Every year in Kageki, each Top Star and Top Musumeyaku publishes a recap of their year in the December issue. While in the actual magazine, the Top Stars and Top Musumeyaku have separate sections, for posting I am combining the two statements for each troupe. (I have also only translated the statements and left off the rather overwrought advertising-style intro blurbs just to save time.)

Looking back on 2022 – Flower Troupe

Yuzuka Rei

Genroku Baroque Rock was my first time as a couple with Hoshikaze in the Grand Theatre, and she was bursting with can-do energy so it felt like a new fresh atmosphere to me. We were able to learn a lot of fun songs from the 100 year history of Flower Troupe for The Fascination!, so it was a wonderful treasure to me and I was so grateful during the whole performance.

I had pined and yearned after (Fred) Astaire-sama and I was able to perform in a show of his in TOP HAT. Starting in the rehearsals I was totally focused on just pushing myself to move…it was a tough time, but also so happy that I felt as if I was in a dream.

In June our Grand Theatre production (Years of Pilgrimage) was a play by Director Ikuta, an intense show that he’d poured love and passion into. Inspiration welled up in me for the role of the musician Liszt, and it made me think about a lot of things as a member of the arts myself. The revue, Fashionable Empire, was by Director Inaba, who I have a long-time connection to, and I was delighted to have the spotlight on everyone in Flower Troupe. I was also happy that in the finale I was able to show my attitude and movement style as an otokoyaku.

Then there was the national tour, Burning in Firenze, where for the restage I was starting from square one with the script and building up [my part] while trying to get deeper. It’s also a show where you have to do a lot of reading between the lines, so it was difficult but I learned a lot. The revue was carried over from the Grand Theatre, and even though the cast was smaller, they danced with unphased determination all the same, so I hope the audience enjoyed watching them.

There were several times this year when performances were cancelled, and nothing was smooth sailing. But even so, there were so many happy moments I don’t want to forget, and it was also a year where I felt so grateful for the love and support from the audience.

Next year, I’m playing Crown Prince Rudolf in Ephemeral Love. I previously played him in the alternate cast of Elisabeth (in 2014), and it made me so interested in what kind of person he was…I’m happy to get the chance to run into him again in a different show. I want to approach this show with the proper respect it deserves as a masterpiece of Takarazuka that so many people love. The revue will be by Director Noguchi, who I haven’t worked with in a while. I look forward to discovering what kind of scenery he’ll give us this time.

My goal for next year is to make sure I have nothing to regret, and to value each and every day while continually striving for improvement.

Hoshikaze Madoka

For the Tokyo run of Genroku Baroque Rock, I was thinking about how I could make the pure and lovely Kira’s charm the ultimate expression of Takarazuka. The Fascination! is a warm revue show full of love, and also the weight of 100 years [of history]. Everyone welcomed me so warmly into my first Grand Theatre show as a member of Flower Troupe. I committed my self to the performance while wrapped in feelings of gratitude and celebration.

TOP HAT, even though I couldn’t perform up to my personal ideal and was frustrated about some things, was very fun. It was a happy time where I was striving to elevate my performance from the moment the curtain opened on the first day.

Countess Marie d’Agoult [in Years of Pilgrimage] was a role as fulfilling as it was difficult, and even after the performance opened Yuzuka-san held practice sessions with me that helped me make new discoveries. In Fashionable Empire there were a lot of lyrics that felt like they struck the emotions even more keenly right at that time, so I wanted to take those sensations even deeper and convey them to the audience. When we re-opened after the cancellation, the applause and support from the audience really felt like emotional salvation. I was striving to give something back to the audience watching us from the audience seats or through their screens.

The national tour, Burning in Firenze, was a revival after 40 years, so I was feeling a lot of weight and responsibility. Pamela was a difficult role, but I hoped I could at least fully carry through her duty of showing Antonio’s charms. The revue was carried over from the Grand Theatre, and in the National Tour we could be much closer to everyone in the audience, so I tried to make it feel like I was right there next to them.

For next year’s New Years performance, Ephemeral Love, I feel so happy to play Marie Vetsera, but also I feel I have to commit to challenging myself and approach it seriously. For the revue, I want to do my best to present the wonderful vision of Director Noguchi.

I want to work hard and hold on to my gratitude towards everyone around me.