#Asami Shibata

[magicmorningmeteora]

7nin Matsuri - Summer Reggae! Rainbow

[yume-kara-samete]

Good Morning - Abe Natsumi, Iida Kaori, Konno Asami, Kamei Eri, Michishige Sayumi, Tanaka Reina, Murata Megumi, Shibata Ayumi, Asami, Miuna

Hello! Project 2006 Winter ~Zeninshuu GO!~

[yuzukahibiscus]

“MAYERLING” Roundtable Discussion

(A “Roundtable Discussion” is a KAGEKI section magazine, documenting the talk between the director and the actresses about their performances. This time, I’ve translated the Roundtable Discussion of the ongoing current production of “MAYERLING”. I hope this discussion will allow you to know more about their insights!)

Adaptation/Direction = Koyanagi Naoko

Production = Fujieda Taichi

Actresses = Mikaze Maira, Wataru Hibiki, Minami Maito, Yuzuka Rei, Towaki Sea, Hozumi Mahiro, Hoshikaze Madoka, Seino Asuka, Ichinose Kouki, Hoshizora Misaki

(Discussion below the cut, spoilers may follow)

Fujieda: Starting from January 1 to January 30, 2023, Flower Troupe will be performing the play Musical Romance “MAYERLING” in the Takarazuka Grand Theatre. Script by Shibata Yukihiro-sensei, Adaptation and Direction by Koyanagi Naoko-sensei. Originated from the Claude Anet novel of “MAYERLING”, this performance portrays the tragic love story between the real 19th century Austria Crown Prince Rudolf and the baron’s daughter Marie. The performance was performed many times since its premiere in 1983 and as one of the representative works of Takarazuka, this was a revival after 30 years performing in the Takarazuka Grand Theatre. While trying to bring out the script describing this ephemeral, beautiful and ultimate love unique to Takarazuka Revue and hoping the audience would look forward to this new direction delivered in this 2023 version of “MAYERLING”, everyone from Flower Troupe centred on Yuzuka Rei are altogether, doing their best in rehearsals every day and pursuing the acting they aspire, so please look forward.

Koyanagi: As the producer just mentioned, the premiere of “MAYERLING” was performed by Snow Troupe Asami Rei-san and Haruka Kurara-san in the Takarazuka Grand Theatre. It sparked great discussion at the time, then 10 years later (1993) it was performed by Star Troupe, then after that it was performed again for many times, so for Takarazuka fans, it was one of the representative works they think of when they talk about Takarazuka. It’s been a long while since prologues in grand theatres started on the grand staircase, striking a memorable impression, and the fact that this could be performed in the Grand Theatre after a long while, and the vibe created by the combi of Yuzuka-san and Hoshikaze-san were very suited to this, that is how what brought this rendition in the Grand Theatre. It’s been 40 years since the premiere, and I’ve been able to receive the many scripts used over these years. The foundational thing is hoping to preserve that amazing vibe in the premiere and progressing on with changes that are not drastic. We’re not trying to imitate the past performances, but thinking that it’s essential to create something solidly from this performance, everyone would act their roles as what they are given straightforwardly, taking into account what acting means. I think this is the significance of coming together as one and thinking precisely what we want to create.

Yuzuka: If we talk about Takarazuka, “MAYERLING” is a famous musical like a treasure and I’m nervous but also very happy when I could challenge to perform that in the Grand Theatre. Koyanagi-sensei was really careful to craft the acting and she gave us some lectures about it, teaching her direction one by one, now that I think of it, this process was very fun. When we are to reperform “MAYERLING” again, while holding utmost respect for the performance, I hope to connect myself with the role I’ve received and spend this fun time of pursuing the role.

Conversing with the roles　 Challenging this performance with a new approach

Koyanagi: Then let’s talk about the various roles. First we have Yuzuka-san playing as the Austrian Empire Crown Prince Rudolf.

Yuzuka: I first received the role of Rudolf in “Elisabeth – A Rondo of Love and Death” during the role swap cast (LOL). At that time, I already had a profound interest knowing how the Crown Prince Rudolf lived and knowing about his life. Now that I’m able to have a different viewpoint in a different performance to play the same person, it makes me excited. Now, since Koyanagi-sensei was very precisely teaching us about creating our roles, embodying our roles, studying our roles, by doing these one by one, I actually felt that this role of Rudolf seemed more realistic on the surface. I was very happy to be able to do that, and I’m in the phase where I wanted to know more thoroughly about this person Rudolf.

Koyanagi: This time, I wanted everyone to have a little different approach than before to creating their characters, which is not acting from the prior impression they have for their role. Firstly, when they read the script carefully, I want them to focus on how to make this performance persuasive and close to the theme – such as what this person is thinking and what they would say – helping them pursue deeper into the role, but at the current phase, I don’t think they’re in the state yet to confidently say “The role is like this.” Rudolf is a role that everyone already had an impression in mind of being “this kind of person”, but he’s also a someone multifaceted and one that makes you wonder what his true side looks like and a lot of those mysterious parts remains to be solved. That’s why I decided not to stick with just one archetype of the Crown Prince in a tragedy or a dreamer, but I hope to create him as someone that made the final decision because of various kinds of connections contributing to it...He could be as seen as one of the “turmoils” leading to the end of Habsburg history, but I don’t want to delve into why this “turmoil” happened, rather just deliver as how he is. Now Yuzuka-san is having trial-and-error for studying this role. I hope that towards the end, when she stands on the grand staircase for the prologue, she could really bring that role of Rudolf to life as it is. Then how did Madoka-chan (Hoshikaze) think of the role you’re playing as the baron’s daughter Marie Vetsera?

Hoshikaze: There were many performances portraying about the Habsburgs in this country at this time, and they were showcased in different perspectives. Since there were so many sources I could learn from, I tried not to confine myself to a particular image and studied the script word by word deeply. My objective is trying to interpret and living as the role of Marie Vetsera living in this story. This time when I read the script, even in parts where I would not be on stage, I’ve read all the scenes delicately and precisely trying to understand how all the roles would be played out, and with that, I could have a greater understanding for this production and be able to create my role.

Koyanagi: Even though Marie is someone who existed, there’s also the “Marie” as written by Shibata-sensei, so there’s many ways of shaping the role. In present, we think about what kind of existence Marie serves in this performance of “MAYERLING”. Not confining to the presupposed or fixated perception, I hope that you could see a Marie Vetsera in a novel perspective and see a new kind of Hoshikaze Madoka. How did Yuzuka-san and Hoshikaze-san think about Rudolf and Marie at this phase?

Yuzuka: As Ssensei just said, we’re not trying to bound ourselves to the image of the role, we’re trying to bring forth more of the warmth of the roles and create the essence of the roles. Rudolf is really a complicated kind of person and Marie is also quite like that.

Hoshikaze: (LOL)

Yuzuka: Since she’s a fan of the Crown Prince, she didn’t want to leave Vienna where he is from, right? She’s very insistent and strong-willed about that...Even quite stubborn, right?

Hoshikaze: Yes, yes (LOL).

Koyanagi: When I thought the role with Madoka-chan together, we thought that Marie didn’t leave not because she would feel lonely (without Rudolf) but because she was worried for the Crown Prince. “If I’m not here, I wouldn’t know how would he be feeling, that’s why I don’t want to leave” was the reason why.

Yuzuka: That’s also a way of showing that you like a person, right. It was interesting how Sensei described Marie visiting Rudolf as “going to the room of your idol”. Then when they first met, Marie said, “You always seem so lonely to me”...

Koyanagi: At that time, Rudolf was often at the Prater Park and he was popular amongst the Viennese women so many would probably feel that way if they could enter his room. This performance is where you can feel two kinds of charms from Marie – she has that pure feeling of admiration that’s close to liking him, and also that gentleness and inclusivity of wanting him to support him like a Saint Maria kind of figure.

Yuzuka: (facing to Hoshikaze) But the role suits you. You’ve “become friends” with Marie, haven’t you?

Hoshikaze: (LOL) How should I say it, it’s possible to say that it doesn’t feel like too distant imagining about Marie’s situation...

Yuzuka: Yes, yes, in terms of her mentality.

Hoshikaze: Yes, in terms of mentality. Because of that, I want to know more about her feelings, I want to ask some questions to her to understand her more.

Yuzuka: In that sense, we’re not just creating the picture of the misfortunate Crown Prince and that pure, adorable Marie, but I hope to present this human drama as why they chose this path.

Koyanagi: That’s how it is. Then, we have Rudolf’s cousin Johann Salvator played by Minami-san.

Minami: My honest feeling while reading the script was this is a very difficult role. Be it creating it from the inside, and output-wise he’s a role that is a storyteller to the audience from the start introducing Rudolf and Marie, so at first I’d have to convey the words exactly as they are and it feels like returning back to the roots of being as a stage performer. Practising solidly with myself, working on how to project my voice. About the role, I've spoken to Sensei about the biography booklet I wrote for Johann.

Koyanagi: This time, everyone was given the assignment to write a biography booklet of their roles. That’s how everyone can have some discoveries and there’s no right answer so at first you could write about some ways how you could come closer to acting this role. I also benefited from reading these biography booklet.

Minami: When I was talking with Sensei yesterday, I had a new realisation that Johann was quite a complex person in the House of Habsburgs. Since I discovered and felt a lot from the rehearsal classrooms, it feels like conversing with him every day that I can see how he felt and the face he shows to everyone else.  I’m trying to create that different part every day.

Koyanagi: As Minami-san said, Johann Salvator is a role of a storyteller so if you don’t concretely express it with words, you’d lose the characteristics of that role and become a machine merely explaining the story without character and emotion. This is a role where it’s difficult to maintain that balance. I think this is a role that you can’t convince even yourself if you don’t create it solidly from the inside. By (enhancing the persuasion in storytelling) is how you can go for trial-and error and go one level deeper. Then how about Mikaze-san who plays as Marie’s wet nurse Jessica?

Mikaze: While writing for the biography booklet, I didn’t write the full name of Jessica. The teacher pointed that out and I realised I wasn’t familiar with this person yet that I’m playing as Jessica...But now I don’t want to be just the role of Jessica but become her. Sensei did say that the movie “MAYERLING” had a strong impression and I tried watching it. Even though there’s no subtitles and I don’t understand the language, it really felt that the conversations amongst the characters were telling me their message. I realised how important it was to consider what the people were thinking at that time. What does Jessica’s presence mean in the House of Vetseras, how do I want the role to turn out are some of the things I think when creating this character.

Koyangi: That actress was really good at it and very convincing. I thought that as if she was really a Hungarian wet nurse (LOL). There are common patterns like “the maiden’s wet nurse” and the “prince’s servant” but I don’t want to have the conception this time. I’m aiming for this “MAYERLING” to be filled with the totality of the production tone and its chicness. On the Takarazuka stage, we want to go for the approach to be as close as making you imagine what kind of people are living in the houses of Vienna in 1888. From that aspect onwards, I feel that’s how we could have that kind of new wet nurse Jessica created. Then, how does Towaki-san feel about playing Rudolf and Johann’s other cousin, Archdue Ferdinand?

Towaki: In this new version of 2023 “MAYERLING”, I was thinking that one thing changed for Ferdinand. You can see Ferdinand is a good guy at a glance but I felt more how he was having these struggles and resisting them. For Rudolf-san, for Johann-san and also for Ferdinand, even though they have many choices and ways of live to decide on, in order to make Rudolf and Marie’s choice of death stand out more, I created my role thinking about the balance and nature of this role.

Koyanagi: In history, Franz Ferdinand was a famous person known for one of the reasons leading to the outbreak of the First World War. At first, I think it’s interesting that this kind of person is included and portrayed in “MAYERLING”. In history, it’s established that he was a resilient person, but this performance portrays a more tender side of his. "MAYERLING” shows both a “Before” and “After” side of Ferdinand, the latter connected a little bit more on his historical side. It was like feeling how Ferdinand was involved in this. With that kind of story, “MAYERLING” becomes a production overlapping with history. Also by portraying the three cousins Rudolf and Johann and Ferdinand together, you can see how they encountered their respective kinds of fate and lives they led.

Yuzuka: This time, there are scenes where the three dance together and when they talk to each other.

Koyanagi: Yes. That’s what I wanted to create more for the three’s relationship, what do you think?

Minami: ... It can’t be explained in a word.

Everyone: (LOL)

Yuzuka: That’s because from the moment they’re born, there’s a complex relationship coming out of it already.

Koyanagi: It’s a boys’ kind of friendship. But also it can't be explained with just that because the three do have some complicated struggles and other problems they’re dealing with.

Yuzuka: But they do get along. From the roots of it they do get along, but with some other external factors, they’ve become a relationship that can’t be explained with just a word.

Koyanagi: But they’re like normal guys that even though you’re childhood friends, you don’t want to lose to each other and sometimes they have things that they’re always so envious of. This time I think the relationship of the three is like: when politics is involved and they are being used, they are there to comfort each other. But the three standing together is very amazing, that alone is a delightful sight for the audience. Then onto Rudolf’s friends. How does Hozumi-san think about your role as Count Hoyos?

Hozumi: I love this period of history of Vienna. For me that’s living in the modern world, I may think that a change in one person’s behaviour must mean great transformations in history. But if people faced obstacles when they’re in chaos, they’d choose to take action, so I want to convince you Hoyos is also that kind of person. Since he really existed, while interpreting the nature of that period of time, I want to solidify the image of the frame we’re trying to form out of this performance. While continuing the rehearsals, it’s not just about where I should look or how I present my actions, but from the inside, firmly creating the role.

Koyanagi: Even though it’s common that there are friends to the protagonist, if you play those roles, the quality of the performance would be better. It’s great to have characters playing along with the prince, good friends that love wine. But it’s also good to discover that that’s not just it, and look into what kind of people they are and what are these people’s motivations. I look forward to what you are to express to the audience. Then, similarly also playing as Rudolf’s friend Prince Philipp, Ichinose Kouki-san.

Ichinose: I was surprised when I knew I would be playing a prince role (LOL). Playing as Yuzuka-san’s friend also makes me happy and excited to create this character. There were actually a lot of sources that remained for reference, and while speaking to Sensei about the biography booklet I wrote, I started understanding Philipp’s background and his resistance to the political system. There's Rudolf when he’s with his friends, and Rudolf when he’s with his cousins/princes. I hope that I could help make such natural contrast possible.

Koyanagi: Since Rudolf is a multi-faceted person, you can see another side in him when there are these two friends. If you think well about it, you may wonder why this complicated Rudolf who’s often anxious with these two bright people together?

Everyone: (LOL).

Koyanagi: Then towards the end, these two are also the people who actually saw Rudolf’s death, perhaps there’s some similarities that Rudolf shares with these two. Even Rudolf’s adjutant (Note = Captain Maurice played by Misora Maru) spoke with the two asking them “Please help His Highness”, from there you can see Rudolf isn’t really alone.

Yuzuka: Since Rudolf is really different when he’s with his cousins and when he’s with his friends, it’s interesting to bring out both kinds of acting, and his character becomes more dimensional. I’m still at the phase where I’m just “looking up to” Rudolf (LOL) and wasn’t able to think about his relationship with other friends yet, so I hope to become even closer to them.

Koyanagi: Then the two serve Rudolf, first we have the servant Loschek played by Loschek, Wataru-san.

Wataru: Loschek-san exists and gives an impression for me of someone with white hair and a comical character. I thought that would be the correct answer but I reflected again later on. Also Loschek-san was only described as “an old servant” and “reticent”, so he doesn’t speak much and there’s no other places I could present him. I’d have to rely on my actions to play him, but now instead of that, I thought about living and embodying the character from the script, therefore the first important thing is to create such a foundation for it.

Koyanagi: Things deemed acceptable change over time and that goes for actors too. Especially for a role like Loschek, I felt that the way of playing the role changes a lot. In that sense, you’d have to go back to ground zero and create it, and it's a difficult but important thing to bring such a memorable character to life. I hope that this character could be created from scratch to appear in the same place, to create a stage that looks different but the story is the same. Then, how does Seino-san feel about playing Rudolf’s carriage driver Bratfisch?

Seino: Bratfisch is Rudolf-san’s personal driver, and why did Rudolf chose Bratfisch to be close to him? It's probably his personality makes him a comfortable presence that Rudolf could allow him close...Even though that’s still my imagination. I want to bring out this charm of Bratfisch so I wanted to “talk more to him” about it. Also, I’ve discovered so much ideas from his lines. How do I make his role convincing from the lines I speak? As Minami-san has just said, I want to cherish my lines and set objectives for myself as I start honing the foundational parts.

Koyanagi: The same as I said for Loschek, playing Bratfisch is also difficult because it is a role that also changes with time (depending on how the actress plays him). Since he’s also someone that existed, he’s someone entertaining the aristocrats by singing and dancing. In other words, he is a Viennese taiko drummer, and I think Shibata-sensei tried to express that character in that way. The existence of taiko drummer itself may become unfamiliar in modern times, but I feel that it is necessary to devise ways to convey it to the present while preserving Bratfisch from how he looked in the premiere (in 1983). Above all, he’s an existence that was at the start and the end of Rudolf and Marie’s relationship, so I hope (Seino-san) could bring that out too. Then lastly, how does Hoshizora-san think of playing as Johann’s lover Milli Stubel?

Hoshizora: At first Koyanagi-sensei said, “If you’re confused you can talk to the character” and that was a very helpful deep reminder in my heart. So every night, I’d think of being in a cafe with Milli in my imagination (LOL). I hope to discover more about this woman. The script mentioned that she’s a civilian dancer that existed in real life. And from there, I tried to relate it to Rudolf’s suicide note wrote, “Thanks to the love and freedom Milli and you showed me.” To think what is this love? Why did Milli like Johann-san? And I’m in the phase where I just want to ask her many questions.

Koyanagi: I’d think that Milli’s presence could be seen together with Johann and Johann’s presence could be seen together contrasted with Rudolf. In Vienna, she existed in history as a ballet dancer, so when her relationship with Johann worked out, that affected Rudolf. As a way of presenting her, I’d say don’t express too forcibly but just accumulate the acting experience as it goes on and it would help enhance persuasion. It looks like you’ve seen the tip of an iceberg but there’s actually the foundation underneath that this role could make this performance more reasonable and persuasive to watch. From Milli’s biography booklet, we could know that Johann and Milli lived together.

Johann: Oh, I didn’t expect we’re going to talk about that here (LOL).

Yuzuka: Didn’t you write about that (in your biography booklet)?

Koyanagi: Yes, she did. (She wrote) “They were allowed to live together.” (LOL)

Minami: (LOL). Since I believe you can discover a lot from Johann and Milli’s impressions from their conversations, I want to only focus on how to make the conversations matter and as Sensei said, don’t try to overdo it. Because Rudolf must be able to see some kind of image in them, from now on we hope to deepen that so that he could see it acutely.

Koyanagi: Acting is all about preparation. Since it only takes one moment to put everything together in place, how should we create those unseen parts on stage leading to the ending? This is also what we try to do precisely this time, so we hope that the audience could look forward to how we’d present to you.

Roles and the nature of what we want to deliver in this performance

Koyanagi: Then finally from Minami-san, Hoshikaze-san and Yuzuka-san let’s hear about your aspirations (for this performance).

Minami: I have respect for the performance and the role and now I’m rehearsing by simply communicating with my role Johann and hoping to play well as him. Even in the rehearsal stage, the prologue is already very glamorous, and I’m also excited. Then when the curtains open on the grand staircase, it's wonderful seeing everyone on the staircase. The fact that we’re inheriting what’s passed down from generations is unfailing, and I hope that now all of us could do that and show you this greatest performance. We will prepare as much as we could as if we’re making the most of our ingredients, rather than adding more flavour into it.

Hoshikaze: As Minami-san said, it’s really an honour to perform yet another era of “MAYERLING” in the Grand Theatre and even now, I’d also imagine how amazing and glamorous it would be to start 2023 like this. I hope to deliver more than my expectations to the audience, so I’ll continue to converse with Marie in this performance. Because there is so much to learn more about her relationship with Rudolf-san and because there are many emotions coming out of this, I’d like to enjoy the rest of the rehearsals from that.

Yuzuka: Even in rehearsals, I still think “MAYERLING” is such a wonderful performance. The story is interesting on its own. The moment you hear the opening theme song, it reverberates in your heart like “It’s starting!” as you feel the power of the harmony, and the echoing of the live orchestra in the Grand Theatre, which is why now I’d look forward to it. With Koyanagi-sensei as the director this time, you can feel from every bit of the stage setting how gloomy the depressing vibes of the House of Habsburgs was, but also conveying that kind of royalty and solemnity. As we just mentioned about delivering a “chic MAYERLING”, the costumes are of high quality and fashionable, giving a touch to the era of the time, so I’m very excited to walk on stage in that ambience. Also personally for me, I’m not the best person at expressing what kind of person a certain character is...I think acting is about a way of presentation showing how a person is, and even though there are parts different from history, I hope Rudolf-san in heaven would think “I didn’t expect you to think so deeply”, so I want to cherish and value this time to learn more about him. While holding respect for him, I hope to create this performance as we all follow Koyanagi-sensei’s instructions and enjoy the fun of acting.

Koyanagi: There may be parts that confuse them since the approach was different than normal, but I could feel that everyone was working positively and having fun so the rehearsal room felt alive. I wasn’t always working as Shibata-sensei’s assisant, but to help everyone converse with their roles, I also asked my sensei how I should do it. Now I'm still unable to answer "why I’m the director this time” (LOL). Shibata-sensei was someone passionate about the completion of a work, and had the love for the siennes, and the enthusiasm to teach them. I thought if I learn from such a mindset, (”MAYERLING”) would turn out to be a good performance. The significance of performing “MAYERLING” this year is aiming not to forget the nature of the performance, and most importantly never stop loving the Takarazuka siennes. So I will remember these two points deeply in my heart so that when the curtain opens Shibata-sensei could say, “You are working hard!”. Everyone, let’s do well altogether.

Everyone: Yes!

[mayu-takahashi]

AURALEE 2022AW

Photography Jun Yasui

Styling Mayu Takahashi

Hair SIngo Shibata

Make up Asami Taguchi

[thecraggus]

Japanese high school girls are in big trouble in surreal blood-drenched art-house horror Tag (2015)

Japanese high school girls are in big trouble in surreal blood-drenched art-house horror Tag (2015) #MonthOfSpooks #Review

Very much not the bawdy Jeremy Renner comedy vehicle, “Tag” is a movie I’ll cheerfully admit to having tracked down after a bizarre gif piqued my morbid curiosity. Given that the gif shows a scene from the first ten minutes of the movie and it just gets weirder and more bizarre from there, that should give you an idea of what you’re in for.

From cult director Sion Sono, “Tag” brings us the story…

[kanashimitwilight]

[logray]

[alifetimeisntlongenough]

[recentanimenews]

The Summit of the Gods Anime Film's Japanese Dub Edition to Open in Japan on July 8

    The French-produced anime film adaptation of The Summit of the Gods manga illustrated by Jiro Taniguchi (Kodoku no Gourmet) will be released in Japan on July 8, 2022, in a Japanese dub edition. The film directed by Patrick Imbert was released in over 300 theaters in France in 2021, selling 130,000 tickets.

    Teaser trailer:

  RELATED: Netflix Releases Trailer For French "The Summit Of The Gods" Animated Film Adaptation 

    The manga was based on Baku Yumemakura's (Garouden, Onmyoji) 1998 novel of the same name, which on the 11th Shibata Renzaburo Prize. Taniguchi's manga adaptation also won the Excellence Prize of the 5th Japan Media Arts Festival's manga category in 2001. The novel was previously adapted into a live-action film in 2016, directed by Hideyuki Hirayama (Sword of Desperation).

  Its story follows a lone climber, Joji Habu, and a cameraman, Makoto Fukamachi, as they attempt the oxygen-free solo ascent of the Southwest Face of Mount Everest in winter, which is considered impossible, while approaching the greatest mystery in the history of mountaineering, "Did the mountaineer Mallory succeed in making the first ascent of Mount Everest?"

  The Japanese dub edition features Kenyu Horiuchi (Mashymre Cello in Mobile Suit Gundam ZZ) as Makoto Fukamachi, Akio Otsuka (Batou in Ghost in the Shell) as Joji Habu, Ryota Osaka (Nariyuki Yuiga in We Never Learn: BOKUBEN) as Habu's junior, Buntaro Kishi, and Asami Imai (Kurisu Makise in Steins;Gate) as Buntaro's sister and Habu's lover, Ryoko. 

    Japanese poster visual:

  RELATED: BELLE, Nikuko, Pompo, The Summit of the Gods Nominated for Annie Awards' Best Indie Feature

    Source: "The Summit of the Gods" Japanese official website

  (C)Le Sommet des Dieux - 2021 / Julianne Films / Folivari / Melusine Productions / France 3 Cinema / Aura Cinema

  By: Mikikazu Komatsu

[zukalations]

Snow Troupe star Ayakaze Sakina tearfully thanks fans on opening day of lead show

I haven’t been posting much lately, but since there is actual news I figured I should make sure you’re updated.

This article was originally published on August 29 in Nikkan Sports (there is no author credit, but I think it was probably Murakami Kumiko). Please click through to see photos.

Note: I am sure there are different opinions on how Takarazuka has been handling the coronavirus situation. If you have criticisms please reserve them for the company, and not any of the performers.

Snow Troupe star Ayakaze Sakina tearfully thanks fans on opening day of lead show

After being twice rescheduled due to the effects of the novel coronavirus, Snow Troupe star Ayakaze Sakina's lead show, Fiery Bolero/Music Revolution! New Spirit, opened on the 29th in the Umeda Arts Theatre, Osaka. It plays until September 6th.

Ayakaze and the rest of the cast spent the two days before opening in dress rehearsal, putting the finishing touches on their performance. At the end of the final rehearsal, the night before opening day, Ayakaze tearfully voiced her gratitude to the staff and the fans waiting for the performance, saying "Thank you so much, everyone [that we are able to open despite the coronavirus]".

This performance was originally scheduled as a national tour lead for Ayakaze, one of the major stars of Snow Troupe, after Top Star Nozomi Fuuto announced she would be retiring, and was planned to open in May. In March, the 35 cast members gathered and began rehearsals, but in April a state of emergency was announced and rehearsals were put on hold. The national tour was cancelled before it could open.

According to someone connected to the company, "there were performers crying" when the cancellation was announced. Afterwards, the theatre changed performance schedules. The production began preparing for performances in the Umeda Arts Theatre in Osaka from August 17-25, and in July rehearsals resumed after a 3 month gap.

However, the situation was still crowded, and rehearsals were once again stopped after one of the scheduled cast members registered a positive result on a PCR test. Opening was postponed. After getting over these two delays, the show finally opened almost 4 months after it was originally scheduled.

The play, Fiery Bolero, is an original work written by the late Shibata Yukihiro, premiering in 1988, when it starred Star Troupe Top Star Hyuuga Kaoru. For this revival, the show is directed by Nakamura Satoru. It is set in 1860s Mexico, at the time when it was under French dominion. The play tells the story of a young nobleman who, after losing his family and estate to a failed rebellion attempt, decides to rise up and take back his country.

Ayakaze, in the lead, plays young nobleman Alberto. Alberto falls in a fateful love with Jun Hana's character, the daughter of one of his enemies. Popular star Asami Jun gave a great performance as a captain in French intelligence who is hunting Alberto.

As it was originally scheduled to be a national tour, it is a double feature production featuring a revue show*. The revue, created and directed by Nakamura Kazunori, is a renewal of a revue that toured in 2019, themed after all different kinds of 'music'—jazz, rock, Latin, pop, classical... Ayakaze, who uses her long legs and ideal proportions to her advantage, charmed the fans with the ease in dance that she is known for.

* I am not quite sure why this is being stated as a logical equivalence; there have been single-feature plays as national tours, and double features have played in Umeda (though this is slightly rare).

[puroresu-musings]

NJPW WRESTLE KINGDOM 14 Night 2 Review (Jan 5th 2020, Tokyo Dome)

NEVER OPENWEIGHT 6-MAN TAG TEAM CHAMPIONSHIP MATCH/GAUNTLET MATCH: Togi Makabe, Toru Yano & Ryusuke Taguchi (c) vs. Tomohiro Ishii, YOSHI-HASHI & Robbie Eagles vs. Shingo Takagi, EVIL & BUSHI vs. Taichi, El Desperado & Yoshinobu Kanemaru vs. Bad Luck Fale, Yujiro Takahashi & Chase Owens  **3/4

JUSHIN THUNDER LIGER RETIREMENT MATCH Ⅱ: Jushin Thunder Liger & Naoki Sano vs. Hiromu Takahashi & Ryu Lee  ***1/2

IWGP Jr. HEAVYWEIGHT TAG TEAM CHAMPIONSHIP MATCH: El Phantasmo & Taiji Ishimori (c) vs. SHO & YOH  ***1/2+

BRITISH HEAVYWEIGHT CHAMPIONSHIP MATCH: Zack Sabre Jr. (c) vs. SANADA  ****

IWGP US HEAVYWEIGHT CHAMPIONSHIP MATCH: Jon Moxley (c) vs. Juice Robinson  ***1/4

NEVER OPENWEIGHT CHAMPIONSHIP MATCH: KENTA (c) vs. Hirooki Goto  ****

Kota Ibushi vs. Jay White  ****

Hiroshi Tanahashi vs. Chris Jericho  ****1/4

IWGP HEAVYWEIGHT AND IWGP INTERCONTINENTAL DOUBLE CHAMPIONSHIP MATCH: Kazuchika Okada (Heavyweight Champion) vs. Tetsuya Naito (Intercontinental Champion)  *****

Photos.

This was an excellent show that, despite being the “deeper” card, ended up not quite being up to the standard of yesterdays phenomenal show, which burnt me out in some respects. Which isn’t a slight at all. It did, however, feature a ton of really memorable moments, a whole bunch of great matches, and an all-time classic of a main event. Things began on the pre-show with an entertaining, but ultimately superfluous gauntlet match for the NEVER 6 Man Titles, which proved to just get as many people as possible on the show. It boiled down to defending champions Taguchi, Makabe and Yano, and the LIJ trio of Shingo, EVIL and BUSHI as the final two teams. To the surprise of no one, the Ungovernables won the most meaningless belts in the company, when Takagi pinned Taguchi with Made In Japan. The main show kicked off with the final match of Jushin Thunder Liger’s career. This was an emotional bout, which really helped enhance the action as if it weren’t Liger’s last outing, it would literally have been just a match. Obviously, the action was driven by Liger’s altercations with Hiromu, and the masked legend was more motivated then he’s been since the Suzuki match in October. Also, Liger’s trainer, Yoshiaki Fujiwara was out there, which made things seem extra special. Lee and Sano both hit dives, but largely weren’t much involved in the bulk of the action. After Liger scored a great near fall on the new Jr Champion after a big Shoutei and a Brainbuster (it certainly isn’t easy watching Takahashi bump on his neck!), Hiromu rallied back with the Death Valley Bomb into the corner, then tries Time Bomb, but Liger turns it into a cradle for another near fall. A lariat from Takahashi follows, as does the Time Bomb, and the long time “Ace” of the Junior division puts the current “Ace” over in the most decisive way possible after 12:16 of very good action. Hiromu got in Liger’s face in the post match, but the former Dragon Lee helped the legend to his feet and bowed to him. Liger then got the mic and thanked everyone for their support over the last 31 years, before heading to the back and signing off on a truly marvelous career.

The Jr tag title match had a difficult time following that emotional ride, as the crowd weren’t too invested early, but it was still a borderline great doubles clash. The story here was Phantasmo getting his comeuppance after a year of being a dick, and the babyface team finally vanquished him to win the belts. The finish saw SHO hit the Daisuke Sekimoto double German Suplex on both champions, and after kicking out of an ELP Styles Clash, he outsmarted the dastardly heel when he no-sold a dick punch, which Phantasmo has been using to win matches for months, including their really great singles showdon in San Jose, revealing he was wearing a cup all along. The challengers took Ishimori out with 3K, then pinned Phantasmo at the 14:08 mark with their new finish; a double stomp/Shock Arrow combo they’re calling STRONG X. The RPW British Title encounter between Zack Sabre Jr. and SANADA was an excellent match. It was quite unlike anything else on either show, and was just a fascinating, mat-based struggle. Super fast paced, and revolving around amazing counter sequences, this never stopped for it’s entire 12:32 runtime, and both guys looked great here. Zack avenged his G1 defeat by retaining over Cold Skull, when they traded a series of cradles in hyper speed, then ZSJ finally locked in the European Clutch to take the win. The Moxley/Juice US Title bout that followed was by far the weakest match these two have had together, and also the weakest match on the main card of this show. It was fine, but felt flat, and Moxley retained when he hit a Double Arm DDT out of nowhere, rolling through into Death Rider and taking the win at 12:48. The post match though, was great, as Minoru Suzuki came out, clearly sore about that DDT Mox gave him at the WTL Finals show in December, locked him in a rear naked choke, then laid him out with the Gotch Piledriver. That should be an interesting match indeed.

Ten years ago, I’d have killed for a KENTA/Hirooki Goto match, and we finally got it here in 2020. It wasn’t anywhere near as good as it would have been back then (mainly due to KENTA’s current physical limitations, and Goto’s staleness), but it was still a great, hard-hitting battle. KENTA stalled early, because he’s a master heel, but it built into a compelling slugfest. The defending champion got a near fall after hitting Shibata’s PK on Shibata’s childhood friend, and a Busaiku Knee, but after a really stiff strike exchange, Goto puts him away after an Ushigoroshi, the GTW, and the match winning GTR at 16:12, and win maybe his 63rd NEVER title, just to continue the rut he’s in. The battle of the double championship losers between Jay White and Ibushi, a rematch of the superb G1 final in August, couldn’t possibly live up to that, given its placement here, and as a result was something of a disappointment, despite being excellent. After Switchblade turned a top rope frankensteiner attempt into a massive Uranage Superplex, and further dropped Ibushi on his head with a nasty looking Sleeper Suplex, the Golden Star battled back with a Boma Ye, then tried Kamigoye, but White pulled Ibushi into referee Marty Asami (who took a bump like he was Curt Hennig), which was the cue for Gedo to run in. He nailed Kota in the back with a chair, who no-sold it, got the “murder eyes”, and floored Gedo with a palm strike. After the ref resurfaced, Ibushi destroyed White with kicks, and hit a stiff Kamigoye, but the dastardly Gedo pulled Asami out whilst he counted. This allowed Jay to throw a chair straight at Ibushi’s head, then Gedo hit a brass knucks shot, allowing White to hit the cross-arm Bloody Sunday and Blade Runner to steal the win in 24:58. Going into this weekend, I theorised that Ibushi was likely the one of the four to go winless this weekend. This is because New Japan do 50/50 booking more often than some would like to admit, and that he had to give his G1 wins back. Ibushi was not happy in the post match.

The semi final saw reigning AEW World Champion Chris Jericho take on The Ace himself, Hiroshi Tanahashi, in something of a dream match with a much talked about potential future title match on the line. I loved this, even though it wasn’t close to being the best match on the show, and both guys have seen better days physically (though it must be said, cosmetically speaking, Tanahashi looks 20 years younger than Jericho), this was a lot of fun, with both veterans clearly having a blast. Jericho took it outside early, hitting a dangerous looking DDT onto the English announce table, but tries a High Fly Flow of his own, and misses. The shot of Tanahashi grinning in glorious fashion because Jericho had missed was tremendous. Tana blocks a Lionsault attempt by dumping Jericho to the floor, then hitting a HFF to the outside. He nailed a series of Dragon Screws, blocks a Code Breaker, and works over the leg with more Dragon Screws. Tana misses the High Fly Flow, and Le Champion hits the Lionsault but the damaged knee prevents him from covering in time, and Tanahashi kicks out. After escaping a Walls Of Jericho, Tana goes up for another HFF, but Jericho turns it into a mid-air Code Breaker. The Ace blocks a Judas Effect and hits a Code Breaker of his own, which busted up Jericho’s mouth, but the former Y2J counters a Sling Blade into the Walls, which Tana turns into a cradle for a 2 count. Tana tries another Flow, but Jericho rolls through into the Walls, and transitions into the high-angle old school Lion Tamer in the centre of the ring. After a mighty struggle, Tanahashi had no choice but to tap at the 22:24 mark. This was great stuff and the crowd were really into it.

And in the main event of the evening, both the IWGP Heavyweight and Intercontinental Titles were on the line in a winner-takes-all match between Okada and Naito. This was the culmination of a 6 year (!) story in which Naito promised, after winning the 2013 G1, that he’d beat Okada at the the Dome (he didn’t), which became an obssession to Naito after failing to do so again in 2018. But this year, he was determined to get the job done. First things first, this was an outstanding wrestling contest, filled with amazing drama and emotion, and is the best match these guys have ever had together. With the stakes so high, the crowd were super into this from the get-go and it lead to an amazing atmosphere. This started slow, but picked up tremendously after Okada started working over Naito’s injured knee, even planting him knees first through a ringside table, much to the crowds chagrin, and leading to a great countout tease. After taking a huge missle dropkick, Naito escapes a Rainmaker attempt, but eats a nasty German, which Okada rolls through into another Rainmaker attempt, but Naito turns it into a Tornado DDT. Naito hits Gloria, then a terrifying top rope reverse rana, which Okada lands right on his head for, scoring a great near fall. After escaping a Destino attempt, Okada beautifully dropkicks Naito out of the air as he tries his flying forearm, but eats a running Destino for another great near fall. Naito tries another Destino, but Okada shoves him into the ropes, and hits another big dropkick for the double down. Both men start “selling” exhaustion big, and Naito slaps Okada, resulting in him taking a Spinning Rainmaker. Naito fights back, but Okada turns a Destino attempt into a Tombstone, then hits Rainmaker for another great near fall. Naito spits at Okada, which causes him to start stomping on the injured knee to the crowds dissmay, earning loud boos. He hits two short Rainmakers, but Naito counters a third into Destino, again for a two count. Naito then turns the clocks back five years, and hits his old babyface finish; the Stardust Press (a move he missed at WK12, which ultimately cost him the match), but Okada gets the shoulder up at 2.999 as the crowd goes insane. Naito tries Destino again, but Okada blocks and tries the Fire Thunder Driver, only for Naito to escape and drop Okada on his head again with Valentia. He then lifts Okada up and hits another Destino, this time getting the win at the 35:37 mark and fulfilling his “Destiny” in becoming the first ever double champion. This was outstanding.

What more can be said about Okada at this point? He’s essentially the greatest of all-time, and it’s incomprehensible to think of someone having two matches as good as this and his match with Ibushi yesterday, on two consecutive days. As for Naito, it’s his time to win the big one, as it’s either now or never for him. He’s clearly very banged up, sometimes clearly phoning it in, and the state of his neck and knees is pretty worrying (it’s slightly ironic that someone who is a huge Keiji Muto fan would follow suit in having utterly devastated knees by his mid 30′s). Either way, this was fantastic storytelling and an amazing blow-off to a years-long story arch. Naito in the post match gives a shout out to Okada, and tells him they need to do it again. Okada, who whilst being helped to the back, gives Naito his own fist bump pose in the affermative. However, before Naito can finish his victory speech, evil heel KENTA runs in out of nowhere, hitting a clothesline and a PK, then killing the new double champ with Go 2 Sleep, before sitting on his chest cross-legged, holding up both titles and laughing. BUSHI arrives, chasing off KENTA, then helps a beaten down Naito to the back as the Dome booes loudly. I know a lot of people are mad about KENTA ruining Naito’s big moment (and God forbid Naito fans have something to be mad about), and it really isn’t an ideal wayto end such a historic show, but it’s the perfect way to get KENTA over as a believable challenger, someone who the crowds are sometimes cold towards, seeing him still as an ‘outsider’. But now everyone is going to want to see him get his for ruining such a momentus occasion, and it may provoke the usually tranquil Naito into being a lot more fired up than usual.

NDT

[passwordishp]

[zukadiary]

Takarazuka week-end roundup 8.30.19

Not a LOT going on but:

The next round of Tsukigumi small theaters was announced. The top combi will be leading The Red and the Black in Misonoza, the theater that has taken Chuunichi’s place for Takarazuka performances in Nagoya. This is based on the novel, was adapted by the late Shibata-sensei, and has been performed several times.

Meanwhile, the Drama City/Brillia Hall split will go to Hozuki An, and it appears to be about aliens living in Edo-era Nagasaki.

Tsukishiro Kanato, Asami Jun, Minami Maito, Seo Yuria, and Sakuragi Minato will be getting their first photobooks

Based on a number of fans’ recent experiences and confirmed via email by the company, it seems that in yet another effort to curb scalping by punishing the theatergoers rather than the sellers, Hankyu has removed the seat assignments from the tickets purchased on the English website. For Tokyo, where the seats are essentially always the same, this is no big deal; however, in Takarazuka, where the seats range from the 6th to the 24th row, I’m personally very frustrated that you now have to roll the dice with just S, A, or B and wait until the day of to find out where you’re sitting.

[yuzukahibiscus]

【Performance Review】Takarazuka Revue Flower Troupe “MAYERLNG“

Takarazuka Revue Flower Troupe Performance starts performing in the Tokyo Takarazuka Theatre from February 18 onwards.

Musicla Romance “MAYERLING” (Original work / Claude Anet, Script / Shibata Yukihiro, Adaptation・Direction/Koyanagi Naoko) and Takarazuka Spectacular “ENCHANTMENT–A Luxurious Perfume–” (Script and Direction / Noguchi Kousaku) is a two-set work. It will be performing till March 19.

(Source taken from mati sowa // Spoilers below the cut)

“MAYERLING” is one of the post-Takarazuka productions wirtten by the late Shibata who died in 2019.

The Takarazuka Grand Theatre, Tokyo Takarazuka Theatre performance premiere was done in 1983 by Snow Troupe Top Star Asami Rei. It was performed again 10 years later in 1993 by Star Troupe (Top Star Shion Yuu), and it has been 40 years since the premiere this year, so it’s a show performed after 30 years (in the Grand Theatre).

The story is based on the actual tragedy of the incident involving Austria Crown Prince Rudolf and the baroness’ daughter Marie Vetsera.

Rudolf is the son of Queen Elisabeth. This is different from the young Crown Prince that was being “tricked by” in the musical “ELISABETH”, which portrays the extraordinary life of the Queen and how “Death” was captivated by her beauty, instead this is a young man who is frustrated by politics, has his opinions and pursues true love.

Director Koyanagi explained in the pamphlet sold in the theatre (programme), “I’m not going to go odd with it, instead I’m going to approach the performance as how it is.”

Top Star Yuzuka Rei followed such direction and expressed various of Rudolf’s feelings of frustration, sense of giving up, his struggle, his passion in a completely restrained manner, like a quiet, blue flame.

On the other hand, her partner Hoshikaze Madoka  played Marie, a warm-hearted maiden. Cheerful, adorable, immediately captivating the heart of Rudolf. Her loveliness is what made the tragedy of their love stand out.

“My beloved Rudolf”. Marie fell asleep upon saying her lover’s name sweetly during the climax. As the intense music of the waltz came abruptly to its end, Rudolf slowly pulled the trigger. “United by love until after death” After their struggle with fate, that was the last form of their love remained.

【公演評論】寶塚歌舞團花組「梅耶林」

寶塚歌劇團花組公演於2月18日起在東京寶塚劇場開演。

浪漫音樂劇「梅耶林」（原作/Claude Anet，劇本/柴田侑宏，潤色・執導/小柳���穂子）和Takarazuka Spectacular「ENCHANTMENT-華麗的香水-」（腳本和指導/野口幸作）是兩套作品。公演將繼續到3月19日。

（以下為劇透）

「梅耶林」是 2019 年去世的已故柴田創作的戰後寶塚作品之一。

寶塚大劇場，東京寶塚劇場的首演於1983年由雪組TOP STAR麻実れい主演，今年是時隔30年（大劇場）的公演。10年後於1993年由星組（TOP STAR紫苑ゆう）再演，今年時隔首演已經40年，而也是事隔30年到大劇場演出。

故事取材於奧地利皇太子魯道夫和男爵夫人千金瑪麗 · 韋策拉所發生的真實悲劇。

魯道夫是伊麗莎白女王的兒子，與描繪女王不平凡的一生，「死神」被她的美貌所迷惑的音樂劇「伊麗莎白」那個被愚弄的年輕皇太子不同，這是一個為政治苦惱，有主見，追求真愛的青年。

導演小柳在劇場出售的小冊子（場刊）中解釋：「我不以奇異的形式，而是要按正面來指導公演。」

TOP STAR柚香光也順著這樣的方向，將魯道夫的各種挫折、自棄、掙扎、激情感完全克制地表現出來，就像一團安靜的藍色火焰。

另一方面，她的搭檔星風まどか飾演的暖心少女瑪麗，開朗可愛，一下子俘獲了魯道夫的芳心，她的可愛讓他們的愛情悲劇更凸顯出來。

「我最愛的魯道夫」，高潮時瑪麗甜甜地念著愛人的名字就睡著了，隨著華爾茲激昂的樂曲戛然而止，魯道夫緩緩扣動扳機。「為愛攜手  至死不渝」與宿命爭鬥以後，這是他們最後的愛情。

[mateushonrado]

Status Post #8047: Super Sentai 101-200

Row 1 - Carranger (Yellow, Pink and Blue) [Yellow Racer: Natsumi Shinohara (Yuka Motohashi), Pink Racer: Yoko Yagami (Atsuko Kurusu) and Extra Hero (Blue): Signalman (Yoshinori Okamoto and Kenji Takechi in some episodes, voiced by Hochu Otsuka)], Megaranger [Mega Red: Kenta Date (Hayato Oshiba), Mega Black: Kouichirou Endou (Atsushi Ehara), Mega Blue: Shun Namaki (Masaya Matsukaze), Mega Yellow: Chisato Jougasaki (Eri Tanaka), Mega Pink: Miku Imamura (Mami Higshiyama) and Mega Silver: Yuusaku Hayakawa (Shigeru Kanai)] and Gingaman (Red) [Ginga Red: Ryouma (Kazuki Maehara)]

Row 2 - Gingaman (Green, Blue, Yellow, Pink and Black) [Ginga Green: Hayate (Koji Sueyoshi), Ginga Blue: Gouki (Shoei), Ginga Yellow: Hikaru (Nobuaki Takahashi), Ginga Pink: Saya (Juri Miyazawa) and Black Knight: Hyuuga (Teruaki Ogawa)] and GoGoV [Go Red: Matoi Tatsumi (Ryuichiro Nishioka), Go Blue: Nagare Tatsumi (Kenji Taniguchi), Go Green: Shou Tatsumi (Atsushi Harada), Go Yellow: Daimon Tatsumi (Kenji Shibata) and Go Pink: Matsuri Tatsumi (Kayoko Shibata)]

Row 3 - Timeranger [Time Red: Tatsuya Asami (Masaru Nagai), Time Pink: Yuri (Mika Katsumura), Time Blue: Ayame (Yuji Kido), Time Yellow: Domon (Shuhei Izumi), Time Green: Sion (Masahiro Kuranuki) and Time Fire: Naoto Takizawa (Shinji Kasahara)] and Gaoranger (Red, Yellow, Blue and Black) [Gao Red: Kakeru Shishi (Noboru Kaneko), Gao Yellow: Gaku Washio (Kei Horie), Gao Blue: Kai Samezu (Takeru Shibaki) and Gao Black: Soutaru Ushigome (Kazuyoshi Sakai)]

Row 4 - Gaoranger (White and Silver) [Gao White: Sae Taiga (Mio Takeuchi) and Gao Silver: Tsukumaro Ogami (Tetsuji Tamayama)], Hurricaneger [Hurricane Red: Yousuke Shiina (Shun Shiyoa), Hurricane Blue: Nanami Nono (Nao Nagasawa) and Hurricane Yellow: Kouta Bitou (Kohei Yamamoto)], Gouraiger [Kabuto Raiger (Crimson): Ikkou Kasumi (Yujiro Shirakawa) and Kuwaga Raiger (Navy): Isshu Kasumi (Nobuo Kyo)], Hurricanger (Green) [Shurikenger (Green): Asuka Kagura (Koji Kimura, voiced by Taiki Matsuno in suit, hence Matsuno's pic represents what Asuka would've looked like prior to renouncing his name and face, which forced him to remain in his costumed form permanently)] and Abaranger (Red and Blue) [Aba Red: Ryouga Hakua (Koichiro Nishi) and Abare Blue: Yukito Sanjyou (Shou Tomita)]

Row 5 - Abaranger (Yellow, Black and White) [Abare Yellow: Ranru Itsuki (Aiko Ito), Abare Black: Asuka (Kaoru Abe) and Abare Killer (White): Mikoto Nakadai (Kotaro Tanaka)] and Dekaranger (Red, Blue, Green, Yellow, Pink, White and Black) [Deka Red: Banban Akaza (Ryuji Sainei), Deka Blue: Houji Tomasu (Tsuyoshi Hayashi), Deka Green: Sen'ichi Enari (Yousuke Itou), Deka Yellow: Marika Reimon (Ayumi Kinoshida), Deka Pink: Koume Kodou (Mika Kikuchi), Deka Break (White): Tekkan Aira (Tomozaku Yoshida) and Deka Master (Black): Doggie Kruger (Hideaki Kusaka, voiced by Tetsu Inada)]

Row 6 - Dekaranger (Orange/White) [Deka Swan (Orange/White): Swan Shiratori (Mako Ishino)], Magiranger [Magi Red: Kai Ozu (Atsushi Hashimoto), Magi Yellow: Tsubasa Ozu (Hiroya Matsumoto), Magi Blue: Urara Ozu (Asami Kai), Magi Pink: Houka Ozu (Ayumi Beppu), Magi Green: Makito Ozu (Yuuki Ito), Magi Shine (Gold): Hikaru / Sungel (Yousuke Ichikawa), Magi Mother (White): Miyuki Ozu (Azusa Watanabe) and Wolzard Fire: Isamu Ozu / Blagel (Tsutomu Isobe)] and Boukenger (Red) [Bouken Red: Satoru Akashi (Mitsuomi Takahashi)]

Row 7 - Boukenger (Black, Blue, Yellow, Pink, Silver and Gold) [Bouken Black: Masumi Ino (Yasuka Saitou), Bouken Blue: Souta Mogami (Masahi Mikami), Bouken Yellow: Natsuki Mamiya (Chise Nakamura), Bouken Pink: Sakura Nishihori (Haruka Suenaga), Bouken Silver: Eiji Takaoka (Masayuki Deai) and Extra Hero (Gold): Zubaan (Riichi Seike, voiced by Hideyuki Hori)], Super Sentai Generations [Aka Red (Keizo Yabe, voiced by Toru Furuya)] and Gekiranger (Red, Yellow and Blue) [Geki Red: Jan Kandou (Hiroki Suzuki), Geki Yellow: Ran Uzaki (Mina Fukui) and Geki Blue: Retsu Fukami (Manpei Tagaki)]

Row 8 - Gekiranger (Violet, White, Black and Green) [Geki Violet: Gou Fukami (Riki Miura), Geki Chopper (White): Ken Hisatsu (Sotaro Yasuda), Black Lion: Rio (Hirofumi Araki) and Green Chameleon: Mele (Yuka Hirata)] and Go-onger (Red, Blue, Yellow, Green, Black and Gold) [Go-on Red: Sosuke Esumi (Yasuhisa Furuhara), Go-on Blue: Renn Kousaka (Shinwa Kataoka), Go-on Yellow: Saki Rouyama (Rina Aizawa), Go-on Green: Hant Jou (Masahiro Usui), Go-on Black: Gunpei Ishihara (Kenji Ebisawa) and Go-on Gold: Hiroto Sutou (Hidenoki Tokuyama)]

Row 9 - Go-onger (Silver) [Go-on Silver: Miu Sutou (Yumi Sugimoto)] and Shinkenger [Shinken Red: Takeru Shiba (Tori Matsuzaka), Shinken Blue: Ryunosuke Ikenami (Hiroki Aiba), Shinken Pink: Mako Shiraishi (Rin Takanashi), Shinken Green: Chiaki Tani (Shogo Suzuki), Shinken Yellow: Kotoha Hanaori (Suzuka Morita), Shinken Gold: Genta Umemori (Keisuke Sohma) and Princess Shinken Red: Kaoru Shiba (Runa Natsui)] and Goseiger (Red and Pink) [Gosei Red: Alata (Yudai Chiba) and Gosei Pink: Eri (Rika Satoh)]

Row 10 - Goseiger (Black, Yellow, Blue and Silver) [Gosei Black: Agri (Kyousuke Hamao), Gosei Yellow: Moune (Mikiho Niwa), Gosei Blue: Hyde (Kento Ono) and Gosei Knight (Silver): Groundion (Jiro Okamoto, voiced by Katsuyuki Konishi)] and Gokaiger [Gokai Red: Captain Marvelous (Ryota Ozawa), Gokai Blue: Joe Gibken (Yuki Yamada), Gokai Yellow: Luka Millfy (Mao Ichimichi), Gokai Green: Don Dogoier (Kazuki Shimizu), Gokai Pink: Ahim de Famille (Yui Koike) and Gokai Silver: Gai Ikari (Junya Ikeda)]

[wherever-i-look-blog]

Kokkoku: Season 1/ Episode 2 "The Second Moment" - Recap/ Review (with Spoilers)

#Kokkoku: Season 1/ Episode 2 "The Second Moment" - Recap/ Review (with Spoilers)

As some of the rules of the stasis are established, there are tests to see what the overseers may and may not allow. (more…)