This is a discussion with the scriptwriter/director of Azure Moment, Harada Ryou, and the three stars of the show: Miya Rurika, Tsukishiro Kanato, and Umino Mitsuki. It took place during rehearsals, shortly before the opening of the production, and was published in the May 2017 Kageki.
Please note: due to the nature of this feature there are some spoilers.
Azure Moment roundtable talk
Participants: Harada Ryou, Miya Rurika, Tsukishiro Kanato, Umino Mitsuki
Harada: When I was informed I would be writing a show to star Miya Rurika-san, I thought right away that the Count of St.-Germaine would make a good subject. I already had a great deal of personal interest in the Count, and he’s a mysterious figure who appeared at many events in European history. On the one hand, he’s called an immortal magician or an alchemist, but he’s also known as a fraudulent imposter so there’s a lot of mystery there. Miya-chan is a very unique presence in Takarazuka, and she’s used her own unique charm, beauty, and allure in a wide variety of roles; each character seems completely new. I saw a link between Miya-chan’s allure and the St.-Germaine I had been imagining. In this show, she’ll play a fictitious character, Simon, who poses as St.-Germaine in the setting of the French Revolution.
Miya: Thank you very much. When I first heard I would have a solo lead show I was delighted, and I also thought it was excellent timing since I’d had so many different experiences and thus would be able to challenge myself to show everyone a new side of myself that hadn’t been seen before. When watching Director Harada’s shows, no matter what I’m really pulled into the world of the story, and I could tell he is a really strong storyteller, so I’m very happy to be in one of his shows for the first time. And with new Moon Troupe member Reiko (Tsukishiro). (Taps Tsukishiro on the shoulder)
Tsukishiro: …Yes.
Harada: Still a brand new ‘transfer student’, I see.
Miya: But even when you were in Snow Troupe, we’d talk a lot when you came to shows and such – because of your classmate Aasa (Asami). She’d act all nervous even then (laughs).
Tsukishiro: I was nervous (laughs). I really like Miya-san’s performances. I’d never dreamed I would end up in the same troupe with someone I held a one-sided admiration for and tried to start conversations with, or that I’d have a chance to perform with her like this. I’m really happy, but also like, ‘get it together, girl!’
All: (laugh)
Miya: I felt a lot of depth from Reiko’s performances, and so I thought ‘she muse love acting a lot…’ You’re a very mature and reliable otokoyaku, and of course great aesthetically as well. I was really looking forward to acting together in this show. In Grand Hotel, Umichan (Umino) went all-out with the acting, and since she’s had a wide variety of experiences, I think her appeal might be blossoming most right now. And considering the other members of the cast, I think I’m really blessed to perform together with all these people.
Harada: Today in rehearsal we tried going through the full first act, and it was really interesting to see all the various characters becoming more defined, wasn’t it.
Tsukishiro: In the rehearsals, everyone was really quick to get a grasp on the characters, and right now we’re all working hard to complete that process. This is my first time participating in one of Director Harada’s shows since All Capone; that was a show that made me re-examine myself and I really loved it. at the time I thought ‘sometime when I get better I’d like to be on another of his shows’ so right now I’m like ‘to think my dream would come true this soon!’
Umino: I have a close relationship with Ruri-san (Miya), so I’m really happe to perform with her in her lead show. I’ve had several chances to speak with Tsukishiro-san due to my classmate Towaki, so since I’m pretty shy she’s one of the few non-Moon Troupe people I would talk to. And when seeing Director Harada’s other shows Spring Thunder and Al Capone I thought ‘he really makes wonderful shows…’ I’m honored to work together with so many people I like.
Harada: Thank you. Now, why don’t you all say a bit about the direction your character creation is taking currently?
Miya: Simon is a travelling entertainer who gets tired of that life and runs away from the troupe with Jacques, Reiko’s character. Through chance, he begins posing as ‘St.-Germaine’, and as things go on he is half motivated by the fun of it and half by a desire for riches, but gradually the distance between himself and ‘St.-Germaine’ decreases, until ‘St.-Germaine’ takes over Simon entirely. I’ve discovered for myself how difficult it is to layer another act on top of the first performance.
Harada: Takarasiennes take on a performance identity under a stage name to become an otokoyaku or musumeyaku, so though they have 2 or 3 layers of identity it is always the same allure. But I feel there must be certain situations where the stage identity goes further than one would personally.
Miya: Definitely, there are a lot of times where I think I have to conform to ‘the public image of Miya Rurika’ or ‘the Miyaruri the fans want to see’, or juse make unconscious adjustments along those lines. I hope to create a character that utilizes those concepts skilfully. Also, I feel like I have to produce a lot of ‘energy’ for this role. I want to really create Simon’s ‘energy’ as he keeps moving forward, caught between his connection to Jacques and Umi-chan’s character Ademar on the one side, and people’s belief in ‘St.-Germaine’ on the other.
Tsukishiro: As Simon keeps progressing on his own path, Jacques begins to think something is wrong and joins Robespierre as a participant in the National Assembly. I want to properly convey that change of heart to the audience.
Harada: Their feeling aren’t completely opposite, but with that said it’s not as if they’re of one mind. My hope is that they will continue to grow as people through the twists and turns of the story until it reaches its final climax.
Tsukishiro: Yes. I want to convincingly show the process by which travelling entertainer Jacques becomes part of the French Revolution.
Harada: While Jacques participates in the National Assembly, it doesn’t follow that he’s completely comfortable. Though he said very harsh things to Simon, his friendship for him hasn’t been completely discarded; he still has some feelings for him, right? And what about Ademar?
Umino: Ademar’s parents both lost their lives because of the nobility, so she fosters a strong hatred for the aristocrats. After Simon and Jacques, who she was as close with as family, suddenly vanish, she’s terribly sad, but right then she’s given a change to join the palace ballet troupe and is shockingly reunited with them. As she comes to know the changed Simon, now posing as ‘St.-Germaine’, as well as the truth about Marie Antoinette, her feelings change there as do her feelings for Simon. I want to emphasize her strong bonds with Simon and Jacques as I work on the character.
Harada: In this story, I didn’t want to write a stereotypical romance play, but rather explore the personal bonds between the three main characters. After beginning to pose as ‘St.-Germaine’, Simon gradually goes beyond his original intentions, becoming monstrous Count of St.-Germaine. And what, in the end, did he have left? I want this play to really convey that idea. I asked Art Director Matsui Rumi to incorporate the spiral stairs of the Chateau de Chambord, a French castle where St.-Germaine was said to have lived, into the design of the production. The music was all composed for us by Tama Shouichi. As for the choreography, the play’s choreography was done by Masaki Rino, and the finale portion by Rachi Shinji1, who also works as an actor himself. Finally, why don’t you each say a little about your feelings leading up to the opening to the show.
Umino: I’ve really gotten a feeling for the atmosphere of the show through the design of the set and those steep stairs. I want to put my imagination to work as I build my character.
Tsukishiro: I’m looking forward to being in my first Moon Troupe show, and I’ll do my best so that everyone will acept me. Miya-san really has a perfect grasp on the show’s worldview, so in order to promote and not harm that atmosphere, I’m going to take on my own responsibilities – I’m eager to show what I can do.
Miya: (laughs) I’m a little nervous, but with everyone’s support and through focusing on my role of Simon, I’m putting in tons of rehearsal time and working hard so that I can make a good showing on opening night and that hopefully something will remain with the audience after the show.
Harada: Though I’ve borrowed the setting of the French revolution, I feel this show dramatically explores all the characters’ attitudes towards life: It’s the job of a theatre’s resident director to best display the performers’ unique aspects, so I hope to make everyone’s roles in this show very special.
1 – Rachi Shinji was in the third Black Butler musical (The Most Beautiful Death in the World) and is currently playing Itachi in the Naruto stage plays.