Spring will come when the snow melts away

Mid-20s | She/Her

[murasakinoiro]

Hanafusa Mari will star in a new musical, Pagwa, based on the novel The Old Woman With the Knife

She will take on the role of Chogak, an aging assassin who decides to retire.

This is her first time performing intense sword-fighting and action scenes.

[nessie665]

You know I hate to say it, I told you so

You know I hate to say it but, I told you so

[nessie665]

Soragami's Y&K Phantom '04// Ivy by Taylor Swift

I wish to know The fatal flaw that makes you long to be Magnificently cursed

[murasakinoiro]

Dream Conversation 1997 - Kuze Seika and Hanafusa Mari

This cute conversation, featuring stories about Hanafusa’s admiration for Kuze during her hatsubutai days and anecdotes from events they worked on together, was published in the March 1997 issue of Kageki. At the time, Kuze Seika was in the middle of her final show as Top Star of Moon Troupe, and Hanafusa Mari was Top Musumeyaku of Snow Troupe.

Dream ♥️ Conversation 1997 - Kuze Seika and Hanafusa Mari Kuze: You gave me a gift and a note for the first time when you were in music school, didn’t you?

Hanafusa: Until then, I wasn’t really into Takarazuka. Some of my classmates would say things like they had been big fans of someone for a long time, but I didn’t have that kind of experience. One day, while we were still in the first year, one of my classmates watched Kuze-san's starring performance, BLUFF, and came back saying it was incredible! She was raving about it in the dormitory bath that night. That was just before the senshuuraku of BLUFF. She urged me, "You absolutely must see it", so I went to watch it. That was the beginning.

Kuze: Was it your downfall? (laughs)

Hanafusa: After that, I completely fell in love with you, Kuze-san! I had never been interested in becoming someone’s fan before, so my classmates were surprised by how much I had changed and began supporting me wholeheartedly. They encouraged me, saying things like, “The raku is soon, you should send her a gift” or “Write her a letter”. With their help, we went together to buy a gift for you.

Kuze: Since you used your real name, I thought you were an otokoyaku. Then, Ton-chan (Murasaki) looked at the name and said, "I think that’s a really cute girl". I thought, "Huh, interesting". Then, you came to our troupe for your hatsubutai.

Hanafusa: That’s not quite right, at the culture festival, I received a gift from Kuze-san.

Kuze: Oh, right, that’s true. (laughs)

Hanafusa: I remember it clearly. After a performance, I came back feeling hot and thirsty, grabbed a juice box, and started sipping it without knowing who it was from. Then I wondered whose it was—and it turned out to be from you, Kuze-san! I screamed, “Look, look! Ku—Ku—Kuze-san gave me this!” It was such an unexpected and delightful surprise, and my classmates celebrated with me.

Kuze: (laughs)

Hanafusa: My hatsubutai was with the Moon Troupe. On the shuugoubi, it was the underclassmen’ responsibility to organize and hand over the fan letters that had accumulated during the break to the upperclassmen. I really want to be the one to deliver Kuze-san’s letters! Everyone knew it, so they handed me Kuze-san’s letters and said "Dai-chan (Hanafusa), take these to her!” I remember that moment so clearly. When I entered the rehearsal room, you were wearing a black leather coat and sitting in the farthest corner. The distance to your seat felt so far, and as I carried the letters, I kept muttering to myself, “Will she notice me? No, she won’t recognize me…” Murasaki Tomo-san was nearby and pointed me out, saying, “This is the girl.” You smiled and said, “Thank you, as always.” That moment is still vivid in my memory.

Kuze: During your hatsubutai performance, I still remember how you always stood there, slightly tilting your head and smiling brightly. I’m the type who isn’t very sociable with underclassmen. When they offered to help, I would usually say, "It’s fine, I can manage on my own." But Hana-chan (Hanafusa) would smile cheerfully and say, "I want to do it, so I will!" You were the kind of person who tore through my shell and broke down my walls.

Hanafusa: Did I really?

Kuze: Yes, eventually, I got used to it. You never overstepped and always helped in just the right way, striking the perfect balance. In the end, I think I ended up relying on you.

Hanafusa: After the performance, I would always wait, wondering when Kuze-san might call for me. When I heard “Dai-chan!” from afar, it made me so happy. While most people find their hatsubutai nerve-wracking and full of first-time challenges, I just found it incredibly fun.

Kuze: After we were in different troupes, there were times we stood next to each other during the TMP Music Festival finale parade. And when I guest-starred in the Snow Troupe as Rhett Butler in Gone with the Wind, we had a brief interaction during the party scene. Then, when we worked together on the radio program "Onatsu Seijuro", I realized just how earnest and dedicated Hana-chan really is. I’m serious too, but sometimes I get a bit shy and joke around to lighten the mood. But Hana-chan was so focused that you'd laugh nervously and say, “Please stop!” while adjusting your voice. That’s when I thought, “Hanafusa Mari is truly such a serious person.”

Hanafusa: I was so nervous back then. Even last year, when we performed Eternal Tale together during the TCA Special, I was incredibly nervous.

Kuze: I’m glad we got to do it together. The radio work was fun, but after so many years, Hana-chan had become a Top Musumeyaku and built your own career, and I had done various things in my own way, collaborating again with someone I rarely get to work with was truly a great experience.

Hanafusa: On the first day of rehearsal, I was so nervous, wondering, “What will she think of me?" "What if she thinks I’m terrible?” But performing alongside Kuze-san, the person I had admired since my debut, felt truly surreal and deeply moving. Lately, I haven’t had many opportunities to watch Kuze-san’s performances…

Kuze: Whenever you come to watch, you always greet me with a radiant smile, saying, “I’m here to watch today!” In those moments, you look so carefree and pure, just like you were in your hatsubutai days.

Hanafusa: In front of Kuze-san, I feel like I go back to being my hatsubutai self.

Kuze: But even back then, you had a strong sense of self. You weren’t just smiling, there was a quiet, steadfast strength in you, almost a kind of independence. You also had such elegance. Roles like Elisabeth were truly a perfect fit for you. I also loved your performance as Natasha in Natasha of the Rainbow. Watching you in the furisode kimono, darting energetically, was like watching a puppy wagging its tail in excitement—it was absolutely adorable.

Hanafusa: I feel like I’ve relaxed a bit since those days. Back then, I was always so desperate, thinking, “I can’t do it, so I have to push myself even harder,” and I would get completely absorbed in the role. I couldn’t let go of the tension at all. But then, I got to play Natasha, a character with a completely opposite image to Elisabeth, and before I knew it, I even found myself laughing backstage.

Kuze: Before Natasha, you didn’t even have time to smile, did you?

Hanafusa: Even when I smiled, I would immediately switch back to being serious. But with Natasha, it felt like I could step on stage while still smiling backstage. Since then, people around me have started saying that my expression seems to have softened.

Kuze: Changes like that are often something the people around you notice first, like, “Oh, something’s different!” And when that happens, it might unknowingly make things easier for those around you as well, which is a good thing. In Takarazuka, when the onnayaku is strong, it makes the otokoyaku shine too. When a onnayaku has a strong core, it makes the stage much more engaging. Hana-chan, you’re like that, and so is Yuuko (Kazahana)—both of you have a solid presence as musumeyaku. Working with people like that makes things easier for otokoyaku  as well. I think the changes in you are wonderful, Hana-chan. When you’re in that state, I think you’ll be able to enjoy whatever comes your way.

Hanafusa: Is that so? Today, I had the chance to watch Kuze-san's farewell performance, and as I watched, I couldn’t help but think how amazing your slicked-back hairstyle still looks. Please don’t think I’m weird for saying this! I love Kuze-san's warm singing voice and the way you deliver your lines—I love everything about you—but my very first admiration was for your slicked-back hairstyle. That hasn’t changed since my days at music school, and I realized that again today. Knowing that Kuze-san is retiring makes me feel truly sad. You were my first inspiration and have always been extraordinary presence to me.

Kuze: Hana-chan, I’m sure you believe that the one you’re working with now are the best, but the feelings you had during your hatsubutai are something entirely different, aren’t they?

Hanafusa: Yes, in front of you, Kuze-san, I always become my younger self again. You’ve been watching over me since I was a ken-1 student.

Kuze: It really is such a mysterious bond, isn’t it? We don’t see each other often, but when we do run into each other somewhere, we suddenly start talking about roles or dive into a lively conversation. Hana-chan, you’ve always been the type to break right through my shell and come in so openly, which made you stand out to me as someone special. There’s just something about you that lingers in my mind—when I happen to see you, I find myself wondering, “Is she doing well?” As a performer, your natural talent is undeniable, but you also have a kind of presence that feels like the gods are always smiling down on you. Stay the earnest Hana-chan you are now, but also find ways to enjoy life to its fullest. Keep doing your best and stay healthy!

Hanafusa: Since my ken-1 year, our relationship hasn’t changed, and even now, being able to talk like this makes me feel so happy. I love Kuze-san’s performances, and of course, I want to keep seeing you on stage. But I also love the real, unguarded Kuze-san, so the thought of us drifting apart feels lonely and regretful. Please promise me we’ll meet again even after you retire!

Kuze: Alright, let’s stay close even after I retire. (laughs)

[murasakinoiro]

Hanafusa Mari as Shouki in Ohten no Mon stage (Meijiza)

[murasakinoiro]

First visual and Poster of Meijiza Ohten no Mon stage

The play is scheduled for performances at Meijiza from December 4th to December 22nd, 2024.

[murasakinoiro]

Li Yunxiao (李云霄) and Chen Lijun (陈丽君) in New Dragon Gate Inn (新龙门客栈), an Yue Opera (yueju 越剧).

Yue Opera is an all-female theatre, Chen Lijun is a xiaosheng (小生) - young male role and Li Yunxiao is a huadan (花旦) - female role.

[zukadiary]

Takarazuka News Roundup 2023.8.15

Yuzuka Rei and Hoshikaze Madoka have announced their retirement. Their last performance will be Arc-en-Ciel on May 26 of next year.

Hoshigumi's 1789 is canceled again, as of now through August 17, due to poor health amongst the cast. The 1:30 performance today was halted after the first act 😰 Really hoping everyone is okay.

[don-dake]

「女性同士の友情を描く。ミュージカル 『SUNNY』花總まり×瀬奈じゅんインタビュー」 [參照]

[murasakinoiro]

Makoto Tsubasa and Hanafusa Mari as Hoffmann and Giulietta in The Tales of Hoffmann (GRAPH 1995/11)

[t4ngyuan]

Rakuten TV Livestream Guide

Hi guys, I’ve been meaning to type this up for a while but better late than never, right? 💦

To get to a Rakuten TV livestream you’ll need:

A VPN with servers in Japan (more on this later)

A credit or debit card, non-Japanese is OK. If you’ve had trouble with international purchases, make sure the payment will clear beforehand- you can always test on a 110 jpy anime episode a few days before and contact your card company if needed.

To pay at least an hour before the show starts. The payment period ends an hour before the curtain goes up, and thirty minutes before the livestream itself is available.

About VPNs: 

 For this, I would recommend SoftEther (https://www.softether-download.com/en.aspx?product=softether, free and open source! You’re looking for the SoftEther VPN Client) over commercial services like ExpressVPN. I and other people have had Express/Nord/etc servers rejected. You can get around this by switching servers sometimes, but any particular service only has so many servers in Japan available. SoftEther is pretty much unusable for video streaming, but you’ll only need to be connected to log in, pay, and start the video anyways. 

Connect to your VPN, and create a Rakuten Japan account: 

https://grp02.id.rakuten.co.jp/rms/nid/registfwdi (English option)

Rakuten requires that your account member name and cardholder name be the same. I haven’t actually had a problem with this but better safe than sorry! 

For the user contact information, you may use an address outside of Japan. Use 100-0000 as your postal code.

You can change your card information here (English)- use the “Credit Cards for use in Japan” option.

Then pay for your livestream:

Follow the big red buttons. The purchase button on your show’s page will turn green after checkout.

Return to the page up to thirty minutes before the show with your VPN on, and press play on the video. You can turn off your VPN after you’ve pressed play. 

You’ll be shown this screen until a few minutes before the curtain goes up.

For a list of upcoming Takarazuka livestreams:

https://tv.rakuten.co.jp/static/takarazuka-live/

[hetamyumusic]

Hetamyu ‘21 Cast Announcement

We have finally gotten more information about this December’s new Hetamyu production during the livestream over on LINE Live yesterday! And I’m so excited to see that the old cast has returned! So here’s a quick rundown of everyone including the new (!!) cast member!

Italy: Nagae Ryoki

Japan: Ueda Keisuke

America: Isogai Ryuko

England: Hirose Daisuke

France: Juri

Russia: Yamaoki Yuki

China: Sugie Taishi

Austria: ROU

Spain: Yamada James Takeshi

Prussia: Takamoto Gaku

And introducing the brand new cast member…

Romano! His actor will be Higuchi Yuta and I’m extremely excited to see how he does in this role!

Now, for those that may be wondering, though I do have an ask related to this that I’ll be posting soon, there is still a Germany role that has been decided and the actor will once again be Ueda Yusuke! However, for this particular performance, he will not be in attendance to due being on a break right now. But since they mentioned that he is still taking on the Germany role, that means we can assume there will be more Hetamyu productions going into 2022!

Sources: Cast Images; 6/28/21 Livestream Announcement

[murasakinoiro]

Hana Yuuki Music Salon 『華詩集』

[murasakinoiro]

Todoroki Yuu will retire on October 1, the press conference will be held on Thursday, March 18.

[immaanimationnerd]

I’m just gonna rant for a second don’t mind me but I want to talk about how fucking BRILLIANT the character writing for Tohru is. You have this girl who initially, and I mean from the get-go, had a very polite personality inherited from her father. As she grew up, she continued this polite personality which grew into one of selflessness and kindness. The problem is after Kyoko died, Tohru’s selflessness became unhealthy. She had so much overwhelming guilt from her mother’s death that it manifested into something that consumed Tohru’s mindset, personality, and thought process. She disregarded herself so much that she began to see herself as nothing; not human, not anything. And all of this is hidden under what we see on the surface: Tohru’s happy-go-lucky personality.

Hence, this is part of why Tohru falling in love is something she is both terrified of and cannot comprehend. Monogamous love is so selfish in nature. It’s the feeling and want of having one person in that special place in your heart, something Tohru can’t imagine for herself. So when she falls in love with Kyo, someone who is so far out of her reach because of the Curse, his own self hatred and disregard, AND the fact that he’s going to locked away at the end of graduation.... it makes it so much worse. It’s a genius juxtaposition, having someone who is so selfless experience a feeling that is so selfish.

[zukadiary]

Hi, I read your post about how one becomes top star and I was curious as to whether you can name top stars and musumeyakus who had money and influence? When I was reading your post I got reminded of a certain sena jun interview where she talked about how she always skipped class but she became top star nonetheless, or hanafusa mari who was top musumeyaku for 13!!! years.

Also are there any tops who came from normal families?

This is not an attempt to hate on the ladies just sheer curiosity! Thanks <3

Hi! The short answer here is all of them have money and influence.

Just baseline, it’s rare that you get anyone in Takarazuka, top or otherwise, who isn’t from a privileged background. The young actresses are paid woefully little—to the point where it would be difficult to get by without additional assistance—and I think most rely on family support. On top of that, while you occasionally get someone who’s like “lol never saw Takarazuka but my high school music teacher said I could try and I got in,” most actresses attend expensive Takarazuka preparatory schools/classes. While I’m SURE there are exceptions, in general it’s just a world that is way easier to break into if you’re from a privileged family. 

As for top stars, even if they come from families on the “normal” scale to begin with, they will have attracted some sponsor or wealthy patron’s attention along the way, and have their influence on their side for their journey to the top. And yes, I suppose the better connected you are, the more classes you can skip without it mattering!

On top of that, there ARE some totally egregious examples. Hanafusa Mari, who you mentioned, I think is from one of the oldest money families in the whole country. Yamato Yuuga has admitted on TV variety shows that she had to move into a hotel because her house got too crowded with her possessions or something like that. 

You can also tell by who lands certain sponsorships. Visa, for example, is probably the biggest one, and whoever lands that is pretty much guaranteed to become top (it’s currently Towaki Sea who got it from Asumi Rio when she retired). Visa isn’t the only one though; there are several big companies that consistently sponsor Takarazuka actresses with their top star prospects in mind. 

I don’t know any verified stories of actresses who have come from nothing off the top of my head, but there probably are some!

[anmaeli]

I honestly don't know much about this subject other than what you've said, Carly, but wasn't Yuzuki Reon from a pretty "normal" background? I remember her saying she used to do baito in a restaurant in Osaka somewhere. I'm pretty sure I've heard some top stars say thay they're from a middle-class background, but then they probably got wealthy patrons along the way like you said. But at least they didn't start off super wealthy, which is some comfort I think.

[murasakinoiro]

About Yuzuki Reon, Chie started learning ballet at the age of nine (from Wikipedia), which is often quite expensive in Japan, so i don't think she have a pretty "normal" background.

[murasakinoiro]

Hoshikaze Madoka will be Flower Troupe's Top Musumeyaku!