First, Holst's 'Jupiter'. The tender theme - 'tsubomi' by Kobukuro. Then, suddenly, Golden Bomber's 'memeshikute'. Then 'shinku ni moete' from 'Gone with the Wind'. Then GReeeeN's 'kiseki'.
And Black Ryuu versus White Ryuu. Well, to be precise a bad emperor versus a good count.
Huh?
I'd say this DVD-box was strange, but very enjoyable. Whatever people say, I think Ryuu is a good singer. Her visual image, though, was questionable. As for me, I liked her a lot. However it's totally noticeable that she is supposed to cater for younger fans, singing all those kind of songs and wearing such stuff - it's like saying 'hey I'm soooo young and trendy!' People say she's too young and her image makes her look even younger, and I already see many fans disappointed with that. But I'm ok with that Why cannot they introduce something up-to-date sometimes?
The concept of the DVD - all those kings and counts - was not fully explained, all we have is just a short premise and then follows the row of musical clips, which is all good but does not really develop the 'story'.
conclusion
I'm her fan now and will be, probably, until she leaves Takarazuka. Maybe even after that. Surely.
During a talk in the car she utters that she started playing games only after her little brother was born. I want to see him... I WANT TO SEE HIM!!! I BET HE'S CUTE!!! AWWWWWW
Classic Takarazuka Dance. Flower poems
It is supposed to be a remake on the legendary Flower poems version #1, but I didn't really care, because I'm not a fan to that extent. And the 'classic' is not simply a word here. This IS classics. A parade of perfection.
The flower theme goes through the whole show. Do you know any words that contain the poetic kanji for 'flower' 華?
華やか - gorgeous
華麗 - wonderful
豪華 - splendour
These are all the words that I could use to describe the show.
I don't know whether my favourite number would be the one showing the continuity of generations
or the traditions kept in a perfect shape
or the golden shining of the stage
I'd say that singing Japanese native songs always reveal how talented and skillful is a sienne in singing. And I'd say that miss Touka was extremely good at it.
But well, not only miss Touka surprised me. There were lots of different changes on the stage. Who is this lovely lady?
And this cute young miss?
And who is this?
And... o___O
And where did you move the Grand stairs?
And how long does it take to bake a cake like thike this?
- What do you want from me?
- TWAS SO FUNNY MASAOOOO!
Now this was passionate. Oh, and I understand completely why the prices are so high in Quatre. Just imagining how much this costs...
Now this is not for very young girls. Imagine what kind of dress they would ask for when they have to go to the graduation party ten years later.
At least, I would die if I saw it in my childhood...
By the way, I found it a bit strange that they used such flowers for the song:
Tamaki Ryou - marguerite (ok... a plain but nice flower)
Miya Rurika - cattleya (what's that? never heard of. maybe I misheard?)
Nagina Ruumi - queen of the night (well I love it's shape but why is a song?)
Saou Kurama - forget-me-not (at least the last two are more poetic)
Seijou Kaito - sunflower
The only borrowed melodies I could recognise were 'Caravan' used in the scene about a young priest being seduced by a huge group of hot ladies,
and 'La vie en rose', used in the number with girls-roses and miss Ryuu is those huge white feathers
Guide to the future
I mean, seriously, have you seen Touka and Seijou together? If not, you should.
'I was so silly when it comes to men... If only I were more fastidious... If I were... I would miss my chance to get married!'
Darling!
Huh?
'Oops... Today was the day of filming for the DVD! Please, cut out what I've just said!'
conclusion
I wouldn't recommend 'Flower poems' to beginners. Too much 'japonisme'. However, if you've seen enough to be prepared to fly to the other side of the Moon...
First of all, this is what I learnt from a friend working in the Grand Theatre. Though this is the order in which I learnt the facts, it is also an attempt to think it over while I'm writing.
1. The next Top Star of the Star will be miss Hokushou. That's no news for anybody who follows Takarazuka's life. The reason miss Makaze (or miss Kurenai?) was not chosen is that she doesn't look handsome enough and there are people who dislike their appearance.
2. On the contrary, Mirio is very beautiful. I can't disagree, because I like her type of appearance very much, too, though I wouldn't really compliment that in first place, like my friend did. The Japanese really do care a lot about a sienne's face.
3. And the reason why miss Hokushou is to become the Star's Top only now is that though she was originally popular in Moon, she couldn't become a Top because there was miss Ryuu, a daughter to a rich family. That's why they let miss Hokushou escape to Superiors and wait there for a while. That's what the rumour says, but even though a rumour, it is a very certain one.
4. It is a common-spread thing that the Tops are there not 'accidentally'. The only ones among the recent Top Stars who achieved their position thanks to their ability are miss Sou from Snow and miss Ranju from Flower.
5. Moreover, miss Ryuu has a high voice which makes many spectators regret that she's not manly enough.
6. Moreover, Moon Troupe as a whole is also bad at singing. They have bad pronounciation, too, which makes elder visitors of the Theatre complain sometimes that they couldn't understand what the actresses were saying.
I wonder why it is exactly mss Ranju and Sou for whom my admiration is limited to respect only, because they really failed to capture my heart even once.
Not that I thought that they are really allowed to become a Top for free. But it kinda... hurts. I mean, I could agree if I heard that a Top-Star-to-be, already chosen by her skills, is asked to make a 'small contribution'. Not vice versa.
1) Puck
Story and characters
There's nothing to say. Puck is one of my favourite musicals in Zuka, because it's so funny, so strange and so touching. And because of Suzukaze Mayo, too, because she created all that initial impression of the musical itself.
It happened so that both musicals we saw were based on Shakespeare's plays. Very loosely... And even though Shakespeare is not my cup of tea, I wouldn't mind drinking 'Puck' again (how was that? a nice phrase I made huh?).
Acting
Now comes the main part. *taking deep breath*
I was not very happy when I heard miss Ryuu would play Puck. It wasn't her type, I thought. It was for Suzukaze, it wasn't for Ryuu. She was still that villain Jacques in my mind. She could do Romeo credibly, too, I thought.
Everything changes with the first note that she utters after appearing on stage. She's not a bad copy of Suzukaze. She isn't a completely new version ruining the original charm of the character. She's just another Puck. Cute Puck. Mischievous Puck. Then suffering Puck. Then poor Puck. Then kind, good boy Puck. My Japanese friend said that 'Puck' is a 'very-happy-ending' enjoyable musical. I wonder if that counts as a 'very happy end', but it's not a tragedy either.
And what can I say? I don't agree that they are bad at singing. Puck's aria or Hermia's song, or just one number of Tytania meeting Bobby - sung by mss Touka and Tamaki - is enough to hear that.
I didn't feel it was hard to understand them, either. My friend would say that's because I'm young and have no problems with hearing, but I'm not Japanese and still only a small percentage of words stay incomprehensible to me when I try to write the script down.
I can't say they are bad actresses. When miss Miya starts joking about her billiard playing being so unusual because of the Christmas Eve, and you understand that's obviously ad lib because it IS the Christmas Eve, when Puck looks at his hands that have just touched Hermia's, when both guys fall in love with Helen after Puck cast a spell on them, it may touch you, or it may fail to do so, but it's the real acting.
I was actually sad and distressed when I heard all those things from my friend. However, it doesn't matter anymore. It's not important anymore, because this I know for sure: after coming to the hotel at midnight having travelled with a heavy bag and getting lost while trying to go to a convenient store, after a difficult getting up in the morning, and after even the breakfast failed to make me feel energetic, it was the Moon Troupe that fixed me.
Music
It was 90s. A time drowning in pop'n'rock. If you listen to Masao's voice when she sings the first song after Puck was born, or to 'Growing up', or to 'Just say dance tonight', you'll hear Okui Masami, Shiina Hekiru, Mazda Julia in there. (upd: I've just read that 'Midsummer Eve' was specially written by Matsutoya Yumi, so you'll probably hear her there, too)
2) 'Crystal Takarazuka'
I'd say it wasn't the best show I've ever seen. It didn't become my favourite either. I didn't even buy the CD. First of all, I was a bit disappointed by the main theme. It was not bad, it was as energetic, GENKI, as always, but I can't help comparing it with 'Dance Romanesque'. And it lost.
Other than that, I really liked one number, the one about marionettes, except for the fact it doesn't have a happy ending >___<
Still, I enjoyed very much both the dolls dancin' part and the duo dance, coupled by... Coldplay. Wow. Takarazuka even borrows things like that...
The other two pieces I recognised were 'Bamboleo' by Tamaki Ryou
and 'Misirlou' used in the fight between Coppelius and mr Detective, just before 'Viva la vida'
the latter, I must confess, I only recognised thanks to it being used in The Black Eyed Peas' song 'Pump It' (had to google for it).
I guess I could also recognise the 'gypsy' main theme, but it appears to be a bit hard to find how it's called. I'm also pretty sure the otokoyaku stairs dance was accompanied by a variation on some classical piece, but I just can't remember what it is.
If you ask me what seat to choose when buying tickets with a limited budget, I'd say - buy A seats on the balcony, row #8 in the Grand Theatre and #7 in Tokyo. It's the first row after a wide aisle connecting the right and the left sides of the balcony. Why those seats? Haha. Try yourself.
By the way, I was sitting 2 rows behind, and still the impression was deep.
I mean, just a metre away from Chinami Karan or Kanoha Toki giving high five to those who were sitting in front of them...
I guess I spilt it out.
And the point I cannot miss - Top Combi. It was the first time I've seen the current Combi and I was afraid I'd dislike it, but I was wrong. I think I might like them less if I saw them earlier, when they were still not 'used' to each other, but now they are a good couple. I like it extremely how Reika looks at Ryuu whenever possible - in all dances where she has at least some interaction with her, and even during the dancing numbers in the Grand Sports Day. If KiriMari were an unusual Combi, then Reika is a very typical nice, tender, cute musumeyaku. And why don't I hate her? Probably because she's very natural, with no shadow of showing-off, no attempts to make the audience actually notice how she's trying to behave in a cute way, and first of all, because there is no part of her body she'd spare for her performance, not a single piece of her soul she's not laying down on a tray to present to the audience. She gives all she has to those who watch her, and I can see that. The one thing that still bothers me is that they're not as close as I wish them to be in, like, Top Combi duet dance, etc. After 2 years together I'd like them to be clinging to each other, and they still aren't.
As for the young siennes who made their appearance in the usual 'boys band singing and dancing number' in the middle of the show, I can't really understand well why Ryou is so promoted, especially on part of her vocals. She's a good girl and she'll do well, but I wouldn't say I enjoyed her voice very much. I also feel sorry for mss Uzuki and Shimon who are not getting as much attention than they used to, and whom I would really praise for her vocals in this 'pop group' is ms Akatsuki.
Apart from them, my favourite vocalists would be mss Seijou and Saou. I'd drown in their voices...
Conclusion
How to make your friend a Zuka fan? Try to guess. Well, she's into musicals in general. And she is interested in what a 'revue' is like in Japan. Still, she wouldn't watch what you tell her 'just because'.
And then you just take her with you to see it live.
upd. after watching the dvd version
- Puck, get on this swing
- can I, lord Oberon?
- of course, it's made-to-order for you!
- wow thanks!
- and now fly up!
- fly-fly, shrimp-fry!
- it's not THAT fry...
- oops...
- now be gone with the wind!
- ok, I'll think about that tomorrow!
just when I was ready to blame those responsible for the calendars for not showing me enough photos from Moon Troupe performances, they make a wonderful collage (?) with Arsene Lupin. I love this image of miss Ryuu...
у нормальных людей в голову приходит Репорно "Учитель мафиози". а для меня мальчик в
полосатой "футболке" и с короной - это совсем другой персонаж. его не
знают те, кто младше меня, почти не знают те, кто одного возраста со мной, и знают немногие, кто старше.
когда
села батарейка на плеере, пришлось слушать, что есть в телефоне. более-менее
длинные версии треков были только в папке Ватанабе Хироси и остов к
Джингу - остальные я обрезала. 9 класс, первые озвученные регулярные сериалы по MTV, СТС и МузТВ. эндинги длительностью десять секунд - из-за того, что каналу надо успеть еще вставить рекламу. кроме "шалала" ничего не разбираешь, но поешь с друзьями в школе. медленный
интернет с лимитом 250 мегабайт в месяц - и ради одного трека Scudelia Electro не было жаль пожертвовать всем остальным интернет-серфингом. эй, а та музыка, что ты слушаешь сейчас, стоит такого?
I prefer to believe that 'tis my intuition - the one that is described by socionics - though I might be wrong. still, this time I guessed it right. YES I DID
after RomiJuri and BeruBara which were in my mind raping the current Moon, MeMy came - and 'twas good but still something told me Moon awaits for something much more 'Moonish', something closer to their current state, something that would really look like 'this is how it should be!'
The Poses sing - 'I guess you're right...' - and I am singing it, too
this is it! this is it! I do not know why - because of my intuition or not - I guessed that Lupin will be a feast for my soul. today I see the poster. unlike many other posters done in a very artificial manner - which is a thing almost everyone agrees! - 'tis very beautiful, and finally I see Moon I can believe in
there is one dilemma left for me. when should I go to Japan? shall I go to Osaka in July? or shall I wait for the Tokyo performance in September?
ohhhh I must see it or I shall die >____<
of course I hope my prediction will be right...
oh... wait... stop... where is Mirio on the poster? she is not? why?
ms Sena and ms Ayano were so good, together with the rest of the Troupe, of course, that their MeMy must be included into Takarazuka masterpieces list, if it were to exist. will the new version be close to that? hardly ever
on the other hand, in contrast to ms Miya's lack of naturalness - please forgive me those who are her fans - I almost like Saou and Nagina, as well as the current Top Combi together. they already look better as a new Moon team, and I cannot possibly dislike ms Seijou's advancing to the forefront
however, all of this looks so far-fetched... I can see how, without even any direct regulations, Masao was told to become a serious but positive young leader, Chapi - to repeat on every corner how great she feels about being a Combi with Masao, others - to display as much pleasure and happiness, as they can, randomly
hypocrisy lets people maintain relationship even through different obstacles and peacefully coexist. however, this is the case where I cannot stand these false smiles any longer
so, MeMy again. by extremely young Moonies. erm... I wonder if they will be able to do it... no, I mean, this time the choice of the musical is good, but couldn't it wait just a little? both the roles there are not all of young people, and the level will be extremely high. I am also pretty sure MeMy requires a good lot of ad lib. or doesn't it? whatever, just I doubt MasaMiriChapi are mature enough... especially after the brilliant Sena-sama, Ayano-sama and Kiriya-sama version
and Bow with... Tamaki. ok, so she's been promoted visibly. Uzuki and Shimon can abandon their hopes. their shinjinkouens didn't impress Zuka administration as much, I guess?
in the end, if I saw young Kiriya-sama, would I fall in love with her the same I am now? maybe Tamaki will grow? what do I know about her to dislike her like this? can I base my opinion on the only fact that she is moving to the top too fast?
these points need thinking over and patience, patience and patience
the more I think, the more I understand that I must look really hypocritical. based on nothing else but my intuition and inner view of the world, my opinions have no right to be called unbiased. in the end, what do I see as lacking here?
firstly, both Top and Demi-Top are Moon children from the very beginning. they grew up in Moon and know Moon best. they belong to Moon
secondly, they didn't tear apart MasaMiri duo, which would not only break my heart, but of many other fans, I believe
thirdly, among many Takarasiennes who played Oscar, I must be honest, Masao looks the closest. she is moderately elegant, cool (I mean, like temperature) and feminine. even her face reminds Oscar as in Ikeda-sama's art. and Mirio has already proved that being supporting - not a 'minor character' but a 'supporting character' and playing in pair, regardless of playing with otokoyaku or musumeyaku - is her forte
fourthly, if there is a way to let a young musumeyaku feel more confident, then 'tis not to break her by giving her a role absolutely far from what she is naturally, which is what I see in case of Chapi playing Rosalie. obviously Chapi would make no Marguerite Blackeney or Carmen, but 16-year old Juliet was a good choice for her, I believe
...then what is that feeling that makes me still be opposed to BeruBara in Moon?
it took me a few moments to realise I was not in Takarazuka. then it took me a few minutes to understand I was watching Kiriya-sama live, on the stage. it also took me several numbers to decide whether I like it or still cannot accept it. the full comprehension of what was going on came probably when the first set of numbers finished and a short break with talk session started. 'the same Kiriya-sama, the same gestures and movements, the same walk, and of course the same voice. 'tis her that I see...' I thought. and this made me comfortable and calm
I don't think there is any need for comprehensive analysis here. to start with, I would never be able to say anything bad about the concert. from general perspective, on the other hand, there was nothing I could be dissatisfied with
the concert consisted of several blocks - opening, love and music, prayer, passion, the native place of heart, memorable musicals, and songs of love - dream is endless
well, an opening is an opening. I would rather include the title song - 'Amore e Musica' - in the opening also, but 'tis in the section 'love and music', the rest of it given for 'standard jazz numbers'
'prayer' is probably my favourite, because Kiriya-sama's perfect taste and sense of music made two masterpieces out of famous songs - 'Ave Maria' and 'Nella Fantasia', both in original arrangement
'passion' speaks for itself and I only need to add that this section included dancing also which was unbelievably hot... >___<
'the native place of heart' and 'memorable musicals' are actually a Takarazuka corner full of great hits which I couldn't listen to without tears. I wasn't able to see SP or Studio 54 live, but I heard my favourite songs at least. even though 'twas not in Takarazuka...
the last part consists of great hits like 'Caruso' which was absolutely beautifully performed by Kiriya-sama
and of course 'My Way' is the best. I am not sure whether Kiriya-sama's voice got better after much singing (same as mine, haha), or she was previously saving energy to make a gorgeous finale, or 'twas my imagination, but her last notes were marvellously strong and full of sound
if I am not mistaken, there were 3 'encores'. each time I was already saying goodbye to her, but the curtain raised again and again. I wiped my tears with a tissue after 'My Way' and never cried during the rest, wanting to carve in my memory everything I saw. my eyes were still a bit red, however, when I looked at myself in the mirror in the toilet several minutes later. I didn't mind it
when we came to Quatre Reves on Saturday I realised one thing. even though my support to Takarazuka and Moon Troupe hasn't vanished, my heart doesn't belong to it anymore. my original intention was to buy only 3 DVDs of Kiriya-sama there, but when I looked into my purse I understood I could afford something else. after doing 2 or 3 circles round the shop I took a mirror and 'Algiers no Otoko' Le Cinq. I didn't want Ryuu-sama's Top Star goods, though I have to admit there was a cute pendant, not the one with a smiley. I didn't want any calendars, though they were advertised here and there, and I didn't want any stills. I didn't buy Kageki with Asumi-sama on the cover, and I didn't buy RomiJuri or Spring Snow programme. the only thing I regret not buying is the 'Takarazuka Oldies' CD, but I decided not to search for it. the new Moon is something I will follow closely and probably sympathize with, but 'tis no longer my obsession. no longer my 'native place of heart'
this is like a new side of her to me. I loved her voice from the very beginning, but I thought she is always just a small cute girl and sings the same way. now I see I was wrong. she is sweet but not a luscious pretty-pretty. if she is like this, probably she will really be a strong musumeyaku of Moon Troupe... you can easily see - or better to say, hear - that not any cover on a good song will be good... what I love in Takarazuka covers is that they never spoil the original even if the vocalist and arrangement is completely different cover by some unknown to me cute girls
cover by Onitsuka Chihiro which I don't consider a very good one, but it shows respect to the original, and at the same time sounds like another song and has a lot of Onitsuka's style in it
original Yuumin's version
katte ni shiyagare by Ryuu though her version is different from the original, I believe this was the right choice for Ryuu's voice. compare if you like
they didn't jump in the end. the tradition has died... but this is hardly what troubles me most
while reading lots of blog posts and just short messages of fans who saw the performance I understood one thing. no matter what troupe the person may support, Snow performance is usually considered the best, or shares the victory with Star, or sometimes vice versa - Star wins, but Moon never pierced even a single heart. no one names it the most gorgeous, no one says only good words about it, and if there are any strong impressions of the new Moon, then they are expressed with only one word - 'cute'. Moon is young, Moon is inexperienced, and therefore - Moon is cute. Moon's appeal is 'I will gradually grow to become a full-fledged troupe so please support me'
these are not my words, this is how people react, but I can swear I thought the same while watching these two videos. clumsy gestures, clumsy greeting from the Top, clumsy final... I have to confess I was much more negative in my expectations, in other words - they sing much better than I expected, they act much better (except for Miya-san...), they behave much better... but the feeling they give is much worse than I expected. I don't know this troupe. Moon is still radiant but no longer warm. Moon is strange to me. 'tis no longer my Moon, the Moon I used to know. this doesn't apply exclusively to the last 2 years, I do speak in general
this is in no way a pessimistic post about how I give up on Moon and Takarazuka in general. I only have to state that it will probably take a little longer for me to understand and accept the new Moon. I thought I became more flexible with years and I ceased to cling to what I liked once and stubbornly refuse to change anything. apparently I failed to do so
since July I haven't translated even a single article. though I made a video and scanned two magazines in August I almost forgot about the very existence of Takarazuka. I've even forgotten to check the August and September calendar wallpapers. once, watching one of the clips I made, I noticed one thing. even if I go to see Kiriya-sama's concert, even if I go to see her next musical, even if by some chance I get to see a performance with Aono-sama, this Top Combi is no longer there... better to say, that's not exactly the problem. what's crucial - I miss them. I want to see them again together on the stage of Takarazuka. and I never will
I thought I overcame this feeling, but 'tis still inside me. 'tis not that I constantly think 'oh why they retired, I haven't had enough!' - no, I never indulge myself into thinking so. however, after proper self-analysis (which lasted several seconds) I understood that what discouraged me that much is that particular feeling. the second time in my life when I felt an absolute bliss is already in the past and chances that I will have more are almost invisible. the moment I was striving for is already in the past and I have nothing else to strive for. I thought 'twould be different because there are so many other things to do, but this is the truth I've realised only a week ago
...Ryuu-sama names RomiJuri an 'appropriate' musical for the new Moon Troupe. I wonder if she really thinks so...
...after the classes finished - 12-50 as usual - I left Meric Japanese Language School where I was studying and hurried to the subway. as my friend Sae-san told me there wasn't much time I preferred to run, but that was a bad decision - I dropped my walkman which has the screen glass on the very top with no protection and got it broken. as I never bothered to replace the glass, 'tis still the same now. when I arrived at Umeda I had to count carefully the staircases and escalators because our meeting point wasn't too easy to find for me who could not get used to new places even after spending a month in Osaka. needless to say, I was successful. having bought some snacks we took the train to Takarazuka and arrived there in a blink of an eye. the road from the station to the Theatre was very beautiful in summer, though I wished I could visit it in March when sakura trees bloom, as Sae-san told me that 'hanamichi' is all bestrewed with the flower petals. the interior of the Theatre seemed to be bigger than the building when looked at from the outside. the halls and the shops were all cute and crowded. we proceeded to the seats. though 'twas balcony and our seats were #2 and #3, left edge, I could observe the stage pretty well. so, the curtain raised...
I tried several times to recall why I was so delighted after seeing the performance. well, here's the reason
vivid colours of the costumes, moving decorations in the backstage, perfect steady loud low and a bit husky voice of Kiriya-sama, perfect synchro of the dancers (well ok this particular screencap is not a good proof) - and probably this particular lift marked the beginning of my love of lifts?
KiriMari duet song. perfection again. if 'tis KiriMari than an average lovers' song becomes special. I would be really mad for the fact that Moon is playing this tragedy, if not for KiriMari who create a fresh image of the main characters which is impossible to mistake for anything else
Koshino-sama and Hanase-sama were of course inimitable. recognizing Ayahoshi-san was much more difficult. I mean, after seeing her like this - a capricious young child - one wouldn't think she can sing the song from 'Notre Dame de Paris' scene of 'Dance Romanesque'. at least I wouldn't
'ai wa doko ni iru' is just an average Top Musumeyaku character's song, but 'twas really good to hear it from Aono-sama. this very song made me understand that Aono-sama is not as plain as I was afraid she might be when I only looked at her photos and knew nothing else
the scene of preparations for the party in Paris gave me the first impression of the 'many-members-having-fun-on-the-stage' thing. now that I see it for the second time I can't help wondering to myself... is it strange that for me seeing Japanese portraying French waiters and maids - and moreover being pretty credible - is not strange?
Hanahi-san as Annabelle was too credible. so credible that I started doubting whether she was credible or not. sounds like nonsense but this is what I thought
one more surprise - Seijou-san as Michelieu with... a gigolo aura? I mean, she was an personification of the courtesy- and gallantry-covered onslaught that are one of the main MOE points about Takarazuka in my mind
otokoyaku group sing Julien about the downtown of Paris where there are a lot of nice girls. again. actresses on the stage singing as if they were real young men willing to have some adult fun - note strange, at all! ^o^
Aono-sama's dance in the golden outfit in the nightclub is perhaps one of the most beautiful dance I've ever seen. and the golden glitter suits her so much *____*
Hihou-san is a great surprise again. her voice, to be precise. I am a bad judge in terms of person's appearance, but her low voice is really unexpected after you look at the cute smiling face of hers on some photo
hard to admit, but Morie's charm was a bit hard to notice this time. to be precise, I didn't remember much about her after the first time I saw her on stage, but surely this time I can pay more attention to her as I don't have to dissipate my attention to many things. now I can understand those who love her deeply. perhaps, this is the image of hers that is the most natural and attracts the fans
finally, Mirio as Henri. if I could see her in this image more... so gentle that she almost radiated peach-coloured light around her... does it sound strange? but I really was able to see it during the scene where Annabelle heard the conversation between Julien and Elizabeth - how she lifted Hanahi-san, how she looked at her, how she touched her, how she sang after... I melted. well of course that does not mean I justify her Henri who, in the end, killed a human being
and Masao as Jacques. guys, how can you like villains like this? I mean, Masao created a villain with no slightest trace of mercy or a chance for redemption. she was too credible. this is why I have such an image of hers - capable of playing 'true' villains. having this Jacques as my first impression of Masao I truly cannot understand those who see her differently
well and the final dialogue of Julien and Sabine - if someone doubts there were no real love between those two, I don't know what real love is. who were those two, Julien and Sabine or KiriMari?
my love towards this Combi might seem to have its roots in a mere coincidence, but this love hasn't died yet, and perhaps won't. why do I love them so much? maybe I love how Aono-sama grasped Kiriya-sama's back? maybe I love how Kiriya-sama holds Aono-sama's head?
maybe I love this look of Kiriya-sama with her eyes cast down or closed, and a tense smile on her face? maybe I love how Aono-sama can express so much hope and happiness with her face, though there is not anything special on it?
...and the curtain falls down. even now I consider this ending too abrupt. even now though I know how it ends, I have that feeling again - 'that's it?'
conclusion
I cannot be unbiased, can I? taking into account 'twas the first Takarazuka performance I saw, and the first Takarazuka performance I saw live. let me put it this way: play itself - not one of my favourites, but the performance... *____*
I have to thank once more the people who upload these things
in the end, there is no better stimulus to start studying after all! than seeing the possibilities slip out of your hands - well, for an INTj, at the very least, with his strong Black Intuition
this is why I can't help translating at least one poor short article I was going to translate in the beginning of June, if I am not mistaken
The director and composer of French guest performance 'Romeo&Juliet' Mr Gerard Presgurvic and the main cast members met at the rehearsal of Moon Troupe 'Romio to Jurietto'
On May 23rd Mr Gerard Presgurvic, the director and composer of 'Romeo and Juliet' musical, and the main cast members of the French guest performance visited the training room of Moon Troupe 'Romio to Jurietto'.
The meeting started with Moon Troupe actresses performing the scene 'Masquerade' from the first act (scene 7).
Mr Niccolai Cyril
'I heard from Gerard that Takarazuka is great, so I was looking forward to this. When I saw it myself, I realized it was really great, and it was a surprising discovery.'
Ms Esther Joy
'I was deeply moved and I liked it a lot. All the artists are really great at singing and dancing, and the performance was really beautiful. I am glad I was able to see this.'
Ryuu Masaki
'I performed with the feeling that I want to love this performance more, I want to deepen my role more. Though I was nervous from the beginning, after I saw the warm expression of everyone's eyes I was able to relax, and I think I was able to perform at my limits today. I want to do my best while rehearsing from now on without forgetting what I learned today.'
Manaki Reika
'I couldn't help feeling nervous, but I was excited with that I was able to perform in front of everyone. There are still a lot of things I am inexperienced in, but I realized once again how extremely glad I am to perform in the 'Romeo and Juliet' musical.'
_____
remarks
yes, this is the end of the article. short, huh? meseems, I have to search for a more comprehensive report somewhere else... the official website seems lazy, doesn't it?
Manaki-sama really speaks in riddles. Literally she said that she was 'moved to show to everyone'. Show what? Everyone of the Moon Troupe or the guests? And why 'moved'? Strange choice of words. In my mind, she is most inexperienced in expressing her thoughts, not acting/dancing/singing/whatever ^^` Sorry, dear Manaki-sama, but you ought to have more confidence and not let the circumstances pressure affect you. Otherwise how am I supposed to translate what you say?
Unlike her, Ryuu-sama always knows what to say. She knows it so good that if not for her slang-ish language, I would think that she speaks 'canned speeches'. Of course, Top position is restricting, but please, be yourself more...
MasaMiri as Oscar and Andre??? switching roles again??? with Ranju-sama and Sou-san in special Moon performances??? Ryuu-sama, Ouki-sama and Yuzuki-sama in special performance of Snow???
WHAT'S WITH THAT CONSTANT MESS???
oh, you can do whatever perverted things with other troupes, I don't really care, but I CAN speak for Moon, and Moon should be left in peace to do their job. LOOK CLOSELY, WHAT RYUU-SAMA IS AND WHAT OSCAR IS
perfection... perfection, perfection, perfection! Otokoyaku Stair Dance, Top Combi Duet Dance, 'Final Countdown' covered by Ryuu-sama and Kiriya-sama, ’My Way' covered by Kiriya-sama and Sawaki Rizu-chan, and of course - the wonderful orchestra accompanying every move of theirs...
is there anything else on this Earth you could wish for?
I am already hitting the wall with my head. WHERE'S THE REST???
ok I know I just have to purchase a disc myself. but you know, the excerpt exists already! it means that someone should have the whole revue! am I wrong? o.O
http://www.tudou.com/programs/view/1gLpyrL-D0Q/
I just wondered what the old versions sound like. actually Elvis did not impress me much - sorry, fans! Sinatra-san's manner seems just a bit more suitable to me ^^`
my personal recommendation - if you have/want to do something requiring a considerable amount of efforts and energy so that it makes you too lazy and too cunning, I mean, you busy yourself with anything but THAT, there is one option how to make yourself finally finish THAT. you should put yourself into circumstances when you have nothing else to occupy yourself with, but to do THAT
in my case 'twas visiting my Grandparents in small urban village where even talking on the phone is expensive - as 'tis another subject of the federation, to say nothing of web-surfing. so I hoped I would translate and translate and translate - all the free time which was in abundance, because the free time was when I was not eating/sleeping/gathering berries in our 'dacha'
my hopes were in vain. the bunch of articles I took with me still lies untouched. I only managed to translate two articles and started the 3rd one. well partially responsible for that are my Granddad and Granny who took away the table from the living room, so that I had nothing to write upon except for the kitchen table which was not available any time of the day. however, I myself was not too eager, as well. this time I felt again how much satisfaction I feel when finishing one more article, and I vowed again that I would not waste any more time when I come home. I have been giving promises like this to myself dozens of times, you know. will I keep it now?
New moon troupe Top Star Ryuu Masaki - an exceptional first performance of the new top with switching roles
The new Top Star of Moon Troupe, Ryuu Masaki, is to perform in the
musical 'Romeo and Juliet'. This will be an exceptional start, as the
main role of Romeo and the villain role of Tybalt will be switching
roles for Ryuu and the demi-Top Star Asumi Rio. We asked Ryuu about her
feelings before the first performance which is to take place in the
Grand Theatre on June 22nd.
Ryuu was born in Higashiosaka and debuted in 2001. She moved smoothly
through these years and after the previous Top, Kiriya Hiromu, retired,
she was promoted. She is the first actress enrolled in the XXI century
to become a top. 'I am genuinely glad. I am a leading male role player
in the Moon Troupe I was born and grew up in, so I am emotionally
supported by all my comrades. This is the best thing.' - she says. a paragraph with trivia omitted Attractive two roles
'I think two roles is an attractive thing. With every day I realize how
interesting it is.' - Ryuu says. 'In this performance, you know, the
feeling you have after watching it and the feeling you have when you are
actually playing in it are different. I thought Romeo is, like, a beautiful
dreamer, but I cannot be satisfied only with that. He is stubborn with
his own ways, and he is somewhat of a naughty and capricious child with a bit of a wilderness. It will be interesting to see how he changes after he meets Juliet. Unlike him, Tybalt is a role of a hard and violent lover. He is a
character I would hardly play as a Top, so there is a feedback. Our
characteristics with Asumi are originally different. We both feel the
same love in the place of our characters and thus create our roles.' - she
explained vigorously.
Considering her partner Manaki Reika she shared her impression - 'Chapi
(Manaki's pet name) is cute like a puppy. She is of the youngest
underclassmen (enrolled in 2009), so I feel I should bring her up and look after her. I want to see how a puppy grows into a lady, into a
woman. A Combi is when two become one, so I want us to be all lovey-dovey.' Self-awareness as a Top is gradual
About realizing her position as a Top Ryuu said - 'As my words are being
listened to attentively, I can feel the self-awareness of my position
gradually coming, but I have not realized it fully.' Considering her
hopes about leading the new Moon Troupe she said - 'I want become
someone like a team-leader, not someone who sits on a high throne. To
the merits of performances in a group with solidarity which existed in
the times of ms Kiriya, I want to add the variety of everybody's
individualities, and run together with everyone. I want to create a
troupe which shows with all it's surface how youthful, energetic and
powerful it is.'
Ryuu, having a strong concern about growing, having a strong motivation
to perform on the stage since her underclassman times. What kind of
passionate Romeo will she show us, will she make Tybalt a big role,
these are the things to look forward to.
_____
remarks
what did she mean by 手答え? I wonder. I tried many dictionaries including Jap-Rus, Jap-Eng and Jap-Jap ones, but all I get is 'reaction', 'result', 'response', 'resistance' or 'feedback'. in the end, I simply put the words without proper understanding of what I have translated...
actually I didn't know the word 愛称 (aishou), but I guessed it should mean something like 'nickname' or 'affectionate diminutive'. the Russian translation is also close to what the kanji actually mean - 'love' and 'call/name'. however I checked the jisho.org dictionary and saw another variant - 'pet name'. one could not wish for a more suitable place to use this phrase - the very sentence where Manaki-sama is compared to a puppy
Ryuu-sama always gave a feeling of an outwardly restrained person to me. I remember her in the Tokyo Eye issue about Takarazuka where she showed an example of the Takarazuka perfection - polite, smiling but discreet, elegant in her looks and her manner of speaking, multiplied by her low calm velvet-like voice. however, the more I see programmes with her and read her interviews etc., the more I understand she's not the 'cool' type. her 'Romio tte utsukushii doriima tte kanji ga shita keredo' instead of 'Romio to iu yaku wa utsukushii doriima no you na kanji ga shimashita ga' or something like this, her 'yancha' and constant ending her sentences with 'ne', these words were actually the biggest gift that I got from this article
and her attitude towards Manaki-sama... the difference between their age is considerable, and the difference in experience is even more scaring, but it seems, their relationship is establishing in a good way. I hope they won't be too 'rabu-rabu', and I hope their types will not be that of the 'elder brother' and 'younger sister'. if they really become one like Ryuu-sama said, this will be the best thing I could ever wish for, considering my Moon Troupe
original article - bysome 'veteran journalist' of Sankei News ^.^
For some reason, there is a 'Romeo and Juliet' boom. Following the Takarazuka version, the original French version is to be performed in Japan for the first time.
On June 22nd the Moon Troupe 'Romeo and Juliet' is to begin in Takarazuka Grand Theatre. The Takarazuka version of the world-wide hit created in France was first performed in Japan in 2010 by Star Troupe. Then it was performed last year by Snow Troupe, and will be revived by Moon Troupe this time. Apart from Takarazuka, I also read about the original Japanese version with mixed cast. Finally, the original French version is to be performed in Tokyo and Osaka this autumn, for the first time in Japan. In light of this, the composer and lyricist Gerard Presgurvic and the main cast came to Japan. With the Moon Troupe Top Combi, Ryuu Masaki and Manaki Reika, also participating, a PR event was held. The famous work about tragic love that shines even nowadays a paragraph with trivia omitted In Japan the performances also follow one another
Two years ago the version directed by Koike Shuuichirou was a big hit, and the original French version is to be performed in Japan for the first time. Together with Presgurvic himself, four cast members also came to Japan to participate in a PR event titled 'Romeo and Juliet ~ children of Verona' - Niccolai Cyril who plays Romeo, Esther Joy who plays Juliet, Neville Stephan who plays Benvolio and Eyzen John who plays Mercutio. As special guests, Shirota Yuu from the original Japanese cast attended the event in Tokyo, and the Top Combi of Takarazuka Revue Moon Troupe consisting of Ryuu and Manaki - in Osaka.
In his address Presgurvic said - 'The reason why this musical became a big hit is that the story itself is simple and brilliant. Taking it as a basis I created a performance to make the audience think to themselves whether they could die for the sake of love. I would be happy if the French version would be loved the same as the Japanese one.' As far as I know, he visits Japan for the fourth time and during his previous visit in March last year he faced the great earthquake catastrophe. 'It was my first experience of that kind, and I was very frightened, but at the sane time I could feel keenly that the Japanese are very diligent and hard-working people. I pray for them.'
Nicolai was playing Benvolio during the Asia tour, and playing Romeo in Japan will be the first time for him. 'I am looking forward to seeing what kind of Romeo I will become. In this performance singing is crucial, and I am able to play my character with proper, perfect singing' - he shows his confidence. Esther was selected to play Juliet during the Asia tour and she has played Juliet in Paris 40 times. She expressed her happiness - 'It was Niccolai who told me about the audition for this performance. That's why I am very glad to form a combi with him.' Eyzen also has a rich experience of playing Mercutio - 'I enjoy playing madness', but Neville will play Benvolio in Japan for the first time - 'I think he is a person who lives his life to the fullest', after saying some greetings with a smattering of Japanese they shared their impressions. Ryuu, who saw the powerful performance of the French cast, said - 'I was deeply moved. Now I want to play Romeo cherishing his dreamer part, but integrating into it an element of his energetic rushing guided by his instinct.' Manaki vowed vigorously - 'When I heard everyone's singing I felt the emotions conveyed with the music. I will do my best, too.' For some reason, there is a 'Romeo and Juliet' boom now in Japan. The straight play with Satou Ken and Ishihara Satomi has just finished in Tokyo and Osaka. The Takarazuka Moon Troupe performance will last till the 23rd of July in Takarazuka Grand Theatre and then will take place in Tokyo Takarazuka Theatre from the 10th of August till the 9th of September. The French version will be shown in Tokyo inTOKYU THEATRE Orb from the 10th till the 21st of October and then in Osaka in Umeda Arts Theatre Main Hall from the 26th of October till the 4th of November. The boom still seems to be burning for quite a while.
though I mentioned 'Dance Romanesque' several
times (oh, didn't I?), I have never written down all I feel about this
wonderful 'show spectacle'. and I should!
the reason why I watched it again today is that
I stumbled upon an article about 'Algiers' and 'Dance' and translated it. no,
this is not the reason... after translating I decided to check the spelling of
names on TakaWiki, and while doing this - I read that Aono-sama was absent
during one of the scenes in 'Dance'. I have read it for many times, but 'tis
only today that I realized that she was absent exactly when I went to see the
performance. no, better to say, I happened to go there when she was absent, yes
of course I did not notice any change. I didn't
even know that Aono-sama should have been there, eh? whatever
after realizing this fact I decided to check
what scene exactly 'twas. and after checking - I could not stop. I felt really
bad after 'Hakushaku' and I had to allow myself have some medicine to drive
that poison out of my body. therefore I watched the whole revue, yes
the curtain rises. the introduction. Masao
sings. musumeyaku-san dance. Kiriya-sama appears. I see the same setting, the
same dresses, everything is all right. I don't feel anything strange... and
then the music suddenly changes. the rhythm becomes stronger. Kiriya-sama runs
downstage. I recognize the title theme song. otokoyaku-san run up to the stage
心に響け、熱い歌 - ring in the heart, the hot song
and me is already struggling with tears
my love. my first. my Romanesque, that stole my
Takarazuka innocence
心に刻め、その祈り - carve it onto your heart,
that prayer
and those beautiful ladies dance with smiles on
their faces, which almost physically warm me
未来の自分を失わないで - don't lose your future self
the tension rises
この一瞬を永久に変える - this instant is turned into
eternity
and ladies regroup into a triangle lead by
Kiriya-sama
Ah~ - needs no translation
and then...
DANCE!
this revue is, perhaps, created to be the
closest to the mere mortals - I mean, siennes invaded the audience. literally. including the balconies. I can imagine what it feels like when
Aono-sama gives you a 'low five' running across the hall
Kiriya-sama's solo number did not impress me
much, but it had a very typical 'shabadaba' in the end, and of course -
Kiriya-sama winking before she disappears is... *___*
the scene about the '(un)inhabited mansion' is not
among my favourites. a bit boring, I might say, if not for the soft image of
Masao which contrasts a lot with her Jacques
the loose reflection of 'Notre Dame' is also a
very strange thing, but there are a lot of good points in it. splendid acting
of Kiriya-sama in an unusual role, and of course - Ayahoshi-san's singing. one
of the best songs I ever heard in Zuka revue parts. also, the following battle is accompanied with one of the most wonderful background instrumental works. I
really, really, really pay respect to the composer, the orchestra and the
guitarist(s?)
well, lifting Kiriya-sama to the ceiling with
white wings (they were moving, BTW) is a bit too much... too experimental... well,
though this seemed strange to me, I cannot be against it. more diversity is
never to the worse
as the programme says, this scene uses several pieces from 'Mask 41' OST. they are 'Kyoko's Dilemma', 'Cerca De Ti' and 'Fight with Dream' then, the K-POP scene. guys... where's the
K-POP itself? I am no specialist, but I have been told much about K-POP bands
and I watched a bit of PVs and concert performances due to several friends and
acquaintances of mine being fans of K-POP boys-bands. so, this number is a bit
week for me, by the same token the music and the vocals were not really
impressing. the dancing is much better, though, combining typical Zuka
movements with -POP ones
the next part is a standard Zuka dancing number
which has nothing special about it, but allows the spectators to enjoy some
points that Zuka is famous for. namely - hot Latin background music, Kiriya-sama's singing in the same manner, Aono-sama representing musumeyaku
charm, and a splendid synchronicity of movements which matches the music so
perfectly that you quite forget they are real people dancing on the stage.
also, a good scene for Morie and Magee who were overly cute
the Mirio's cover of 'Puttin' on the Ritz' is
funny. really funny, because of both the music and her Engrish
row cancan rockette dance is very cute. and I consider myself
to be lucky to see it the very first time I watched a Revue
Top Combi dance would be really good... if not
for the fact that I dislike the song 'Sunny' in the original and the
instrumental version is not much better
the all-troupe number is indescribable... I
have no words to express how much I love it. the white costumes, the golden
background, the expressive music, and the general concept were absolutely
perfect and memorable. it might seem stupid, IDK, but I love when there are a
lot of people together. it creates an image of unity and warmness
and this particular jump - to be precise, two
of them - is simply GORGEOUS
the following Masao's song reveals how warm and soft her timbre can be. the dance accompanied by the instrumental version of the song, where musumeyaku-san move as if they were made of water, is also a splendid number. I have watched many revues - of Moon, of course - but I cannot recall anything like this and then, Stairdance. actually, I have never heard any of Yuzu's songs, though I might have heard their name. still, I wasn't aware of the original song until November when suddenly I saw a trailer of Yuzu's concert on a huge screen on a building somewhere in Shibuya (or I don't remember where), and suddenly I recognized the song. my dear friend, Sae-san, told me - 'you see? 'tis Yuzu'
needless to say, Kiriya-sama's strong low voice is superb, so is the orchestra arrangement. the song is completely different. however, the original is nice, too the next Top Combi dance is among my favourites. first, I came to realize that this blue suits Aono-sama greatly. second, their movements are perfect. third - I cannot recall what music there was in the original performance. 'twas replaced in the vid, so I am somehow frustrated that I could not memorize this beautiful number to the utmost. I should have. I really should. if not for my poor memory... at least I should thank TakaWiki again. they wrote a hint that implies that the scene is called 'we're all alone' - am I wrong? well, the scene is not called like this, but the song used was obviously Boz Scaggs' one of this name. I don't know why the Japanese love it so much - it played a big part in Takeuchi Naoko's 'Rain Kiss' and meseems I have heard something about it later. also, this vid is from his concert in Japan. I listened to it then, when I read the manga, and didn't like it at all. can't get what's so special about him
then, the parade
the gorgeous parade starting with beautiful voice of Hazaki Mana-san. her high notes were really impressing, but the following main theme overwhelmed me again... the curtain falls. in the dancing figures of Moon Troupe members I see the characteristic image of Takarazuka and, strangely, I recall watching 'Sakura Taisen Katsudou Shashin', the full-length movie for the first time
it rings in my head. 'tis carved in my heart. the moment it ended turned into eternity and did not let me lose my future self oh I should pay more attention to the theme songs lyrics, shouldn't I?
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