Woooow, we recorded this one a long time ago. Back at the beginning of August, to be precise. Please enjoy a slightly dated Kitty and Jen talking about Ueda Keiko’s shows: her themes, the one…
seen from United Kingdom
seen from United States
seen from United States
seen from Türkiye
seen from United States
seen from Italy

seen from United Kingdom

seen from United Kingdom
seen from United States

seen from United Kingdom
seen from China
seen from China

seen from Türkiye
seen from United Arab Emirates

seen from Türkiye

seen from Romania

seen from United States

seen from United States
seen from United States
seen from Germany
Woooow, we recorded this one a long time ago. Back at the beginning of August, to be precise. Please enjoy a slightly dated Kitty and Jen talking about Ueda Keiko’s shows: her themes, the one…
Ueda Keiko
I found out that Ueda Keiko, probably the most well-known and established of the few female directors in Takarazuka did some of her best shows together with Yoshida Yuuko, the female composer I wrote a post about earlier (female composers, conductors and choreographers are not quite as rare it seems, especially choreographers who are often OGs). Yoshida Yuuko wasn’t the sole composer for all of these shows, but they collaborated on Lucifer’s Tears, Anna Karenina, Palermo Shines in the Setting Sun, Senor Don Juan, Ludwig II and Romeo and Juliet ‘99. That’s some really great shows and I think we can discern some stylistic similarities. Ueda Keiko’s works without Yoshida Yuuko include The Eagle with Two Heads, The Poem of Love and Revolution and Onegin.