. Faithful Oliver has already prepared a contract, and we get “Sign It Lily,” probably both the most difficult/impressive song and biggest earworm of the show. Not the best version but here, have a listen.

Oscar, Owen, Oliver, and Ms. Primrose are all bombarding Lily trying to get her to put her name on the thing (I truly don’t know when Daimon breathes), while simultaneously trying to keep Bruce and his contrary agenda out of the room (Saki gets repeatedly slammed into doors and walls, closed into closets, suffocated with pillows, etc). Lily gets overwhelmed and runs back to her room, pursued by a cocky triumphant Bruce, who yells behind him that they’ll never get her back away from movies.

Oscar gets a lightbulb moment at the word movie, and the team files one by one back into Lily’s room, smashing Bruce in the head with the door each time. Oscar tells Lily that if she agrees to do the play, he’ll shop the movie rights to whatever studio she wants (to which Ms. Primrose responds WHY BOTHER, she’ll fund the movie too). That pushes her over to yes, and she takes the contract to read carefully. The conductor enters the room notifies everyone that they are approaching Cleveland, and that Ms. Primrose’s nephew and his wife sent a telegram ahead that they’d be boarding the train there to meet her. She turns cold and hurries off alone.

Owen, out for a celebratory entire bottle of wine, coincidentally runs into Ms. Primrose’s nephew (Machi Yuuka), who is frantically searching for his aunt. He says she hasn’t been all there since she stepped down from her position as company president, and just escaped from her mental institution. Owen asks about her money, the nephew says there is none, and Owen realizes they’re fucked.

In the frantic search for the missing Ms. Primrose, Bruce overhears Owen breaking the news to Oscar and Oliver, and tells Lily that Oscar deceived her again. She’s furious, and Oscar probably only escapes with his life because just at that exact moment, the formerly useless and fired but currently hot and successful Max Jacobs bursts through the door (Oscar yells MAX JACOBS like he’s going to burst every single blood vessel in his head and neck).

Max hopped a private plane to Cleveland to meet the train, because he has a brand new play written just for Lily (called “Babette”), and he’s so excited he can’t wait for her to get all the way to New York. Babette is a glamorous high society type role about a woman in love with two men. Lily starts reading the script, but finds herself wondering out loud if it can be changed to be more like Oscar’s. Max is incredulous and starts trash talking Oscar, and Lily slaps him REAL HARD in the face. She then catches herself yet again and and asks to be left alone to read the Babette script more carefully.

We’re taken to Lily’s wistful daydream of a classy party taking place in the Babette universe as she tries to wrap her head around the show and imagine herself in the title role. But she finds it dull, and every few pages, she has an intrusive thought about the more inspiring Mary Magdalene—one minute she’s milling through the impeccably dressed party guests, and the next she’s face to face with Owen or Oliver or Ms. Primrose dressed like an Apostle, until finally Oscar dressed as Calaf Jesus crashes the whole thing from behind.

(Yup that’s a screenshot of the bromide sample page).

But Lily brings herself to her senses yet again, drives away all thoughts of Oscar, and agrees to sign with Max.

Oscar has lost and he’s despondent. He walks into the train bar to find Oliver sulking behind Owen who is passed out drunk in a chair. He takes out a gun (Oliver tries frantically to wake Owen), and begins a melodramatic monologue about how it’s better just to end his life now because no one wants to see him become a beggar in times square.

Daimon hilariously mimes Oscar begging, then people throwing garbage at him, then dodging the thrown bits (on senshuuraku Aasa and Manaharu joined in with pretending to throw things). Eventually he leaves the room in despair, and Oliver asks Owen if he thinks boss would really kill himself. Owen is in the middle of saying absolutely no way when they hear a gunshot and run into the next room.

Oscar, now in a comical panic rather than a depression, is clutching his side and gasping that he’s been shot, and the heretofore still missing Ms. Primrose is in the corner of the room holding the gun by her fingertips, crying that she was just trying to put it away when it went off.

Oliver runs to get Dr. Johnson while Owen tends to Oscar who is (again, comically) writhing in a chair and complaining that being shot by a crazy granny is not how he wanted to go, and this is my second favorite progression of scenes.

Owen offers to call the pastor for Oscar (who, by the way, cannot identify WHERE he has been shot), and Oscar gets mad. Owen then offers him ice cream. Oliver sticks his head back in the door to ask of Oscar is dead yet. Owen says not yet and brings in Dr. Johnson (Asu, my love) who at first giggles and assumes that because it’s Mr. Jaffee he’s just acting. Owen and Oliver assure him this is real, and begin moaning and wailing as Dr. Johnson examines Oscar in earnest.

He stands up, and Owen and Oliver take this to mean it’s a hopeless case, and it’s time for them to say goodbye. On senshuuraku, Daimon verrrrrrrrry slowly slid all the way down the chair, so that Aasa had to hold her up by the arms to keep her from wiping out, AND had to kick her foot to a lower step of the stage so she could stand up again. The raku digest thankfully shows a bit of this, along with the Matrix move Daimon had to pull to jump to her feet when Dr. Johnson declares that Oscar hasn’t been shot at all.

(It does not, however, convey how drawn out and hilarious this was, nor does it show the chair then toppling onto poor Aasa, and it taking her at least 3 tries to get it off her again).

Oscar then gets another harebrained idea, and tells Dr. Johnson that he read his manuscript from before and that it’s SO GOOD he wants to give him an acting lesson right then and there. Dr. Johnson is stoked. Oscar tells him to just sit in the chair, stare at him solemnly, and shake his head back and forth if anyone looks at him (Asu, over the next few minutes, gives what my admittedly biased heart firmly believes is the award winning performance of the show). Oliver and Owen are to pretend Oscar is dying. The cherry on top of senshuuraku was in the moment before this all commenced, Daimon, immediately after the chair debacle, took an extra long pause before delivering (completely straight-faced) her usual line of “I don’t want to see any hammy acting,” after which the others took a comically long pause before replying, “Yep.”

Dr. Johnson takes his place in the formerly toppled chair, Oscar grabs a pillow and lays down on the floor, Oliver and Owen go fetch Lily and start wailing again. Agnes and Bruce also follow Lily into the room and start crying themselves at the sight of Oscar “dying” on the floor. Dr. Johnson looks around from person to person in a panic and starts hyperventilating. Owen and Oliver mime at him to look sadder, Asu licks her finger and dabs tears on her cheeks and then makes the dumbest crying face I’ve ever seen, shaking her head increasingly aggressively each time someone in the room looks at her. Daimon and Maaya are weepily singing “Lilyyyyyyyy, Oscaaaaarrrr” back and forth for deadass three entire minutes. I can’t believe how much vocal control Daimon has even lying on her back on the damn floor.

Lily eventually signs the contract as Oscar’s dying wish. When Max enters the room, Oscar immediately jumps up to rub it in his face, and Lily once again is furious at being deceived. Oscar claims that with no money to offer, the only way he could rescue her from a rotted career was through trickery. **I FORGOT BECAUSE I FINISHED THIS AT 6AM AFTER BEING UP ALL NIGHT that Lily gets the last word because she hasn’t actually signed her name at all but written PETER RABBIT. They throw things and hurl vicious insults at each other and then finally realize they’re just too hot for each other after all and throw open their arms and get married.

The finale opened with Agata in a top hat and tails dancing with a stick and a bunch of musumeyaku, then there was a huge golden group tap number and a lovely waltz for the duet dance.

I’ve been pretty upset that I had to miss BeruBara 45 and that I booked the trip I’m currently on before finding out Komu and Wataru would be returning to Bow Hall this summer, but being able to see this, especially since we’ll never see it again, was so so worth it. It was certainly a much needed boost for me personally, and it seems like it was a boost for the troupe and for Daimon and Maaya as a combi as well. I’m always torn about Broadway shows like this, because they’re SO good, and I WANT them to take on these kinds of challenges, especially when the result is so spectacular, but it’s such a bummer when they disappear forever. Many points to Harada for fitting this weird musical to Yukigumi like a perfect cozy little glove.

#takarazuka #reviews #on the 20th century #actual longest review ever #I didn't proofread it #I don't even want to read it #am i 東宝組 now 19

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