Rei Makoto's Graduation - Takarazuka Press Conference Q&A
(Note: I just finished exams and I'm back to posting zuka translations on articles, can't wait to collab with @nakoayas again! :)
(T/N = Rei Makoto being the Top student of the 95th class, a great inspiration and resilient fighter, performer and role model for her doukis, it saddens to see her journey conclude soon. Reading through the answers made me realise how important she is in the Takarazuka legacy)
Source from Sponichi Annex and the Takarazuka homepage (link will be expired later), pictures from Nikkan Sports and Sankei.
On June 1 (Sunday), Star Troupe Takarazuka Grand Theatre performance Musical "Eyes of the Ashura Castle" and Fantastic Tapestry "Esperanto!" had its final performance.
As Star Troupe Top Star Rei Makoto stood on her final stage, she was embraced by the warm applause by the audience. Upon finishing her last stage, she went to attend the press conference.
Firstly, Rei Makoto expressed her gratitude to the press.
"Just now, I finished my final stage on the Takarazuka Grand Theatre. I'm still so overwhelmed by the emotions, but I'll be working hard again for the Tokyo performances, so please look forward to them."
She answered the following questions in the press conference.
—— What are your thoughts for the Takarazuka Grand Theatre?
I remember my debut stage performance, the time when I first stood on the Grand Theatre stage, the first time I spoke on stage...all of these thoughts ran through my mind. When I thought about "today will be the last time", I felt so sad to say goodbye to this place, but I spent the day joyfully, knowing that it would be a pity had I not done so.
—— What have you challenged in Takarazuka?
I've challenged many things, and 'challenge' is such an important keyword in my Takarazuka life as Rei Makoto. So I will never forget the heart of challenging and take on a daring mindset to take on new challenges.
—— Could you tell us about your final performance "Ashura"?
This is the first collaboration between Takarazuka Revue and Gekidan Shinkansen, so while holding respect for Gekidan Shinkansen on how splendidly they showcased the strengths of Takarazuka Revue, I was able to learn from the amazing qualities of the original actors and incorporate that in my acting.
—— Why did you choose to wear the hakama while walking down the stairs on the Grand Theatre?
I chose the hakama without hesitation. Since I've been wearing the black tails for the finale numbers ever since my debut shows, ever since the beginning, I had decided on wearing the green hakama on the last performance.
—— What are your thoughts for the next Top Star Akatsuki Chisei?
During the performances, she stayed by my side as Yami No Tsubaki and acted sincerely. It was really fun to dance with her in the show, and I also loved Ari-chan (Akatsuki Chisei)'s cute gestures and I felt more assuring to pass Star Troupe to her, and I felt that we were spending each day to showcase each other's strengths in one another.
—— Tell us about the Sayonara Show.
I really troubled over the set list. Since there are countless of my favourite songs, but considering this is the last show in the Takarazuka Grand Theatre, so I mainly thought of songs sung in the Grand Theatre performances, and those that I want to sing no matter what. I could feel the love of Ikeda-sensei that I could revisit my Takarazuka career with everyone in the troupe and I was overwhelmed with the warmth I instantly felt through performing these songs.
—— Once again, what does Takarazuka mean to you?
This is the place filled with my youth. It is because of the audience who love Takarazuka, and also everyone including the staff members who love Takarazuka, that I could become who I am now. As the years passed, I feel more grateful and I wish that this will always be a place full of love. I hope that the Star Troupe members could improve even more and showcase themselves more on stage.
—— Are there any memorable scenes in your mind, or a message you want to share to fans?
After I finished my graduation speech and during the curtain call, when I saw the standing ovation from the audience, I was really moved because the sight was so indescribable.
Thanks to everyone who love Takarazuka Revue, I was able to be so happy now. I will continue to run forward to the Tokyo Performances so please look forward to it till the end.
Snow Troupe Top Musumeyaku Retirement Press Conference (2025/06/24)
On the press conference dated June 24 (Tue), it was announced that Snow Troupe Top Musumeyaku Yumeshiro Aya will be retiring from Takarazuka Revue after the performance "Beau Brummell ~The Man Who Was Too Beautiful~ / Prayer ~Prayer~".
Source from Takarazuka homepage (link will be expired later), pictures from Nikkan Sports and Sankei News.
Murakami Koji (Takarazuka Revue Chairman)
Snow Troupe Top Musumeyaku Yumeshiro Aya will be retiring from Takarazuka Revue after the performance "Beau Brummell ~The Man Who Was Too Beautiful~ / Prayer ~Prayer~". She has been praised for her acting and dancing, and has always endeavoured in singing, an amazing Top Musumeyaku bringing a new breeze to the stage. It is very unfortunate, but we look forward to see her further improvements in the coming days.
Yumeshiro Aya
Thank you very time for coming today despite your busy time. In this limited time, I will do my best to convey my honest thoughts to you. Thank you.
—— When did you start thinking about your retirement?
I started thinking about my retirement on the closing day of the Tokyo performance of "Rose of Versailles". I've run across this world [of Takarazuka] for 9 years and seeing many members retire felt like "a bell ringing" to me. At that time, I didn't know when this day would come for me and continued to work hard, but when I saw Ayakaze-san in her hakama (as she walked down the grand staircase in her graduation performance), I knew that I'd also be standing there soon.
—— How would you describe your days with Top Star Asami Jun?
Before we were paired as a Top Combi, we had performed together in the previous national tour, so it was reassuring to know that we will be embracing a new start of Snow Troupe together. When I transferred to Snow Troupe, I knew that Snow Troupe members were naturally more familiar with the troupe ambience than I was. I sought Asami-san for guidance and she always gave me warm advice, so I'm really happy to be paired up with her. I hope to observe and learn more from Asami-san till my last day.
—— What are some memorable roles?
It was my Top Star debut show "BONNIE AND CLYDE". I'm someone who gets nervous easily and I felt more nervous during the debut show than I ever had, but I also felt delighted to perform this show and to play this role [Bonnie]. The memories of standing on stage are so blissful to me that they are unforgettable.
—— When did you tell your partner?
I told Asami-san after we finished the rehearsals for the duet dance in "Crash Landing On You". She said, "I'll support your decision fully, Aya-chan" and she said those words so warmly encouraging, so I'm immensely grateful to her now that I can announce the news.
I told Ayakaze-san when she came to watch "ROBIN THE HERO" / Overture! " and she said "I'm grateful that the day has come when you could finally make the decision." Since I couldn't decide back when Ayakaze-san was graduating, so I'm really happy to tell her the news this time."
—— How did the Snow Troupe members react to the news?
I told the Snow Troupe members before the closing day of the Tokyo performances. They had warmly accepted these news.
—— How did you feel thinking about your graduation?
When Ayakaze-san announced her graduation news, she told me, "Since the times when we were appointed (as Top Stars) were different, I hope you'll be able to find the right time to graduate". At that time, I felt that I'm still not mature as a stage performer and a musumeyaku, so I told her honestly that I wanted to stay here a little more to improve myself further. Then when I played Marie Antoinette in "Rose of Versailles", I believe that was my turning point. I didn't watch "Rose of Versailles" before entering the Revue, so when I was able to face this role, I understood why these plays are moving to the audience. Then when I actually performed on stage, I played my role feeling the most fulfilled than I ever had been. That was how I felt that it is time to conclude my journey as a stage performer and musumeyaku [at Takarazuka Revue].
—— A message to the fans
Thank you for your constant support. Until the last day, I will continue to pursue the way of the Takarazuka musumeyaku in my way. Please look forward to it.
(Note: When I started getting into Takarazuka, Kiki is one of those siennes whose bright smile and adorable humour drew me in. It was later when I checked out her lead performances that I found how much sincerity and love she has for each character to showcase a vulnerability and versatility that related to many. Here's a translation of her press conference, and congratulations to her graduation from Takarazuka! :)
Source from Sponichi Annex and the Takarazuka homepage (link will be expired later), pictures from Nikkan Sports and Sankei.
Serika Toa's message
I've graduated from Takarazuka today (on April 27). I am overwhelmed with gratitude to everyone. I feel lonely to be leaving from Takarazuka, a place where I have learnt so many, but I'd like to embark on my life in my footsteps in the future.
―― What is Takarazuka to you?
(Before this conference) I knew that this question would be asked, and had wanted to think of an answer. But at that time, (graduating) didn't feel real to me and before I knew it, I was working hard every day on the next rehearsal. Now I will say, that it is the most sparkling place in my life, that's what Takarazuka is to me.
―― Moving on, what is it that you want to try in the future?
I'm going to start thinking what I want to pursue in the future. I love learning, so I'm going to find something to learn.
―― Why did you choose the black tails for your final costume?
Back in the Grand Theatre, when I wore the black tails to deliver my speech, my fans (wrote to me / told me) that I looked perfect in black tails, and also because there weren't many scenes where I wore black tails in the performance, so I wanted to appear in black tails before everyone again.
―― You're no longer going to play an otokoyaku anymore.
It's true that this marked my end as an otokoyaku, but I'm always thinking of achieving breakthroughs - such as how to approach my role sincerely, or what I want to present in a performance as a stage performer.
―― The sayonara show included songs, in which their lyrics conveyed your thoughts. What message do you have for the audience through the last song "Future Revolution"?
As said, I chose my favourite songs which best expressed the words I wanted to convey, and those became the setlist for the sayonara show to send my messages that I have yet told the audience. 'Future Revolution' of "Die Rauber" represents...my wish. The song was so compatible, that I wondered if it was written to be performed in a sayonara show. The lyrics 'With everyone's smiles, a new world is born' are so grandeur, and it was the best song that best showcased our motivation of how we wanted to perform on stage. I sang this song (with my members), because it would be great to convey this feeling to the audience.
―― The troupe leader (kumichou), Matsukaze Akira had said, that she had been watching you over as someone glamorous and reliable.
I am very moved to hear that. Kumichou is one year more senior than I am, but she's someone who can see through me for who I truly am. I am very glad to hear these words from kumichou.
―― Are there any regrets you have in your 18 years of Takarazuka career?
I'd say... I don't have regrets. (These 18 years) has been really fulfilling and satisfying, and that's the best feeling to have.
―― What were you thinking when you saw the audience holding up the penlights?
The penlights turned blue when I sang Star Troupe colours, and pink when I sang Flower Troupe ones... and I resonated deeply with the fans. Truly, this is all because of my fans in Takarazuka. It was because of the fans who supported me along the way, that I could continue to work harder. I am nothing but thankful.
―― Do your flowers today carry any significance?
There's no special meaning to it - I just thought they would look fabulous with my black tails. I hope that you could watch me to the end as an otokoyaku, so I've chosen orchids and callas.
―― Any plans for marriage?
(She smiles) About that... I don't have any plans yet, yeah.
―― Any words for your juniors?
I've learnt so much from you all and I am only grateful. I have so many words and thoughts I want to convey to you, but I'd like you all to stay healthy and energetic, and enjoy the stage the best you can.
As the former Flower Troupe Top Star of Takarazuka Revue who graduated in May this year, Yuzuka Ray has been recognized for her glamorous visual and outstanding dancing, showcasing an elegant dance even from her fingertips that captivates many fans. In view of her performing with Mathieu Ganio, the etoile of the Paris Opera Ballet in January 2025, she shared her aspirations for the performance and memories of ballet.
(Source from Clara Magazine; photo archive → redirected to twitter thread)
Q. You will be performing in the “Mathieu Gala Special Gala New Year Concert” with Mathieu Ganio, the etoile of the Paris Opera Ballet in January, and you will perform a new duet with Mathieu.
YUZUKA RAY. I’ve never imagined that there’d be a day when I could dance with Mathieu Ganio, and I was surprised. I watched Mathieu’s performances before I entered Takarazuka, and I could say that he was the top class prince charming I imagined in my head, and truly “the prince of ballet”. I am so honoured but also nervous about this performance. I learnt ballet when I was young, and I performed mostly jazz dances and theatre dances in Takarazuka Revue. I’d love to see how my show dances and Mathieu’s beautiful classic ballet could synchronise as one. I, myself am also excited and thrilled as to what performance we will show to you all.
Q. You first danced ballet when you were 3 years old, and you describe that you were so concentrated from the very beginning.
Y. I love moving my body to the music. When I entered middle school, I had attended the same class as the current etoile of the Paris Opera Ballet, Hannah O’Neill and I also competed before. As every lesson passed, I discovered more challenges to overcome and there were more ideals that I wanted to achieve, so those lessons were nothing but fun! And I was truly concentrated in them.
Q. What is your strength in ballet?
Y. I love dances that have a strong acting element, or we call those ‘character dances’. My teacher had also noticed that, and therefore arranged more of such roles to me. I also love dancing rhythmic waltz steps.
Whether it was playing as a child role in “The Nutcracker” during my time in the Maki Asami Ballet Academy, or when I was granted the opportunity to perform in an operetta in my middle school days, perhaps my teacher had realized that I enjoyed being on stage, so they introduced Takarazuka Revue to me, another alternative to performing on stage as opposed to dancing ballet. With such turning point, I decided to attempt the admission exam for the Takarazuka Music School in Year 9.
Q. How was life in the Music School?
Y. Apart from ballet, we were learning jazz danze and tap dance, modern dance and also Japanese dance, and beyond many such genres of dance, we also took lessons in acting, vocal practice and tea ceremony. Since this was my first time experiencing all of these classes, I was very much focused. Every day, I desperately worked hard with what was ahead, and those were such fulfilling days.
Q. When you entered Takarazuka Revue, you were quickly promoted and was appointed the Top Star in 2019. You captivated many fans by showing such graceful beauty and otokoyaku sharpness in your dance. How is dancing as otokoyaku different from dancing ballet?
Y. When I danced as otokoyaku, I stayed aware about maintaining the square formed by the left and right shoulder lines and the pelvis; when I danced, I made sure that the body looks linear and flat. The center of gravity position was also different from ballet, which didn’t require elevating my body; instead I’d feel the sense of gravity, and maintaining the center of gravity was a fundamental consideration for otokoyaku. The base was to stand firmly with the weight of the waist so that the body did not seem wobbly and unstable. Since there were cases of lifting musumeyaku, the use of the muscles on the front and outside was completely different. However, as much as I have experienced, no matter what genre of dance it was, I realized that classical ballet is the foundation for everything I do. Since I have foundational knowledge of ballet, I could adjust or improve the center of gravity position and showing a beautiful line for each dance.
Q. When you dance, what do you pay attention to the most?
Y. First, I listen to a lot of music. From the song and from its tonality, I try to envision the world view it conveys, and the emotions or warmth of a character I’d be playing. Let’s say that the tempo also affects the heartbeats of a role. I’m also interested as to how a choreographer picks up certain notes and gains inspiration from the song to create a choreography. As a dancer, I’d like to firmly graps such hints when I dance.
Q. Please leave a message for the ‘CLARA’ readers who are also practicing ballet diligently!
Y. I am also a reader of ‘CLARA’, and because I am truly in love with dancing ballet, so when I do see ballet dancers on the streets, I’d also react mentally hoping to send a wish of ‘Good luck’! (LOL) Ballet is about facing the mirror as you practice on the dance bars, do stretching and other forms of training – it is an art of resilience. But I believe that when you accumulate experiences from the long years of hard work you’ve devoted in ballet, then this won’t only raise your level in ballet, but can also become your greatest weapon. For those who endeavour fully into something, it won’t be just the world of ballet, but rather many roads will open up to them. Ballet is truly amazing! The more I get in contact with more genres of dance, the more I realise that classical ballet has a beautiful world unique to its own. I hope that you will be proud for practicing ballet so diligently, that you never forget why you like ballet, and enjoy the most of the process!
Q. What is the charm of ballet to you?
Y. The beauty of movement! Apart from performances, I would even just watch bar lessons, because seeing proper and correct ballet positions refresh my heart and cleanse my mind.
Q. Do you have a favourite ballet dancer?
Y. Recently I rewatched a documentary of Sylvie Guillem and was once again impressed for her profound understanding on dance. I also love watching my friend, Hannah O’Neill’s cute and elegant dance!
It's been a while since I posted on tumblr, but I thought better late than never, so here I greeted you all again in this new year.
As Yuzuka Ray is now an artist of Stardust Promotion and Minami Maito a soon-to-be Cosmos Troupe member, I'd like to share how I've been translating both of their interviews.
1. Carrd
You can browse a glimpse of their careers in the carrd profiles I created for both of them:
Yuzuka Ray
Minami Maito
2. X
I have created two update accounts to update news and translate interviews timely for them:
Yuzuka Ray: updates of rei
Minami Maito: updates of minami
3. Notion
This notion masterlist of translations includes Takarazuka shows, magazine interviews.
Minami Maito on Bling! – A closeup on the updates of Senka members.
(Source from 2024 TAKARAZUKA GRAPH November Issue)
— You transferred from Flower Troupe to Senka in late April 2923, and your first performance was the Star Troupe performance “ME AND MY GIRL” in Hakataza.
I was really nervous before the first day of rehearsals, but I became more reassured with the presence of Maisora (Hitomi) who was in Flower Troupe with me before. I met Ari-chan (Akatsuki Chisei) for the first time and with Maisora Hitomi, the three of us had our first interview together. Ari-chan and I were both really shy with each other, and we couldn’t’ talk to each other without the help of Maisora (LOL), but later when we went to Fukuoka for our press conference, the three of us quickly got along in that 2-day-1-night trip. Afterwards, our relationship was really good when rehearsals began. As rehearsals started, I truly felt that since Maisora had a more important status (as Top Musumeyaku) now, that compared to her Flower Troupe times she worked even more diligently, and I realised that I could only do my very best to support her. I feel like I knew her, but at the same time discovered something new from her as I watched her performance… I’m grateful to spend this time with her. Ari-chan and I played either Bill or Sir John in the role swap arrangement, and there was so much to remember about the details of these 2 roles, so it was really challenging… But it can be a form of support being close with someone who’s also playing the same role, and we can cooperate together. We’d point out and be careful in scenes when we’re wearing tap shoes but not dancing in tap yet. We’d remind each other, “What about the playing cards? And the hat? Don’t forget the watch!” (LOL) Through our role swap arrangement, we had th experience of looking at our roles objectively and creating our own, so it was really fun.
— How was Star Troupe?
When I was in Flower Troupe, I find Star Troupe a contrasting troupe, because I see different colours in this troupe. So while I imagined how I’d feel, I found it stimulating to have rehearsals with them. When I tried something, I was surprised how fast they adapted to my acting. I realized that I used to be too reserved with my acting, and I learned the importance of just trying things without overthinking them. What’s more, Star Troupe members have this energetic and bright ambience so I felt very comfortable with them.
— Were there any changes becoming a Senka member?
I had a long rest before “ME AND MY GIRL” performances, and I went to London, Paris and the Versailles Palace…at that time I didn’t know I would be performing in the “Rose of Versailles 50” concert (LOL)… In that vacation, I took dance lessons in London, and surely I had a change in mindset. As I become more senior in year, with much gratitude I took on more important roles and received more attention from the audience, but that’s also why I have to aim higher, and have more things I want to pursue. With that, I could only see my weaknesses, and at one point there were more things that “I needed to do” rather than “I wanted to do”. Yet, in the lessons in London, there were people wearing pointe shoes; some weren’t; some were dancing the same moves over and over again…the people were dancing freely and enjoying it. Then I realise: that’s right! It’s because I wanted to enjoy dancing freely that I entered Takarazuka. I was able to return to my primal joy and these lessons became a very significant experience for me.
— Later, it was announced that you were performing in the external performance of “HiGH&LOW: THE SENGOKU” produced by LDH.
When I heard the news, I really didn’t know what was going to happen. I thought, “Am I playing an otokoyaku? Or a woman? Or am I part of a choir?” (LOL) I had so many question marks in mind, at the same time I believe it would be an interesting experience to have during my time in Takarazuka so I was excited. During the interview, many asked if I felt the difference between Takarazuka and LDH, but I think both companies wanted to create good stage performances, so fundamentally they can’t be too different. But in comparison with Takarazuka where the director basically manages everything, the scriptwriter, the director and the music directors in LDH have different sections to guide us , so it was refreshing to lean from their way of work. What’s more, when there’s professionals of different fields all in one place, in one-to-one sessions, they teach us the techniques generously and I really learnt more new things. Also, we have Top Stars in Takarazuka as leading roles of each story, so the story would be created to make the Top Star stand out, but it’s different in LDH. Certainly, I’d say they have a concept of making every member as important as a lead role, and there are directions which I question, “Is it okay when the audience cannot see Katayose-san in this scene?!”. At first I was really confused with Seo, who also performed with me this time. LDH members said that we could ask them if we have any questions, and so we told them things that didn’t make sense to us “That in Takarazuka, we would…”, and discussed these parts thoroughly with the members.
— It must be a rare experience to play otokoyaku among men.
Since we were always supported by musumeyaku around us, so I’d always feel that I want to play my roles more masculine! But they advised me that, “Men don’t stand with arms that wide apart. You’ll be fine as long as you’re keeping your mindset as if you’re a real man.” But since I felt really apprehensive if people would see me as a woman when the performance started, I think this frustration helped me shape Kamisuzaki Yusui’s troubles and concerns as the leader of a state. After the first day finished successfully, I was relieved that I could tone down my thick eyebrow makeup (LOL) and I applied lighter makeup, in which I became more confident in conveying my role as a man, rather than simply relying on makeup.
— You had various swordfight choreography scenes with the men.
I love swordfight choreography, and they have this momentum as men and it was so satisfying learning, “That’s how I have to fall down when I’m being slain!” (LOL). Since this was a performance about 5 warring states, our teacher said that we’d be learning different fighting styles depending on which state we belonged to. I was the state leader of Nogi-kuni, a state holding pride for its flourishing waters, so the teachers taught us swordfight choreography that is smooth as the flow of water. It was really difficult, but I enjoyed learning it.
— Continuing from there, you played Andre in “Rose of Versailles 50” with the distinguished OGs.
A total opposite to LDH! (LOL). But I savoured the experience of being one of the youngest underclassmen again while playing among legends (LOL). Well~ the rehearsals every day was so fun and as I checked the schedule timetable, I’d be excited when I realized, “Oh, tomorrow’s the day they’re going to play Oscar! I look forward to it~!” I know that’s not a timetable is really for (LOL). But actually it was super thrilling being in the same rehearsal classroom with those legendary Oscar, Andre, Fersen actresses. Originally, these OGs have established their individual careers, but when they’re all assembled in one place, it felt so extravagant that it was a feast for the eyes. Kacha-san (Nagina Ruumi) who paired up with me as Oscar was busy performing in the bow hall for an external performance, so it was really me that was still a current Takarasienne…and I couldn’t believe I had the chance of rehearsing with other legendary OG Oscars during rehearsals. I panicked so much because “the people I looked up to are looking at me! They’re holding me in their arms~!” (LOL). I develop these different feelings depending on which OG I’m acting with. Of course, the ambience changed drastically from the different combinations, and I wanted to take all these experiences with me. When I wore the costume on stage, and when they watch me from the audience, they come to give me advice, “Mina-chan! You’d look better this way!” I couldn’t be more grateful to have spent this time.
— And now, you’re rehearsing the Moon Troupe national tour performance “In the Amber Hued Rain” and “GRANDE TAKARAZUKA 110!” You’re performing with Houzuki An again after being in Flower Troupe together in the past.
That’s right! First of all, many people are looking forward to Chinatsu-san (Houzuki) and Juri-chan (Amashi Juri)’s debut performance so I’m very glad to be part of it. And I really love Moon Troupe’s acting, so I look forward to seeing how they create a play from start to finish. This is also a troupe that I haven’t performed with, so I believe I’ll be inspired by them. I acted with Chinatsu-san before in “Stardom” back in the Flower Troupe times, but I was still an underclassman at that time, and I didn’t know much about acting or how to establish my presence in the troupe yet, now that I’m an upperclassman, I believe we can talk more about those issues. What’s more, I really love Chinatsu’s acting, so I want to feel more concretely how it feels and I will do my best to follow her.
(Note: There should be a longer interview, below is just an excerpt preview).
Q. How do you feel after the interview?
M. It's been a while since I had an interview at 『+act』 so I really looked forward to this day. I was told the concept of today's photoshoot was "simple and mature", so I hope the photos could show another, different side of me to you. Through this photoshoot opportunity, I discovered a new me. I'm really glad that this photoshoot was able to showcase this side of me.
Q. What's your current routine, or something you're interested in?
M. I still like the things I did in the past, so when I heard the question "What am I interested in now", honestly nothing special comes to mind.
But I've always loved watching dramas, and I'm excited whenever each episode is out. I watch dramas on the rest days during rehearsals, and don't watch them during the performance period, but will get back to it almost in one sitting, after we finished our performances, which makes me really happy. I watch dramas of any genre, simply because it brings me pure enjoyment. Sometimes I take a step back and observe the actors' gestures and acting carefully... Somehow I answered this too seriously (LOL).
And, after all, I love moving my body the most. In those days when I couldn't dance [during pandemic], I felt unfamiliar and couldn't feel a peace of mind. If you see somone moving, dancing(?) strangely outside, that may just be me. (LOL).
Cosmos Troupe performance "Red Stone" Talk in Kageki
(Note: This is a talk between the leading actor Minami Maito, and the director of the performance Sha Tamae for the Cosmos Troupe performance "Red Stone~ A Distant Cry". This is also the first performance of Minami Maito as a Cosmos Troupe member. Their talk was documented in the early rehearsal period.)
(Below, Minami Maito as M.; Sha Tamae as S.)
S. I hadn't really worked with Maitii before, right?
M. Yes, there weren't a lot of occasions. You worked with us (in Flower Troupe) for a scene in "Takarazuka Fantasia" and I loved that scene so much. Since then, I've always hoped for a chance if we could work together again, which I've been appealing to you every time we met (she smiles).
S. Yeah (smiles).
M. I'm really happy that we could finally work together this time.
S. I've always seen you as a powerful performer, and as I watched "Top Hat", I realised you were really good at acting comedy.
M. Thank you.
S. I was inspired by how bright Minami had been, so for this script, I created with the intention of allowing the performers to recognise once again the mission of their job, so as to give joy not only to the actors but also to the audience. Our stage is set in 1920s England. Back then in the early 20th century, there were many talented individuals, such as Coco Chanel, and I thought how interesting the play would be with this historical background. People have changed since the period of monarchy and class system. They became more aware of their emotions, and I think it's constant how people feel these "changes" in every era.
M. Yes.
S. The story is simple, one about the reincarnation of family, but I hope to send a message to the audiences' hearts about how warm that era had felt like. We just started rehearsals today and we had a table read once.
M. Yes, the first time with the music too.
S. Personally, I’m the type that prefers having rehearsals quickly done. When we have rehearsed at least once, then the time required to think about the different interpretations or to overcome challenges will be reduced. Even today, we swiftly finished two times of the table read. Everyone worked hard (she smiles).
M. (she smiles). While we’re at the present phase of discovering our role, I realised that even when we tried this kind of rehearsal style [of doing multiple table reads] we can already receive much feedback and comments, to which I’m grateful for. Then when it comes to thinking what else to add into the role, we’ll have much more spare time to explore.
S. Especially, the underclassmen weren’t familiar with this style. Since they were used to acting on what they have been instructed, I want to remember how important it is to imagine what happens next in the future rehearsal days.
M. Yes, yes.
S. The protagonist, Alex, is an interesting man.
M. Yes. I knew how straightforward he was. It was quite rare to have such a candid and bright guy.
S. Really? Do you think so?
M. As you said just now, there are many things that Takarasiennes can find in common with their roles, so I thought that Alex might be speaking to me through his words. When I first read the script, that was exactly what I felt. So I paid attention to each line during the rehearsals.
S. Yes. “History isn’t written by the great people or the heroes only, but the efforts of the nameless make history as well.” That’s what I feel deeply.
M. (she nods greatly). I’m looking forward to how much more we can expand our imagination in the coming rehearsals. Whether it’s achievements or mistakes, you’ll still point them out to us when we practise, so I want to believe in you fearlessly, rehearsing and challenging more in the practice room.
S. Well, I created the role of Alex easily and clearly. It’s because I know Maitii is the actor behind him. I wrote the script thinking how Maitii will embody the role of Alex (she smiles).
M. (she smiles).
S. Yet in terms of Alex’s personality, I find it interesting when you performed some traits that I didn’t think of while creating this role. While I can still feel you showcasing how frank Alex can be, he's also a bubbly person and a rowdy fellow when he’s with his friends. So when I saw how Alex interacted with Gino played by Takato Chiaki, I thought “hm?” at first, but I realised how this was helpful in gradually showing how straightforward Alex is.
M. That’s what I did.
S. As we throw in many ideas in the process, I’m also looking forward to the coming rehearsals.
M. I was wearing a lot of costumes during the scene “Vaudevillian” (tentative translation based on Katakana).
S. It’s a bit of a comical scene there.
M. There’s a lot of laughter. It’s a fun script to read, so I thought it’s all that we can do to execute the comedy (she smiles).
S. The performers in that scene were insane (she smiles). Then later on, it was the dream scene at the beginning of Act 2.
M. That was incredible.
S. That scene had the performers wearing red shirts and lined up because it was a scene of war and fighting. We thought a lot about this scene and threw in many ideas on thinking of how to nail it…
M. The music for this scene was also amazing, and I'm looking forward to seeing how cool the choreography pairs with the music.
S. The [English] men were determined to unify Italy [in this war] so everyone was so exhausted from rehearsing that one scene.
M. After that scene, we just all hoped that the curtains would come down soon (she smiles). This goes for all scenes, but I believe that particular scene can definitely show the audience just how much passion we invested in order to deliver a good performance.
S. Yes, and the audience will love how sincere you are when facing the stage.
M. Since you created this play with the sentiments you have for Takarazuka as an upperclassman and our senior, I believe that if we truly understood these feelings in rehearsals, then this will turn out to be a heartful production. This will be my first time acting with the Cosmos Troupe members ever since my transfer, so I look forward to how we can expand our performance and I believe I’ll also be inspired by them. I’ll learn more especially from the friendship of Alex and Gino.
S. Yes, yes. So when it comes to stopping Gino, I deliberately added more friction between the two men. Since Alex is someone who is desperate in action, and determined to stop others.
M. Yes, that’s right. And… am I going to have a loveline with Kiyora or not ? (she smiles)
S. Haha (she smiles). Well, maybe.
M. Since I transferred to Cosmos Troupe at the same time with her who I’ve previously worked with before [in Moon Troupe], I hope to create a relationship that only the two of us can convey.
S. In the finale, the otokoyaku wear morning dress, performing the dance formation that Alex did while working in “PALLADIUM”.
M. Oh, it'll give off a British style then. Morning dress.
S. Yes indeed. I’m still contemplating over the dance formation, but the song is amazing. Then finally, could you share your message about this work?
M. Sure. During the show, I [as Alex] reflect a lot about coincidences and certainties in facing myself, but this also goes for myself [as Minami Maito], [I think about] the encounter of this performance, working with Sha-sensei again in these days, and witnessing the start of the new Cosmos Troupe… Even though Zun-chan (Sakuragi Minato) is in another small theatre performance, I believe we’re all headed towards a new step forward. With this happy performance in mind, I hope that you’ll also think about your encounter and attitude towards yourself, and let us sprint in a “starting dash” together! In order to create such a performance, I’ll endeavour to face my role, the stage and to the audience, and anticipate the growth we can see in this performance. (she straightens her posture) I’ll do my best!
S. (she smiles). Yes, I look forward to it. At some point Alex sings lyrics which go, “I’m grateful for everything every day / To the green and beautiful Earth”. I find Alex someone who knows very well the things we often forget about, which is why he loves to give people joy and loves to see the people’s smiles.
M. (she nods).
S. So [it makes people think] I want to be [like Alex] too, and there are many of his lines which I believe Takarasiennes can relate to. I cannot wait to show you the performance and we will do our best.
