My hydrangea quest. Day 2, part 1

14.04, Tokyu theatre Orb
Never liked these seats close to the stage. Especially the seats far to the sides from the stage centre. Until this day, when I saw my dear Kiriya only 2 metres away from me, as close as I've never seen her before. How come her position was on the same side of the stage as my seat?
I guess sometimes, only sometimes, but I can get lucky too...

translation! an article about RomiJuri in Japan

original article - by some '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 in TOKYU 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.

shall I ever be able to watch western musicals again?

being so impressed with SP I became eager to listen to the songs in the original. some of them were good, some of them were not, but the only conclusion I have made - I have no wish to listen to the original songs from the Broadway

the next musical I compared was 'Romeo and Juliette'. 'twas not deliberate comparison, I just wanted to check what musical is the sourse of the beautiful 'aimer' sung by Honda-san in her 'kokoro o komete' album

my surprise was indefinite when I realized I do not like the original 'aimer' even a bit. just no moment, no single moment in the song impressed me. then I remembered of the Zuka version and was surprised again that I do not remember the Zuka's version of 'aimer'. well, of course I could not, as the first act was cut severely by someone who glued together the first and the second act, and all that was left in the second was an instrumental variation with some two lines sung by the characters

then I remembered of another song I loved when I first heard it in the Russian version - 'les rois du monde'. I checked the original version and >___< again

what is wonderful - or strange, perhaps - though I did not like the Zuka's 'Romeo and Juliette' in the whole, I cannot still enjoy the western originals of the musicals I watched by Zuka. if I take the singing separately - I cannot blame the actors for singing badly, if I speak of the costumes or decorations - oh, they might seem awkward, but are they not awkward in Zuka? well, I wanted to name the manner of playing as the primary reason, but when I tried to look closely at the actors, I saw they are doing their best and portraying all the feelings with all their might

the problem is, everything is ok when taken separately. and when 'tis put together it makes nonsense. I do not believe in the feelings of the characters, I do not hear those feelings in what they sing, I do not see those feelings in the way they behave on stage, I just cannot enjoy the performance at all, as 'tis a performance, a simple performance where everyone is pretending to be what they are supposed to be

when I heard Zuka fans saying they could really forget they are watching a play and they felt themselves a part of the performance, I sometimes could not help thinking it was a nice phrase and nothing else. and I heard it a lot - from my friend whom I thank for taking me to Zuka twice, from the fans in the web, and from the hosts of 'Tokyo eye' which I mentioned in my post yesterday. however, I can not help joining those who say that after I compared some of the musicals scenes. Zuka offers us a chance to see a story of real lives, even though I might dislike the performance in the whole. in those lives people act and feel, and we feel that they do. moreover, they interact and 'interfeel'. now that I noticed this I can state there is a significant lack of interaction in all the western musicals I have seen so far, not just the two I mentioned. there is an unchangeable fact that I noticed how Takarasiennes look at each other on stage - that is, every single word of theirs is supported by their eyes and the lines of their face, how minor roles players look when something important is happening - concerned and affected, though they could do nothing considering themselves as unimportant actresses who are not obliged to act when they are not in the 'center spot'. I did notice holding hands, looking back when being called by name, arm graspings, hugs and kisses, simply walking side by side or dancing in a passionate rhythm. I did notice that Takarasiennes are always present on stage and conscious of what they do, though they might have to move and sing and act simultaneously. this is what the Western actors cannot do that brilliantly, as far as I can judge now

Takarasiennes are living on stage, and we, those who watch, are living together with them
_____
p. s. what is even more strange... I like the Russian version of the 'les rois...' much more than the original. how can it be???