Stage Turning Points: Yuzuka Rei (Flower Troupe)

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In this feature from Kageki, siennes look back at their career and pick out roles that had an effect on their growth as a performer. This one was originally published in the November 2015 issue.

Stage Turning Points: Yuzuka Rei (Flower Troupe)

Yuzuka’s Turning Points

April-May 2009: Love, That Is… – debut

May 2012: Chikamatsu: Journey on the Road of Love (Bow Hall) – Tokubei
‘A role where I felt a sense of ‘space’’

In this production, I didn’t play a human, rather the puppet Tokubei, the main character of Love Suicides at Sonnezaki. However, the part sometimes required me to dance as if I had been endowed with human life. It was an abstract role, where I did not speak and only communicated through dancing, so if I was not aware of the mood and ‘space’ around me, I felt as if it wouldn’t work.

Since I had not had many chances to perform traditional dance in Japanese-style productions, when I was onstage the lights and music gave my performance strength. That performance changed my sense of ‘space’ and my onstage presence. It was that kind of role.

February 2013: Ocean’s 11 (junior performance) – Terry Benedict
‘A performance that changed my methods of character-building’

I thought this was a really appealing part, so when I was told I would be able to perform it in the junior performance I was really happy. Up until then, I had always thought ‘I suppose I’ll have to do it this way’ or ‘I guess I’ve got to do it that way’ about my roles, but with Benedict, I thought ‘I’d like to do it like this’ or ‘I want to perform more this way’, so it changed my character-building methods.

This was my first performance in a sharp-cut suit, and while until now I’d had mostly young boys’ roles, the part of Benedict was a strong, manly, grown-up villain. I learned a lot about how to stand and such from Fuuto-san, who played him in the main production.

September 2013: A Song of Love and Revolution: Andre Chenier (junior performance) – Carlo Gerard

Carlo was a part I really liked. I liked Asumi-san’s performance even right after she transfered to Flower Troupe, so being able to play that part made me really happy. I found the various aspects of this role really appealing: he was a boy who became mixed up in something as he went along with his ideals and sense of justice, so he’s a really human, passionate individual.

June-July 2014: Nocturne: Memories of a Long Ago Summer Day (Bow Hall) – Vladimir
‘A part I felt I lived as’

This was my first Bow Hall lead, and Director Harada considered things that only I would be able to do when he put together the script. Even without considering things too hard, I was able to take the stage as Vladimir, and sometimes I felt I was living as him. I enjoyed the show and each day I felt more enjoyment for performing onstage.

August-September 2014: Elisabeth: Rondo of Love and Death – Rudolf (switch role); Der Tod (junior performance)
‘Tons of pressure’

Elisabeth is such a big show, and it’s extremely famous, yet somehow I was able to play Rudolf, as well as Der Tod in the junior performance. This was my second junior lead role, but I felt way more pressure for this part. Of course the songs were really hard, and I struggled with the technical scenes, but the music and the intensity of the performance gave me energy so I felt like that really saved me. When I was in character onstage, I had the sensation that I ruled it all: I had never had an experience like that before with a role. In the main production, I played Rudolf. He’s vulnerable and desperate, kind and honest…I found the character of Rudolf really appealing, and it was a part I liked performing.

July-August 2015: Rose of Versailles: Fersen and Marie Antoinette (Umeda/Taiwan Tour) – Oscar Francois de Jarjayes
‘A performance I felt a lot of power from’

Oscar is the role that represents Takarazuka, and anyone who knows anything about Takarazuka knows about it, so before starting rehearsals I was really worried about how it would turn out. I read the original work and fell in love with Oscar all over again, so even though there was only a short time for rehearsal, I tried to get as close as possible to the original Oscar as I put together the character.

Sometimes I had trouble when things didn’t go as I wanted, but after the Umeda performance ended and the final performance of the Taiwan tour came closer, I was so moved by the final scene at the Bastille that I almost felt as if I had Oscar’s soul. It was a performance I felt a lot of power from: the power of the original work, the power of the music, the power of the script, the power of the characters, and the power of all Oscar’s fans.

In the end…

Looking back on all my roles like this, I’ve realized just how many wonderful characters I’ve encountered. Some of them I would like to try taking on again, but I think all the sensations from when I first performed them would just come over me once more. From now on, I’m sure I will get a lot of roles that I can only perform in that time, so I’m even more determined to give each role my all so I don’t have any regrets afterwards.

GRAPHOO! – ‘Gorgeous’ (December 2015)

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GRAPHOO!, an image feature published in Graph in 2015, had siennes present photos based on a keyword, in a spoof of the Yahoo search engine. The December issue featured Serika Toa, Rinjou Kira, Hoshino Anri, and Asami Jun.

Graphoo! This month’s keyword: “Gorgeous”

Serika Toa: All the musumeyaku livening up the rehearsal room

This is a picture from the independent rehearsals for Melodia. I think the musumeyaku of Flower Troupe are all so lovely and gorgeous. Their rehearsal clothes are always so cute, so I thought it would be a shame not to share! That’s why I wanted to present this [laughs]. Also, Marin-san [Yuuma Rin] said “There’s an up-and-coming musumeyaku fifth from the left” [laughs]. That’s right, if you look closely, Marin’s together with them in this picture since she happened to be passing by. This turned out to be such a gorgeous photo!

Rinjou Kira: Amneris’ costumes are so gorgeous!

I thought Amneris’ [Reimi Urara’s] costumes in A Song For Kingdoms were so beautiful and gorgeous that I had to get a picture together with her. All her costumes are splendid, but I thought this gold costume was especially nice. I have a headdress to wear as well, but it’s really heavy. Amneris really appears as if she possesses all the wealth of Egypt [laughs]. I had the role of a priest, and it was hard to convey my high rank as well as the strength and pride of Egypt since I didn’t move around very much. However, it was fun to have a different viewpoint in the show rather than just being a soldier.

Hoshino Anri: The costumes and the sets and the stars…everything was gorgeous!

This is an old photo I found when I was going through pictures at the time my classmate Ei-chan [Hanae Chiho] was about to retire. In the prologue of Dawn of Solferino 9 members of our class made up the chorus surrounding Chika-san [Mizu Natsuki] and Yumiko-san [Ayabuki Mao], but we were only ken-1 so it was a huge responsibility! Even so, we couldn’t do very well [laughs], so we even asked the two of them to watch us rehearse. In the performance, even the otokoyaku were wearing showy dresses [laughs] and being showered in the light made it a proud moment.

Asami Jun: Having everyone together for the A-EN senshuuraku

For the last performance of A-EN ARI VERSION everyone from ARTHUR VERSION joined us on stage. Unfortunately I wasn’t able to get a picture of everyone, but it made me really happy. Even though this was a Bow Hall performance, it was a double feature with a gorgeous revue show. In the play, Director Noguchi gave names to everyone’s character, and wrote out detailed characterizations for all of them. When I was standing on center stage during the revue, I felt the energy from everyone around me, and I felt like I had to respond to them. I will work hard to use this experience to help me in the next Grand Theatre performance!

TAKUMI – Artists’ First Steps (Nov. 2015)

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In this feature from Kageki, several of the younger senior actresses talk about things that affected them early in their career. The November 2015 issue features Mana Haruto, Yumeki Anru, Junya Chitose, and Tenma Michiru.

TAKUMI – Artists’ First Steps

Mana Haruto (Snow Troupe): The phrase that prepared me to work hard in Takarazuka

In the Bow Workshop Frozen Tomorrow I was given the role of the lead’s henchman, which seemed like a big part to me since I was only just ken-3, so I was really excited. However, Director Shibata and Mirai Yuuki told me “getting a bit part in a little theatre doesn’t mean the same thing will happen right away in the Grand Theatre,” and that’s really stayed with me. Everyone wants a good role so they’re doing their best, but in each work there are those who get those roles and those who don’t…their words made me realize that each production is put together with everyone’s varied feelings. That became the basis of my thinking from then on, so that no matter what occasion or part I have the same motivation to put forth my best effort: this is what prepared me to do my best as a member of Takarazuka. Another thing from that time was overcoming my nervousness about performing in front of the director and the senior actresses during rehearsals. I learned that the most important thing in rehearsals is to give it your energy, even if you don’t do so well.
What I’d like to say to the current junior actresses is that no matter what role you get, it’s vital to see what you can learn from it, give it your best, and work hard.

Yumeki Anru (Star Troupe): The song that made me like singing

When I was ken-3, I had my first Grand Theatre solo song in BOLERO, and because of that I started to like singing. After that I had more chances to sing in the smaller theatres. There was an audition for that part and I was really nervous, thinking “can I really sing such a grown-up song while I’m only ken-3?” But the composer, Takahashi Kuni, told me “you should go for it”. It was an adult love song during Chie-san [Yuzuki Reon] and Nene-san’s [Yumesaki Nene] pair dance, and it was very difficult, but I was determined to make it passionate so I practiced while listening to the original song over and over. Some of the senior actresses, such as Otohana Yuri and Kawai Mizuho, taught me a lot, and gave me advice like using an otokoyaku singing style in the song as well. I’m so grateful to all the senior actresses.
The recent production of Catch Me If You Can was difficult, but from now on I want to work on ‘singing as my part’.

Junya Chitose (Cosmos Troupe): The first time I experienced an mysterious sensation

Among the roles I’ve had up to now, there are some that have affected me really deeply. Recently, in Top Hat, my part of Madge Hardwick was so enjoyable that it made me think “I wish I could play this role again.” However, even more than just performing, the role that allowed me to experience a mysterious sensation was my part in Sanctuary of Catherine de Medici. Since she was a real person, I read a lot of historical information, and while my approach to taking on a role wasn’t any different than usual, but when it became time to go on stage I realized that I’d never entered so deeply into a character ever before. I was nervous, of course, since it was the real performance, but on the other hand I didn’t feel like I was actually performing: it was mysterious even to me. Since it was a difficult play set in 16th-century Europe, I was naturally wiped out at the end of each performance, but I think it was really special to have such an experience as an actor.
I hope to learn from all the experiences I have from now on and improve on stage as well as becoming stronger in women’s roles1.

Tenma Michiru (Flower Troupe): When my attitude towards roles changed

When I was a junior actresses, there was a time when it seemed that all my classmates were appearing in Bow Hall shows one after the other and I was the only one left out. It was a really depressing, dark time, and I felt like retiring even before I got a chance to show what I was capable of. When I was thinking ‘if things are no good this way I need to take on some new challenge,’ an substitute was needed for a full-show part in Rose of Versailles Side Story: Andre. It was only a small part, but I was totally energized. “I’m going to get a part,” I was determined, and the next day, when Director Ueda Shinji saw the character creation I had done, he said “You’re pretty interesting.” I learned that if you perform with all your energy and try to get a part instead of waiting for one to be given to you, there are those who will take notice. The feeling of strength I gained then have helped me ever since and stopped me from being overcome by anything.
Right now I’ve been recognized for my individualities a lot more, although there are still areas where I need to work on adhering more to ‘the legacy of Takarazuka.’ Also, I want to become a senior actress who can speak out to junior actresses who may be going through the same struggles that I did back then.

1 – While Junya debuted as an otokoyaku, she switched specialties to musumeyaku after a few years.

Looking Back on 2015: Hinami Fuu

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One of the yearly retrospective features from the December 2015 issue of Kageki, featuring Star Troupe Top Musumeyaku Hinami Fuu.

Looking Back on 2015: Hinami Fuu

While Like a Black Panther/Dear Diamond!! was the retirement performance for the Top Combi, I tried not to be too conscious of that and I remember it as an enjoyable show. Nene-san [Yumesaki Nene] is so lovely and cute…of course, I learned a lot of things about being a musumeyaku during rehearsals for this show.

Next was the national tour performance. I was really worried about taking the position of Top Musumeyaku, but Michiko-san [Hokushou] looked after me all the time and lent me her strength. I feel like without that I would have lost the determination to battle on as a performer.

The role of Elaine in Great Pirates I felt was a great one to advance as a musumeyaku, so I put together a really detailed image of how I wanted to perform as Elaine. Amour, That is… was the show I debuted in, so when I think about that time I’m really deeply moved. Having the chance to encounter it again made me really happy.

I had a lot of difficulties with Guys and Dolls in rehearsals, but when the curtain opened I felt the warmth of the audience and the rest of Star Troupe around me, and it made me really happy… It was so fun that I would feel lonely every day after the performance was over, so it was a very happy performance for me.

Since I was conscious of the fact that I am poor at Japanese dance, I practiced up to my limits for the Takarazuka Traditional Dance performance. By the time it came to perform I was looking forward to it, and on the day of the show I was able to enjoy myself through the dancing.

This year I had a lot of valuable experiences and met a lot of different people through each performance, but among all those people the meeting that most affected me was with Michiko-san. Next year I will keep working hard to increase the feeling of improvement I have now.

Looking Back on 2015: Kano Maria

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One of the yearly retrospective features from the December 2015 issue of Kageki, featuring Flower Troupe Top Musumeyaku Kano Maria.

Looking Back on 2015: Kano Maria

Ernest in Love was full of firsts for me, but Asumi-san and all the other senior actresses guided me kindly, and the whole performance had a warm atmosphere.

I felt like the character of Alicia in Embraced by the Seas of Calista was very charming, but as it was the first time I played the same role for a long time I was able to see my own bad habits and weak points. It was a performance where I really struggled and worried about things but in the end I learned a lot.

Takarazuka Fantasia was a very hard show, but because of that our sense of unity was strengthened and I feel like I was swept up in a great wave.

Rose of Versailles: Fersen and Marie-Antoinette is a show that I love and have a lot of strong feelings about, so I was able to pursue my own ideals as I played Marie Antoinette. I dug down to find the deepest facets of the character, and realised even more how wonderful the show is. During the Taiwan tour, I was worried about how the audience would see ‘the Japanese Takarazuka Revue,’ but the cheering and applause overwhelmed me. That feeling will become a wonderful memory I can never forget.

The Takarazuka Japanese Dance Recital was a learning experience for me, and the more experienced Top Musumeyaku taught me a lot.

In the show we’re performing in right now, New Tale of Genji, my role of Fujitsubo is quite difficult, but I feel it has a lot of worth for me as a performer. Melodia has a lot of grown-up and passionate scenes, so I want to display a new side of myself to the audience.

Next year I will continue performing in happy musicals with Ernest in Love and Me and My Girl. I hope it will be a fun year for the audience as well.

Looking Back on 2015: Manaki Reika

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One of the yearly retrospective features from the December 2015 issue of Kageki, featuring Moon Troupe Top Musumeyaku Manaki Reika.

Looking Back on 2015: Manaki Reika

I’ve improved so much all through this year that looking back on my first role of Melanie, it feels like it was from quite a long time ago. Sometimes I think ‘have I really come so far just since then?’ Gone with the Wind, in February, was a restaging after a year, and while it was a difficult challenge performing the same role again after so much time had passed, as a musumeyaku I really love the part of Melanie so I enjoyed being able to take it on again.

In 1789: Lovers of the Bastille the part of Marie Antoinette was a big challenge for me. The show was a completely different style of musical than I’d done in Takarazuka until then, and I had to sing rock songs as Marie Antoinette… It’s definitely not a typical Takarazuka heroine role, and while I had a lot of different concerns while getting into character, now I’m grateful to Director Koike for the chance to challenge myself this way. I learned a lot about how to consider things as my own performer.

After that came Wonder of Love which was the first performance where I was the focus, so I was worried about it. But Director Koyanagi arranged everything I wanted to try performing so beautifully, and all the other members of the show helped me out a lot, so when the day came to perform I really did enjoy myself.

The Grand Theatre performance starting in November, Manon, is a very subtle and simplistic show, so I want to honestly portray all the emotions deep inside my heart. In the revue show, Golden Jazz, I want to get caught up in the themes and enjoy myself together with the audience.

Ryuu-san always says “I want to keep dreaming,” which is a phrase I love. I’ll hold on to my dreams and fearlessly challenge myself next year too.

Lyrics: Falling like a Flower (Maeda Keiji)

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English translation of lyrics from the Takarazuka production based on the Japanese novel.

Maeda Keiji:
The setting sun vanishes as the days pass
Scattered snowflakes flutter down from the sky
When I reach out to take hold of the white flowers
They melt away
I can never hold them again

When I come to my senses again
I have arrived somewhere I don’t know the name
A new war is beginning
The days passing away; the people leaving me
I want to take them in my arms
No one can catch the white petals floating in the night sky
Defying the night wind they soar into the heights, believing in their will to fight

I am standing in darkness that even the moonlight doesn’t reach
Like a mountain cherry tree standing firm even in the cold
Blooming brilliantly even with no-one to admire it
I will gather my courage to burn through my life
Shining radiantly
If it is fated for us all to die
Then like a pure blossom
I will go through my life beautifully

Lyrics: Seven Seas, Seven Skies (El Halcon – The Falcon)

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English translation of lyrics from the Takarazuka production based on the comics.

Gilda:
“I am a sailor. To a sailor, the sea is everything.”
Grand mer: deep, deep blue, spreading on and on
I will sleep in your limitless embrace
Grand mer: I kept swimming without looking back
I am a sorrowful fallen angel who fell to you after losing my wings to fly

Red:
“I won’t give up as long as the sea and sky exist!”

Gilda and Red:
We put the setting sun behind us
This is a song for travellers with no place to return
The seven seas wait to tell their tale
The seven skies invite you to see their miracles
Deep, deep blue, like the kingfisher
Grand blue, Grand sea, Grand sky

Tyrian:
“I will keep going! I don’t need a reason for my ambition!”
Towards the empire of the never-setting sun
Grand blue, Grand sea, Grand sky

Gilda and Red:
The seven seas wait to tell their tale
The seven skies invite you to see their miracles

Tyrian:
Until I take hold of the blindingly bright sun shining in my eyes
Until my winds are torn off I will keep flying

Tyrian, Gilda, Red:
The seven seas wait to tell their tale
The seven skies invite you to see their miracles
The seven seas wait to tell their tale
The seven skies invite you to see their miracles
Grand blue, Grand sea, Grand sky