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Rei Makoto × Matsumoto Koshiro | A cross talk between the two playing “the same role” – all about living in the beautiful fictional world.

Interview published on fujingaho, full translation by @yuzukahibiscus under the cut!

Rei Makoto’s next performance is “Eyes of the Ashura Castle” (hereafter “Ashura”). Matsumoto Koshiro had also performed this work, when he was known by his stage name Ichikawa Somegoro. Here is a cross talk of the two actors, who have a strong passion for the stage, and are always running at a furious pace.

Rei Makoto (hereafter “R”): Thank you for coming today. You must be busy during the Kabuki-za performances.

Matsumoto Koshiro (hereafter “M”): Takarazuka Revue (hereafter “Takarazuka”) performers are busy too. Singing and dancing, all while being a Top Star. Is that what you do in a year?

R: It’s rehearsals and performances, rehearsals and performances. But I’ve heard that you have short periods of rehearsals at Kabuki-za.

M: Generally, it’s a few days. We had around a month to rehearse for “The Demon Residing in the Oboro Forest” (hereafter “Oboro Forest”) (tentative translation, no official title) but time was still tight. These are such intense rehearsal stories, but there’s nothing we can do (he smiles).

R: Gekidan ☆ Shinkansen (hereafter “Shinkansen”) performances are especially hard.

M: You’re performing “Ashura” now, aren’t you? Everyone around me was talking a lot about it. I performed this work twice, and to learn that Takarazuka was performing it didn’t seem merely as ‘other people’s business’, but rather I was really glad to see how much this performance has grown to be.

R: This was the first collaboration between Takarazuka and Shinkansen. I’ve always loved Shinkansen stage performances, and specifically I’ve even watched the DVDs of all your works. I have all of the versions of “Seven Souls of the Skull Castle” (hereafter “Skull Castle”) lined up in my place, but the DVD for your starring work as Somegoro in “Aodokuro” is my all-time favourite - I’ve rewatched it too much and the covers are almost in ruins!

M: That’s impressive (he smiles).

R: After watching Amami Yuki’s theatre version and Miyazawa Rie’s film version of “Ashura”, I was quite anxious, thinking if everything’s going to be alright now that I’m playing the leading role. This show requires great physicality and I should execute the coolness of the role, so I thought, can I do this? That’s why I’ve come today to learn everything from you (she bows slightly).

M: The first Shinkansen performance I watched was “Skull Castle”, then I watched “Ashura” in 2000. Then from when I was given the opportunity of performing “Skull Castle” till now, it’s moving to think how many shows I’ve been fortunate to be involved in.

R: So you thought the same back then as well.

M: When I was granted the opportunity to perform in the “Inoue Kabuki” series (T/N = Inoue Hidenori is the head and director of Gekidan Shinkansen), I knew that if I were to make myself known as a Kabuki actor, but didn’t appear cool with the gestures and movements, then I’d be a disappointment, something I couldn’t allow to happen.

R: It was impressive how you delivered a unique performance interweaving the Kabuki elements. I can’t wait to imagine how the Takarazuka version will turn out to be.

M: It’ll be great to see “Ashura” with the Takarazuka expertise. “Kabuki NEXT” stages works from Shinkansen as part of its Kabuki performances, and they’re performing two works: “Aterui” and “Oboro Forest”. The most distinctive feature of these works is the female role played by Kabuki actors (onnagata). Onnagata play a significant part in storytelling. It’s also interesting when onnagata are playing “non-human roles”.

R: That’s similar to male roles played by Takarazuka actresses (otokoyaku) because they only become true characters on stage. Onnagata and otokoyaku are contrasting, but it’ll be great to show the best of both roles.

M: Whether it’s onnagata or otokoyaku, they are fictional characters that don’t exist save when they are on stage. That’s the unique charm of these roles.

R: While wanting to showcase this charm, one of the difficulties is that all our actresses have to perform this Shinkansen work which demands great physicality. It’ll be a great challenge to see how much we can overcome and how far we can achieve.

M: The protagonist Wakuraba Izumo in “Ashura” was really like superman to me. The performance was already tough, so I had thought, “Does he really have to be this strong? Should I just kill him today already?” But anyway, that was how I pulled through.

R: The swordfighting scenes and how the actors recited the lines were all so cool. How do you keep up the motivation?

M: It was almost like experiencing a “runner’s high”.

R: Wow…

M: Inoue gave us specific directions like “You should say this when you walk, when you run” but if you think you only have to do those movements, and that will be enough for the audience to be in awe when you appear on stage, you already lost, because that is the bare minimum. If you want people to enjoy more, to think that’s interesting and it’s cool, then you’ll have to work even harder, right? It’s tough, but you have to keep going. Then, that’ll be about 3 hours and 30 minutes.

R: Hearing that alone is mind-boggling. But I find myself quite similar to you. I held a concert at Budokan before, and because we wanted to entertain the audience, we included everything we could in the setlist no matter how hard it got. At some point, I also thought this setlist was impossible to perform, but I didn’t want to compromise anything that I was already set on performing. That’s why I decided that these songs were what I’d perform in the following concert days.

M: Yeah, that seems similar. It’s tough, but just like every story, “Ashura” has an ending to its own. You’ll feel that sense of achievement after each performance and then the next day, you perform again.

R: For our performances, since we still have a show later, the play was compressed to 1 hour and half, and the change made me nervous again.

M: It’s like you have to rush through all the lines quickly. Do you even sing, or is it more like scatting? (he laughs).

R: It’s a whole battle (she laughs). But I was surprised by how fast you talk too, yet never get tongue tied. You’re still able to balance mischief and appeal… I’d like to ask what you prioritise the most in creating your role?

M: I think the most important thing is charging straight ahead. You have to keep running. Whatever hiccups come by, I believe that I’ll reach my destination ultimately. Accumulated stage experience becomes an encouragement for me every day.

R: I see. Since this is my graduation performance, what you say will be relevant. When I was filming for the poster of this performance, the photographer mentioned specifically that “I want to see Izumo’s sexiness appeal”. I already felt how difficult it was standing to be as cool as possible while wearing the kinagashi.

M: In order to look sexy, one of my inspirations was the actor Arata Furuta. He looks good even when there were some places he intended not to have done. But I still don't think I've managed to do that... I find it difficult to look good wearing the kinagashi too, so you’re fine (he smiles).

There’s a “beauty” to kabuki for any performances and even for villains

R: Now I feel a bit more relieved, but still somewhat unsure (she smiles). I’ve had the opportunity to take on many "Takarazuka firsts," including this one. You’ve also created many new performances. So what’s the most important thing you want to protect and retain?

M: I think there’s a beauty of Kabuki in any performance. This is what the seniors taught me. Take intonation. Even if you’re shouting, you have to make it sound. I hope that the audience can be relieved from their pressure after watching our performances, because Kabuki brings people into a world different from reality.

R: That’s similarly to what we do in Takarazuka. Back then, I went to a middle school in Ginza, so Kabuki-za seemed right next to me. I still see Kabuki-za as a pride of Japan. So I’m glad that I’m in the world of Takarazuka, which serves as a contrasting opposite to it.

M: I think the bad guys have something beautiful within them too. You can’t show only their bad side. So when playing bad people or poorer people, I ask: what’s the beauty in them?

R: I know what you mean. I also like playing villain roles. Ever since I was a child, I’ve found myself more drawn to the antagonists than the protagonists, loving the villains more than the princesses.

M: I like the “Baikinman” type of villain.

R: Yeah, like that (she laughs). Top Stars play mostly the righteous protagonists, but I’ve also played some ‘dirty’ antiheroes in the past. I’ve done such archetypes quite a lot.

M: I think that’s what makes them human. It’s a unique experience in the fictional world to play a role that could only be alive on stage. It’s actually more interesting to play villains than the leading role. By the way, even though I’ve never achieved the dream of carrying large feathers, I had seen the scenery of the stage when I appeared on a grand staircase from above.

R: Really? Was that during a Kabuki performance?

M: Yes. It was during the performance titled “Ooatari Fushimi no Tomikuji”. It’s a fascinating sight to oversee everything.

R: I see. What do you think about our feathers?

M: Yes. I was really amazed when I saw how the Top Stars carry the features and actually walk across the silver bridge. I’m not sure if this was a “tradition” or a “rule”, but I just find it so awesome. It was a speechless moment. So rather than thinking of how I’d look carrying the feathers, I’d have to watch your performances.

R: I am troubled over the timing, whether it’s better if you should watch it earlier so I could ask you for advice, or if I should invite you when I’m at my best, but please come to watch our performances.

[nakoayas]

Towaki Sea as Alucard and Hoshizora Misaki as Maria Renard for 2025 Flower Troupe's Castlevania Stills 🦇🌸

Scanned from my personal collection.

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Suzukaze Mayo as Lady Capulet for 2013 TOHO Theater Company's Roméo & Juliette

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— 2025 Cosmos Troupe's production of Red Stone 🪐

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— 2025 Star Troupe's Eyes of Ashura Castle (Shinjin Kouen) 🏯🌟

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— 2024 Star Troupe's production of Big Fish ✨

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towaki sea as alucard (left) and seino asuka as richter belmont (right) for 2025 flower troupe's castlevania 🌸🦇

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— rei makoto as wakuraba izumo and akatsuki chisei as tsubaki for 2025 star troupe's production of eyes of ashura castle: blood gets in your eyes 🏯⭐

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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 thss 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 been performing 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.

[nakoayas]

yuki daiya as succubus (right) and kinami raito as magnus (left) for 2025 flower troupe's castlevania 🦇

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Asami Jun as Robin Hood and Yumeshiro Aya as Maid Marian for 2025 Snow Troupe's Robin the Hero / Overture! Stills! 🏹💚

Scanned from my personal collection.

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Suzukaze Mayo as Mrs. Danvers for TOHO Theater Company's Rebecca Programme (2008) ✨

Scanned from my personal collection.

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— yumeshiro aya music salon posters ✨

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Maisora Hitomi as Sally Smith with Minami Maito (left) and Akatsuki Chisei (right) as Bill Snibson for 2023 Star Troupe's Me And My Girl Performance Programme! 🌟

Scanned from my personal collection.

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Rei Makoto as Wakuraba Izumo and Akatsuki Chisei as Tsubaki for 2025 Star Troupe's Eyes of Ashura Castle: BLOOD GETS IN YOUR EYES Stills 🌟🏯

Scanned from my personal collection.

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Asazuki Kiwa Last Interview (from GRAPH 2022 December) 🧡

Scanned from my personal collection. Full translation under the cut by @yuzukahibiscus!

— Now that your graduation performance run has begun, how are you feeling?

I don’t want to think of this as my graduation performance, instead I want to be focused on my role in the musical The Pleiades in Blue. But when I greeted the audience during the parade on the opening day, I was overwhelmed with emotions because I knew that: this is the last opening day I’ll have in the Grand Theater. Also during the duet dance, I felt strongly how the audience were warmly watching over us, and I was happy and grateful every day. Since the countdown has started for how many days I have left to stand on the Takarazuka stage, I have come to cherish each day even more and want to spend every day more meaningfully. And I want to continue challenging myself fearlessly, and delve deeper into my role.

— After your debut stage, you were assigned to Flower Troupe. How were your underclassmen days?

When I first entered the rehearsal classrooms, I was surprised by how graceful the musumeyaku were. This sparkling sight that I saw in my dreams was real before me and I was thrilled because I realised: I’m going to be like that too! I was deeply immersed during those days. As I admired how beautiful the upperclassmen were, I continued to do training for a better body build (LOL). I also loved dancing the rockette, so I’d say my underclassmen days were energetic and enjoyable.

— Are there any memorable performances for you?

In the past, I didn’t have confidence in my singing, but then I was able to perform in Sou (Kazuho)’s dinner show. At that time, Sou-san said, “No matter how far Hirame (Asazuki) is, I can still hear you singing loudly and clearly, so I want you to be in my dinner show so we could perform together.” Even now, those words still give me so much encouragement. That’s how I learned that I should endeavor my best at any time, and that became my turning point to love singing. In Poem of Love and Revolution, I had the opportunity to act with upperclassmen such as with Asumi (Rio)-san, and I learned that crying is so much more than showcasing an emotion.  That was the first time I learned to feel more connected to the art of acting. When I played one of the desert ladies in Golden Desert, it was a dancing role that conveyed storytelling. That was also the first time I did a shadow solo for singing, and so that became a performance where I could polish my performance in singing and dancing.

— You accumulated more experiences as you were chosen to be the female lead in the newcomers’ performance and the small theatre performances.

After I took on my first heroine role in Poem of Love and Revolution, I had reflected deeply on my performance. This was because I regretted how I didn’t really improve my performance between the Takarazuka newcomers’ performance and the Tokyo newcomers’ performance. When I played the heroine in New Tale of Genji newcomers’ performance, I was determined to make use of what I had reflected, but instead this time, I overthought too much that my head was spinning (LOL). I was thinking too much about how I should be performing individually, that I hadn’t been able to fully respond to the other actresses’ reactions. Then when I was one of the double heroines (with Oto Kurisu) for MY HERO, I took more time to contemplate about the relationship of different characters, so I was able to consider my interactions with other performers a bit more. My role was also quite a unique heroine, (so the director encouraged me) that even if I was unsure about it, it’s okay as long as I’m acting in my best efforts.

— Then you transferred to Snow Troupe in 2017.

With how long I had been in Flower Troupe, I did feel sad hearing the news. But very quickly, I had a change of mindset realizing that this transfer would allow me to be more familiar with two troupes in Takarazuka. Phantom was a memorable performance to me, because I had played young Erik (the original role was played by Misaki Rion) in the Flower Troupe newcomers’ performance of ‘Phantom’. I was glad to take on the challenge to play Erik’s mother Belladova and to me, Phantom is a performance that I cherish a lot. And in When the Last Sword is Drawn, I had said such lines, “The southern flowers bloom as they crack stones”, “Endure. There is no flower more beautiful than one that endures and blooms”. These words still uplift and encourage me. I have encountered many of the memorable performances in my Snow Troupe days.

— How did you feel hearing that you are to return to Flower Troupe again?

I couldn’t help but confirm and ask them about it again (LOL), but it appeared to be a rare occasion, so I thought (the transfer) might be what I needed. I had spent two and a half years in Snow Troupe and since then, Flower Troupe had also changed, so I was apprehensive not knowing what position I’d be situated in after the transfer. Then came the rehearsals for Masquerade Hotel and I didn’t have spare time to think more about this matter (LOL). There were many lines for my role and director Tani Masazumi was strict. I was really grateful because it was through this performance that I returned to the roots of what acting really means. Later, when I joined the Haikara-san: Here Comes Miss Modern rehearsals, the realisation dawned on me that I was an upperclassman among the troupe members. Through shaping my role, I also shared my insights of what I’ve learnt to the other underclassmen.

— Then, on your third transfer back to Snow Troupe, it was announced that you would be the next Top Musumeyaku.

I was once again surprised by the transfer news, and in my head, there were only exclamation marks and question marks one after another. But when I thought that I’d be seeing a new world in the Snow Troupe, I was enormously delighted to see the Snow Troupe members again. Of course I felt the pressure that would follow along with taking this position, but I was glad that everyone welcomed me warmly when they greeted me and welcomed me back.

— Could we ask about how you felt on the day you were officially the Top Musumeyaku?

On the assembly day for our pre-debut performance The Emblem of Venezia / Le Poison -Again-, I was nervous and frozen as stone… I found myself at the bottleneck, stuck with thoughts of ‘what I ought to do’. Once again, my head was spinning with questions of whether I should be doing this or that, and in the first few days, I couldn’t see myself progressing. Then, Saki-san (Ayakaze Sakina) said to me, “We all have our moments of uncertainty, so why don’t we just give it a go first?” and I remember replying to her, “Yeah, I don’t feel quite sure with myself now”. (LOL) In my underclassmen days, hadn’t I also been trying whatever I could before knowing it? Since it isn’t possible to change something fundamental instantly, I began to tackle the challenges ahead one by one and this is all thanks to the kindness of my fellow Snow Troupe members.

— Did you find yourself relieving from that nervousness and tension slowly?

I was glad to see people from different prefectures in the national tour performance and was finally able to relax a bit. But for City Hunter, I struggled playing a capable yet soft-hearted heroine who appeared more headstrong than the protagonist. I had been fighting within myself before the Tokyo performances, and was concentrating on thinking only of my role. Even though performers close to my year or my classmates had supported me during our interactions, I never came to realise how narrow my vision had been during the performances.

— Later, you decided to retire from Takarazuka Revue.

After my debut performance as a Top Musumeyaku, I reflected that all this time I had been running on in full engine and acceleration, rather than setting certain goals for myself. As I continue to stay in Takarazuka, I appreciate how I was even appointed the Top Musumeyaku in my senior years. These thoughts influenced me to make such a decision.

— Before that, the full performance run of ODYSSEY: The Age of Discovery was cancelled.

When I had decided to graduate, this became a performance that I wished to work hard for, and everyone had done their best rehearsing since the end of last year to the start of this year, so hearing about the cancellation was really shocking to me. But, to learn that even under current circumstances that we’re finally able to perform this show again, I was ever grateful that the audience were present to watch our performances, and in a good sense, it was a time of self-discovery too. It was because of the previous cancellation, that we were able to set asail in the summer again, and I hoped to convey the most of my passion on stage to the audience. And, I didn’t want any performance from those days to go in haste. Even now, I certainly work diligently every day, but it was especially during that period when I felt that I had to make every second count, and I treasure the days before my graduation even much more.

— Now that you look back, how would you describe your Takarazuka life?

I never thought that I’d love being a musumeyaku so much. From when I entered the Revue, the more I learned, there were more things I came to love, and in the blink of an eye, it’s been 13 years. There were tough and difficult moments, but if I never entered Takarazuka, there’d have been lessons I never learned, and experiences I’d never have encountered, so it has been a pleasure to spend some time of my life in Takarazuka. In my graduation performance, I’m playing a role who grows from a child to an adult, and that overlaps with my Takarazuka life. I hope that by embodying the role of Lingling, it could reflect my growth as a musumeyaku, as a stage performer and as Asazuki Kiwa.

— Finally, could you leave a message to your fans?

If you weren’t here for me, I wouldn’t have worked as diligently as I have for the past 13 years. No matter how much I’ve tripped and fallen, you have all lent your support to me, and that’s how I was able to embark on this journey. With all the gratitude I have for Takarazuka, I’d like to endeavor my fullest for my final stage. Perhaps I’ll be running in full speed, and my hair will be disheveled all over the place (LOL), but I’ll be grateful if you could watch over me warmly. Thank you so much.

[nakoayas]

Rei Makoto and Maisora Hitomi for 2023 Star Troupe's 1789: The Lovers of the Bastille duet dance stage photos (GT & TT) ✨🩵

Scanned from my personal collection