This photo feature, which ran in GRAPH through 2016, had subjects selecting photos they had taken with other Takarasiennes. This edition features Nanami Hiroki, Ayanagi Shou, Makaze Suzuho, and Umino Mitsuki.
Continue readingThis article about Nanami Hiroki’s new album was published by TOKYOweb on June 29, 2021. The original article was written by Yamagishi Toshiyuki [estimated name reading] and can be found here (archive link here).
Please note that at time of translating the album was still unreleased, so some context was not available.
Continue readingdays was a photo feature in GRAPH where performers created a journal or blog-style timeline of photos with captions. Sakuragi’s covers the end of 2016, featuring her performances of L’Aigle Aux Deux Tetes in Yokohama, the Takarazuka Special, and rehearsals for Chateau de la Reine/Viva! Festa!.
(Please note that there are brief references to weight/body image in this feature.)
Continue readingThis fun interview about OG Nanami Hiroki’s favorite fruit was published for Japan’s ‘Mandarin Orange’ day (one of two, even!) on December 3, 2020. The original article was written by Ayaji Nobuko [approximate reading] for Domani—click through for many photos of Nanami! (Archive link here.)
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 Star Troupe member Sayaka Rin (of the 101st Class), and was published in the June 2017 issue.
Continue readingSparkling TIME is a long-running photo/talk feature from Kageki. Hiroki and Chitose’s was published in the September 2016 issue. They are classmates from the 89th class.
Continue readingSince 2018 was the 100th year of Kageki being in publication, there were various commemorative events and features. In this feature, stars answer questions with the number 100 in them, and also describe their own personalities in terms of percentages.
Nanami’s was published in the April issue.
Continue readingTroupe Report is a Kageki feature where an appointed reporter will write about current events in the troupe or ask troupe members for questions to answers sent in by readers. Reporters are generally only replaced on retirement, unlike other backstage features that rotate monthly or quarterly.
Star Troupe’s Troupe Report has been written by Kisaragi Ren since 2015. The December 2017 edition focuses on Ichijo Azusa, who retired from Star Troupe with the show closing that month.
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 Nanami Hiroki was published in the April 2017 issue of GRAPH, but was recorded ahead of the opening of The Scarlet Pimpernel.
Continue readingThis discussion of Nanami Hiroki’s 2017 Bow Hall took place during rehearsals of the show and was published in the January 2017 issue of Kageki.
Blazing Wind: Strategist Takenaka Hanbei roundtable talk
Participants: Suzuki Kei (Director), Nanami Hiroki, Maaya Kiho
Suzuki: While I did want to make a show about the Warring States era, the reason I settled on Takenaka Hanbei as the topic was that, among all the Warring States generals I thought he was the one who most fit my image of Nanami Hiroki. Since this is Kai-chan’s (Nanami’s) first solo lead, I basically wanted to write something that suited her well; there’s not really any other reason.
Nanami: I really like Director Suzuki’s straightforward scripts, so I was very happy to work together with him this time. Besides that, I really feel like he’s helped me out at many critical turning points. He’s always looking after me (laughs).
Suzuki: You’re welcome (laughs). I feel that Hanbei, as a person, was someone who valued life, even in the violent world of the Warring States. This is expressed in his tactics; he tried to preserve the lifes of not only his allies but his enemies as well. Therefore, for this show I want to use the theme of ‘life’ to tell the story of Hanbei’s lifetime and within that show my image of Hanbei.
Nanami: When I read the script, it reminded me of a Taiga drama1, how you can feel the emotional conflict between different people, and it seemed like the feelings from the performers would change the way it can be seen from day to day; that would be really interesting to see, I thought. Also, since many different commanders from the Warring States period will be appearing, I think people will be really excited about that. And besides that, Hanbei’s way of life was just really cool.
Suzuki: Too cool…
Nanami: Not to mention the contemporary accounts say that he was really good looking. No matter how much I research about him, I can’t find any failings; if someone like him was here now I think he’d be super popular.
Suzuki, Maaya: (Laugh)
Suzuki: I think the fascinating part about writing something set in the Warring States period is that you have to fill in the details that do not remain in contemporary accounts with imagination. Therefore, since I can’t say everything about Hanbei is correct, I think Kai-chan’s sensitivity in creating her Hanbei is certainly correct. This isn’t restricted to Hanbei as things are the same for his wife, Ine; in fact, no documentation remains about her at all.
Nanami: But her grave is placed right next to Hanbei’s. Therefore I’m sure they must have been close.
Maaya: When I first read the script, I felt that Ine was a place where Hanbei’s heart could rest. Also, Hanbei was such a lovely person…What a wonderful husband Ine had! I thought. (laughs)
Suzuki, Nanami: (laugh)
Maaya: I think she must have prayed day after day for her husband’s safety. I don’t want to just have the feelings and lifestyle of women of those days in my head, but to fully feel those emotions during my performance.
Suzuki: I have a really strong image from scenes in dramas and movies where the wife of the castle’s lord would say ‘I will protect this castle!’ You see those kinds of scenes a lot. While Takenaka is seen as very strong, I thought that of course a military leader who is responsible for the lives of so many thousands of people would certainly also be battling his own concerns. Therefore, I thought that the wife of someone fighting on the battlefield must have enough strength of her own to support him, so I feel Ine must have been that kind of strong person.
Nanami: This is my first time to act with Kii-chan so much. But I knew about Kii-chan before we were in Star Troupe together.
Maaya: Once you were reading a book about dramatic theory that I’d left in the corridor of the theatre, right?
Nanami: Right. It was so interesting that I was wondering whose book it could be, and it turned out to be Kii-chan’s. Back then I thought you must really like acting. Therefore, when we ended up in the same troupe I wanted to perform together with you sometime. I’m very happy that I was given this opportunity to perform with you before you go to Snow Troupe.
Maaya: Since I’d recieve acting advice from Hiroki-san all the time, I also wanted to perform together with her and so I’m very happy about this. Also, she is my first husband in a play (laughs).
Nanami: Really (laughs).
Maaya: Since I’m so happy, I’m going to do my all to work together with Hiroki-san.
Suzuki: Yesterday was our first time rehearsing the songs; how was it?
Nanami: I love those kind of catchy Takarazuka songs that you can’t forget after hearing once, and make you hum all the way home from the theatre. I was dying to have something like that, and Yoshida, the composer, created something totally perfect for the show.
Maaya: Everyone started humming them right away yesterday, didn’t they.
Nanami: They did! The lyrics are so clear, so that when I sang ‘My Life’s Path’ I just started crying. I think it’s a really important song since it conveys the message to the audience. Kii-chan’s camellia song is also lovely.
Maaya: I sing about Hanbei in it, and it uses the flower language of the red camellia2.
Suzuki: I thought the idea of ‘modest virtues’ and such was perfect for Hanbei.
Maaya: The melody and lyrics are very straightfoward, and I thought I’d never get something else where they worked together so well. I also have the chance to sing a duet with Hiroki-san, and our voices fit together in what feels like perfect harmony.
Nanami: It does feel wonderful. While there are a lot of songs, of course, this show also has a lot of dance numbers and fight scenes.
Suzuki: Yes. I think the dance scene of otokoyaku wearing armor, and the stage combat scenes, will be really memorable.
Nanami: I think when fans see that otokoyaku scene they’ll be like ‘Aaaah!’
Maaya: I’m like ‘Aaaah!’ just thinking about it (laughs).
Suzuki: The armor and other costumes are certainly a highlight of the show. The helmet Kai-chan wears in the poster wouldn’t have been so large in reality, but we had it made based on a bust of Hanbei and other portrayals.
Nanami: When I did the photoshoot for the poster I felt like I was three times bigger (laughs). Since there are all sorts of armor pieces and such to put on, I’m worried about costume changes, but relying on the help of the dressing staff (laughs) I want to look great in the show.
Suzuki: So, in the end why don’t we talk about what we’re excited for. Maaya, you start.
Maaya: Since acting is something you can’t do alone, I am hoping that when I hear the lines from my acting partner I can clearly convey the emotions that well up in the moment. I’m really grateful that I’ve been allowed to play Hiroki-san’s partner in her lead show so I’ll do my best.
Nanami: Since I have the lead in this show I’m of course thinking about how people will see me, but more than that I want people to see Hanbei’s life. Therefore, I want to work hard so that the audience will feel ‘Hanbei is so cool’ rather than just me. Since this show has the message ‘the world I live in can change through my relationship with someone else’, I am hoping that if anyone sees the show while they’re feeling down, once the show ends they can think ‘I’ll do my best from tomorrow’; that’s the kind of show I want this to be.
Suzuki: Like when Kai-chan was talking about the theme songs, I feel it’s true that Takarazuka has traditions that have to be preserved, so this time I wanted to make something new while protecting those traditions. If I can link that up with writing a story about Japanese history that is also new that would be a success, I thought. Also, though I keep saying things like this, since this is Kai-chan’s lead show, if through playing Hanbei she can show people a new Nanami Hiroki I’d be very happy. That’s all I’m working towards.
1 – Taiga dramas are year-long historical dramas broadcast by NHK, often biographies focusing on specific historical figures. (In fact, there is one about Tenju Mitsuki’s character in Blazing Wind, Kuroda Kanbei.)
2 – Japan has its own flower language, called hanakotoba. According to this website, the red camellia is associated with ‘unassuming splendor’, ‘elegance without affectation’, and ‘modest virtues’. (The wikipedia article on hanakotoba does not appear to be reliable.)