Backstage Journal is a short Kageki feature where very young cast members write anecdotes about what’s going on behind the scenes of the productions. They’re not very deep, being full of emojis and more like blog entries than articles, but they are a good way to get to know the newest actresses in each troupe.
This one is by Flower Troupe member Kashiro Kiho (of the 87th Class), and was published in the February 2003 issue.
Continue readingBackstage Journal is a short Kageki feature where very young cast members write anecdotes about what’s going on behind the scenes of the productions. They’re not very deep, being full of emojis and more like blog entries than articles, but they are a good way to get to know the newest actresses in each troupe.
This one is by Flower Troupe member Natsuzora Momomi (of the 86th Class), and was published in the February 2003 issue.
Continue readingThis photo and essay book was written by Moon Troupe Top Star Sena Jun and published during promotions for the 2008 show ME AND MY GIRL, where Top Musumeyaku Ayano Kanami retired. It’s very charming and occasionally emotional.
Some chapters are very short, or contain only pictures, and thus are combined.
The book also featured dual Japanese and English chapter titles, which were not always the same. Where these differ, both are included, with the translation of the Japanese title following in brackets. (For example, Chapter 8 is That time [The era of Asa and Osako])
Content note: This chapter contains discussion of an onstage injury.
Continue readingAshizawa Jin is an illustrator/columnist who seems to have worked for GRAPH since the 1960s (yes, you read that right). His interview column generally gets a new title every year but has been fairly consistent format-wise in recent years. I’m giving him his own tag in the Staff category since he is one of the few interview conductors to be credited by name in the publications.
This interview with Aizuki Hikaru was published in the June 2017 issue of GRAPH (while she was still a Cosmos Troupe member) and seems to have been recorded during the production of Chateau de la Reine/VIVA! FESTA!.
Continue readingDress Press was one of the many costume-analysis features that have been published in GRAPH over the years, this one focusing on musumeyaku gowns specifically. In this edition, featured in the August 2007 issue, Shirahane Yuri talks about two of the costumes she wears in her role of Elisabeth.
Continue readingThis talk, featuring Mizu Natsuki, Ayabuki Mao, and Otozuki Kei, was recorded late in the Takarazuka run of the 2007 Snow Troupe Elisabeth and published in the August 2007 issue of GRAPH.
lost-in-the-land-of-stories kindly provided the translation excerpts used when they quote the show.
Continue readingThis interview with Tamaki Ryou was given to Nikkan Sports just before the opening of Elisabeth. This article was written by Murakami Kumiko and posted on August 23, 2018. (Archive link here.)
Continue readingTalk DX is a GRAPH talk feature with the otokoyaku leads of a recent Grand Theatre show. This one, which was recorded towards the end of the Takarazuka run of Elisabeth, was published in the October 2016 issue, when the show was being performed in Tokyo.
Continue readingThis reader survey was published in GRAPH in April 1999, midway through Zunko’s run as Top Star of Cosmos Troupe.
The questions included which of her roles was the favorite, which of her characters people would want to be in a romantic or friendly relationship with, and others.
Continue readingThis coverage of the press conference for the 2016 production of Elisabeth was published by Crank In on April 15, 2016.
Cosmos Troupe Top Star Asaka Manato deeply moved by “Elisabeth” lead role: ‘This is the first show I had lines in’
The press conference for the Takarazuka Revue Cosmos Troupe production of Elisabeth: Rondo of Love and Death took place on the 15th, with Cosmos Troupe Top Star Asaka Manato and Top Musumeyaku Misaki Rion in attendance. Asaka is enthusiastic about the role, saying “this show is definitely going to challenge me. I want to completely change my image to perform as Der Tod.”
The original musical uses beautiful musical themes to follow the unfortunate fate of the astoundingly beautiful Elisabeth, who, despite only wanting to live a free, uninhibited life, becomes Empress of Austria. In the Takarazuka version, the lord of the underworld, Der Tod (‘death’), who loves Elisabeth, is made the main character. Since the first performance in 1996, 899 shows have been performed, with a record-setting audience of 2,160,000 people.
Asaka is the 9th actress to play Der Tod. Her black hair gives a sharp impression, and her makeup is reminiscent of a Visual Kei bandmember. Director Koike Shuuichiro said “her Der Tod feels more aggressive than any until now. She will express the violence that ‘death’ is really capable of.”
In her first year as a member of Takarazuka, Asaka took part in the Hanagumi production of Elisabeth, and it was the first time in her career that she was given lines. “I just had one line, ‘People are sick!’1 but I couldn’t even say just that one line well…” When talking about her memories of the show she shows her eagerness to play as Der Tod.
In addition, Misaki Rion, who plays Elisabeth, said “while there is a high barrier in front of me, I want to do my best to perform a new Elisabeth.”
“I’m usually playing cheerful roles,” Asaka said regarding her part of Der Tod, “so generally I would say brightly ‘I want to show a sunny personality’, but this is the exact opposite type of role. I’m going to access my negative side even in everyday life, so I hope I don’t bother anyone…” Asaka’s description of the secret side of role-building gained a lot of laughs.
1 – In the leadup to the song ‘Milch’.