#this was gonna be my warmup but ended up taking a lot longer than intended

[fishpea]

zooble 360 noscoping jax after he wrapped gangle around a Christmas tree

tropple headed pin-sniping noob

[zukadiary]

Mugen Musou / Krung Thep ~ Moon Troupe 2019

Over the length of my trip I saw a pretty fair cross section of this show—way back in mid-March pre-Krung Thep changes in Takarazuka; the live viewing of Takarazuka raku with Miya’s sayonara show included; and last week in Tokyo, the first full day of Reiko’s absence with the cast changes in place. 

I solidly did not enjoy Mugen Musou. I love Tamaki’s Tsukigumi, I love Miya Rurika and was so glad I had the opportunity to see her last show, and no one’s treatment in Mugen Musou was able to save it for me. I think perhaps if you read and enjoyed the novel, and also love Tsukigumi, there’s a decent chance that you’ll like this. I did not read the novel, and it felt very much like I had to as a prerequisite. 

There was an awful lot jammed into an hour and a half. The flow of the show bothered me; there were so many scenes, they changed so quickly, and none of them felt very substantial to me. In Saito-sensei’s attempt to cover as much plot as humanly possible, I think he lost the characters; while I understood generally what was going on, I did not immediately get who many of the characters were, how they knew each other, or why many of them were doing what they were doing. 

That provided a poor setup for my biggest gripe: I recognize that I am an American, and I am not necessarily the intended audience, and that this is certainly a big part of Japanese history and culture, but in the year 2019, the whole samurai honor I-must-kill-everyone-just-to-prove-I’m-strongest thing is not very compelling to me. If accompanied by moving character relationships (which, I hear, the novel has in spades), I can definitely give it a pass; but in the absence of onstage character development, that as the standalone force driving the story was simply not interesting or relatable enough to me to be enjoyable.

With a few exceptions—and this probably just goes back to the overall lack of character development—I thought most of the characters were ill fitted to their actresses. I don’t even think anyone did a poor job, everyone really gave it their best effort; my hang up lies entirely with the directorial choices, and I guess the choice of this show in general. I find Tamaki the most charming when she’s fully in wholesome ideal husband mode. I finally watched Elisabeth recently and liked her Tod a lot more than I expected also, so that was a fair out-of-the-box choice for her. The samurai with something to prove for no good reason other than that he’s embarrassed about his dad did not hit me where I want Tamaki to hit me. Otsu is not really presented with much depth; she’s pretty demure, and she spends the whole show waiting around for men to come back to her and gets sad when they break their promises. I was hoping we’d get something that would allow Sakura to show off her strengths a little more in her Grand Theater debut (although she did play the flute for real). I wanted more pining between Otsu and Musashi, but I didn’t really get it, and what there was seemed kind of one-sided on Otsu’s part. Kojiro, too, was one-note; I’m not sure what there was to him other than “the strongest dude” (oh, and he wears a cross, so he’s CHRISTIAN. That’s BACKSTORY). Miya did her damnedest, and she did manage a kind of cold sexy anime boy vibe, but again, especially for her last show, this was just not the kind of character I most enjoy seeing her play, nor did it play to her strengths in my opinion (with truly all the love in my heart for this woman, I have to say she cannot swordplay her way out of a wet paper bag). On my first viewing I thought Ari was the villain, but after the other two I don’t think there even is a villain; Ari seems to be just a stern guy from a dojo (that Musashi passed through when he was weak and thus *had to* defeat in its entirety when he got strong). Again, I don’t really know what his motivation was, and the character didn’t show off any of Ari’s charms, or challenge her in a meaningful way to try something different. Very few other people got roles substantial enough to be worth mentioning. 

I DID enjoy some specific things:

Reiko’s character, Matahachi, was my favorite, and her portrayal was my favorite. Matahachi had personality, and amidst all this very serious samurai glory business going on, he had sort of his own contrary subplot that I found much more entertaining. He’s a loyal friend to Musashi, but also lazy, kinda dumb, and utterly useless. He runs away from home with Musashi in the beginning, but while Musashi is off on his quest for ultimate strength, Matahachi pretty much gives up, spends a lot of time sleeping in a brothel, has to do manual labor for 5 minutes and gets tired of it, and eventually happens upon a dying man who is trying to carry some sort of scroll of certification to Kojiro. Matahachi is thrilled at his great fortune; he takes the scroll from the dead guy and uses it to steal Kojiro’s identity, attracting hordes of women and scaring away thugs on his “reputation.” His aging parents WALK OUT OF THEIR TINY HOMETOWN with the purpose of finding him and bringing him home, and successfully find him and embarrass him in front of all his swooning admirers. I saw Oda on the first day she took over this role, and I wish I could have seen her after a little more warmup. She didn’t have the charm that endeared me to Reiko’s Matahachi, but she sure can hold her own with the rest of the upperclassmen in terms of acting and stage presence. 

Toki-chan as Akemi, a girl who Sachika’s character took into her brothel and raised, gave me the heart-wrenching yearning I wanted from Musashi and Otsu. In the very first scene after the prologue, Akemi and Musashi are walking and talking (she’s taken a liking to him). Musashi finds a bell on the ground and sticks it into Akemi’s obi. For the remainder of the show, Akemi jingles softly with every appearance and every movement, haunted via sound by the reminder of her unrequited love for Musashi, making all of her longing looks more poignant. 

There’s a scene at the end where Musashi sees a ghost/memory of his father (Shimon). Dad is like WHY DID YOU DO ANY OF THIS? and Musashi doesn’t really have an answer. Same, dad. 

I loved Krung Thep so much the first time I saw it. Then it went through some changes, and I cooled a little on it, but still thought it was really good overall. 

It’s been a 2-act heavy year so far, and Estrellas and Krung Thep (as of me writing this 2 days before Yukigumi shonichi) have been our only revues. I thought that for the most part the music in Krung Thep was beautiful, not really in a jam to the soundtrack way like Estrellas, but in a really nice ambient way; there are a lot of bells and other interesting sounds that we don’t get as frequently. It also has a dazzling gold aesthetic, the kind of spectacle you want as a Takarazuka lover going into a revue.

There were for sure some questionable moments. The boy band number (albeit this time with Sakura at the center of the boys), which, much to my chagrin, seems to have become a revue staple regardless of director, was originally THIS SONG, which I happen to know and love thanks to this Japanese version, so I forgave its presence. This was one of the three numbers that got the axe before filming day, and they replaced it with a synth remix of the Takarazuka classic C’est Magnifique. That rendered it no longer forgivable. The chuuzume was very long and set to Shall we Dance, but like... only the chorus over and over and over and over again with varying flair. It was also turbans doing absolutely nothing to disguise Daisuke’s favorite Latin ruffles, and, if not for the King and I undercurrent, it wouldn’t have fit with the rest of the show whatsoever. A King and I medley maybe would’ve been nice?

Standout numbers:

The first or second number after the prologue (depending on when you think the prologue ends) is a Reiko vs. Ari kickboxing match. It’s hammy and ridiculous and goes on for two whole rounds, which seemed TOO LONG for how awkward it was the first time I saw it... but then when the fight ends, they break into a song about “male friendship” and how they love each other no matter who wins or loses. After that I was stoked, and on subsequent viewings appreciated every detail down to their girlfriends and trainers in the audience.

There’s a beauuuutiful barefoot duet dance between Tamaki and Miya

Mayupon in drag singing in at least 3 octaves flawlessly. There’s an alternate timeline, perhaps a brighter one, where I’m just in Mayupon’s club

Admittedly one of my least favorite revue tropes where there’s a nightclub and a girl and a terrible boyfriend and a new guy who shows up and someone gets jealous and has a gun and the wrong person always dies... but this time Ari is in hotpants

The Grand Hotel numbers in the sayonara show are probably too tough a contender, but the Krung Thep kuroenbi is not only great (messy tailcoats with rolled sleeves, mmmmm) but also almost the best little taidan gift for Miya in the whole thing. I don’t know how they’re going to splice the frames together for the DVD, but it opens with Miya singing a solo, and then she goes down into the floor as the kuroenbi is starting (making it look like she won’t even be in it). The rest of the otokoyaku dance a bit, then Miya comes back up out of the floor dressed to match, and everyone else hits one of those sexy lunges in formation, and then they all turn their heads to look at her in unison. Ugh.

I’m gonna miss Miya!!!!! And I hope Reiko is doing ok.