SPOTLIGHT was a 2018 feature where Top Stars talked about roles that were major turning points for them, as well as their routines behind the scenes. Makaze’s was published in the November issue.
Some outtake shots from the back of the magazine are included.
SPOTLIGHT – Makaze Suzuho
We shine a spotlight from all angles on the shows and roles that stand out in Makaze Suzuho’s heart.
‘The moment our hearts connected’
Melancholic Gigolo (2015 National tour) – Stan
I transferred to Cosmos Troupe starting with A Song For Kingdoms, but in that show I didn’t have much of an opportunity to act together with Maa-sama (Asaka Manato), so this was my first time acting together for real. And I was playing her best friend! Director Masatsuka’s comedies are full of subtle interactions, so at first I was nervous, but I was caught up in Maa-sama’s generous atmosphere, and since she was playing a gigolo I got to observe her ‘flirtiness’ close up (laughs), so basically every day was very fun and happy. Also, I was able to hear her talk about so many things, like her thoughts towards Cosmos Troupe and her way of thinking about leading her troupe, so it was an invaluable time.
‘That one vital phrase’
The Land of the Gods (2017) – Felix Yusupov
At the very end of the story, there’s a really important scene where Dmitri and Irina have their reluctant final parting. And my character, Felix, has to enter with timing that even made Director Ueda Kumiko say “How dare you come out”… The atmosphere onstage is never the same one day to the next, so I was always struggling to figure out just how Felix should enter. That line “I’ll be in the car!” was especially difficult, but Director Ueda said that I should say it in a way that changes the whole atmosphere onstage (in a good sense), and becomes an accent note to the dramatic performance, so I took great care with it. Sorry to on like this, but the other day, I was out on the town and someone with her family called out to me, and the children were like “Who is this?” (laughs). But then when their mother said “She’s the one who said ‘I’ll be in the car!’, remember?'” the lightbulb came on at once (laughs), so I was able to see firsthand how that line I struggled over day after day actually left a big impression with the audience.
‘An unforgettable view’
Citrus Breeze: Sunrise (2018) – Chapter 9, Finale: Scene 24 Grand Parade – Finale Gentleman S1
When I stood for the in the middle of the Grand Stairs wearing the huge feathers for the first time, it felt totally different from anything I’d imagined… I thought I’d feel more sentimental, with everything that had happened up until then swirling through my mind, but I was surprised that I just felt happy, and like I had to do my best. I was braced like ‘I’ll stand up to this headwind!’, but it actually felt like I was being gently pushed forward. I’d felt the warmth of the audience until then, of course, but this time I was swept up in so much more warmth, and love for Takarazuka, so I just thought ‘There really are moments like this!’. I’ll never ever forget it, and that feeling made me want to keep working hard.
‘The music is the show’
WEST SIDE STORY (2018, Tokyo International Forum) – Tony
Rather than the emotions of my debut, I felt more pressure at being in such a famous show… A choreographer called Joshua Belgasse came from Broadway and there was English flying around the rehearsal room, so we felt less like Takarasiennes and more like “Performers trying to put on WEST SIDE STORY”. Day after day, I kept beating my head against the wall of my own inability as I faced down the things I had to do. The music is the main appeal of this show but I struggled so much in rehearsal that I felt like maybe I’d never be able to sing it in my lifetime. The scales used express the conflict between the young people in that ambiguous time just before adulthood, and the melody of Tony’s songs expresses how he has dreams even in this sad time… But it isn’t just lovely music; even though the show was written about 60 years ago, it deals with social problems we still face in the modern day. Because of that, when I thought about how it’s a show upholding the belief we’ll find that ‘Somewhere’ one day, I was struck by all the things we have to consider since we live in this time, and I felt keenly the weight of the show’s themes. Though I kept being asked “What kind of troupe do you want the new Cosmos Troupe to be?”, I wasn’t that conscious of it being my debut while working on the show, and I was really happy that everyone came together in their desire to create a good performance.
‘Portraying a life’
Elisabeth (2016) – Franz Joseph
It goes without saying that the songs were difficult, and it was my first experience with performing an entire lifespan in one show. Middle-aged Franz, from when Rudolf was a boy, was comparatively easy to perform as, so I started from there. But young Franz was so hard. I kept walking too aggressively and stuff (laughs), and when I tried kissing Elisabeth on the forehead I’d be told ‘Look more naive!’… Also, his older days were a huge challenge. For example, when I was using a cane, as a person who certainly doesn’t have back problems I didn’t know what to do with it at all, so I’d just end up using it like crutches. So then, Susshii-san (Kotobuki) would walk ahead of me using a cane, and I’d follow behind her with mine, and we practiced a lot that way. But thinking about the fine details of how to walk ended up opening up a new path to the character for me, so it made it easier to age gradually through the 3 hours until the show ended.
‘An irreplaceable time’
Dear DIAMOND!! (2015) – Scene 18, Dazzling DIAMOND: Desire Man A
Kurenai Yuzuru-san did so much for me ever since I Was first assigned to Star Troupe. When Sayumi-san (Kurenai) had her first junior performance lead role I was together with her playing her younger brother, and when she had Bow Hall and Nippon Seinenkan leads I was on the same cast ‘team’, and in shows like Nova Bossa Nova and Romeo et Juliette I did role swaps with her. Dear DIAMOND was the retirement performance for Yuzuki (Reon)-san and many others, and it was also my final Star Troupe performance. Of course I was sad to lose everyone, but I was also leaving my troupe, so maybe it felt a bit different to me than the other troupe members. And in the midst of all that, I started feeling such unique feelings towards Sayumi-san… Even though I’d been taking for granted that I’d be able to see her ahead of me, that connection was ending, and I wouldn’t be on the same stage as her any more. The sense of loss felt like a hole in my heart, and during the dress rehearsal I broke down sobbing. I don’t think I would have felt such emotions for anyone but Sayumi-san. To have had someone like that close to me, and for us to be standing in the same position now, makes me so happy.
After a passionate performance…This is how I spend my time after the show
I never mean to dawdle, but then so much time passes before I notice (laughs). Everyone’s chatting and laughing about the latest news about the other troupe members, so they always seem so excited after the show, but I’m totally unaffected (laughs). I don’t have a specific routine I follow every day, so it’s just like, some days I’ll leave the dressing room really early, but some days it’ll be later.
Immediately after the show
- I take my clothes off and change into a bathrobe.
- Planning discussions about upcoming photoshoots or interviews.
- I sit down at my dressing table.
I use a storage box with a cushioned lid as a seat. I keep extra stock of various things in it.
- Lots of people come in and out so we chat.
What do we talk about…I can’t remember anything (laughs).
30 minutes after the show
- To the bath.
When I get corrections on vocals, sometimes I’ll try singing in the bath (laughs).
- I go back to the dressing room and moisturize.
My hair dries unusually fast so my pace speeds up here.
(Generally) 1 hour after the show
- I pay my respects to the Inari statue and leave the theatre.
Cosmos Troupe’s specialty dish
Kanon [Mai]-san’s mother’s home-made fried chicken! It isn’t an exaggeration to say there’s a lot of shows I wouldn’t have survived without it (laughs). It’s so delicious, it gives me energy. She sends it about once in every three days, but everyone in Cosmos Troupe eates a lot of it, so she’ll put a huge amount in a cardboard box wrapped in kitchen paper (laughs). Her mother is so skilled at cooking, and Kanon-san is really good too. [Her mother] is such a big support to Cosmos Troupe’s stomachs (laughs). During WEST SIDE STORY she even sent food to the Umeda Arts Theatre, so I was able to get through it safely!
Styling my dressing table
Recently, Takato [Chiaki]-kun has often been doing my roles in junior performances, so she makes all sorts of things for me, but I don’t have any specific character I like which gives her headaches. When she asked me I said ‘I like characters that don’t realize they’re cute’, or something like that. So now she’ll make me little things like ring holders or wig pins that have animals I’ve never seen before, and I’ll think ‘Where on earth did you buy this!?’ (laughs). For The Sky on the Banks of the Red River, the little doll on the wig pin at first glance looked like a monkey in my character Kail’s cloak, but then when I spread the cloak out it was actually a bat (laughs). I thought it was amazing how she made the wings look like a cloak. She’s a little quirky but fun kid, a very ‘nice boy’ who asks questions that I can learn from even when I’m teaching her.
Outtake photos:
