my humble opinion on 'The Man from Algiers' ~ it's been a year, huh?

 ...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

BTW the Tudou links are
part 1
part 2

translation. an article about 'The Man from Algiers' and 'Dance Romanesque'

after watching 'Hakushaku to Yousei' I was pretty sure I better keep a distance from everybody - I was afraid I might kill someone. as I am certainly spitting poison. my whole body is intoxicated with sugarish shoujo. 'tis a rare case for me, to feel THIS bad after shoujo. the last time was, perhaps, when I read Saitou Chiho's and Higuri Yuu's works
I needed something to occupy myself with, and at the same time - something soothing. and what can be better than translating another article about Moon Troupe in such a case?

Takarazuka Revue Moon Troupe Performance -  'The Man from Algiers' and 'Dance Romanesque' - first day interview
link
Musical Roman 'The Man from Algiers'
Author: Shibata Yukihiro. Director: Oono Takuji

This is a revival of a play that was first performed in n 1974 with Ootori Ran playing the main role, and performed again in 1983 starring Mine Saori.
It tells us about a young man with ambitions who wants to climb up the road of success so much that he even uses the girls who gave their hearts to him. Youth is only half sparkling, the reverse side of it brings a cruel shadow with it. This performance attracts us to the described man.
Three girls who make their way through a sad destiny. A splendid work that portrays the dramatic lives of young people, burning with hopes.
Show Spectacle 'Dance Romanesque'
Director: Nakamura Satoru
'Romanesque' has a meaning of something like 'with refined taste' and 'passionate'. 'Dance turns a single moment into eternity' - with this theme laid as a basis, the group dancing filled with youthfulness and liveliness, dances with stories, composed of dances of different styles, this show is overflown with passion and energetic movement.

Report
On September 16th, 2011, an opening day interview was held.
Kiriya Hiromu
I am grateful you all gathered here on such a hot day.
As for Moon Troupe, though we have been delivering happy ending stories for a long time, now we offer a very tragic story, but this play is overflown with Shibata Yukihiro's (author) roman, and the show will be refreshing and interesting, so the performance will be a characteristic Takarazuka double feature. We will do our best in delivering it to you until October 16th, so we would like to count on your support.
Aono Yuki
The play will be a tragedy, and the show will be enjoyable. With the present power of Moon Troupe we will put all our might into the performance, so we would like to count on your support.


The impression of members of Moon Troupe energetically dancing from the very beginning of 'The Man from Algiers' to the very end of 'Dance Romanesque' is very strong, but isn't there some scene that you particularly like?

Kiriya Hiromu
The opening of 'The Man from Algiers' is the first modern thing in a long time for Moon Troupe, so we were wearing suits and dresses that are easy to move in, and this is a thing I have done many times in my underclassman era, but this time I play a character who is a glittering with ambition carnivorous man (the words may sound a bit old... *laughs*), which is the first time in a while, and I particularly like the dance in the prologue of the play.

Aono Yuki
There is a very adult-like dance in the show I am honoured to dance, where I wear a white dress with spangles, and since this is the first duet dance with such a feeling, though it is a challenge, I will do my best to cope with it.

Kiriya Hiromu
And there are also different kinds of wigs.

Aono Yuki
I use four kinds of them.


What are the interesting points of the musical in your opinion?

Kiriya Hiromu
The show starts in a very energetic way, with high tension, and then a lot of scenes follow which have a story in them, but I hope the audience will have a feeling of satisfaction after a scene of Notre Dame de Paris, as if they had seen all the acts, and I will be glad if they feel the drama. Though in a show it is always necessary to deliver the dances and the songs with energy, this time we enter the fourth piece, and I hope we can deliver every single scene with its deep contents.

Aono Yuki
In the musical ms Kiriya plays a man overflown with ambitions and all, but there are 3 girls who are involved with him, so the interesting point is that he is such an attractive man...

Kiriya Hiromu
A concealed pressure? (laugs)

Aono Yuki
No, not like that (laughs), just the male roles are greatly portrayed. Also, there is a difference between the scenes in Algiers and in Paris, so I think the audience will be able to feel the image of those days.
_____
notes

1. I have no idea what is meant by ４作目 which I translated as 'the fourth piece'. really, who 'we' and what is the fourth? I might be stupid but I am at a loss...
2. I want a video of this. guess I have something to occupy myself with from now on... searching for interview videos... MB 'tis in some of the cafe breaks? or something...

trying to remember... ~ I saw a fragment of 'Dance Romanesque' unintentionally

I have already described my first Takarazuka experience to some of my friends, which had the interesting coincidence, that the performance I got to watch was exactly that of the Moon Troupe, whose Top Combi seemed to be the most interesting judging by their photos on the English version of the official website

therefore, I can not say I do not remember my meeting with the Takarazuka world or something like this. however, while remembering it quite distinctively I did not recall anything apart from the facts. namely, I did not try to remember the feelings I had as of July-August, 2011

by chance I happened to see the same official photos recently, and by chance the Tokyo Eye hosts were visiting 'The Man from Algiers' in their recent programme, and both encounters were not deliberate ones

the feelings I have now that I've seen excerpts from the performance which was my first one are tearing my heart apart. even scenes from 'Dance Romanesque' do not arise the same feelings, as I watched it twice, and the second time I was watching it, I was already much more '詳しい', that is - I was already lovesick with Takarazuka and knew some basic things about it

watching other performances and TV programmes is nothing equal, as I see exactly what I see and what is even more important - I am prepared to see what I see. watching 'The Man...' was so different...

what is the most interesting, is that seeing the scenes from 'The Man...' hath a double effect. not only I see the faces and costumes and the stuff clearly, but also I see the performance with the eyes of a 詳しい person, a person who is into Zuka and knows quite a few things about what it tastes like

these two effects made me remember my first visit to Takarazuka so distinctively. knowing nothing about the whole concept, having seen no stage photos, having heard no songs, and nevertheless calmly accepting the fact that Zuka is an all-female theatre - I wonder what I looked like...

nothing of the show shocked me or surprised me. no decorations, no costumes, no manner of acting or singing. I was feeling as if everything was on its place, and everything was as I expected it to be. of course, I noticed that the decorations were splendid, and the dresses were richly embroidered, etc. still, 'twas the beauty which was surely to be there, and however hard I try to remember, I cannot say I was feeling that the performance exceeded my expectations

oh no, I have already told a lie. of course it exceeded myy expectations in a positive way, it impressed me and delighted me greatly. I can prove it with both my feelings after the performance ended - those were feeling of sadness with the time having passed by so quickly, and with the facts - could I become a Zuka fan if my first experience was unsuccessful?

what I meant to say is... I feel like there was something within me, something in my souls that led me to going to Zuka, perhaps, that something was already pushing me towards this wonderful world before I realized it. I mean, my strong wish to watch the performance was the very signal that I am ready to start my Zuka journey. now that I tried to remember the developments of last summer, I can vaguely remember me noticing the opportunity of going to Zuka a little ahead of seeing the poster on Hankyu station. that 'little' seems to have been enough for me to become quite determined, but not enough to provide myself with a significant background

why? well, I did not have a lot of free time, and I was occupied with 'kaichou wa maid-sama', and I did not think I would be able to visit Takarazuka as my first friend did not response to my mentioning my wish to go there, and the other one I did not expect to have any interest as well

in the end, 'twas the sudden crush and its consequences that led me to watching the programme I named, and the only fact I am wondering about right now is - why now, why half a year after...

oh, now there is another thing to ponder on. is everyone the same as me when they see some scenes from the performance that was their first?