IMHO. Moon Troupe's 'Company' and 'Baddy'

For some reason in a while I felt like writing a detailed list of my impressions of the show...

First, 'Company'.

Probably the first time in my life I watched a musical and felt unsatisfied. My love for Moon Troupe did not let me admit it but let's face the truth: this is weak. What's with that story? Everybody works hard, there are some collisions during the process, but in the end they find common ground and make the show a success. 'cause 'audience are partners of the performers' huh?

I was surprised to find the show is based on an existing novel, so shallow the concept was.

If the above summary is just too short, here is a short but comprehensive one:

After two companies merge into one, several events are set up to promote the new company's image. Your average 'sarariman' Aoyagi tries to stand up for a young sports trainer Yui who is blamed for bad handling her duties, but in the end they both are transferred to produce a ballet performance, just as one would expect haha. During preparations they meet actual ballet dancers, Aoyagi learns much from his new friend Minami, Yui tries to establish partner relationship with a renown ballet dancer Takano who is a star both in Japan and abroad and has his own views on how things should go in life. The president's daughter Sara who is the prima of the ballet troupe constantly appears on stage and does nothing in particular. Dancers and teachers from the ballet school supported by the corporation also appear and do pretty nothing. Nayuta, a young singer from a famous band, is suddenly chosen for the main role instead of Takano who confessed he is not in his perfect condition. This condition however doesn't prevent him from dancing not only the bad wizard Rothbart but also Odille who is changed from a female role into a male one, being an apparition created by Rothbart...... What? Well, many characters asked the same, but in the end everyone agreed. Of course everything cannot go perfectly and Sara gets injured when being lifted by Nayuta, but everyone is yasashii and says it was her fault and not Nayuta's. We didn't even for a moment doubt Sara would somehow be dismissed from the show because Minami, who is her understudy, could not possibly stay behind the curtains since she is the one played by the Top musume. She is afraid to perform, but Aoyagi, who was afraid himself just a couple of minutes ago, comforts her and they embrace. By the way, Takano also had problems because he supported the injured Sara, but he has his devoted trainer Yui, heheeey! So, the last ballet performance is a success despite the problems, Takano decides to establish some kind of agency in Europe and suggests Yui go with him, now you girls should learn to be as persistent as Yui had been, and don't forget to wear a lovely blue dress for the party to conquer a stubborn guy's heart. The Top duo is together, of course, and everything is well......

I personally love funny stories with happy ending very much but I was not sure in the end if I wouldn't like to have a pickled cucumber.

Aoyagi by Ryou Tamaki is that average 'sarariman' doing his job diligently. Suddenly transferred from sales to ballet producing? Not a problem. They still think in Japan that a good worker should try everything in every section and be ready for anything. Doesn't matter he doesn't know anything about ballet - he just needs to learn... Despite - or thanks to this story flaw - I don't know which one it is, but Aoyagi was the same good guy till the end. Maybe the best thing I learned from him was that Natsume Soseki translated 'I love you' as 'tonight moon is beautiful', because the Japanese prefer indirect speaking.

By the way, I noticed that in the original Aoyagi's wife was not dead from cancer but rather simply left him. As for me, I'd rather leave this fact as it was in the book. At least it would add some nuances to Aoyagi's character.

Young ballet dancer Minami by Reika Manaki was your avegare cute and positive, slightly dumb girl. Only slightly... Well, they like it very much in Japan when the girl doesn't get it when she is confessed to. And it was even cute, when performed by Chapi. And still, what else can we expect from such dull characters, even if they are played by the Top duo.

Probably Miya's ballet star Takano was the only noticeable character in the story. The proud celebrity with his own stance and views, moreover with character development not much seen in anyone else in the story. I was waiting so much that he would attack his cute trainer and supporter, Yui, by Mitsuki Umino. This is probably bordering on an otome's fantasies, but what can I do if Rurika is not only a good actress but also such a hot thing too. For want of hotness in all other characters, I guess I would be happy if she attacked just any girl on the stage... But I had to be satisfied at least with the fact that Takano invited Yui to be his trainer and manager in Europe.

Speaking of the much desired hotness, at least Hayate Uzuki as the pop-group leader Akutsu was trying to add some, and I'm sure she would if her time on stage was not so limited. I'm not sure if it's right to measure the quality of a performance by the level of 'presence', but Uzuki's presence was big and one cannot ignore it. Even the scene where her character simply apologizes for his fellow band member was more impressive than many other longer scenes.

The same goes for Yurino Touka as ballet teacher Noa. Her role was small but she was good in it and even managed to pull some gags. Both Seri Ayazuki and Ruu Kozuki were also good as the wise company head and the funny manager who was constantly getting angry but in the end turned to be the only one 'restructured' - away from the company for good.

Wakaba Saotome as Sara was not really impressive to my taste. Chisei Akatsuki was not either, but at least she did some beautiful pas during the 'Swan lake' play within a play.

Kanato Tsukishiro........ Now here is something to think about. I didn't like her in 'All for one', but I admitted it might have been my personal prejudice. In 'Company' however I totally forgot about her existence in the Troupe and only noted how bad Nayuta was performing and singing. Even then I didn't recognise her. Finally I recalled she must have been somewhere in the Troupe, and by process of elimination I guessed it must have been her. Even then I didn't believe it and even double checked the role list. So, yes, she was really bad. Her acting was flat and all the important moments looked too deliberate, and her part in the 'Barbarian' band performance was not very good. While I could tolerate some other actresses I don't like, when it comes to Tsukishiro I cannot help thinking what she is doing in this troupe, and why.

And just one actress I would like to mention is a girl whom I didn't recognise and whom I really will have to check on! One of the ballet dancers was given a short aria when Aoyagi came to the school, and that was just a-w-e-s-o-m-e.
I also must praise that actresses acting as ballet dancers were actually performing ballet on the stage, and Manaki was even standing en pointes.

'Baddy'

probably compensated for everything lacking in 'Company'. This is the case when the revue is better than the first half.

A not-so-short summary (and yes, this revue has that what can be summarised):
On Earth, in a kingdom where all people are good and go to heaven after death, the prince and the princess of the royal family are admiring the Moon through a telescope, even though Moon is a big prison. They notice an explosion, which was supposedly caused by a notorious criminal called Baddy and his company of 'bad guys' (he is Baddy because he is bad, but you've surely noticed how this word reminds of 'buddy', a friend, colleague or member of a company). The policewoman, Goody, is looking after peace of Earth together with her supporters, including a broken-hearted guy who seeks her attention. When a quarrel is about to happen between the king and the queen, Goody helps settle it. Then, Baddy arrives with his followers, including his Sweetheart of an unknown sex (just when you think whether it be him or her, the characters explain that it's impossible to tell - and you settle down with it, haha). They start their adventures by breaking the ban on smoking. Goody tries to arrest Baddy several times, the most prominent one - during a presentation of seafood, where she pretends to be a scallop... o___O In a skirmish one of Baddy's followers is wounded, but the princess lends him her handkerchief, which marks the start of their relationship. Goody's friend ends up in the Baddy's quarters, where he learns evil and discovers his talent for passport forging. The bad guys sing and dance explaining how to be bad by extorting money from rich women, with some of them successful, some - not so much, and one of the followers, meeting the kind-hearted princess, refusing to take any money at all. When trying to capture Baddy, Goody learns about her friend changing sides, she then leaves the main target be and pursues her friend. Baddy suddenly realises he is offended by this, meanwhile Sweetheart notices this growing interest of Baddy and grieves he is no longer the 'dynamic and dangerous' man she (he?) admired. The royal family makes a deal with aliens about keeping some valuables in their bank, this decision overheard by Baddy. He then reminds himself he is kinda bad and decides to steal the treasure. Wearing a wig and pretending to be one of the aliens, he lures the code from another banker and removes the whole safe together with the prince and the princess on the platform. Goody, who was about to fall for Baddy's charm, realises she feels humiliated and outraged by this, and decides to pursue the bad company to another planet where they have fled. After a large-scale fight the children are rescued, but the friend of Goody is shot. He dies in the arms of Sweetheart, who says he is the real 'dynamic and dangerous' guy. All others manage to escape, but Goody and Baddy, though stick with their principles, cannot let go of each other, and it is said they never returned from that planet. Some time later they are seen in heaven, where Baddy finds himself surprised to be, and upon hearing the fact he hurries up to start smoking. By the way, the role of the cigarettes is played by the indispensable shan-shan.

If you could help me find the right word to describe it, I would appreciate it, but for the lack of it I should call it 'trippy'. The fantasy setting, the crazy costumes, the weird concept of all the characters, the bad Baddy and the cute Goody, and androgynous Sweetheart, the grey-faced aliens-bankers, the good guy suddenly discovering his talent for forging passports, the dance of the seafoods... The number with Goody and cancan girls dancing to the song describing her hatred and determination was one of the best musumeyaku numbers I have seen in my life. And finally, the energetic otokoyaku dance and passionate dance of the Top combi make up greatly for the dullness of the musical. If you wanted hotness here is some. One important correction: I don't and I never will recognise Tamaki as a cool character or a 'bad' one. Villainous villains are out of her way. The first half of the show was partially unclear to me until I saw some development in Baddy that led to the ending as it was.

To my relief, there were good songs and melodies in the revue, and singing of all performers was very good with some parts really difficult. Now that I recall the revue, it was probably the most strange, unusual, unique revues I've seen - and I like it! The costumes were also different from what you'd expect, and I insist they were very beautiful.

It's not very good, maybe, that I haven't been watching much of Takarazuka lately, but this gap enabled me to appreciate how Tamaki and Chapi have grown as performers - as actors, as dancers, and as singers, which impressed me most.

p. s. I must mention Rurika's Sweetheart again. With every performance I respect her more and more. While I didn't like her face very much it might have influenced my general opinion of her, but her charisma reaches the farthest rows of seats so easily, her characters stand out so much, her presence is so big that I started to feel admiration for her without realising it.

If I could have a ticket for half price and see only the revue, I would go to watch 'Baddy' again!

'PUCK' & 'Crystal Takarazuka' ~ how to make your friend a Takarazuka fan

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!

- huh? why is there no applause?

my humble opinion on Aono-sama's Music Salon 'Very Best of Me'

hey, the guys were dancing to the 'Tank!' from 'Cowboy Bebop'! ^___^

oh, I should say one thing again! I would not be able to watch this if not for the community
therefore, my thanks flies there

dancing

nobody would ever doubt Aono-sama's dancing skills, so there is no need to describe her dancing numbers 

singing

well, to be serious, meseems all the 5 Moon members came to the stage without warming up to singing. the first part of the show was so-so. however, the closer to the end, the more successful it grew

starting with the part where she sang solo her songs from different performances, she was absolutely brilliant

her 'hitokakera no yuuki' literally sent shivers down my arms while she lasted the last note

'kotoba ni dekinai' made me cry. the tenderness and strength combined in her were so acute that I could not help crying

she said in her farewell address that she was sometimes described as 'manly', and she was bothered by it. I cannot disagree with this statement. but she also said she realized 'twas her own way of being musumeyaku. and I completely agree with it

yes, she looked great in pantsuit, you know. it suited her. meseems, she is the only one musumeyaku who can wear trousers, among those I know. no offence, 'tis completely ok if a person has his own style. I do admire cute little, or not little, musumeyaku in girly dresses. I am just saying that how Aono-sama is different, at least for me

trousers do not mean that those 3 magnificent long dresses Aono-sama wore looked bad, no. the pink one was doubtful but ok, the blue-violet one was very beautiful, and the last one, the pure white, was simply gorgeous. I may be biased, well yes, I am, but the dress again a was much simpler and 'serious' than than that given to musumeyaku usually. perhaps, knowing her own style, Aono-sama was not very happy when she got dressed in the white-black dress for Revue 2011 (magazine) photo session... well, again, I admired Aono-sama in white

and the last song, which was written specially for Aono-sama by Koyanagi-sensei and Teshima-sensei, was... was drowned in my tears, which were on the keyboard, on the mouse, on the table, on the plate I just used which was standing in front of me, just everywhere. fortunately having no one but me at home I could cry to my heart's content, if 'tis possible to say this about tears

the others also surprised me

first, though the start was not successful, I could reassert that Uzuki has a very nice voice, which reminds me of Masao's voice BTW

Sachika-chan was so very cute when she spoke, that I was surprised that her singing voice was completely different, sonorous and even ear-piercing

Tamaki-san was much better than I expected. my unfair treatment of her receded and yielded to respect towards her image, which seems to me to be one of the most manly among all the otokoyaku in the Troupe

and Reika-chan! proved her cuteness and also proved to be a good singer. I was worried that a former otokoyaku may seem too unexperienced in singing, while acting and dancing seem to me a bit easier to learn when the role is changed, but Manaki-san was ok. I hope her Top Combi and Demi-Top Combi (well, how shall I call it?) will be ok

again, thank you, Aono-sama. you were such an unusually strong and shining Top Musumeyaku. your characters were never ordinary, you added your own charm and your own kind of beauty to all of them. you have been special, at least to me

my humble opinion on 'Dancing Heroes' Bow Hall show by Moon Troupe (2011)

when I saw 'tsukigumi' label I could not help watching!

to be honest, I had no reason, as there were only 3 persons whom I knew a little in the show. the others were a complete darkness... however, one cannot stick to his favourites all the time, or so I thought

there was another reason why I did not reject the idea to watch this show, though it might seem strange. I wanted to get acquainted with those seito who are only in the beginning of their career so that I could watch them grow up and some time in the future I may be happy to see one of them making a huge success

poster from TakaWiki

well, the show itself

is absolutely not the one I would immediately fall in love with. some numbers were so boring that I hardly made myself watch them properly, restraining from pressing 'fast forward'

however, there were a few numbers compensating for the failed ones. one of them was the dance in the beginning with Reika-chan. she proved to be so skillful in both dance and acting that I became really 'rest assured' about her being a Top, though her voice bothers me a little. bear in mind that she was an otokoyaku during the first 2 years, therefore she probably never learned to sing in a feminine way before May, 2011. if only she gains enough experience before June, I would be happy

another number that impressed me greatly was the 'Swan Lake' interpretation with modern rhythms and the otokoyaku dance in the second part was also very 見事, so as to say, a number worthy of watching

music

I have already said that I liked the modern version of 'Swan Lake' which was both Zukish and classical at the same time. also, there were several numbers where complicated singing parts was provided along with such difficult dacing movements that I literally watched with my mouth open

what I loved the best was 'kiseki ~ooki na ai no you ni~' sung by Uzuki-san. I have already heard the song in the Kurenai-san version on the '14 covers' album, but I should admit I love Uzuki-san's version much better. both the arrangement and the manner of singing seem more attractive for me. as for Uzuki-san, I did not like her at all before this performance, but her

singing

made me change my mind. perhaps, now her voice is one of my favourite

as for the others, I was not impressed as greatly. I did feel that they are the young generation who are still not very good at keeping their breath

dancing

they were not very good at dancing either. though I am not disappointed. nothing is achieved without years of training, and they did put all their hearts into what they performed. what I was a little surprised with was their syncro - absence of it, to be precise. they just could not follow each other all the time so there were moments where the overwhole picture was a little bit spoiled by the difference in the way everyone was proceeding in the course of dancing

there was only one person who did impress me with dancing, and 'twas Takachi-san. I feel sorry for her that she does not appear in some more important roles, though I am not claiming to know her very well. 'twas just that she was the most noticeable one during several numbers, especially the otokoyaku dance in the second act, where she showed both good dancing and good face expression control

though the show was sometimes too emotionless and plain, I consider the it a good one and I am happy that there are such experiments for the young actresses. however ordinary the words of siennas in the end might seem, their tears were true
good luck to all the rising stars