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. Kurenai’s was published in the December issue.
Some outtake shots from the back of the magazine are included.
SPOTLIGHT – Kurenai Yuzuru
We shine a spotlight from all angles on the shows and roles that stand out in Kurenai Yuzuru’s heart.
‘Overflowing Tears’
Catch me if You Can (2015, Akasaka ACT Theatre) – Frank Abignale Jr.
Frank Jr. has a complicated, childlike worldview after his parents’ divorce, and over the course of all his experiences he somehow develops a strange connection with Hanratty (Nanami), the FBI agent pursuing him. In the scene where he calls Hanratty unthinkingly on a lonely Christmas day, and the scene where he breaks down in tears after being rehabilitated and getting a job with the FBI, I could feel how our acting impacted each other…I was overwhelmed with emotion. [Hanratty] watches over him, not clinging to or abandoning him, so it’s basically like the relationship between Lupin III and Inspector Zenigata (laughs).
‘Bursting with Smiles’
Om Shanti Om (2017, Tokyo International Forum) – Om Prakesh Makija/Om Kapur
This show felt ‘100% Bollywood’, so there were a lot of scenes where we suddenly start singing and dancing, as if to say ‘There might have been a sudden tragedy…but don’t let it get you down!’, and the whole cast was just bursting with smiles. Our teacher who trained us in Indian dance told us ‘You can’t waver! Indian movies are happy!’, and just as she said, most of the characters in the show are cheerful people (laughs), and there were lots of fun moves in the choreography, so it was a show where we all smiled our way to the happy ending!
‘All Thanks to the Music’
THE SCARLET PIMPERNEL (2017) – Percival Blakeney (Percy)
When I opened the score to get ready for the performance, there were a lot of things I was able to see that I hadn’t noticed when I played Percy in the junior performance, so I kept discovering things like “this rest in the sheet music is expressing this emotion!”. For example, in the scene where he’s relaxing in Blakeney Manor, when Marguerite approaches the music comes in as if to push her away. And as he’s making light conversation, deliberately making it clear that he isn’t even letting her into his field of view, the score expresses in minute detail all of his emotions. I also tried discussing the meanings of each and every note with Director Koike in-depth — “Why does it go up a half-step interval here?”, et cetera — which let me feel even more what amazing music it was.
‘Actually…’
THE REON!! (2015 Dinner Show)
This was Chie-nyan’s (Yuzuki Reon) last dinner show, and I was happy to appear together with her and Yurika (Makaze), and it was just a super fun show! I wanted to convey Yuzuki Reon-san’s charm without leaving anything out, so as MC I exposed everything, not even concealing incidents from the dressing room (laughs). There were also otokoyaku trio songs, which are quite rare. The resonance of the sound was different than normal, and even though in rehearsal we just couldn’t do it, once it came to the real deal it suddenly went great, so we were congratulating ourselves and saying “We’re geniuses!” (laughs).
‘You can’t predict what will happen next!’
Die Fledermaus (2016) – Count Gabriel von Eisenstein
Every day Miccchan-san (Hokushou Kairi) would come at me with all kinds of adlibs, so I was always on the alert to think of and select the best comeback at a moment’s notice (laughs). But my character was the one being tricked, and Micchan-san was the trickster, so I felt like the ideal reaction was for her adlibs to get a big laugh from the audience. No matter what she did, the idea wasn’t to go on the attack and get the laughs for myself, but to give her serve a gentle return. I got a lot of practice at that art in this production (laughs).
‘Obsessing over the visuals’
Le Roi Soleil (2014, Tokyo Theatre Orb) – Monsieur
According to the actual history, Monsieur, the younger brother of Louis XIV (Yuzuki Reon), had really unique fashion sense, with big ribbons and lots of gaudy accessories all over, so I obsessed over the visuals. I wanted to create a ‘pop’-themed aesthetic, so I tried all kinds of things. I created hair accessories myself and fussed over what size they should be and where I should put them, and kept rearranging bracelets and rings while thinking about the balance of my layering, and to top it all off I fastened paper butterflies onto my eyelashes. I was working by trial and error to make him appear to be a unique creature even within the world of the show.
‘With all of our efforts together’
Another World (2018) – Yasujirou
This show was really something we worked together with all the support staff to pull off! I was onstage basically the whole time, and there were scenes where I had to change my kimono and beback onstage within 1 minute. But even so, the costume staff fastidiously worked to make sure nothing about the way the cords and obi were tied looked sloppy, and practiced the extremely complicated fastenings over and over, so they were able to change everything very quickly. They discussed with me the order things would go in, the stage manager would oversee the process and let us know ’30 seconds remaining!’, and the traditional hairstylist didn’t just put my wig on but even put the slippers on my feet. The production came together because of everyone putting in so much effort.
After a passionate performance…This is how I spend my time after the show
I’m slow leaving the dressing room, so it takes me more than an hour and a half. I have reflection sessions, and get ready for the next day, so I’m the type to hang around until right down to the wire before the dressing room closes!
Immediately after the performance
- Once I finish changing clothes I have a reflection session with Aachan (Kisaki Airi). Sometimes we’ll rehearse right there.
- I go back to the dressing room after a work prep meeting.
25 minutes later
- All kinds of people come in and out or hang around to talk.
When I go back to the leadership room to eat, people come by without a break so I’m chatting the whole time!
- I try out new makeup techniques.
I’ll practice right on top of my smeary stage makeup (laughs).
40 minutes later
- I head to the bath.
- I go to the clinic and have them wash my eyes out and ice my legs.
- I put a face mask on and head back to the dressing room.
1 hour later
- I charge the electric stretch pole I use in my warmups.
Around here I finally feel ‘Another day is over!’.
- I read fan letters.
- Wig maintenance time.
I ask Shirotae-san or other musumeyaku for help with trouble spots.
- I lay out the makeup in an easy to use order to get ready for the next day.
90 minutes later
- I bow to the Inari statue and leave the theatre.
I pay my respects to the photograph of Kobayashi Ichizou too!
Dressing room goods
I was given a Fukuyama Masaharu page-a-day calendar, so I have that sitting on my dressing table. Kai-chan (Nanami Hiroki), in the next seat, will come and flip the page for me and say stuff like “I’m sure you’re going to just love today’s page!” so every day I’ll give my impression – “Oh~ I love it~” (laughs). Ichijo (Azusa) used to be in the next seat, and she seems to have passed this duty on to Kai-chan (laughs).
Routine
Every morning I do a mental runthrough of the whole play and revue, so I arrive at the dressing room super early. No matter how slow I am in the morning, I have to get there at least 2 hours early or I won’t get through in time. I’ll reflect on what I did the previous day and practice towards those goals, like “Today I’d like to try singing it this way”. So, even if it’s a one-show day, it’s a two-show day for me (laughs).
Dressing room smock
If you think of an otokoyaku you most likely picture them wearing a bathrobe, but I can’t do without my dressing room smock. It’s lightweight and cool, and I can do my makeup even wit it on, so in terms of convenience it’s definitely the best option. I love Econeco and the other day Hanagata Hikaru-san made me an Econeco-themed dressing room smock! She even made a bag to store it in, so I was thinking, wow, she really can do anything!
Outtake photos:
