translation. 'My Fair Lady' production announcement ~ or something like this 'tis called. methinks...

Waiting for the next chapter of KwMs to appear right now or a few hours later - oh okay, I will wait for one more day... or two... - tonikaku! It was very hard, for some reason. So, for a few days before and right after the release I was absolutely absent from 'this day and age' (c)

Now that I have reread it several dozens of times, and even thought of translating it into English (ooops I said it), my mind is finally determined and strong-willed (mind? strong-willed?). KwMs will be eventually translated by those who undertook this mission, and Kiriya-sama's news won't - because this mission is undertaken by me, huh?

'thas been almost a month since the musical presentation was held, and I am posting this translation only now - because I was lazy and unwilling to do anything - so this post must have lost its topicality as of now. also, due to the same laziness I did not translate the comments of other actors than former Takarazuka ladies

the original article 

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‘My Fair Lady’ is known as the first among the Broadway musicals to be played by Japanese in the Japanese language. Since the first performance in 1963, actresses representing their respective eras have been playing the leading part in this musical, and now it has reached its 50th anniversary and is being reborn with new cast and direction. The starring actresses Hiromu Kiriya and Sei Matobu, together with Yasufumi Terawaki, Ryosei Tayama, Takashi Matsuo and Kyoko Enami attended the conference on the production announcement, held on Feb. 21.
The setting is the Downtown London. Eliza, a flower girl, meets Higgins, a linguist, under unusual circumstances, and begins to learn proper speech and manners. Eventually Eliza completely turns into a lady, but she realises she is nothing more than an object of experiment to the professor, and leaves his side…
Hiromu Kiriya and Sei Matobu, who play the leading part, are both former Top Stars of Takarazuka Revue. Kiriya accepted the offer while in the middle of her last performance before retirement, and said she needed 3 month to decide whether to act or not, commenting: ‘I like this play a lot. However, as I was always focusing on Higgins (in the movie, so as to study male role playing), I still find it a little difficult to change myself to Eliza (laughs).' Also, she expressed her enthusiasm: ‘Rehearsing more and more, I want to create a musical that everyone will enjoy.’ In contrast to her, Sei Matobu, who after graduation from the Revue was feeling like having done with musicals, spoke with deep emotions: ‘While I had the image that this is a great play, I had a vague feeling of wanting to act in ‘My Fair Lady’. Now I feel when you wish for something, it can really come true.’

Though he was not present at the conference, G2, who was working with the new translation, adaptation and direction, conveyed his comment full of ardour of challenging the famous work: ‘We were aiming not at a remake, but at a ‘rebirth’ of this play which would paint Eliza’s role as more “life-sized”, would appeal more to the modern Japanese people, penetrate their hearts more.’
The cast members' comments are as follows.
Hiromu Kiriya – Eliza 

When the role of Eliza was announced I received a big reaction from those who surrounded me, and I realised once again that this play is truly loved by everyone. While being constantly staged respectfully, ‘My Fair Lady’ has reached its 50th anniversary. The musical is being reborn now, but I am also starting a new career after I graduated from Takarazuka last year. With the energy of this play, which is being reborn, I want to act in my way… The words I have received put a lot of pressure on me (from the presenter: ‘Eliza, who turns into a lovely lady from a flower girl in Downtown’), but I sincerely want to show how Eliza becomes a lady from being a flower girl, and to deliver an enjoyable performance with all the honourable members (of the cast).
Sei Matobu – Eliza 

While I have a feeling of happiness of being able to play in a new version of ‘My Fair Lady’ in the year when the 50th anniversary of the musical must be celebrated, I also feel the weight of importance of this fact. However, I am sure that when it comes to musicals, both the cast members and the audience who come to see us can enjoy their time with a light-hearted feeling, and it was the same during my being in Takarazuka. I hope you will look forward to seeing this performance, as I truly want to create a new ‘My Fair Lady’ together with the new cast, with all my might, and enjoying myself, too. When I remember that this play is known by everyone, and that there are a lot of people who have been acting in this musical generation after generation, I understand this performance is unfathomable, and I simply cannot move on… (laughs) but I want to put this aside, and I truly want to act with all my might in the way I can. 

translation! Kiriya-sama's interview about her First Concert

it started when I was searching for a big 'Amore e Musica' poster to use as my Google Calendar background. the light blue and white colours used in it look very soothing to me. the necessary image being only in 2 variants among the search result, I noticed a few photos yet unknown to me. they were obviously post-graduate ones, but I had never seen them before, which meant some new events happened and I knew nothing of the sort and new articles and interviews appeared
suddenly all my doubts vanished, and the feeling of being absolutely tired and unable to do anything yielded to the urge to translate. a hundred and something of translation pages of official work and some Takarazuka-related articles I have translated recently may seem too unimpressive to enable me to say I have gained a huge experience, but certainly I have made some progress which made translating this time considerably easier than before. probably, 'tis the very process of translating that made me feel so cosy - seeing Kiriya-sama's smiling face, reading the same kind of articles, using the same range of vocabulary was something that helped me to understand there hasn't really been THAT much of a change, compared with the time before Kiriya-sama's graduation or the period right after that. the article isn't too small, but I coped with the task at only 2 laps, though with a forced pause of 3 days between. this is good. this is somewhat... ensuring... 

there are a few things I failed to understand - such as the 'first challenge' for Kiriya-sama, as if 'twere her first concert in life...

here 'tis, the original article

The former Takarazuka Revue  Moon Troupe Top Star Kiriya Hiromu's First Concert 'Amore e Musica - Dream Is Endless...' raised the curtain on October, 12 (Fri). We asked her about her feelings during the rehearsal.

Kiriya Hiromu, who mastered all the three arts necessary for a performer - singing, dancing and acting, - graduated from Takarazuka Revue in April. 'It has been 5 months since then, but I don't feel like it has been that long, maybe, because of my busy daily life. I realised that I had graduated only after my new life in Tokyo started. Now I have mixed feelings - on one hand, I am almost itching to perform on stage, but on the other hand, I am a little scared.'
It isn't a rare thing for a Takarasienne to hold concerts, but for Kiriya this will be the first challenge. 'This has been my cherished desire for a long time, and I am very happy that I am able to make it come true. I want to show this feeling on the stage.' she says. 'Amore e Musica' means 'Love and Music' in Italian. After listening to a song of the same name by Russell Watson, an English tenor, deeply impressed Kiriya chose the phrase for the concert title, and she explains her feelings - 'I want to convey the splendour of music and of the love I have received from all the spectators.'
It was also the original idea of Kiriya that the orchestra should play live on stage. Considering other songs than 'Amore e Musica' in the programme Kiriya says 'I want to sing songs that the audience would know very well,' and she included into the concert numbers from the musicals she played in and original Takarazuka songs. Moreover, our interest in the concert cannot cease after her statement - 'I also challenge myself with songs that give the feeling like - what if I try to sing this?'

Sakai Sumio, who is responsible for the concert organisation and directing, music supervisors Yoshida Yuko and Kuratomi Shin'ichi, choreographers ANJU (Anju Mira) and AYAKO, and the others, can be called an 'All Takarazuka' staff, which is promising. 'Rather than suddenly showing a new image, I wanted to cherish my origin which is the Kiriya who owes everything to Takarazuka and thus to move forward. This is why I asked for help those people who already know me. I think, the audience who became my fans when I was a male role player will be able to enjoy the concert without any sense of discomfort.'
On the other hand, it is likely to be a fresh spectacle for the audience to see 4 male dancers also participating in the concert. 'When we hold hands, I sometimes turn my hand palm up and make other mistakes which are a pattern that a person with a male role player experience can easily slip into. This time there is also a scene when I am lifted, but still I feel more at ease when it is me who lifts someone.' Kiriya says, her smiling face showing no worries.
Aiming for the future of an actress, she will reconsider the artistic skills she has been fostering up until now. The concert seems to become a performance that reflects the natural Kiriya she is now. Kiriya Hiromu First Concert 'Amore e Musica ~ Dream is Endless' will take place in Aoyama Theatre from October 12 (Fri) to 14 (Sun).

translation! ~ French and Moon RomiJuri cast members share their experinces

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

so, the original article

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.'

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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...

translation. an article centered on Ryuu-sama in light of coming RomiJuri

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?

original article

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

1. 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...
2. 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
3. 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
4. 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

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.

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...

translation! ~ RomiJuri first performance

things to be aware of

• spoilers in the article! if there are people who have never read the book, or watched any movie or musical based on it, this article will ruin everything for you. I actually doubt there are such people, though
• information! or, better to say, lack of it. most info is either already provided in other articles (including those I translated), or presents common knowledge, though there are a few words about the show
• pictures. unfortunately, not many of them this time. I will search for more for sure, but that will be later

the original article

The curtain has raised for the first musical of the New Moon Troupe of Takarazuka Revue - 'Romeo and Juliette'

On the 22nd of June, the curtain has raised for the first musical of the New Moon Troupe of Takarazuka Revue - 'Romeo and Juliette'. This performance marks the new system of Moon Troupe - Ryuu Masaki as Top Star, Manaki Reika as Top Female Role Player and Asumi Rio as Demi-Top Star.

The musical is based on the original work of Shakespeare - a famous love story, and it involves music with a rock taste, modern clothes and installation, the music, lyrics and direction having been created in France by Gerard Presgurvic. The musical, which was first performed in France in 2001, was then performed in almost every country of the world and gained an audience of more than 5 000 000 people. In Japan it was prettified and directed by hit-maker Koike Shuuichirou in Takarazuka, and first performed by selected members of Star Troupe. The next year, 2011, the Grand Theatre version was performed by Snow Troupe, and the Moon Troupe version will become the third one.

This time one of the points about the performance is that Romeo, the leading role, and Tybald, the villain role, will be switching roles for Ryuu and Asumi. On the opening day Ryuu is playing Romeo, while Asumi is Tybald. The new potential is shown by two Superior Members - Ema Naoki and Miho Keiko - and Miya Rurika who has just transferred from Star Troupe.

The peculiarity of the Takarazuka version is that in addition to the symbol of the musical - 'Dancer of Death' (Tamaki Ryou) - a role of 'Dancer of Love' was established (Akizuki Saya). These two proclaim the beginning of a story of love and death.

The story tells us about two noble families in Verona, Italy - Montague and Capulet. They have been nurturing hatred towards each other for centuries, so that even the youth is involved. Meanwhile, the heir of the Montague family, Romeo (Ryuu), and the daughter of the Capulet family, Juliette (Manaki), meet at a masquerade and fall in love at first sight. The two, whose first love develops swiftly, open their hearts to Father Florence (Ema), and with the help of Juliette's nurse (Miho) hold a secret marriage ceremony. 

Juliette's elder cousin, Tybald (Asumi), has been attracted to Juliette for a long time, but Lord Capulet (Koshino Ryuu) is going to accept the marriage proposal of the richest person in Verona - Count Paris (Shimon Yuriya). At the same time, the rumours about the marriage ceremony of Romeo and Juliette start to spread, and Tybald encounters Romeo's best friends, Mercutio (Miya) and Benvolio (Seijou Kaito), and others in the city, this leading to an explosive situation. Romeo interferes to stop them, but Mercutio is stabbed by Tybald, and Romeo kills Tybald in a frenzy. 

Romeo is banished forever from Verona, and after spending a night with Juliette, he leaves for Mantua when the dawn breaks. Juliette, who is coerced to marry Count Paris, prays Father Florence to help her, and obtains a medicine that would make her sleep so that she would look as if dead. It was planned that she would escape from the city with Romeo when she wakes up, but the plan fails. Romeo, who hears of Juliette's death, meets with her in the burial chamber, and drinks the poison, and when Juliette wakes up, she sees Romeo lying dead, and stabs herself in the chest. The two, who reached their love at the cost of their lives, thus made the two families come to a reconciliation, and together with the Dancers of Death and Love they swear an eternal love in Heaven...

The finale is created with audaciously arranged numbers, such as the theme songs 'Kings of the World' and 'Aimer'. After rockette dance in tutus designed with a heart on the breast, in the male role players dance the dandy figure of Ryuu on the Grand Staircase appears together with a lady, proceeding to the debut Top Combi dance, and then to Parade, where Ryuu descends the Grand Staircase wearing huge feathers which mark the Top Star.

The performance will continue till July, 23rd, in Takarazuka Grand Theatre, and take place in Tokyo Takarazuka Theatre from August, 8th, to September, 9th.

_____
remarks

1. anybody can tell me where are Chapi's legs on the second photo (obviously Top Combi dance)? 
2. anybody can tell Zuka to be less greedy? I can't! such small photos... >____<
3. anybody can tell me what for the plot and trivial facts are put in the article? moreover, I noticed this too late. and after I have translated everything (which took me quite a while) I can only ask myself... WHAT FOR? 90% of the info absolutely irrelevant. this is why I put a warning on the top of the post
4. anybody can tell me if 'tis wrong to name Juliet - 'Juliette'? I cannot help writing like this... I mean, in French she IS 'Juliette', and in Russian she is 'Julyetta' - even writing Capulet cost me a lot of efforts (instead of 'Capuletti'), but while I coped with the family name, writing 'Juliet' is kind of impossible for me...
5. finally, my impression. at least, the Moon's version of RomiJuri is slightly different from the previous ones, and I am a bit relieved. this is not a 100% copy of Snow and Star, and that's good

translation. about 'My Fair Lady' 2013 ~ though not very informative...

at least I should find some info about the coming musical!

well, 'tis not really coming... as we have still a YEAR before it starts - no exact dates are given, but it will take place in May, 2013

what did you say? MAY??? やべ～....... exactly when I have my diploma... my God...... what am I to do??? T______T

ok, しっかりしなきゃ！

the original article

'My Fair Lady' with Kiriya Hiromu and Matobu Sei as Eliza

Musical 'My Fair Lady' was announced to take place in 2013, with Kiriya Hiromu and Matobu Sei as Eliza.

The first performance was a Broadway musical in 1956 starring Julie Andrews and Rex Harrison. In Japan, the first performance was in 1963, and the musical was staged several times until in 1990 Mao Daichi became the 6th Eliza. In 2010 the last performance of Daichi Mao as Eliza happened, and the number or performances with her leading reached 600.

2013 marks the 50 anniversary of the musical in Japan, and a new version of it was announced, with Kiriya Hiromu and Matobu Sei as Eliza (W cast). Both Kiriya Hiromu and Matobu Sei are former Top Stars of Takarazuka Revue. Matobu Sei retired from Flower Troupe in April, 2011, while Kiriya Hiromu has just graduated from Moon Troupe in April, 2012.

The musical 'My Fair Lady' will take place in May, 2013 in Nissay Theatre

the official page of the musical

though I actually made a snapshot for you ^.^

p. s. do you know that Nissay Theatre is a building that stands DIRECTLY NEXT to Tokyo Takarazuka Theatre? I didn't though I passed by several times (when I had to spare some time before 'Edward VIII' in Tokyo this April) >____<

translation! ~ one more article about Kiriya-sama retiring

this morning I noticed one thing. I haven't been translating anything for a while. translations I do for my works do not count. I mean, something interesting, like Zuka-related stuff or songs lyrics...

when in university, I had some classes I was not eager to attend, but those were necessary, so I occupied myself with articles translations. not I am enjoying my vacations - and where's the result??? I have translated nothing useful or interesting, though not only articles from web-newspapers - HUGE amounts of interviews and articles in the magazines I bought are waiting for me. to say nothing of scanning... >_______< somebody make me work hard!

this time I want to translate an article about guess who???

*a failed attempt to surprise my readers*

ok, ok. this article

http://enterminal.jp/2012/04/kiriya1/

is about the last day of Edward 8 and Misty Station in Tokyo Takarazuka Theatre. most of the contents I already translated using the article from the official website, so this time I only provide those paragraphs which are different from the official report. perhaps, Zuka masukomi staff think that Zuka fans should be able to grasp the meaning of everything they write without any hints and explanations... well, even I am not able to do this. also, the more I read different newspapers' websites (and the official website of Takarazuka), the more I understand that they decide themselves which words to cut out, and which to leave as they were in the original... which variant was the original is impossible to understand, though

anyway, enterminal really helped me. hope it helps you, too

Q. After you have finished the performance in Takarazuka, once more, what is the place called 'Takarazuka' for you?

A. The very essence of my life is that I have been doing my best with the feeling that I lived for the stage, and I still cannot realize the fact that I will not stand on that stage anymore starting from tomorrow. I have reached today in my 'best condition', running with a feeling of challenging myself, therefore 'Takarazuka' is an irreplaceable thing, and I think from now on I will live on never forgetting this feeling, never losing it.

Q. What are your plans for the future?

A. I haven't decided anything in particular, so I would like to inform you when I do.
 

Q. In the last address you used the words 'Even if the clock were turned back, I would choose the same path.' When and with what feelings did you create it?

A. First, I made an address in the Grand Theatre, which was so close to me even before my enrolment, that was the first part, then I came to Tokyo, but in the everyday life being constantly pressed by the performances, I could not settle my thoughts, so I was thinking from the previous evening till today's morning, and finally decided during the performance itself.

 
Q. After this day has come to an end, when was the moment you clearly realized that it was the retirement? 

 A. The atmosphere of the audience was quite different from before, and the atmosphere of the Theatre was heavy (laughs). But I wanted to persist in acting, and I so I did pushing that feeling aside. Of course, the closing night also happened, but I was able to live this day concentrated on the performance without being washed away by different feelings.

  
Q. Any words you would like to convey to the juniors who are to meet the 100 anniversary of Takarazuka Revue in two years?

A. I cannot say anything too special, but as I already said in my address, there is no other talent than to do your best, I have arrived on this day living like this, so I want to point that doing your best is never in vain, I want you to be proud that you are in such a wonderful world, such a place where you can do your best, and I want you to do your best in challenging yourselves to try all the chances for yourselves.

Q. What is the music that accompanied you descending the Staircase for the address?
A. It was a melody from my debut performance 'Phoenix' to which we performed the rockette dance. One phrase from it is used in the show 'Misty Station', it flows before the scene called 'Daydream', which was an idea of director Saitou Yoshimasa, so those who will notice, will notice, those who won't - won't. By the way, unfortunately, my classmates who attended the performance failed to notice it completely (laughs).

Q. The Farewell show was splendid, but were there any ideas of yours in it?

My ideas... There were a lot of my selfish ideas inserted, and I think the burden on the members of Moon Troupe was also considerable, but the show focused on the performances where I was honoured with the leading part, and the others who retire also got highlight scenes, and the show was created with a lot of recommendations from director Saitou. There was a dance in black tailcoats on the Grand Staircase, and though I think there were no Farewell shows before which went as far, this was the path I have taken, so I was allowed to insert it.

translation. an article about farewell address of the Moon Top Combi

original article

Farewell address
On the closing night of Moon Troupe Tokyo Takarazuka Theatre performance 'Edward VIII' and 'Misty station' after the farewell show of Kiriya Hiromu 8 retiring actresses made their farewell address.
The address of Kiriya Hiromu
I have been honoured with support of many people until this day, just as now, on the closing night. Admiring the gallant and radiant retreating figures of those who retire, I was trying to imagine a thing I could not imagine - what it would be like, when I stand here. My present state of mind is loneliness because I won't stand with all the Moon Troupe in the Tokyo Takarazuka Theatre once again, and I won't wear the uniform hakama of Takarazuka once again, but we have finished this month of 'Edward VIII' and 'Misty Station' with two Senior Members and all the Moon Troupe being full of energy, and I am pleased and happy that I was honoured to perform my farewell show which is like a treasure box, and now I feel like I could jump. Not jumping yet (laughs). Meeting with Takarazuka Revue during my life, and having been able to live to my fullest as Takarazuka Revue's Kiriya Hiromu - even if the clock were turned back, I would choose the same path (a burst of applause in the audience). From tomorrow on, I will depart on a journey to an adventurous stage to search for a new dream. I hope the feelings from the bottom of my heart will reach all of the people who came to the audience, and a lot of people outside the Theatre who kindly watched over me. Thank you for these 18 years.
The address of Aono Yuki

I believe in destiny. It is because, when I met with Takarazuka, I was well acquainted neither with singing, nor with dancing, nor with acting, I only wanted to enter here, so I was determined to take the entrance exams. This challenge that I faced suddenly had serious hurdles, and I finally passed only on the fourth time. After many years here passed by, I looked into what I wrote in the primary school on the topic 'My dream of the future' - it is 'I want to perform on stage'. It was a dream that had no reasons, and a dream that I have completely forgotten about. Still, now I am standing here, on the stage. This is why I believe that the meeting with Takarazuka is my destiny. I love Takarazuka. I love being female role player. With these feelings today, I feel with all my heart that I was able to come on this day thanks to all the people who kindly watched over me. Saying simply 'thank you' is not enough. Aono Yuki will depart to the new destiny - gallantly, straight ahead, and manly (a burst of applause in the audience). Thank you for there 8 years.

Translation. an article about Moon RomiJuri 2012 ~ Yes, again!

the original article

On April 26th there was held a presentation of the upcoming performance 'Romeo and Juliette' which is to start in June in the Grand Theatre. It will become the first performance for Ryuu Masaki as the new Top Star after she succeeded Kiriya Hiromu, who graduated last week. Others who participated in the presentation are the new Top Female Role Player Manaki Reika and Demi Top Star Asumi Rio, and director Koike Shuuichirou.
The work chosen as the first performance is a musical based on the classic masterpiece of Shakespeare, which was first staged in 2001 in France, and became a big hit which can boast an audience of 5 million people all over the world. In Japan, the musical was first performed by Takarazuka Snow Troupe in 2010 and repeated by Star Troupe last year, and beyond Takarazuka there exist versions with Shirota Yuu and Yamazaki Ikusaburou. Koike Shuuichirou, who takes care of the performance, said - 'Right in the middle of the Snow Troupe performance there happened the earthquake catastrophe. The second part of the performance was cancelled, and when it was revived several days after, though some customers could not come because of transport circumstances, there still were a lot of customers who came. I was thinking then if it was right to perform a masterpiece about that romantic sweet love in such time, but there were people who said that quite opposite, exactly because of watching that performance they were able to face the next day, therefore I myself recognized the strength of Takarazuka, and once more recognized the value of existence. I think, it would be good if this performance could bring peace to the hearts of many people and power which would let them feel that what is called love.'
Another topic was the switching of roles of Romeo and Tybalt played by Ryuu and Asumi, who oppose each other tearing Juliette between them. Switching the main role in the first performance of a new Top is an uncommon form, but concerning this fact, director Kobayashi explained his objective - 'After Ryuu became the Top of Moon Troupe, it has become a very young troupe. And in a fresh troupe a lot of possibilities come out. Both Asumi and Manaki, and Ryuu herself, they are growing children, and I thought of polishing the skills of the whole Moon Troupe, so making the leading part a switching role seemed a good measure to me.'
Ryuu Masaki who is to become the new Top Star with this performance made her debut in 2001. On the twelfth year of her Takarazuka activity she took up the position of Top, thus becoming the youngest Top in the five troupes. Her greeting was very clear - 'United with the members of Moon Troupe I want to create an enjoyable performance, so I would like to ask you for your support.' Considering the switching roles she expressed her enthusiasm - 'As a stage performer I am blessed to be able to experience different things. I want to sincerely face it and put all my might into acting.' Manaki and Asumi also shared their respective views  - 'I am full of happiness because I have been granted with the role of Julette in such a masterpiece as 'Romeo and Juliette,' 'I was a fan of the 'Romeo and Juliette' story, so I can realize that I am a happy person to be connected with it by playing two roles in the performance. I will do my best reserving both my stamina and guts.'

translation! ~ an article about the last day of 'Edward VIII' and 'Misty Station' in Grand Theatre

 the original article

 

Takarazuka Revue Moon Troupe, the curtain has risen for the Top Combi Last Stage!

On March 3rd, the curtain has risen for the retirement performance of the Takarazuka Revue Moon Troupe Top Combi, Kiriya Hiromu and Aono Yuki.
The first part was the musical 'Edward VIII' based on the historical facts about Edward VIII, who earned great popularity among the masses and called 'Prince Charming' both at home and abroad. The musical paints both the false and the real image of him who, though loved by people, had to abdicate the throne in order to fulfill his love with an American national, Wallis Simpson.
The story starts with the funeral of Edward VIII, and then traces back the meeting of the couple. The unexpected direction of the funeral scene was quite interesting because a radio was used there, and thus seized the hearts of the spectators.
Kiriya, who played the open-hearted and possessing a modern character Crown Prince David (Edward VIII), was setting the pace of the performance with her nimble tone. Speaking of which, while looking as a man who leads free and pleasant life, the negative sides the character possessed as a person were also revealed. Thus, everyone could enjoy the splendid acting manner of Kiriya. Her partner actress, Aono, gently portrayed the changing feelings of Wallis to David, after she approached him in order to obtain a high status, and though a certain amount of loneliness and weakness was blurred in her, she finished as a strong woman with a firm heart.
Also, an indispensable supporting character was played by the Second, Ryuu Masaki. She portrayed Guy Burgess, a BBC producer, who was penetrating inside the scenes, but also narrated the story so that the spectators would not get confused. The Third, Asumi Rio, was playing the private secretary of David, who was watching over him, sometimes being harsh, but with a tender attitude, despite the fact he was twisting his secretary around his finger. While presenting her gentle image, Asumi showed both her character's strength of expressing his opinion straight to the face of the Crown Prince, and the irritation of being unable to help him.

The second part of the performance was 'Misty Station' starting with a scene which was to create a recollection of Kiriya's departure. She  played a young man Misty who embarked on an adventure with a trunk case and a map. After this a lot of dynamic scenes followed one by one. Cosmos, jungle, Arabia, enigmatic town, and a lot more - Misty is travelling around the variegated world. Among them, the scenes with Kiriya singing in the centre, surrounded by the Moon Troupe members standing in a row, and the male players dance in black tailcoats in perfect order were a grand sight. It was beautiful to the extent that a sigh would escape from the lips of spectators. Another certain thing was the duet dance of Kiriya and Aono, whose breath was perfectly matching, and there were also highlights for Ryuu, Asumi, and for those retiring like Aoki Izumi, Isshiki Ruka, and others, so the show was very enjoyable, presenting the overwhelming power of Moon Troupe.

For the last stage of the Top Star, in both works a lot of scenes and songs with farewell image were included. Do not miss the performance full of Kiriya's charm, who perfected in singing, acting, dancing, all these three skills.

 

 

 

 

 

translation. interview of the Moon Top Combi on the last day of Tokyo performance

the source article
*please PIA don't kill me for stealing your photos...*
*upd 12.04*
well, yes, I was keeping silent during the week, but I was not doing nothing! I had several classes with a lot of free (well, almost free) time, so one article is ready and the other is coming! ^___^

'Our collection'. Farewell show of Takarazuka Moon Star Top Combi, Kiriya Hiromu and Aono Yuki

On March 23rd, the curtain was raised for the Tokyo Takarazuka Moon Troupe performance of 'Edward VIII' and 'Misty Station'. This performance will be the last one for the Top Stars Kiriya Hiromu and Aono Yuki. After training on the opening day of the performance they shared their feelings with the reporters .

The performance consisted of two parts, the first being a play 'Edward VIII' describing half of the life of a real British king who was loved by his people, but who abdicated the throne after about a year of reign, the story taking place in England of the XX century, and the second part was a nostalgic show 'Misty Station' based on the motive of travelling by train. 'Edward VIII' which portrayed a 'love that cost the crown' between Edward VIII and American married woman Wallis Simpson, was a dramatic performance, though not overly romantic, but was a very Kiriya-like play showing a lot of wit and smartness, with intellectual and bright characters, which Kiriya matched so well. On the other hand, the scene with the king broadcasting his decision to abdicate the throne was overlapping with the image of Kiriya standing on the top of a kingdom called Takarazuka, who was about to embark on a journey, so the show was a very suitable one. Moreover, the show was created so that the audience would enjoy to their heart's content the charm of Kiriya as an outstanding dancer and singer, and the combination with Aono, who performed in tune with Kiriya.
During the press-conference Kiriya made a short address - 'This is the last performance for the two of us, but because of this very fact I am determined to make a performance which all the guests can enjoy here in Tokyo, not 'anyhow', but the same way as we did before.' Aono also said - 'During the rehearsal before the Tokyo performance I noticed that nothing has changed. I want to do my best and to develop myself to the very end.' About the two parts of the show Kiriya said - 'Though the traditional image of Takarazuka is a male role player standing straight and female role player clinging to him, if I think about us - we were a pair standing together and quarrelling. In reality, it is not as if before this performance Aono would give me advice, or pick up a fight like in the play *laughs*, but these characters are extremely well expressed, so it is very interesting. I want to create a performance that can be called our collection, because a very suitable work was kindly prepared for my last performance.' To that she added her passionate memories of her 18 years of enrollment in a place called Takarazuka - 'When I first attempted to enter Takarazuka, I failed, but I managed to do it the next time. During a year, I was studying hard in order to improve myself, filled with the will to become a male role player here. It is a place I devoted all my passion to, with this only feeling, to the extent that I could almost give my very life. I want to go on moving to the closing night because this feeling does not change.'
_____
translator's remarks

1. how come they almost read my mind??? the thing I noticed best in 'Edward' as well as in other musicals was that the Top Combi of Moon was completely different from the usual image - and Kiriya-sama repeats it... >___<
2. the phrase I translated as 'to perform in tune' means literally 'to adjust one's breath', and it can be applied to their Top Combi in both meanings. I chose a more general one, because it suits the text of the article better, but I remember AYAKO, the choreographer of 'Misty Station', describing Aono-sama as a magnificent and skilled dancer who really adjusted her breath to Kiriya-sama so that the Combi had very good timing and synchronicity
3. I used the usual 'male role player' and 'female role player', but Kiriya-sama used the word 'onnayaku', not 'musumeyaku'. this seems a bit strange for me, because 'tis exactly 'musumeyaku' image which implies a fragile girl standing near strong and tall man, but well, perhaps my dear Kiriya-sama is filled with a sense of justice and equity? ^.^

translation! ~ RomiJuri 2012 presentation

unfortunately, a lot of articles on the website are deleted (probably as old) so the link will be dead after some time

*upd 28.04*
two lessons of Japanese where I was bored again and had almost nothing to do, were exactly what I needed to finish the translation, coupled with my lovely and somehow a bit useless pocket translator (which is great because it allows to draw a kanji and it searches it in the database, but it dislikes my handwriting and refuses to recognize even a properly written character sometimes)
still, I managed to translate everything, except the dates of the performance which I feel to be unnecessary


April 27th, 2012

A presentation about Moon Troupe performance 'Romeo and Juliette'

On April 26th, there was held a presentation about the performance 'Romeo and Juliette' by Moon Troupe of Takarazuka Revue, sponsored by Mitsui Sumitomo VISA card.

This performance, which is presented with cooperation of every interested company in the VJA group which marked the beginning of Mitsui Sumitomo card corporation, is a work that was turned into a new musical by lyricist, composer and director Gerard Presgurvic, from one of the most worldwide famous eternal love stories, 'Romeo and Juliette' written by William Shakespeare. It was first performed in France in 2001, and this modernistic spectacle earned high praise. After that, it was performed in almost every corner of the world, becoming an international hit, and can boast a total audience of more than 5 000 000 people.

In Japan, the Takarazuka performance was first held by Star Troupe in Osaka and Hakata, then by Snow Troupe in Grand Theatre, and was a success.

This time, the performance will be the debut of the new Moon Troupe which is formed with the new Top Star, Ryuu Masaki, as its core. Also, a notable thing is that Demi-Top Star, Asumi Rio, will switch roles with the Top Star.

Please welcome the showy and dramatic performance 'Romeo and Juliette' challenged by members overflown with youth.

The presentation started with Ryuu Masaki together with Manaki Reika, who plays Juliette, and Asumi Rio, who also plays the switch role of Romeo, presenting songs from the performance. The four songs with deep feelings - 'itsu ka' by Manaki and Asumi, 'boku wa kowai' by Ryuu, 'aimer' by Ryuu and Manaki, 'sekai no ou' by Ryuu, Manaki and Asumi - immediately turned the presentation hall into the world of 'Romeo and Juliette'.

After the songs were presented, a press-conference was held, where opinions on the performance were expressed.

Ryuu
I am incredibly happy to be granted with 'Romeo and Juliette' as our first performance. At the same time, I received a lot of words from mr Koike (the performance director) which are necessary for my growth, so I expect a lot from this performance. I feel blessed as a stage performer, because this time I will be granted with a lot of experiences, as we have a performance with switch roles. I will be doing all I can. For the new Moon Troupe it marks the new start. I want to create an interesting performance together with Manaki and Asumi, and united with all the members of Moon Troupe. Therefore, I humbly ask for your support for Takarazuka Revue and Moon Troupe.

Manaki
I am full of happiness and delight to have been bestowed with the role of Juliette in 'Romeo and Juliette'. This time there will be two Romeos, but I want to love to the very end the Romeo whom I will meet. Together with ms Ryuu and ms Asumi and with all the cast I want to tackle this performance frankly and straight, so I would like to ask for your support.

Asumi
I have been a fan of the work 'Romeo and Juliette' which was turned into musical and story, and also films, so I feel a strong happiness for that I can play switch roles in a performance connected with it. During the farewell show of ms Kiriya, the Moon Troupe could feel its unity deeply, and this time I would like everyone to move forward feeling fully the colour of ms Ryuu. As I have switch roles, I will work hard reserving my stamina and guts.

 

interview translation. Ms Kiriya's Tokyo interview about her retirement

the first thing I should do today, of course!
the original article

The interview of Kiriya Hiromu, retiring after the closing night of Tokyo performance
On April, 22nd, Kiriya Hiromu, the Top Star of Moon Troupe, gave an interview on her retiring after the end of musical 'Edward VIII' and brilliance stage 'Misty Station' in Tokyo Takarazuka Theatre.

Kiriya Hiromu

'We have just successfully finished the performance of 'Edward VIII' and 'Misty Station' in Tokyo Takarazuka Theatre. Full of energy, with happy feelings, we were able to see the curtain fall down after the closing night, and now I am full of gratitude and sense of accomplishment. I thank you all for your cheering that I was honoured to receive.'

Q. If you recall the place called 'Takarazuka', what is it like?

A. The very essence of my life is that I have been doing my best with the feeling that I lived for the stage, and I still cannot realize the fact that I will not stand on that stage anymore starting from tomorrow. 'Takarazuka' is an irreplaceable thing, and I think from now on I will live on never forgetting this feeling, never losing it.

Q. The Farewell show was splendid, wasn't it?

A. We created the show having received a lot of recommendations from Saitou-sensei, so that it would be focused on the performances where I played the leading part, and the others who retire also got highlight scenes. There was a dance in black tailcoats on the Grand Staircase, and I think there were no Farewell shows before which went as far, but I wanted to show the path I have taken, so I was allowed to pack it with many things.

Q. The music which accompanied you descending the Staircase for the address?
A. It was a melody of rockette dance in my debut performance 'Phoenix'. One phrase from it is used in the show 'Misty Station' which has just ended.

Q. How and when did you think over your last address?

A. First, I made an address in the Grand Theatre, which was so close to me even before my enrolment, that was the first part, then I came to Tokyo, but in the everyday life being constantly pressed by the performances, I could not settle my thoughts, so I was thinking from the previous evening till today's morning, and finally decided during the performance itself.

Q. After this day has come to an end, the moment when you clearly realized that it is the retirement?

A. The atmosphere of the audience was quite different from before, so I was feeling today was the closing night, but I concentrated on the performance without being washed away by different feelings, and I acted aiming not to be overly worried by the fact of retiring.

Q. When will you have the actual feeling of retiring?

A. From those who already retired I was honoured to hear that it takes approximately one busy month to settle everything and get prepared to the new life, but in two or three months I will probably start feeling lonely.

Q. Any words you would like to convey to the juniors who are to meet the 100 anniversary of Takarazuka Revue in two years?

A. I have arrived on this day having lived with the belief that there is no other talent than to do your best, with the feeling that doing your best is never in vain, so I want you to be proud that you are in such a wonderful place where you can do your best, I want you to do your best in challenging yourselves to try all the chances for yourselves.

_____

translator's remarks

1.  almost cried at the last words, the address to the young generations...
2. *upd 27.04* 

changed 'rocket' to 'rockette'. I thought the dance to be a kind of motive of a rocket, as the revue 'Phoenix' uses the theme of other planets and spaceships etc. having read the description I see there were no rocket dances, likely ロケット means rockette, however I have never met any mentioning of rockettes in the interviews of siennes so far, therefore - hard for me to say anything... >___< please forgive my inexperience