Liony

Magic something is you make.

[stavhameiri]

Please please please give us more information about PoT!Furukawa *-* ❤

Hey!!! HEY

it’s 4am!! what a perfect time to ramble about young yuta!!!

I pretty much talked about everything in this post, but I have some more nice facts and interesting things about the relation of Tenimyu to the Theater life Furukawa is living right now!

Most of the friends Yuta has are from his Tenimyu era, the 4th Generation of Seigaku, especially Daisuke Watanabe and Sasaki Yoshihide. They both worked in Tenimyu as Tezuka Kunimitsu and Shiraishi Kuranosuke. He’s also friends Hirata Yuichiro, and they used to go drinking all the time.

Most actors we love and know today from the Kuroshitsuji, Haikyuu, insert 2.5d productions names here and lots of Imperial Theater actors first came from Tenimyu. and when I say a lot of them, I mean it;

(it repeat itself just a little) Seriously. It’s like the recipe to straight up success was just hopping on a Tenimyu Audition around 2007.

Yuta’s fashion was also pretty incredible around Tenimyu

also fun fact - since the role Yuta was playing has unbeliveably straight hair - Yuta had to sit down and burn the living shit out of his hair straighten his hair for 3.5 years, which got his hair very, very damaged even until now. (and all the crazy “dying your hair every month” trend among Japanese idol didn’t really help aswell)

Daisuke also came up with an iconic joke on FujiYuta’s song 「Heavy Rain」, where he mimicks a weather broadcaster, saying

「今宵は雨、外は嵐、歌うはこの人、古川雄大」

「Tonight it will rain, there’s a storm outside, The person who will sing next is, Furukawa Yuta」

Also… a really funny thing.

Yuta played as Fuji Shusuke in Tenimyu, and Fuji’s most said and most popular line is

「この打球、消えるよ」 which translates to 「this ball (shot) will disappear.」, since Fuji has some special move where he can make the tennis ball disappear, making his opponent not being able to see, and hit the ball.

in Heat Up Eve, a kind of a talkshow Yuta had with his friends from Tenimyu, they had a game where they had to translate lines from the Musical, and Fuji’s line came up.

Now we know Yuta’s English fucking rocks, so take a look at how well he translated it;

(there is a one video limit to one post on Tumblr, so it’s right here -> [CLICK FOR VIDEO]

Yuta didn’t come for the reunion video they made for his generation. (they always do these little full generation meetups and let them watch long moments from the musicals they performed in), but he did record something and it got in. [CLICK FOR VIDEO]

Also, Have some songs Yuta’s in! remember- he is the noodle in the blue & white clothes.

https://youtu.be/03eaV7WsXVo

Heavy Rain

https://youtu.be/8gLELnaVSq4

GO GO FUJI! Go Shiraishi!

https://youtu.be/nzbJsKJbH9M

I will Change

[chibimyumi]

Thanks for the answer! I was actually wondering the brief overview of his life as you said but also I really want to learn his childhood and teenage years :) Btw if you publish a book about his full 31 years of life I WILL DEFİNETLLY READ IT. ^~^

Hi again!

Thank you for specifying. In that case I shall focus on his childhood ^^ (Hahaha, thanks!)

Name

Furukawa Yuuta was born on June 9th, 1987 inNagano, in Takayama village in a family of seven: grandparents, father(Furukawa Yuuji), mother, and sister Furukawa Haruko, older by five years. Takayamavillage is a place with rich nature and the water is known for its tastiness.There is also a rich fauna, and for Furukawa it was pretty normal to suddenlyhave wild animals show up near his house. In his childhood he played withmonkeys, deer and bear cubs (he sounds like a Disney princess… Well, he’s TOHO Prince now! Same difference).

Furukawa was named after his father, which is incrediblyunique in Japanese culture. Not only is the origin of his name unusual, so isthe writing of his name. The characters 雄大 (Yuuta) mean ‘majestic’ in Japaneseand should be read ‘Yuudai’. So for the majority of his life he has been called‘Yuudai’ by teachers, peers, and what not. Otherwise when he says “my name isYuuta,” people would write his name wrong, resulting in 雄太. For present-day Furukawa, it has been whetherto correct people when people call him ‘Yuudai’ in an incredibly friendlymanner. According to himself in the past he was an altogether different person,and would mercilessly shout: “it is YUUTA”! whenever misnamed. Karma got him righthowever, Furukawa shared with us: “Once in a grand musical, I said the name ofan ‘Ultra *Ogosho’ wrong in front of everyone, and the atmosphere of the theatrebecame incredibly weird. My senpais did not know what to do, because theyprobably thought correcting me like that in public would be embarrassing.Everyone became incredibly uneasy (nervous laughter). From then on, callingpeople’s names has become something of trauma to me. I don’t want anybody tofeel that way, so now when people misname me, I would just let it be. If theyrealise what my real name is I would be happy, but if they don’t, it is fine aswell.”

** Ogosho 大御所: A name derived from the honorary title of Imperial princes and princesses in Japanese monarchy. This honorary title is later bestowed upon exceptional performers acknowledged by the Imperial Theatre. As the word ‘Ogosho’ is rather pompous and outdated, nowadays such title-bearers are simply called ‘Prince’ or ‘Princess’ in Japanese as well.

Family

Despite being a very loving and great mother, Furukawa describes her as a noisy person prone to nagging. When he would fight his mother, itis usually his father who comes in and puts an end to it. His father was theabsolute figure in the family. Furukawa and his sister were very close, butthey fought a lot because they were close. As a young child, Furukawa wasusually defenceless against his elder sister. “Five years is quite a lot forchildren! I remember the image of her demon-like expression and the angle ofher legs in mid-air-kick vividly to this day. Don’t mess with her!”

Early Childhood

During preschool,Furukawa was called “General Brat” (がき大将Gaki Taishou) by his teachers and his “gang”, and described himself as sometype of gang leader responsible for lots of mischief. Furukawa’s mother oftenhad to take him to other children’s houses to offer apologies. He was ratherwild and played with everyone regardless of age. The biggest age gap was kidswho were seven years older.

Baseball and Ballet

Furukawa’s father is a baseball coach, and it was his dreamto have a son who would become professional baseball player. When Furukawa wasborn, his father was so incredibly happy that he gave the mother an incrediblyhigh-end necklace for present. Furukawa himself however never liked baseballmuch, but felt guilty to shatter his father’s dream. Still, Furukawa knew hisfather would never say ‘no’ to him. Then Furukawa gathered all his courage totell his father he wanted to quit baseball, and start ballet instead. Hisfather said: “ah… sure.” Furukawa remembers very well how his father tried tohide his sorrow from his son, but one night he accidentally spotted his fathercrying in secret.

Another episode Furukawa remembers very well is how after hequit baseball, another baseball match came up, and he had just idly said: “Iwish I could partake”. Despite not being part of the team anymore however,Furukawa’s father still made sure to make his son a contestant. His father was criticisedleft and right with comments like: “that kid has already quit, and he lets himplay, but my kid cannot? What a selfish man.” Furukawa realises painfully wellthat his father was aware of the consequences, but that only attested for howbig of a dream it was for his father to have his son be baseball player. “Iknow my father does not want me to think this way, but even now I feel soguilty, so the best I can do is to show him that I did not give up baseball fornothing. It is not like he really likes ballet or the entertainment world forthat matter. But from that moment on until this day, he would have my photo anddiscography printed on the back of all his business cards, and shove it inother people’s faces. I asked him why he did that, and he just replied: “youneed ads”. There have been many occasions that I wanted to quit my job in theentertainment world, but every time I remember how my father supported medespite his sorrow, I feel the motivation to continue again.”

At the time, Furukawa saw ensemble dancers on television andwas incredibly inspired, and wanted to become ensemble dancer himself. After hegraduated high school, he departed for Tokyo where all the agencies were. Hestarted his career as Disney dancer. (There is one footage here). Though I am not sure of my sources, I heardthat except for dancing for Disney stage shows, he was also Donald Duck andPrince Philip of ‘Sleeping Beauty’. But! Disclaimer!

Towards the Present

Then one day when he was walking on the streets, he gotscouted as model. Not much later he was asked for his first musical ‘The Princeof Tennis 4th Generation’, and that was the actual start to hiscurrent career. But I know very little detail about his Prince of Tennis Era.@stavautumn​ is the Prince of Tennis Era Furukawa expert here. (スタヴィちゃん、助けて！テニミュー時代のふわかわさんのことさっぱりですから)

In 2009 Furukawa won the audition at TOHO and became official ensembledancer, just like he had aspired for. Within one year, TOHO already promotedhim to 3rd tier actor as they found the position as dancer a bit ofa waste of Furukawa’s skills.

Furukawa as ensemble dancer⇊

In 2013, because Furukawa was still ratherchildish and refused to behave responsibly, he got dismissed by the theatrecompany. Within a year, Furukawa managed to return to TOHO and got his previousposition as 3rd tier actor restored.

Furukawa as 3rd tier ⇊Prince Rudolf of Hapsburg - ‘Elisabeth’ 2010

In 2014 already, Furukawa gotpromoted to 2nd tier, and from then on he basically sky-rocketed up the ranks and became 1sttier, or Top Star, already in 2016. In 2018, he was awarded the title of ‘Ogosho’ or Princehimself.

Furukawa as 2nd tier⇊  Felipe II of Spain - ‘Lady Bess’ 2014

Furukawa as Top Star ⇊ Romeo - ‘Romeo & Juliette’ 2017

Furukawa as ‘Ogosho’ or Prince ⇊Mozart - ‘Mozart!’ 2018

[stavhameiri]

みゅみー先輩、助けに来ましたよ！╰(*´︶`*)╯♡

Furukawa Yuta in Musical Prince of Tennis

(I feel a very strong need to talk about this era especially on this very special day where Tenimyu turns 16 years old!! Happy Birthday :D!)

Musical Prince of Tennis is a musical series based on the work of Konomi Takeshi, “Prince of Tennis” that’s primarily set in Tokyo, and centers around Seishun Academy, or Seigaku (青学), a school that’s known for its strong tennis club and talented players who aim to win the National Middle School Tennis Championship. Tenimyu first debuted around 2003, and was the first company to ever adapt an anime/manga work into 2.5D live theater.

Furukawa got the role of 4th Seigaku generation Fuji Shuusuke around 2006, and graduated in 2009. Fuji Shusuke was his first actual role ever in a musical. he played with other great actors like Shougo Sakamoto (first Ciel Phantomhive) and Daisuke Watanabe (known for his appearance as Gii in the BL series Takumi-kun).

(4th generation castlist V)

when Furukawa first showed, he was a 19 year old boy with very.. low acting and singing skills. you see, it was pretty much of a low budget production, and they needed money, so they looked mainly for pretty faces who could do the bare minimum theater skills. the entire first season 2003-2009 was very problematic and not consistent in so many ways, (too long, double casts to seigaku and sub-teams (that caused even more trouble) and a very weird way of dealing with stuff.) the role of fuji shuusuke is one of the main roles in tenimyu along with Echizen Ryoma and Tezuka Kunimitsu who belong to the main team (Seigaku).

and so Tenimyu ended up casting a 1.82 giraffe boy to play a minimum 1.60 baby faced third year highschool midget.

Yuta’s casting was technically a very big fail (that ended up as a success.) Furukawa was, actually, taller than anyone else in his team, and it really stood out. i mean, REALLY stood out.

the audience first had a hard time accepting the very inaccurate looks, but when he got to perform, Furukawa was finally able to change the audience minds, impress and gain the love of the fans using his BEAUTIFUL BALLET SKILLS. he actually managed to mix his ballet into the taught by ueshima sensei Tennis choreography and it was BEAUTIFUL. I still personally think his theater Tennis is the most elegant and beautiful tennis of all times.

Furukawa was also chosen to be Tenimyu’s NO. 1 handsome actor at the time, and also because of the generations clashing with the series Timeline, he got to somewhat “lead” the next 5th seigaku generation, and be their awesome, cool senpai ^^

regardless of everything, he had a very very good time in Tenimyu goofing and joking around with his team members behind the scenes, and doing his first baby steps on the theater stage, tasting what it is to be an actor.

(WATCH THIS. ITS IMPORTANT https://youtu.be/k0VNwDMpq9E )

although Furukawa is cringing everytime someone brings tenimyu up next to him, it was his (and many other awesome actors) very important stepping stone into the entertainment and theater world.

so yeah, that’s about furukawa’s tenimyu era. Tenimyu is now a very successful production many starting actors audition for and gain successful theater careers after graduating from it. Tenimyu is and always has been a huge stepping stone for many actors including furukawa, and it’s quality gets better from show to show. it really is a great production, now almost ending the 3rd season (T__T), so please do check it out!

[chibimyumi]

Thanks for the answer! I was actually wondering the brief overview of his life as you said but also I really want to learn his childhood and teenage years :) Btw if you publish a book about his full 31 years of life I WILL DEFİNETLLY READ IT. ^~^

Hi again!

Thank you for specifying. In that case I shall focus on his childhood ^^ (Hahaha, thanks!)

Name

Furukawa Yuuta was born on June 9th, 1987 inNagano, in Takayama village in a family of seven: grandparents, father(Furukawa Yuuji), mother, and sister Furukawa Haruko, older by five years. Takayamavillage is a place with rich nature and the water is known for its tastiness.There is also a rich fauna, and for Furukawa it was pretty normal to suddenlyhave wild animals show up near his house. In his childhood he played withmonkeys, deer and bear cubs (he sounds like a Disney princess… Well, he’s TOHO Prince now! Same difference).

Furukawa was named after his father, which is incrediblyunique in Japanese culture. Not only is the origin of his name unusual, so isthe writing of his name. The characters 雄大 (Yuuta) mean ‘majestic’ in Japaneseand should be read ‘Yuudai’. So for the majority of his life he has been called‘Yuudai’ by teachers, peers, and what not. Otherwise when he says “my name isYuuta,” people would write his name wrong, resulting in 雄太. For present-day Furukawa, it has been whetherto correct people when people call him ‘Yuudai’ in an incredibly friendlymanner. According to himself in the past he was an altogether different person,and would mercilessly shout: “it is YUUTA”! whenever misnamed. Karma got him righthowever, Furukawa shared with us: “Once in a grand musical, I said the name ofan ‘Ultra *Ogosho’ wrong in front of everyone, and the atmosphere of the theatrebecame incredibly weird. My senpais did not know what to do, because theyprobably thought correcting me like that in public would be embarrassing.Everyone became incredibly uneasy (nervous laughter). From then on, callingpeople’s names has become something of trauma to me. I don’t want anybody tofeel that way, so now when people misname me, I would just let it be. If theyrealise what my real name is I would be happy, but if they don’t, it is fine aswell.”

** Ogosho 大御所: A name derived from the honorary title of Imperial princes and princesses in Japanese monarchy. This honorary title is later bestowed upon exceptional performers acknowledged by the Imperial Theatre. As the word ‘Ogosho’ is rather pompous and outdated, nowadays such title-bearers are simply called ‘Prince’ or ‘Princess’ in Japanese as well.

Family

Despite being a very loving and great mother, Furukawa describes her as a noisy person prone to nagging. When he would fight his mother, itis usually his father who comes in and puts an end to it. His father was theabsolute figure in the family. Furukawa and his sister were very close, butthey fought a lot because they were close. As a young child, Furukawa wasusually defenceless against his elder sister. “Five years is quite a lot forchildren! I remember the image of her demon-like expression and the angle ofher legs in mid-air-kick vividly to this day. Don’t mess with her!”

Early Childhood

During preschool,Furukawa was called “General Brat” (がき大将Gaki Taishou) by his teachers and his “gang”, and described himself as sometype of gang leader responsible for lots of mischief. Furukawa’s mother oftenhad to take him to other children’s houses to offer apologies. He was ratherwild and played with everyone regardless of age. The biggest age gap was kidswho were seven years older.

Baseball and Ballet

Furukawa’s father is a baseball coach, and it was his dreamto have a son who would become professional baseball player. When Furukawa wasborn, his father was so incredibly happy that he gave the mother an incrediblyhigh-end necklace for present. Furukawa himself however never liked baseballmuch, but felt guilty to shatter his father’s dream. Still, Furukawa knew hisfather would never say ‘no’ to him. Then Furukawa gathered all his courage totell his father he wanted to quit baseball, and start ballet instead. Hisfather said: “ah… sure.” Furukawa remembers very well how his father tried tohide his sorrow from his son, but one night he accidentally spotted his fathercrying in secret.

Another episode Furukawa remembers very well is how after hequit baseball, another baseball match came up, and he had just idly said: “Iwish I could partake”. Despite not being part of the team anymore however,Furukawa’s father still made sure to make his son a contestant. His father was criticisedleft and right with comments like: “that kid has already quit, and he lets himplay, but my kid cannot? What a selfish man.” Furukawa realises painfully wellthat his father was aware of the consequences, but that only attested for howbig of a dream it was for his father to have his son be baseball player. “Iknow my father does not want me to think this way, but even now I feel soguilty, so the best I can do is to show him that I did not give up baseball fornothing. It is not like he really likes ballet or the entertainment world forthat matter. But from that moment on until this day, he would have my photo anddiscography printed on the back of all his business cards, and shove it inother people’s faces. I asked him why he did that, and he just replied: “youneed ads”. There have been many occasions that I wanted to quit my job in theentertainment world, but every time I remember how my father supported medespite his sorrow, I feel the motivation to continue again.”

At the time, Furukawa saw ensemble dancers on television andwas incredibly inspired, and wanted to become ensemble dancer himself. After hegraduated high school, he departed for Tokyo where all the agencies were. Hestarted his career as Disney dancer. (There is one footage here). Though I am not sure of my sources, I heardthat except for dancing for Disney stage shows, he was also Donald Duck andPrince Philip of ‘Sleeping Beauty’. But! Disclaimer!

Towards the Present

Then one day when he was walking on the streets, he gotscouted as model. Not much later he was asked for his first musical ‘The Princeof Tennis 4th Generation’, and that was the actual start to hiscurrent career. But I know very little detail about his Prince of Tennis Era.@stavautumn​ is the Prince of Tennis Era Furukawa expert here. (スタヴィちゃん、助けて！テニミュー時代のふわかわさんのことさっぱりですから)

In 2009 Furukawa won the audition at TOHO and became official ensembledancer, just like he had aspired for. Within one year, TOHO already promotedhim to 3rd tier actor as they found the position as dancer a bit ofa waste of Furukawa’s skills.

Furukawa as ensemble dancer⇊

In 2013, because Furukawa was still ratherchildish and refused to behave responsibly, he got dismissed by the theatrecompany. Within a year, Furukawa managed to return to TOHO and got his previousposition as 3rd tier actor restored.

Furukawa as 3rd tier ⇊Prince Rudolf of Hapsburg - ‘Elisabeth’ 2010

In 2014 already, Furukawa gotpromoted to 2nd tier, and from then on he basically sky-rocketed up the ranks and became 1sttier, or Top Star, already in 2016. In 2018, he was awarded the title of ‘Ogosho’ or Princehimself.

Furukawa as 2nd tier⇊  Felipe II of Spain - ‘Lady Bess’ 2014

Furukawa as Top Star ⇊ Romeo - ‘Romeo & Juliette’ 2017

Furukawa as ‘Ogosho’ or Prince ⇊Mozart - ‘Mozart!’ 2018

[chibimyumi]

Hi! Different anon here. I discovered Kuroshitsuji a short while ago, and the myus even more recently. But I fell in love with Furukawa's Sebas instantly, and thanks to your blog I've been more and more interested in the actor behind the butler. Your overview of his life was great! But I'd like to know more about his career as a singer. I LOVE his voice but, sadly, apart from the myus I've only heard three of his songs. Could you share a little info about his albums and his music style? Thanks!

🎉WELCOME TO THIS FANDOM!!🎉

Furukawa’s Sebas is just so despicably lovable, it is insane. He is the trashiest of the Trash Demons™ (Yana herself calls Sebas ‘trash demon’).

Singing Career

Furukawa’s career as a singer began in 2008 to the best of my knowledge wherein he also produced his first mini album ‘PASTEL GRAFFiTi’.

List of Albums:

‘PASTEL GRAFFiTi’(2008)

‘COLOR VARiATiON’ (2009)

‘SUMMER VACATiON’ (2010)

‘STUDIO SUNSHINE’ (2013)

‘Reading Book’ (2013)

‘Yuta Furukawa BEST 2008-2014 ～Your Selection～’ (2014)

F coat (2018)

Besides his albums, he has also released 4 singles, namely SUNDAY, “I”, Kako no Sora, Mirai no Boku, and Love me.

Music Style and Theme

As for his music style… I personally am not very knowledgeable about the different music genres, but I think it is best classified as pop. Most of his song kind of resemble a slice-of-life anime opening or ending in my opinion XD

Furukawa does not write all the lyrics and compose the songs himself, but the ones he does write usually have an overarching theme of slice of life, human awareness and psychology. The most famous examples being ‘Ai wo Sutete’ and ‘qp’.

‘qp’ deals with how humans are all so similar, but only different because they insist on turning their backs to each other, much like the letters ‘q’ and ‘p’. When humans are ‘told to turn around’, they would rather contort the truth and go ‘db’, than face each other. In an ideal world, people could be upright and see each other eye to eye, like ‘pq’. Information about ‘Ai wo Sutete’ can be found here. 

The songs that are written by his staff usually deal with miscellaneous topics, such as festivities and romance.

Behind the Scenes

As you must have read in this post, Furukawa was dismissed by TOHO in 2013. Furukawa shared with us that that period was the lowest point in his life and he became incredibly self-conscious of his singing. He hyper focused on improving his singing before (miraculously) making his way back into TOHO. Once he got accepted back into the theatre company, he feared that his music career might cost him his career as a theatre performer, so he put his own music on the back burner.

It wasn’t until 2018 that Furukawa fully returned to his music career with newly gained techniques and accumulated vocal training. Furukawa said that in the past, he used to write songs only for his own enjoyment and they were incredibly unchallenging. Instead he should consider how to convey what he finds important in an impactful way though melody, text, and rhythm.

I am not sure whether Furukawa did this consciously, but I surmise that at the beginning of his career, he kept the melody very easy and consistently high-pitched because it would be easier to sing and not force him out of his comfort-zone. (Unpopular opinion: I agree with what Furukawa admitted… his own music is pretty good, but they have the tendency to sound pretty similar XD And the oldest ones were just all pretty monotonous…)

Composing

Contrary to popular belief (within the Japanese fandom at least), Furukawa does not compose at a desk with some pen and paper. Instead, Furukawa likes taking a bath and just sings random notes while holding his shower-head for microphone. The problem however - as relatable as anything comes - is that he can only come up with amazing stuff whenever his notepad cannot be found immediately after leaving the bathtub. Furukawa has frequently found himself exiting, entering, re-exiting and re-entering the bath until the water basically freezes over. (Someone, send that man some waterproof paper ≽▽≼)

Who else also only ever comes up with good ideas whenever you cannot write it down?

[chibimyumi]

do you have any other photos of yun as mozart? i had never seen the one of him that you posted with his "life story" ask! ahh i hope they make a DVD of it....

Hello Oceanichome!

Sadly, TOHO will not make a DVD of the 2018 run of ‘Mozart!’… but if there is a next time where Furukawa reprises the role of Mozart, they probably will.

Recently, Furukawa won the Kikuta Kazuo Award for Mozart among other roles. Chances are high that he might reprise the role, because even now people are still lamenting the fact that the play is over now.

Sidenote: Furukawa used to only play the guitar. But for the role of Mozart, he learned how to play the piano in a mere month. (●´ิ∀´ิ●)ﾄﾞﾔｧ

Click ‘Keep reading’ for the pictures. Spam warning!

Keep reading

[lionynguyen]

❤

[hirami]

Visit Original Link

[angel-kyousuke]

The reservation was Seigaku.

150809 Hirata Yuichiro’s Blog

Good Morning

Today is (butai) Minami no shimani yukihafuru.

It is the last day of Tokyo performance.

Yesterday was the 4th generation party.

It’s the reencounter for the first time in several years after the graduation from Tenimyu.

As for Toyo and Basshi I was looking forward to see them as it’s really several years since then, I was so excited about how it would be like .

During the train going to the meeting for the 4th generation

The time when we did Tenimyu came up in my mind

Lol

The organizer this time is Yuta.

The reservation name for the shop、

was Seigaku

Lol

The wonderful arrangement of Yuta.

It’s the best.

When I arrived

Keep reading

[angel-kyousuke]

COSMODE THAILAND vol.13 Watanabe Daisuke & Hamao Kyousuke (Eng.Trans)

WATANABE DAISUKE & HAMAO KYOUSUKE Interview in Thailand

DAICHAN :

I was always asked how could I become an actor. Was it because being persuaded by the scout? But actually I was only interested in sport that I wanted to be pro.

But then when I was in the university, I was asking to be a model. I did some but without any agency but all the support from people around me. After that when I was 22 years old and graduated from the university, I decided to be a completely actor under the production company. People in the country have known me as Ikaruga Jorge in Ultraman Mebius TV series.

As for [The Musical Prince of Tennis#4], I played as Tezuka Kinimitsu for 2 years with Hamao-kun as Kikumaru together.

With the generation 4 we got a chance to perform this overseas. So, we went to perform in Korea and Taiwan. With such a good feedback, we were so surprised. I thought Japanese fans like this stage so much but I had no idea about fans in other country or in Asia. Then there were lot of warmed welcoming of fans both at the airport and the theater.  The performance was all in Japanese language and there was a subtitle on the screen by the side of the stage. In Taiwan, there was Kanji showing and in Korea, there was Hanguel thus we so enjoyed about it. I often play the part of 2D character which is so difficult because there are image of the original and fans. I have to keep on practicing to be close to that character. But that make the world come closer to me and I am happy to know that I can use it as the communication to people in the other country.

MAO:

My inspiration to become an actor is, I went to watch the performance of Shiki (The Japanese Theater Company) I was so impressed with it therefore I thought when I grew up I would like to impress other like that. Me who really wanted to be an actor discussed this with the parent. So, they gave me a condition to go to high-school first. When I was starting high-school ,I signed under the production company. [The Musical Prince of Tennis#4] was my first stage as Kikumaru with Watanabe-san. I got a chance to perform in Korea and Taiwan, seeing many fans even at the airport in both countries thus I was so happy. I was 17 but worried about the performance with Japanese language would be able to show the fun and wondered if fans would laugh with the gag. But then it worked. I could feel it from the warmed cheer and applause. I still remembered that.

Moreover, in November this year in Tokyo and Osaka, I played as a role of Chosokabe Motochika in [Sengoku Basara]. Team costume designed the cloth the same as in the game with attractively decorated and it was so heavy. Motochika’s cloth looked strange and had to be showed the body, had to wrap the cloth around my waist and swung the grapnel made of 2 meters long wood with one arm. Now, I feel my arms are not the same sizes (laugh) 

The first performance together

Daichan: [The Musical Prince of Tennis] the show wasn’t done yet but we started Takumikun Series.

Mao: Started at the same time as the musical.

Daichan: when the show had finished, while waiting for the next show starting, we used that time for shooting Takumikun Series.

Mao: when finished shooting we came back to practice the show again.

Daichan: Rather tired but then got a good feedback continuously until now.

Often show together in other work.

Daichan: there are also stage plays. If count on, there are many. January next year, there is stage play [Fumoukaogi] and also the movie will be released in spring which we work together

Mao: there are many,really.

Daichan: Also in NicoNico Douga there’s a program we‘re together, MC for BACS TV at Akibahara. There’s an event of [Prince of Tennis] casts and we invite them as a guest sometime.

Mao: Also in Thailand (another work together) Most people think we are a unit of two.

(*really want to use the word “couple” instead but well as the word Mao used, I keep his original lol)

The first time in Thailand you might already met fans, would you like to say anything to fans

Daichan: I was amazed. Last 2 month I went to work in Vietnam. There were many fans at the airport welcoming and calling me. I wondered how about the country nearby and we come together. I didn't think we would get this welcome. It’s the first time to know the feedback from Thai fans thus made my feeling about Thailand 180 degrees changed. Everyone has a cute smile and more friendly than Japanese. Need to be thankful for always support. The country is far away which is hard to contact each other but I would say the same as I told Japanese fans and other country that wherever we are, the sky we see is connected. I’d like to look for a dream, hope, bravery and rigidity for everyone who lives under the same sky to smile happily together. Please continue supporting us from now on.

Mao: Japanese fans are always support us actively but for Thai fans, I think it’s a warmer support. I am in Japan, I can’t often see everyone here as I’d like. We might have to communicate via internet essentially. But when I come here, with such a great welcoming, I feel so happy. As I told Daichan before, at the airport, there’re lots of fans there to cheer us. I was so glad almost move into tears. Even now I still have light of experience but I will work hard to go to other country more often. Everyone please look forward until that day.   

  *Source : COSMODE Thaialand magazine vol.13

Eng Trans by Angel-Kyousuke

Please Take out with full credit 

#sorry if there are mistake in this trans since this is the first after ages of my Thai-Eng Trans. But i was happy to do it again this time because of them, Dai-Mao.

[leenaevilin]

[Video] 1789 -バスティーユの恋人たち- (1789 -bastille no koibitotachi-)

I’m not sure if I ever mentioned it… but 1789 is one of my favourite musicals♡

I went to see the french (original) & takarazuka versions live and finally watched last years ♪Version de courage (toho)!! ahhhhhhh I can’t discribe how much I love this musical and I really can’t decide which version I liked best…

[starminesister]

Kizumomo (Japan, 2008): Aki (Baba Toru), traveling on his bike through the countryside, finds his way to a watch/clock repair shop where he meets Masaya (Furukawa Yuta), the resident young apprentice. Aki’s initially taken aback because Masaya is a dead ringer for his childhood friend Yuto, whose broken watch Aki carries with him. And Masaya is initially very prickly and standoffish because… well I have no idea why, it seemed like they just needed that type of character to contrast with Aki’s easy-going personality. A number of meals and basketball games and many analogies about fixing things (read: hearts) later, we find out that Yuto died saving Aki in that most Asian drama sort of way, by pushing him out of the way of a speeding car.* Long story short, Masaya repairs the watch (pointing out that after all this time it’s really no longer Yuto’s but instead Aki’s) and cue the awkward pressing-of-lips that passes for kissing in these BL movies…

…except it didn’t happen.

That’s right, it’s not BL. Kizumomo has all the hallmarks of those direct-to-DVD BL adaptations– two pretty young men, the requisite brooding over some past tragedy, the somewhat awkward acting (not meaning to bag on these movies– lord knows I’ve watched enough of them– but you gotta admit they follow a general pattern). And yet it’s just about two guys becoming friends (kinda?) over a summer together. Not that there’s anything wrong with that but it was unexpected given all the other cues I was getting from the production in general.

(But don’t just take my word for it: Watch it in its entirety, English subbed, on YouTube here.) [link updated 2019.04.19]

*An aside: WHY DON’T THESE DRIVERS STOP WHEN THEY SEE A PEDESTRIAN IN THE STREET?! I mean it’s not like it’s a highway and they’re going too fast to stop, it’s a city street and they’re not even going that fast. It’s as if dramas take place in the same universe as Death Race 2000.

[seigaku9th-blog]

SEIGAKU 4TH REUNION 2017/05/22!!!!!

10 years, 3 countries apart, 2 retirements & a wide variety of different career paths has never stopped this team from being friends and hanging out with each other regularly. here are a few translations of their respective blog entries/tweets/instagram posts!

watanabe_daisuke shogo and mao unfortunately couldn’t be there, but i ate out with all the other members! shogo was connected by video phone, so he talked with everyone, and mao is working hard overseas. everything is still the same as it used to be, selflessly sharing our stories, all of our recent activities, it’s so pleasant to talk… i’m happy to have these teammates that i could never forget about. even if each of us are now walking towards various different goals, i’m so fortunate to have been able to share time with them (*´꒳`*) it might be really difficult for all of us to be reunited, but i hope all nine of us can be together someday.

furukawayuta fun conversations. time passing by too quickly. my heart feels full. let’s do it again soon.

@gong_daeyu yesterday, i met up with my team from tenimyu. from beginning to end, we were laughing. the real prince of yakiniku. next year? i want to meet everyone for my 10th year with them. seriously, it was so interesting. just thinking back makes me laugh. momokai’s matching berret miracle www

@tetsuya_makita so nostalgic! so many exciting stories! so fun~ i didn’t want to leave!! such a reunion~ i’m glad i could be part of our group. shogo and mao couldn’t come with us but i want all of us to be together again.

@yuichiro_hirata i laughed so much yesterday. it was like being backstage during our tenimyu days again. LOL messing around making fun of things laughing and laughing. while thinking about backstage images of our past, i thought, i need a drink!

@basshidayo i’ve been writing thanks to the motivation and energy that i received from the 4th generation. it’s still a first draft, but i managed to get to the end. now i’m just thinking about how the energy gained from friends is an incomparable power. weird how i’m still not sleepy LOL

@tetsuya_makita good job LOL

@gong_daeyu now go to sleep. LOL

[chibimyumi]

Interview Furukawa - Der Tod

Host: To you, Mr. Furukawa, “Elisabeth” is the play you wished to take part in the most, right?

Furukawa: “Indeed. I was allowed the honour to partake in 2012 starting with Rudolf, and this time [the play] shall be based on the 2016 version with new members, the cast division has also changed. As such I am in especially high spirits. However, this is the first time that I take up the challenge of playing Der Tod (Death), so even before the rehearsals had started I have been crushed under pressure and have been especially nervous (laughs). The rehearsal hall of “Elisabeth” has the theme of the production’s graveness, and the members who have assembled until this point also carry around them a very unique kind of atmosphere. As such I wish to give it my all and face this challenge.

Host: What kind of role is Der Tod according to you?

Furukawa: “In its simplest sense, Der Tod is the symbol of human ‘death’, and a character who is the personification of Elisabeth’s wish for ‘death’. [Der Tod] is a being that emerged from the inside of her, as well as a being who may lead people who confront her into death. I have always looked up to Der Tod. The moment I joined this company I have been searching for a way to play him, but I have not been successful so far.

Host: What is the charisma of Der Tod?

Furukawa: “First of all, he is appearance-wise very beautiful, Furthermore, his songs are very cool. Regardless of the song, I can adjust to the fantastic melody line and sing, and there are also important scenes wherein [Der Tod] makes his different entrances depending on how Elisabeth changes on the inside. It is a delicious role in my opinion.”

Host: I heard that Der Tod is a very special role to you, Mr. Furukawa?

Furukawa: “I considered [Der Tod] my ultimate goal within my career as performer. As such, in this production, I definitely want to make him a satisfying character to both the spectators and myself. Nevertheless, even if I manage to make Der Tod my own role, I shall still strive for new developments, and continue to seek new roles that I think I should challenge (laughs).

Host: (Laughs) So more concretely, how do you shape your roles?

Furukawa: First of all I need to gain an understanding of the various characters that are featured. I wish to bear in mind that he is a character born from Elisabeth as I approach the rehearsals. [He] is still an unknown domain, so starting from the director Mr. Koike Shuuichirou, I wish to listen to everyone’s voices and aim for flexibility in shaping this role.

Host: Is there something specific in the relationship with the lead role Elisabeth you value especially?

Furukawa: “The ‘love’ that strays between Elisabeth and Der Tod is an important thing in this production, but that mostly reflects just how much she desires a peace of mind, or in other words, freedom. I wish to understand what Elisabeth’s thoughts are in such times on a deep level.

Host: Well then, how are you going to approach the double-cast for the role of Elisabeth, Ms. Hanafusa Mari and Ms. Manaki Reika?

Furukawa: “No matter in what production, or who of the double- or triple cast I have in front of me, I wish to approach them without influencing my feelings. However, I do need to be careful as also not to change my approach towards a character just because of the actor behind it. “This person is like this, so I will engage them like this,” is something I try not to think.

Host: Well then, how do you wish to express yourself in “Elisabeth”?

Furukawa: “I wish to get close to Elisabeth properly, and draw out her strength as a woman with infallible determination to live through ‘death’, and provoke her with even greater charisma.

Host: Mr. Furukawa, you have the experience of playing all kinds of roles, so what would you say is the ‘Furukawa-style’ of character building?

Furukawa: “I pay most attention to how to deliver the emotions of the characters I play to the audience. For that sake, I take distance from myself and look at [the character] from bird-view perspective. Firstly, I start building my characters while keeping my task [as actor] of delivering the content of the script in mind. I myself also write lyrics and compose, and I think the writing of lyrics is very similar to building characters, in the sense that in lyrics writing I also need to convey my intended thoughts concretely into lyrics. Obviously there are many many ways of interpretation, so my biggest endeavour is to make sure my own interpretations reach my audience.”

Host: Just like you said before, Der Tod is the notion of ‘death’, but how will you express your notion of ‘death’ in practice?

Furukawa: “Most importantly it is to remember that it is fine that the audience might not understand this concept of ‘death’ as expressed through Der Tod. I asked myself: “is it not al right if a question mark will pop up in the minds of the spectators?” Just like with real death, I strive for a portrayal of Der Tod that will provoke the audience to think about what ‘death’ means.

Host: What is ‘death’ that is the motif of Der Tod to you, Mr. Furukawa?

Furukawa: “To put it in one word, it is ‘fear’. It might be my age that is speaking, but I catch myself thinking “I don’t want to die yet.” Nevertheless, humans know that they will all die one day. Despite having this knowledge, humans reject this knowledge and therefore they fear. Once you think about this opposition of logic, humans start running around in circles in their heads, and that is the core [of fear]. [Death] is something that inspires this strange thought in humans.”

Host: Well then, not just to the fans of musicals, but also to the anticipating people and the people who will be seeing this for the first time, what would you say is the biggest attraction?

Furukawa: “Everything about “Elisabeth”. Not just the music and the play itself, but also the clear differences offered by the double- and triple cast; it is filled with interesting aspects. I myself am striving to portray a version of Der Tod that is unprecedented, and will try to draw out the maximum potential of this delightful production to the best of my ability.”

Host: Finally, the most important emotion of this production is ‘love’, what is this to you?

Furukawa: “I think it’s a strong emotion of determination to die protecting others in the face of overwhelming danger.”

Original Source

Note: This is not a complete translation of the full interview. The parts on other musicals are omitted.

[chibimyumi]

Furukawa Yuta at the award ceremony of the Kikuta Kazuo Acting Award

Actor Furukawa Yuta, also called ‘The Ace of the Musical World’s Next Generation’ attends the 44th Kikuta Kazuo Acting Award Ceremony in Tokyo.

＊Kikuta Kazuo Acting Award: A prize awarded by TOHO to individuals who have brought or are deemed capable of bringing progress to the entertainment world.

“I am very happy to receive this award together with Mr. Furukawa as I have often worked with him on stage as his partner. Today I was also very nervous, so I am also happy to share this nervousness with him,” says fellow award winner Ikuta Erika after the awarding. In reply Mr. Furukawa says: “Iku-chan (Ikuta) I didn’t know you were nervous, I’m surprised.”

“On stage we very often face each other and are often lovers, and therefore we have nurtured a bond,” says Furukawa. From the mass of the press, the the following question was voiced: “Could there be any true romance budding from you…?” But the question was already interrupted by Furukawa’s words: “Nope (laughs). On stage we are very sappy, and that is why we are surprisingly “well then, see you!” and casual behind the scenes…” Furukawa expands on the situation backstage. Ikuta too replies in kind: “we are more like siblings how and have a bond of trust.”

Original sources here, here and here

[valinya]

Hirama Soichi as Mercutio in the musical “Romeo&Juliette”.

Pictures from the program (stage pictures version) and visual book.

(Scans from my own programs. Please, credit the artist, the musical and my tumblr if sharing. Thank you)

[deactivated-blog]

The Oscars: 90 Stories From 90 Years - Remembering Heath Ledger

[iconofeverything]

taissa farmiga

like or reblog if you use or save please.

[chibimyumi]

A gif of Furukawa Yuta during his Final Performance curtain call for ‘Mozart!’ at the Imperial Theatre.

Yamaguchi Yuichiro: “With pride, I would like to announce the birth of our new Prince at this Imperial Theatre. Surely from now on, for the sake of all our jobs, he will continue to do his best and play large lead roles such as this. Please take care of him for us.”

(Click here if it doesn’t move…^^;;)