#furusen

[chibimyumi]

Sebastyun reluctantly obeying

Axel von Furusen meanwhile

Queen: “Join my entourage!”

Furusen: “No.”

Queen: “What if I ordered you to?”

Furusen: “I shall not obey, I am not your possession.”

Ah, Sebastyun wished he had this luxury...

[chibimyumi]

Hi I have a question if you don't mind I would like to know what your thoughts are on the musical Marie Antoinette and what the story about and what for character Axel von Fersen is and what he does in the story? Thank you for answering my question

Dear Anon,

TOHO’s ‘M.A.’ is either my favourite or second favourite musical EVER. The story and script are SO well written, and the characters feel so real, I have never seen anything like it in the stage media form.

The story focuses on two women with the initials M.A. (Marie Antoinette and Margrid Arnaud). These two women are legit the titular characters and never get their spotlights stolen by others. They are both equally strong and flawed characters in their own rights, no bullshit like ‘she is strong because of GIRL POWER’ or ‘she is strong for the sake of romance’. The writers had the guts to make Marie stupid and Margrid a vicious snake, but also had the skill of never dehumanising either.

I really hope that more people could watch this musical (I offer free English subtitles for A-Version in exchange for proof of legal ownership), so I without spoiling anything essential:

Prologue

This show starts with Fersen receiving news of Marie’s execution. He is well aware that the revolutionaries have grossly dirtied her name for the sake of propaganda, and mourns how the slanders about the Queen will be passed down as canon history. Indeed, the infamous phrases ‘let them eat cake’ or ‘madam deficit’ are what most of us get taught about her, but recent historic research has found that Marie Antoinette was in fact innocent of most claims against her name.

In the prologue, Fersen reminisces about Marie as he knew her, and serves as some kind of narrator of the opening scene. As Fersen sings he brings the audience back in time to meet Marie Antoinette and the events before the revolution broke out.

Main Story

The main story opens on one evening in Paris. Margrid storms into a party organised by Duke d’Orléans where the Queen is also at. Margrid communicates the dire situation the common people are in, hoping that the people with the power to make a difference would open their eyes. The nobility however, seemed most unconcerned, and that event becomes a catalyst of the French Revolution.

Conflict

One of the most amazing things about this musical is the antagonist who wishes to remove the King and Queen, Duke d’Orléans. He has his own view on politics, and just like the people, he can no longer bear to watch France perishing under the incompetence of Louis XVI. This person is the man who would later be known as Philippe Égalité.

He is played by Yoshihara Mitsuo, and the only single actor I have seen in ALL versions that managed to make this ‘villain’ a character so three-dimensional he could be the hero of his own story. In an interview Yoshihara said in accordance with his own performance:

“Can you imagine being the person who has the potential to provide for the French people, but having to witness the country suffer while doing nothing? From d’Orléans’ point of view, if he had not stood up to fight for the legal power to make a difference, he would have been the bad guy here.”

Margrid and d’Orléans decide to cooperate. With intelligence, ambitions and fierce hatred combined, their growing team manage to use the people’s bias against the foreign Queen to turn her into the scapegoat of the toxic monarchy.

Hans Axel von Furusen

Anon, since you asked, I shall do a mini-deep section on Count von Fersen played by Furukawa Yuta. (I only watched the version with Tashiro Fersen once, so I only have an ‘impression’ of him. If you are interested in Tashiro’s Fersen, I trust @wildandwhirlingwords would fill you in on him ^^)

⚠️ If you don’t want to spoiled then stop here! ⚠️

Role

Many would think that Fersen is the love interest of Marie Antoinette, and would therefore fulfill a main role in the musical, perhaps the tragic hero to whom the two M.A.s are the fuel of his heroism. But no, just like I said above, the two M.A.s are the legit titular characters of this production, and Fersen is support cast. Though a phenomenally important role, he never even threatens to take over the main spotlights.

The script for him is relatively minor in comparison to the two leads, but Furukawa’s amazing eye for detail has managed to flesh him out so thoroughly you still know exactly what type of person Furusen is. This ‘fleshed out result’ is something that I have yet to see in any other version of him, even in other musicals, mangas and movies.

Background and Personality

Fersen played by Furukawa is calm, fiercely intelligent, and a jaded war veteran. Having seen the American revolution first hand, he understands the   mechanisms behind mass dissatisfaction and the power of people’s anger. Furusen rushed back to Marie from whom he has separated for years to warn her against the dangers he foresees. As isolated as she is however, Marie cannot manage to understand what the war veteran is warning her against.

“I have witnessed a revolution with my own eyes. I learned that much more than any cannon or rifle, it is thoughts and words that are powerful.”

Except worldly savviness, Furusen is likewise characterised by restraint. As Furukawa himself puts it:

“I tried to approach this role from a platonic perspective. He loves Marie deeply, and he realises very well that only by loving her platonically can she remain safe. Rather than proximity, the more sustainable way of love for them is restraint.”

Indeed, Furusen's love is not a fiery romance, instead it is more akin to courtly love. He constantly tries to maintain a safe distance from the Queen.

Finally Marie and Fersen manage to reunite after many years, and she eagerly grabs for his hand. Furusen’s expression however communicates clear concern, and he respectfully takes a step back.

Furusen is not aloof towards Marie because he doesn’t love her anymore. In a later scene it becomes clear that his restraint is his ultimate display of love; he knows too well how Marie’s reputation can’t afford any more blemishes.

After they sing “because my love for you will never disappear,” Marie attempts to kiss him on his lips, but Furusen quickly dodges, silently reminding the Queen of their respective statuses as Lady and vassal. This is a very noteworthy detail that can only be seen between Furukawa’s Fersen and Sasamoto’s Marie. #HyperDetailedActing

Frustration

Another characteristic of Furusen is his immense frustration. Furusen is constantly desperately trying to find a way to save Marie. But with the ever-growing rumours of Marie whoring around, he finds himself bound hand and foot. If he takes action to help her Marie will be hurt; if he does nothing Marie will also be hurt.

Instead, this famed strategist finds his chances reduced to... being passive-aggressive... After d’Orléans had his first clear victory and the Royal entourage take their leaves, Furusen makes a show out of going up to his foe to warn him. They don’t exchange a single word, but the tension and history between these foes are clear as day.

Furukawa and Yoshihara were very passionate about their roles, and they shared in a talk-show how both of them spent hours together discussing their histories. The amazing chemistry between them cannot be described in words, but the result of their character-building are self-evident in the musical. (Click here for an in-joke between these actors.)

Masculinity and Aura

Furusen displays a very gentle, non-toxic kind of masculinity. As discussed above, he knows when to restrain himself, and he knows when to admit wrong. He is also not shy to show vulnerability, COMMUNICATE, and shed some genuine tears.

Generally he just displays a very elegant type of masculinity, never taking up more space than anybody else. It is very pleasant to watch!

Sass

Furusen is not just elegant though! He also displays a very sassy and sarcastic side that are evidence of his highly critical mind.

In this post I expanded on Furusen’s sass, but to put it very short; Furusen is REALLY funny too. In the race against the clock to evacuate the King and Queen, the King steps out of the carriage and suggests they go for a leisurely picnic, and dismisses Fersen. Unable to defy the King’s command, Furusen then makes a cross while ROLLING his eyes.

So yes, I can’t tell you why exactly M.A. is one of my all time favourite musicals without spoiling the critical things, so I highly, HIGHLY recommend you buy the musical for yourself.

I know this DVD is very expensive, and normally I would not dare suggest anybody just spend this amount of money based on my word. But please, this one will surely NOT disappoint you!

If you really are unsure, @wildandwhirlingwords hosts live-streams from time to time, and she told me she is also willing to take requests if she has the time/capacity. She hosts the streams without subtitles out of respect for me (thank you, dear), but she does give live commentary to explain the essentials. Her blog is absolutely great and contains lots of interesting info about Japanese musicals, and M.A. specifically ^^

Here is the purchase link of Version A (Furukawa x Sasamoto x Sonim) from TOHO Mall.

MASTERPOST How to buy DVDs/BDs, and get Free English subtitles from me.

[chibimyumi]

Because everyone needs to know just how adorable Furukawa is during curtain calls, I made this small compilation of his cutest moments.

Compilation in chronological order.

2014 ‘Lady Bess’ - Prince Felipe of Spain

2016 ‘Elisabeth’ - Prince Rudolf von Habsburg

2016 ‘1789 - The Lovers of the Bastille’ - Maximilien Robespierre

2018 ‘Mozart!’ - Wolfgang Amadeus Mozart

2018 ‘Marie Antoinette’ - Count Hans Axel von Fersen

2019 ‘Elisabeth’ - Der Tod

English subtitles by me.

[chibimyumi]

Der Tod: Cry no more～♬　(*σvσ*)

Fersen: Cry no more～♪ (;Ó^Ò;)

Kijima: Cry. (O_O)

[chibimyumi]

Visit Original Link

Don’t mind me, just a fan-mom showing off her son’s incredible vocal range ✨

Furukawa Yuta’s bass in ‘Marie Antoinette’ (2019) versus his falsetto in ‘Tango on the Campania’ (2018) 💖♪

[chibimyumi]

Kataoka Yoshiro, Furukawa’s teacher and the producer of his ‘Prince of Tennis’ era, tweeted!

The direction of ‘Elisabeth’ underwent great changes, and Mr. Koike (the director of ‘Elisabeth’) superbly managed to draw out little Furukawa Yuta’s charisma. Just looking at his bewitching Der Tod is so much fun. When I said “there’s not much dance,” he said “there is still a lot for me to do still, I wonder whether I can pull all that off, there’s so much singing,” [and I replied] “don’t worry, there was much more [singing] for Mozart,” and thus he gave me this fresh smile. My cute and amazing Yuta-bab.

BONUS from ‘Marie Antoinette’!

I watched “Marie Antoinette”. It was a tragedy, but it is undeniable that historically speaking, extravagant waste bears the fruit of causing a revolution. To put it in modern words it’s self-responsibility, something which is hard to express. But moreover, there is great value in seeing little Furukawa Yuta on stage with his great beauty. He kindly welcomed me backstage, and I saw his thinned out and yet virile face since forever. He became such an adult.

[chibimyumi]

Furukawa Yuta as Count Axel von Fersen in ‘Marie Antoinette’ the Musical.

He looks so damn good in this costume (((o(≽▽≼)o)))

[chibimyumi]

The Sass of Furusen

Axel von Fersen curries a perfect plan to evacuate the King and Queen despite the challenges. Furusen believed that the lack of time would be the biggest obstacle... but he was wrong.

In the race against the clock, the King steps out of the carriage and suggest they take it easily because he feels like having a picnic. Then Fersen is dismissed by the King, and he then makes a cross while ROLLING his eyes.

The vibe Furukawa’s Fersen gave me was that he was religious though not pious at all. When he would pray to God it would not be without sass. At least, this was my headcanon.

Guess what @wildandwhirlingwords confirmed for me ~! Thank youuuu

“[...] Axel Fersen’s reserved and doubtful attitude toward religion, in common with his family, was distinctly skeptical. During his younger years he not infrequently expressed irony and indignation over religious superstition and fanaticism, especially in Catholic lands.”   (Barton 1975, p. 18)

I don’t know whether Furukawa guessed Fersen right, or that his research skills are simply phenomenal, or both, but this is SO satisfying (*~ v ~*)