A few thoughts on the shinjin-kouen cast for “Land of Gods”…
Dmitri Pavlovich Romanov: Rukaze Hikaru (Asaka Manato)
Felix Yusupov: Takato Chiaki (Makaze Suzuho)
Irene: Yumeshiro Aya (Reimi Urara)
Olga: Amase Hatsuhi (Hoshikaze Madoka)
1) Congratulations to Moeko (Rukaze Hikaru) for her third lead in a shinko! I really like her singing and she did great as Shakespeare and Toto. She has quite a strong stage presence - and it’s not just because she’s 174cm tall. I find myself keep focusing on her during revues. I hope she learns from this experience and grows even more, good luck!
2) Takato Chiaki Only ken-3 but this is already her second shinko “nibante” role. I haven’t really seen her act or heard her sing (I don’t think Sky Stage has released the footage for Château de la Reine’s shinko yet), but considering she was ranked first among the 101 class I look forward to her performance. I keep forgetting she’s so young since she looks so… mature? She’s one of the rising stars of Sora Gumi’s next generation otokoyaku and I wish her luck!
3) Yumeshiro Aya… now that was completely unexpected Σ(ﾟДﾟ；) Since I’m guessing Urara’s role is essentially the top musumeyaku role, this is a HUGE opportunity for someone who JUST had her hatsubutai this year. I first started to notice her because she’s really pretty (I’m shallow, I know), so I was quite happy when I learned that she’s coming to Sora Gumi. HOWEVER, I did not expect to see her with a leading role so soon…
It seems to be a recent trend for Sora Gumi to focus all their resources on promoting really young musumeyakus. Madoka acted as Aida as soon as she was sorted into Sora Gumi, and now we have Yumeshiro Aya who just graduated from TMS this March…
To be honest I was really hoping that Hanaki Maia will get one of the lead roles this time. She is a great singer, and with so many talented musumeyaku graduating with Maa-sama this fall, I think Sora Gumi will really benefit from giving their amazing younger musumeyakus a chance to shine.
Best of luck to Yumeshiro Aya, I can’t imagine how difficult it must be to have such an important role when you’re only ken-1. Good luck!
4) Congratulations to Amase Hatsuhi for getting her first big role in a shinko! I know very little about her but I’m hoping to know more about her after this show :D Take the chance and go for it, good luck!
The song-and-dance man has made it his mission to deliver musical theater to people around the world, including Japan, where he directed an all-female production of "Grand Hotel"
Takarazuka on CBS News!
Tamakichi, Chapi, and Miya were interviewed by CBS news to talk about their experience of working with Tommy Tune for “Grand Hotel.”
The video focuses primarily on Tommy Tune, but there’s a Takarazuka portion that starts at around 4:00.
It’s really nice to see Takarazuka getting more exposure!
My Thoughts on Sora Gumi's “Chateau de la Reine / VIVA! FESTA!”
So this is way overdue as I intended to write it a week before senshuraku after my last show… but because I spent too much time rewatching old Sora Gumi shows to cope with Mirion’s taidan I didn’t have time to write down my thoughts until now…
Overall, I love both the musical and the revue. The musical made me laugh and cry, and the revue was one of the most exciting Takarazuka experiences I’ve ever had. However, while I love this show, I’m a little conflicted about it being Mirion’s taidan (something I’ll mention later).
“Chateau de la Reine” is Tabuchi-sensei’s first Grand Theater show. I’ve really liked some of Tabuchi-sensei’s previous works (“Victorian Jazz” has a special place in my heart, and “Sanctuary” was pretty solid), so I was fairly excited when I heard he’s finally making his Grand Theater debut. One reason I like his works is that they’re not as “romance-centric’ as other Takarazuka shows. The two protagonists still fall in love, but their romance is more of a side plot (the obvious exception is Yuki Gumi’s “Roman Holiday). Although some fans have said that he lacks the sensitivity necessary to write a Takarazuka play, I personally like it when romance isn’t the main focus.
This style is evident in “Chateau de la Reine.” Love wasn’t really ~in the air~ until the very end when Kitashirakawa and Reiko got together (which was adorable, whenever I saw Kitashirakawa held out his hand to Reiko I always squealed a bit). The main focus is the comedy. For a show that actually has a quite serious topic (an old couple attempting to commit suicide), it was hilarious. I LOVED it when Maa-sama waved her long arms and legs around because she was “possessed” by the writing angel, when Mirion pushed Maa-sama behind a sofa, and when Zun-chan tried to run away even though Akki held onto her backpack. Yes, it’s slapstick humor, BUT I COULDN’T GET ENOUGH OF IT.
Another part of this show that I really appreciated was that a lot members of Sora Gumi got their own little plot. It’s great to see actresses who usually don’t have many lines in a Grand Theater Show to have their little moments. I specifically want to mention Ayaka Mari and Seoto Risa. Ayaka Mari finally got the Grand Theater time she deserved. She looked INCREDIBLE in a suit, and I love how evil she sounded. I was hoping that she would have a duet with Rinjo Kira, but at least she got to sing the Étoile. Seoto Risa was spectacular as the queen. At first I thought she was just a hotel attendant and was sad that she barely appeared (even though she looked adorable dancing to the song). Then BAM she appeared in an all-black dress sounding all authoritative and I was blown away. When she threw the baby off the bridge she sounded insane and evil - it was wonderful. Now I really want to see her as Sophie in “Elisabeth.”
However, the greatest part about this show is that despite all of its ridiculousness, IT MADE ME CRY. The message of “smiling when it’s tough” really got to me and I cried every time I watched it. Tragedies like “Konsaba” and “Hoshi ai Hitoyo” are wonderful and beautiful, but sometimes we just need a good old comedy that reminds us of how amazing life can be. Even though this isn’t a traditional taidan show – with its outrageous outfits (seriously, why?? The colors are blinding) and its hilarity – I think it really fits Mirion’s personality. As someone who’s always so cheerful and bright, I find it appropriate that her last show has a similar message.
“VIVA! FESTA!” was fun, exciting, and powerful – just not exactly what I had in mind for Mirion’s taidan. Don’t get me wrong, I thoroughly enjoyed this revue. My favorite is definitely the soran part, it was simply AMAZING. On my first day I was surprised because people in the audience actually YELLED BACK, which is weird because Takarazuka fans are usually really quiet. There was so much energy that it felt like the floor was shaking. The actresses were all super hyper and the audience was so into it. During my second show Seoto Risa was really close to me, and she was so excited that her haori fell - it was adorable. Just this segment alone captures what Maa-sama and Mirion’s Sora Gumi is all about - happy and full of energy.
Now onto the not-so-good things. To be honest if this were just any other revue I would’ve loved it. And I do really like it. But… it’s Mirion’s taidan, and she barely appeared. She had solo lines but no solo songs (unless you count the parade part), which is baffling because she’s SORA’S QUEEN AND SHE DESERVES A SOLO. She did have a little dance with the other musumeyaku during soran (which further consolidates the soran part as my favorite part of the revue), and she did dance with the other otokoyaku during the finale, yet that’s hardly enough. Maybe I expected too much. Since she had a solo for the opening of “Hot Eyes!” I was hoping that she would have something similar this time… The only part that felt like a taidan was the duet dance, which was breathtaking. From the song (“Greatest Love of All,” I see what you did there) to the dry ice/smoke to the endless lifts, everything was beautiful. I cried when I saw her walk down those stairs because it finally hit me that this is indeed her taidan. So while I love this revue, I would love it even more if Mirion had more stage time.
Brief notes on individual actresses…
Asaka Manato: After seducing us with her long legs in “Elisabeth” (I will never forget how she slid across that table), in “Chateau de la Reine” Maa-sama put those long arms and legs to good comedic use with all the flailing and running into doors. Comedy is a difficult genre, but I couldn’t ask for more from Maa-sama. Yes, some bits were over the top, though nothing was cringe-worthy and you don’t feel that she’s “trying too hard.” She also somehow made me think that the annoying and arrogant Kitashirakawa is… cute, particularly in the end when she touched the back of her neck because she felt embarrassed for asking Reiko out. The revue really suited her. Now I can totally understand why her fans call her “Sora Gumi’s sun,” she’s just so happy and warm that it’s infectious.
Misaki Rion: Do I need to say more except for “Mirion did great”? Her first solo song (もうひとりのエトランジェ) is my favorite song of the entire show, and her version of 笑えたら made me cry. I know a lot of people would prefer her to have something similar to Elisabeth as her taidan. Nevertheless, as I said before, I don’t mind that her last show is about a strong career-minded woman who keeps trying regardless of all the obstacles in her way. I also just want to quickly mention how well she acted during the revue when Maa-sama died. She didn’t speak at all, yet from her actions and expressions you can tell she was devastated, shocked, and confused as to why there was so much hatred. When most people think of Mirion they think of her singing (rightfully so), but her acting never disappoints as well. I’m sad that she’s graduating, though I’m certain that she’ll have a fantastic career in front of her.
Makaze Suzuho: Ah, Makaze… constantly wrecking my bias list. She was convincing as the “how dare you annoy me but I’ll still help you” Louis XIV, and her singing was solid. It’s beyond me how she looked so good in the revue. During the “witches’ festival” part, when she ran out in a blue outfit and danced to that electric guitar song, I felt that I needed to reconsider who my favorite sora gumi otokoyaku is. I also love how she acted like she OWNED the place when she sang the solo for soran.
Aizuki Hikaru: Ai-chan proved, once again, that she can act as crazy and over the top characters (though at least this time, unlike “Top Hat,” she’s not the only one who’s over the top). Sometimes I still wonder how someone who’s so proper off stage, and whose dream role is Rudolf from “Mayerling,” is Alberto from “Top Hat.” In the revue she covered a K-Pop song with other otokoyakus. While I love Ai-chan and her voice, I personally don’t think she was the right choice for the boyband concept. Her singing is too “musical-like” for a K-Pop song thus it felt a bit unnatural. Nonetheless, I’m not complaining that much because all the winking made up for it.
Sumiki Sayato: Akkii’s previous characters were more of the “gentleman” type, so Makoto is quite different for her. It was weird seeing Akkii, who has the reputation of behaving and looking like royalty, acting as a jerk. But she did well as the grumpy and clueless cop. I would love to see her challenge more roles that are different from her usual style. And, is it just me or did her singing improve? I really enjoyed her duet with Zun-chan in the finale.
Sorahane Riku: Riku also broke out of her comfort zone for this musical. She was great as the flamboyant and happy Crayon, and you can tell she had a lot of fun walking around in those incredibly high heels. When Crayon and Makoto kissed in the end the whole audience went “aww” (including me). In the revue, Riku acted as a bull who went up against a matador (Maa-sama). Props to her for making her hair VERTICAL and acting super “bull-like” (especially the way she moved her leg).
Sakuragi Minato: Zun-chan was ABSOLUTELY ADORABLE as the timid Togawa. In the Takarazuka run her hairstyle was still normal, but in the Tokyo run she had terrible (or amazing, depends on how you look at it) bed hair in that the back of hair went upwards. It was too cute. She sounded like a kid and looked like an elementary student on a field trip with her backpack. Then the revue began and all of a sudden she became a handsome otokoyaku – it caught me off guard. She had a ginkyo solo after the prologue that she totally nailed. I can already see the beginning of her transformation into a more mature otokoyaku and I can’t wait for her future shows.
Junya Chitose: It’s good to have funny Seko back after seeing how seriously scary she can be in “Elisabeth.” I love the way she talks, there’s like a little bounce in her voice. And her “drunken walk” was so good that I was always afraid she’s going to fall off the ginkyo. Sadly she didn’t get to sing much in neither the musical nor the revue. She did sing a bit during the “witches’ festival” part. When she started singing I was like “wow who is this? Oh, it’s Seko, that explains the powerful voice.”
Kazuki Sora: Sora was her usual delightful self and the role fitted her perfectly. I found her “broken Japanese” to be very endearing. Also, during one of the shows I was sitting close to the side stage, and she was standing near me for the parade. She looked at me in the eye and that already made me really happy. Then before she left to return to the main stage, SHE WINKED AT THE PERSON IN FRONT OF ME. I freaked out even though it wasn’t meant for me because 1) it was in my general direction 2) it was VERY DESTRUCTIVE. Needless to say, I’ll pay more attention to her now.
Tldr: I liked both “Chateau de la Reine and VIVA! FESTA!” Both could have had more Mirion, but both were solid shows that I highly recommend. These two shows also taught me that I should never judge a book by its cover (when I first saw the poster and the trailer I was horrified by how ugly the outfits were). I really like the current Sora Gumi, and am terribly sad that this era is coming to an end. Good luck to Mirion! And good luck to the rest of Sora Gumi! :D
My Thoughts on Tsuki Gumi’s “Grand Hotel/Carousel Rondo”
I watched Tsuki Gumi over the weekend and was pleasantly surprised!
The musical tells the stories of several individuals who stayed at the Grand Hotel. The overall theme is summarized by Doctor Otternschlag’s line: “Grand Hotel, Berlin. Always the same – people come, people go – One life ends while another begin.” Life goes on, regardless of what people are going through. It doesn’t make you cry like “Hoshi Ai Hitoyo” or “Konsaba,” but there is a rather melancholic tone to it. A sense of hopelessness as you see the characters become trapped by their struggles.
"Grand Hotel” is very un-Takarazuka. Since the beginning you get the “foreign musical” feeling as each character walks out (the part when the hotel workers come out with plates and smash them along with the music is my favorite). The set doesn’t change (they just move the chairs around), the outfits are simple (though when Tamakichi came out in the end in her white suit I took a deep breath because… damn she looked good), and they never use the ginkyo until the very end when they bowed. But that doesn’t make the show any less great. As expected from 芝居の月組, there’s so much depth to everyone’s role. The acting was so convincing that as an audience I wanted time to stop so each character can have the opportunity to “redo their lives.” Sadly, as the musical illustrated, that cannot happen.
Carousel Rondo was pretty good. Personally I wouldn’t say it was anything “special” because it’s a typical Takarazuka revue. It doesn’t mean I didn’t enjoy it, just that it has many of the elements from other revues. My favorite part is “Silk Road.” Mayupon (Kizuki Yuma) and Shirayuki Sachika’s singing was impeccable and the dancing was beautiful. Then Tamakichi and Chapi came out in blue and danced to Toka Yurino’s epic singing, followed by the rest of Tsuki Gumi. It just felt warm and happy and had the “this is a new beginning!” feeling.
I also loved the otokoyaku dance. It started out with Tamakichi standing on the big stairs surrounded by musumeyaku holding feathers so it looked like she had wings. The whole otokoyaku dance captures the Takarazuka aesthetics – simple tailcoats (which is kind of rare in recent Takarazuka shows?), gorgeous white dresses, and little duets between otokoyaku and musumeyaku. It was like a fairy tale, especially with the two white horses beside the big stairs.
I’m going to talk very quickly about Tamakichi, Chapi, and Miya because I know too little about Tsuki Gumi…
Tamaki Ryou: Baron Felix Von Gaigern is an unconventional character for a top otokoyaku. He isn’t exactly a good person, yet you can’t hate him. He TRIES to be good (like when he first took the wallet from Otto and then gave it back) but because of pride he became entangled in unfortunate circumstances. Tamakichi’s acting was solid. Her Baron was a smooth womanizer, a kind friend, and a young fool all in one. She brought out the character’s loneliness, sadness, confusion, and naiveté. However, at times Tamakichi does not bring those emotions to her singing. Her singing can be a bit flat and doesn’t match her acting. Though considering this is her first big show, I have high hopes for her. Good luck Tamakichi!
Manaki Reika: Now, don’t kill me, but before this show I’ve never really LOVED Chapi. I liked her, but I didn’t understand why so many people say she’s the “shadow top” of Tsuki Humi. But after this show, I have been converted. Her acting was perfect for “Grand Hotel.” She sounded like a 40 year old woman (how???) and effortlessly switched between an anxious ballerina struggling with her fading popularity, and a woman who just discovered love. Her solo song was adorable, and her dancing was formidable. Her singing also surprised me because back when I saw her in Manon I didn’t consider her to be a strong singer. I think Chapi is one of those actresses who you need to see live. When you see her on DVDs or listen to her on CDs she can seem a bit forced. Yet when you see her live, it just works.
Miya Rurika: Though Miya is known more for her evil and seductive characters, she did very well as the fatally ill Otto. There’s something very childish about Miya’s Otto – he trusts the Baron completely (even though he seems to know that the Baron tried to take his wallet), falls in love with Flaemmchen after one dance, and just wants to live his life to the fullest before his death. Miya sounded weak, but she was also hopeful. Her Otto gave what is otherwise a rather dark musical the optimism and joy it needed (ironic considering Otto was the one who was dying).
Overall, I was impressed by the musical and the revue. Tamakichi and Chapi make a great conbi. Right now you can still tell that Chapi has more experience than Tamakichi, which may be why the mature Elizaveta and the naive Baron worked so well for them. But, as I’ve said before, there’s great potential for Tamakichi to grow. Good luck to the new Tsuki Gumi!
So I still came in at 15 Takarazuka shows despite there not being any shows this year I was super excited about. I also had 7 additional OG shows I went to. Most of the grand theater stuff I did 1 ticket using same day tickets, which made it super cheap and helped spread my money.^-^ b
Sora Gumi: 6x (Shakespeare/Hot Eyes!! 4x, Elisabeth 2x)
Total: 23 Takarazuka shows this year. Might explain why my family has been asking “why do you look so happy recently?” (*´ω｀)o I have a feeling I’ll be devastated next year when I have to leave Japan....
Quick question.... how many other Takarazuka fans suffer from “post-Takarazuka blues”?
It seems like whenever I finish a Takarazuka show I get a bit down... Obviously I’m happy and excited while I watch the show, but leaving the Takarazuka theater is like waking up from a dream and I tend to feel quite sad on my way back...
Maybe it has to do with me knowing I’ll eventually leave Japan so I can’t watch Takarazuka forever, I’m not sure. But either way, I find returning to reality after Takarazuka to be a rather difficult task...
I managed to watch Sekkashou/Konsaba twice this weekend. Since it will be a while before I have time to write a full review, I just want to scream...
“BOTH THE REVUE AND THE SHOW ARE AMAZING. THIS IS WHAT TAKARAZUKA IS ALL ABOUT. PLEASE WATCH IT IF YOU CAN”
For anyone who was wondering whether a nihonmono revue is going to be boring, the answer is NO. it is one of the most breathtaking and aesthetically pleasing revues I’ve seen and is definitely my favorite work by Harada-sensei (no offense to Harada-sensei...). Ueda-sensei also didn’t disappoint with Konsaba. It’s one of Ueda-sensei’s classic “loving someone you can’t be with” story line. Some of the character development didn’t really make a lot of sense but I still cried and the stage set was great.
If Don Juan impressed me because it was so not-Takarazuka in a great way, Sekkashou/Konsaba impressed me because it was so Takarazuka. If you have a friend who doesn’t understand the appeal of Takarazuka, this is the perfect revue/musical to show them. I love everything about this show and I cannot wait to see it again in Tokyo.
My Thoughts on Hoshi Gumi’s “One Samurai From Kagoshima/Romance!!”
This is going to be quite a short review because I don’t really know the Hoshi Gumi members that well… But basically, Micchan and Fuuchan were phenomenal singers (no surprise there), Beni improved a lot, and Coto completely stole my heart.
As a lot of people already said, One Samurai from Kagoshima had elements of of Yuki Gumi’s Hoshiai Hitoyo – best friends fighting each other, a local rebellion, and a love triangle (though there wasn’t REALLY a love triangle in this one, just that Micchan was told to marry the girl Beni liked). I have a thing for the end of Edo and the early Meiji era, especially that feeling of being lost in a society changing too fast. The musical definitely captured that. I cried when Shuntaro (Beni) went back home with a suitcase full of gifts but was told to leave because she was a “traitor” who followed the military. I cried when Kirino (Micchan) died after fighting a battle she knew would lead to death. I cried when Fuyu (Fuu-chan) visited Kirino’s hometown and Kirino’s mom spoke of Kirino as if he were still alive. Watching this was quite exhausting because every bit of the ending felt like a stab in the heart.
Now onto the revue. If anyone wanted me to show them what a typical Takarazuka revue looks like, I’d show them Romance. It has a lot of themes you expect from a Takarazuka revue – beautiful dresses to accompany a fairytale atmosphere, a ballet scene about falling in love, a retro dance scene that’s like a flashback to the 70s, and young otokoyakus doing something idol-like. My favorite part was definitely when they did a hip-hop dance with the neon doors. The siennes jumped in and out of the doors shouting/singing “GO!” and everyone was dancing their hearts out. There was SO MUCH energy on stage. When it ended everyone in the audience was clapping so hard and it felt like a CONCERT. I absolutely loved it. It reminded me of a picture I once saw on Twitter describing Hoshi Gumi under Chie and Micchan. Whereas Chie was like the leader at the top of the pyramid, Micchan is like the center of a circle that pulls everyone together. Both systems are great, and both work perfectly well. And this dance scene, where everyone worked together and gave their all, just demonstrates the way Micchan unites the troupe.
Now onto the individual siennes….
Hokushou Kairi (Micchan)
Amazing singing (as usual). She’s so stable it’s insane. She had a solo after that intense dancing sequence with the neon doors and I have no idea how she managed to not sound tired at all.
I love how you can FEEL the emotion in her lines. She’s so animated with her tone and gestures. There was never any question about what emotion her character was going through, which was very helpful because the Kagoshima-ben spoken by the majority of the characters made this show really hard to understand…
My favorite part was definitely when she was fighting Beni at the end and the voices from their childhood appeared. It was just so heartbreaking hearing the background voices talk about their future dreams while their present selves fight each other… I started to bawl and basically continued to cry until the end
Hinami Fuu (Fuu-chan)
Amazing singing (as usual). Her opening song for the revue was angelic, which sort of makes up for the lack of time she had in the musical (it doesn’t REALLY make it better, but it makes me dislike the writers less)
That fighting scene in the beginning was SPECTACULAR. Musumeyakus need to get in on the action too! It reminded me of Hoshi Gumi’s “El Halcon” (2007-2008), when Toono Asuka had a fantastic song with her female pirates.
This isn’t about Fuu-chan, but more about the writers. I didn’t, and still don’t, really understand how her character went from feeling mad about being lied to, to forgiving her father’s killer so quickly… Maybe if they had given Fuu-chan more stage time then this could’ve been properly explored >.>
Kurenai Yuzuru (Beni)
Her singing definitely improved! I was pleasantly surprised
Her acting still needs a bit of work, at times she can be slightly over-dramatic. However, her speech at the end of the musical was REALLY well done. When she screamed “You (Kirino) tried so hard…. You are the last samurai!” my heart died a bit
Rei Makoto (Coto)
Okay so this is where my bias is going to show because OHMYGOD I am officially in love with Coto. She first caught my attention when I watched Hoshi Gumi live for the first time back in “Guys and Dolls” (she was such an adorable Adelaide). Earlier this year she became my favorite in Hoshi Gumi because her character in “Koumori” was super adorable while in “The Entertainer” her swag when she played with the hat was too much to handle. (Side note: did I ever talk about that time when I watched “Koumori/The Entertainer” and Coto couldn’t tie her robes together during that scene between her and Fuu-chan? She said something like “Oh god I’m not going to make the cue!” but still sang flawlessly)
Unfortunately, since I don’t really follow Hoshi Gum I forgot how much I love her. However, the moment she stepped on stage I thought to myself “FOOL! She stole your heart, remember!?”
Her solo was so full of emotion, power, and impact. She was really stable.
I love the way she said her lines. When Yagi (Coto) realized that Mana-hime (Maaya) disappeared during the fight, he went insane and Coto’s voice cracked slightly. Yagi became obsessed with killing Kirino when he found Mana-hime in the brothel. So she said every line with such vehemence that each word sounded like a sharp needle. She also had a “crazy/dazed” smile before Yagi killed Kirino in the end, which was a nice touch in my opinion.
She was also SUPER ADORABLE during the “Grease-inspired-retro-dance” scene in Romance. Her interactions with the other musumaykus were so cute and she just looked like an over-excited puppy who wants someone to notice her.
So yeah, Coto has secured a place in my heart, even if I really shouldn’t find more reasons to spend more money on Takarazuka….
Maaya Kiho (Maaya)
I couldn’t really tell who she was when she appeared on stage because of the nihonmono makeup, but the moment she started to sing I knew immediately it was her. She sounded incredible
I was scared that she wouldn’t be able to capture the shame and pain of a princess who became a prostitute, but she did really well. I love how beneath her air of nonchalance there is a sense of injustice and frustration. It shows that her character may have accepted her fate, but she didn’t like it.
I’m sure she’ll continue to shine in the future and I can’t wait to see more of her in Yuki!
Overall, I don’t LOVE the show or the revue, but I’m glad I watched it. There were some pretty memorable moments and I haven’t cried this much since Hoshiai Hitoyo. I am glad Micchan, Fuuchan, and the other taidanshas had this as their last show because it really shows what the current Hoshi Gumi is capable of. ご卒業おめでとうございます！
According to Twitter, during the “Watashi dake ni” scene in Elisabeth today an earthquake around magnitude 2 or 3 occurred. The entire theater was shaking and the notification alarms on people’s phones were ringing like crazy. However, Mirion - the only person on stage at the time - continued to sing as if nothing happened and finished the song.
Sometimes I forget that this angel is a total badass too. Like Fuu-chan said, Mirion is like a samurai who just goes “ならねばならん！” and does whatever she must do with great determination (though I would argue that risking one’s life for a performance is not something one must do....)
I hope she enjoys a cup of hot tea and plenty of cookies after this.
what she means: Astoria Malfoy made up a song about how candy helps you make friends and then loaded her son with sweets before she put him on the train because she knew he was shy and awkward and there were so many rumors. She must have been so worried that the other kids were going to be so mean to him, and oh god, do you think she cried when she found out about Albus, do you think she was so relieved that someone else could finally see that her little boy was kind and sweet and funny, and oh my god I'm not crying, YOU'RE CRYING!!!
ALBUS: Great. So we might just - come in - for a bit - if that’s okay?
SCORPIUS: That’s okay. Hi.
September 1st, 2016 2017 - when everything begins.
(EDIT: OKAY SO I THINK I GOT CONFUSED BY JK’S TWEET laughs!! it’s supposed to be next year bUT WHO CARES. i still have cursed child feels SLAY ME)
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