#ayaki hikari

[zukalations]

the REVUE THEATRE - May 2022

Find the latest post here.

Nagina Ruumi, Towaki Sea, Ayaki Hikari, and Ayami Sera give recommendations of their favorite shows!

[yuzukahibiscus]

230519 花組東京建物 BRILLIA HALL公演　二人だけの戦場　千秋楽

[Yuzuka Rei’s Senshuuraku Speech 千秋楽ご挨拶]

Everyone, thank you for coming to the Tokyo Totemono Brillia Hall Flower Troupe “A Battlefield for the Two of Us” Senshuuraku Performance. I am Yuzuka Rei of Flower Troupe.

We received so much support in these days and more than anything the applause every day gave us so much strength till today. Thank you so much again.

During this performance, I thought again how many lessons I’ve learnt, from the stage to the audience, sharing this time and space with the audience, it’s like acquiring new affirmations and I was able to experience every moment while acting and encountered many amazing moments, and for that I’m immensely grateful so thank you for your warm support.

Tomorrow onwards, we will be meeting new performances and new roles, and while we each complete our tasks and commit to our responsibilities, we will do our best in our stage. From the things we’ve learnt and felt in this performance, we will utilise all of it to our next performance, so please support us greatly. Thank you very much!

There were 3 other curtain calls but I will also omit here.

The second curtain call was Rei talking about the significance of this performance and how we look at war and peace in the current times.

The third one is a flex of dry jokes in the curtain calls so I will include it here.

(*Read first about the origin of dry jokes in the curtain calls “A Battlefield For the Two of Us” here!)

Firstly I’m so Ure-sinclair (*嬉しい + シンクレア = Happy) that all of us could safely embrace Senshuuraku together. Thank you so much!

This was a short performance period, so every day became fulfilling, it’s so Ito-sinclair (愛しい + シンクレア = *Loveable). Knowing that it’s going to end today, it’s very Sami-sinclair (寂しい + シンクレア = *Lonely/difficult to bid goodbye). Because you know how warm and Oka-sinclair (可笑しい + シンクレア = *funny) this space was! Sorry for saying this but for the things we’ve learnt in this performance, we will take them with us and move forward.

Also this was a performance that I said the most dry jokes ever. Maybe from tomorrow on, as a goal I’ll still try to speak more dry jokes, and not be in lack of Strozek-ism. (Strozek is the role played by Takashou Mizuki, replacing 『絶句』されないように, which means “I try to not speechless for [the dry jokes]” and be careful to keep these [dry jokes] going on.

Everyone’s so kind! That you all laugh to these many dry jokes...this is quite rare because I won’t be like this normally, but yes thanks for being so kind.

When you came today, the weather’s probably raining Hauzers and Hauzers (ザザハウザ, with Hauzer being the role played by Rinjou Kira) As you know I learnt this all from Hauzer-san, so thank you all for appreciating these jokes... 

Please forgive me for these dry jokes today. So I’ll sincerely await for the time I’ll meet with everyone again. Thank you very much!

The fourth one is a Flower Troupe pose led by Ayaki Hikari! (+ a request by Rei to Kaito Asahi on a pose Rei will NEVER do.)

[zukadiary]

TAKARAZUKA ROUNDUP 2022.10.6

Obvs I have totally given up on any kind of regular schedule here, but today was one of those fun absolutely bonkers days I love to wake up to so here's a special edition roundup:

ICYMI, last week Makaze Suzuho and Jun Hana announced their mutual taidan. They will be leaving with Casino Royale in June. Their successors have not yet been announced.

The off day at the Grand Theater, which has been Wednesday forever, will be switching to MONDAY as of Yukigumi's opening day in April. Don't go to Takarazuka for food or shopping on a Monday because everything will be closed.

The official Takarazuka website has been updated, in a way that in my opinion as a professional designer is both less attractive and more confusing

Ayaki Hikari will be moving from Hoshigumi back to her original Hanagumi on Feb 13

The March/April Hoshigumi small theater shows have been announced. Rei Makoto will be starring in Le Rouge et le Noir in Drama City, as of today by herself, while her partner Maisora Hitomi goes on National Tour with Nagina Ruumi in Valencian Passion / Passion d'Amour AGAIN, the latter of which is presumably a revue adaptation of Kacha's 2020 solo concert. This is all incredibly fishy for numerous reasons.

Also ICYMI, JAPAN IS REOPENING TO ORDINARY UNREGULATED TOURISM on October 11, after more than 2 1/2 years. Get your Skype numbers and Takarazuka IDs and club paperwork and thick skin in order because it's a new world over there

[keepthisholykiss]

April 2021, Kageki, Ayaki Hikari’s “e to bun” translation - or - the one with all the Montague Information

Okay, alright I am back with another funky little casual and ~* fun *~ translation. Since Ayaki Hikari has an e to bun column right now I, of course, am under legal obligation to read it. Which means that I might as well go ahead and translate it for folks too. And boy, this one is important. If you’re at all interested in the very... very minor details of the background of Hoshigumi’s current production of Romeo and Juliet then I am happy to provide this content to you for the next three months. This month Akachan covered the entirety of the Montagues. By the sounds of it she will hopefully be covering the Capulets next month so look out for that or whatever else it could be when I translate that next month. For now, I leave you with this monstrosity of content, please do enjoy. And know that, yes, I tried my damnedest to make a chart of these relationships and it was just too messy I could not make it work so, good luck.

The Situation in Verona, As I Reveal It - Ayaki Hikari (title credited to: Iroha Reo) Hello to all the readers of Kageki. My name is Ayaki and I am Benvolio in the B Cast of “Romeo and Juliet.” I would like to take this opportunity to introduce the profiles of all my Montague friends in the same style as “Takarazuka Otome.”  Each person answered the following questions: (1) Role (2) Family structure (3) Is there someone you are in love with? That you are friends with? (4) Points of interest that we hope you, the audience, will find helpful or enjoy when watching the play. Shizuki Otone: (1) Mia (2) Kozakura Honoka’s older sister 😊 (3) Benvolio, of course haha ❤️❤️❤️ (4) In “Kirei wa Kitanai” I get to see Benvolio, so I am hoping to show him there that I like him!! Sazanami Reira: (1) Luka (2) I have 3 younger sisters. (Otosaki Itsuki, her twin Ruri Hanaka, and Hoshisaki Nozomi) (3) I don’t build closer friendships with my peers in town, but instead with all the girls. (4) I try to see all the faces of the Montagues in every number. Otosaki Itsuki: (1) Lucia (2) A brother, Sazanami Reira-san. Sisters, Ruri Hanaka and Hoshisaki Nozomi. (3) From the Capulets...Hiroka Yuu-san! (4) My agonizing battle with Hiroka-san during the the duel 💔! Takuto Rei: (1) Illy (2) An only child (3) I don’t have a girlfriend, I like all the girls! (4) I have hair with cornrows! Since I am graduating I decided to try a style that’s new and I won’t be able to have forever! Asamizu Ryou: (1) Bloom (2) Hiroki Yuzuha is my brother. (3) I don’t have a girlfriend. I’m a person who listens to everyone’s problems and helps them with their love life. My best friend is Otosaki! (4) My hairstyle! I have a cross in the back of it, so try to find it! Yuunagi Ryou: (1) Bruno (2) I have a younger brother (Hayato Reo)! Ayane Miran is my younger sister, and I am childhood friends with Hanayuki Rira. (3) I have no girlfriends, but I do have a crush on Otosaki Itsuki-san. (4) After being slapped by Otosaki-san in “Kirei wa Kitanai” I had to learn how to do a successful backwards roll. Minato Rihi: (1) Pos Savin (2) No family (Orphan) (3) Romeo (4) The hairstyle is based on a manga character. The braid changes depending on the day, so if you find me please take a look at the hairstyle too. Hanayuki Rira: (1) Maria (2) No family members. Best friends with Otosaki-san, childhood friends with Yuunagi Ryou. (3) I have a crush on Romeo...❤️ (4) This is not the usual Hanayuki, I have a fighting, powerful, look behind my eyes! Kozakura Honoka: (1) Carla (2) I’m Shizuki Otone-san’s sister! (3) I like Mercutio. I don’t know if as a friend or… as a more than that? (4) I look like I have short hair, but it’s actually straight, long hair! It’s a wolf-cut hairstyle! Hayato Reo: (1) Nicolo (2) I am the younger brother of Yuunagi Ryou! (3) I don’t have a love… (4) I am very strong! Kirari An (A Cast): (1) Julia (2) Asakura Shizuku’s sister. (4) My earrings were given to me by Lady Montague! Asakura Shizuku (A Cast): (1) Sophia (2) Kirari An’s sister. (3) I have a crush on Mercutio. (4) The part when I get to be involved with Mercutio during “Les Rois du monde.” Amato Kanon (B Cast): (1) Eve (2) Soua Takeru’s twin brother. (3) I like Ouka Rurina without realizing it and mistakenly think she likes me back. (4) Sometimes it can feel like me and Soua Takeru really are twins. Kuresaki Rino: (B Cast): (1) Sophie (2) I am an only child and a childhood friend of Yuran Sui. (3) There are some people I like, but I don’t really feel a connection with them. So I am looking for someone. (4) I don’t want to fight my troupemate Sumika Amane, in the duel, but I have to fight with her. I’m hoping to express this conflict to her through my heart so that we can reconcile in the end through our performance! Soua Takeru (B Cast): (1) Adam (2) I am Amaton Kanon’s twin brother. (3) I temporarily fell in love with Hoshisaki Nozomi but I am easily distracted. (4) Sometimes I feel like me and Amato Kanon are really twins. Houma Toa (A Cast): (1) Chuck (2) I am one of three siblings. The second is a younger brother (Taiki Hayate) who is two years younger than me. And the third is a younger sister (Ayane Miran) who is strong-willed and cute. (3) I have a childhood best friend (Ruri Hanaka) that I’m thinking of marrying some day… ❤️. (4) I have had natural perm-style hair from birth! I am a hot-blooded man with a short temper, but I also have a passionate heart and love my friends. Ruri Hanaka (A Cast): (1) Kiara (meaning “bright”) (2) My brother Sazanami Reira, my first sister Otosaki Itsuki, and my other sister Hoshisaki Nozomi. (3) I will marry my best friend Houma Toa some day. (4) The feeling of performing between the sky and the cobblestones that can be seen between the houses and throughout the city of Verona. Hiroki Yuzuha (A Cast): (1) Dante (2) My brother is Asamizu Ryou. (3) I don’t have a significant other, but I have love for Benvolio as well as my brother! (4) My goal is to be more mature in my appearance and playful while acting. I want to portray a character of a younger brother that is trying to grow up. Yuran Sui (B Cast): (1) Laura (2) I am an only child. But my childhood friend is Kuresaki Rino. (3) I have always had a crush on Mercutio. (4) In the duel, I want to express that I know it is a meaningless fight. But I pretend not to notice this feeling and become driven by hatred and a need for power. Hoshisaki Nozomi (B Cast): (1) Katerina (2) My brother Sazanami Reira, my sister Otosaki Itsuki, and my twin sister Ruri Hanaka. (3) I like Romeo before I realize it. (4) The hair arrangement of my bangs and my leg lifts during the duel. Ayane Miran (A Cast): (1) Eva (2) I am the younger sister of Hayato Reo and Yuunagi Ryou. (4) I hate the Capulets with every fiber of my being. Aone Towa (A Cast): (1) Rick (2) I’m an only child and a childhood friend of Ayane Miran. (3) My dream is to be like Mercutio. ✨ (4) I’m trying out having short hair for the first time! Mitsurugi Kai (B Cast): (1) Jeff (2) I am an only child. (3) I’m looking for someone. (4) I’m a bit of a jerk so I mess with everyone at different times. Kishou Kazuto (B Cast): (1) Chopper (2) Ouka Rurina is my childhood friend. (4) Some choreography in “Les Rois du monde.” Ouka Rurina (B Cast): (1) Rudy (3) I am secretly in love with Romeo. (4) I do everything with the best of my ability! Taiki Hayate (A Cast): (1) Energy (2) Houma Toa is my brother and Ayane Miran is my sister! (3) I care for my sister Ayane Miran! (4) Some choreography in “Les Rois du monde.” Whew, I managed to introduce everyone… Next month, I want to keep revealing more of the situation in Verona!

[such-a-fellow]

oh right also i would die for ayaki hikari now and if i think about her benvolio i might cry on the spot

[steamedcake]

Finally Romeo and Juliet hoshigumi 2021 all schedules have ended!!

I really miss RetJ both A and B 😢

I'm going to buy B cast Blu-Ray following month🥰Miss you AkaBenvolio and PMercutio!!

Now, I cannot wait the announcement of casts in Manon🥰

I really want Akari to be Lescaut, the second biggest role in Manon. He is a brother of Manon (Arisa Hitomi) but kind of knave ....He is a drinker and a waster....and asks Rodrigo (Aizuki Hikaru) for money.... eventually told him to cheat Manon`s patron and teaches how to trick in casino 😅

I can't imagine how Akari can be such bad guy lol But I believe her ability of acting.

Lescaur sings a lot in the play. I want to listen to her singing!!

[kaynstein]

Todoroki Yuu DS (2018): “Yu, Un jour chantant” - rehearsal

(Again proves how Hankyus constant use of photoshop is ridiculous; it’s not like Tom is aging or anything)

[ilovetkrzuka]

2019 Hanagumi Lineup @ Takarazuka Bow Hall “Dream On!” 

ショーケース 『Dream On!』 作・演出／三木 章雄

2019/05/20 ~ 06/04

Starring: Ayaki Hikari,綺城ひか理 Hiryuu Tsukasa 飛龍つかさ　Guest Feature: Minami Maito　水美舞斗

Showcase “Dream On!” centered around young stars of Hanagumi. In Part 1, We will feature the history of Takarazuka Revue, which started with featuring overseas’ revues in a medley style. Part 2 is song and dance, which focuses on the appeal of Takarazuka Revue’ s shows, which are full of dreams. A fresh and energetic stage, where future stars sparkle only in this moment.

[lovezukaa]

帆純まひろ 99期 & 綺城ひか理 97期

Hanagumi 🌸 in Taiwan 2015

[hoshigomi]

Valley of Xuanyao // RAY! (not a review.)

Some thoughts on Xuanyao/Genyou/Dazzling Valley/Mysterious Valley/whatever you want to call it + Ray!

(This isn’t a fully-formed, plot critical review by any stretch of the imagination, but I wanted a chance to say everything I loved about these pieces of theatre, as well as a few criticisms I have.) (These are all my opinions and I’m sure people would agree or disagree with plenty of them!) (It’s literally just a couple lists, read at your own discretion.)

There are MANY SPOILERS HERE so watch out.

First off: Genyou no Tani / Valley of Xuanyao / Chinese Aterui (I guess it’s not as much like Aterui as I initially assumed) / AVATAR (the blue people one) (but set in China) / not NOT Pocahantas ~

Call it what you want, I’ll admit right out of the gate that I didn’t follow the entirety of this show. It got a lot better on the second and third try, but the first go was a little rough. 

Official plot summary here. 

Things I LOVED:

This show is beautiful. The set is very Alphonse Mucha aesthetic in style, and it makes me very sad that exactly 0 pictures do it justice. Not only is the set STUNNING, but it’s INNOVATIVE as well, the way they used huge hilly mountainous set pieces to create, well, valleys (haha) and set the scene actually grabbed my attention SEVERAL times. There are also no pictures that do the palace set justice, but the grandeur of it took my breath away, as did the EASE with which the set took us between settings. Unfortunately the visual aesthetic of the show is like not something I’m skilled enough to describe in words, but my point here is that if you get the chance to see this show, it would be worth it for the visual feast alone. 

This show is beautiful (music edition). BOY! The music is HAUNTING and POWERFUL and simple and complex all at once. I have told several people that if either the opening or finale songs are put on that custom CD maker thing in the theatres I would literally buy a custom CD just to get my hands on these songs like a couple weeks before their official release. I got chills every time Shirotae Natsu opened the show (we could NOT ask for a better new fukukumichou), and without fail, at the (spoilers) mass exodus of the Wen people (hello, Coto Moses?) song. 

The show is beautiful (general stage edition): It’s SO DANCEY. IT IS SO EXPRESSIVE. Even though the vast majority of the cast is costumed… nearly identical to one another, watching a n y one of them is a treat different from any other. There is no shortage of opportunity for these women to emote physically, and not a single one of them holds back. There are also like a billion acrobatic tricks in this show for some reason. They don’t take you out of anything, it’s just all VERY PHYSICAL. The Wen men and women specifically use physicality HARD to express their… history, I guess? There are several scenes with a few singers and a few dancers working together to tell a story. They give me CHILLS. The women (led by Honoka) in the palace also serve to set the aesthetic world and honestly I don’t have anything smart to say about them but they blew me away. Aomi Sario does several cartwheels. Yuunagi Ryou jumps like five feet in the air and does a somersault. I don’t know why any of these women are airborne as much as they are but they sure are good at it. 

Other standout things I loved- there were a LOT more, but I need SOMEONE to talk about these people and moments, and I guess it’s my burden to bear. 

FOR SOME REASON OOKI MAKOTO TALKS LIKE A LOT. She may talk more than Amahana Ema, freshly-transferred Ayaki Hikari, or Kiwami Shin. I can’t stress enough how much there is NO REASON FOR THIS. She ALSO, in a TURN OF FATE, IS NOT PLAYING AN OLD MAN. She’s playing a young soldier (NO FACIAL HAIR!!!!!) who at one point is goofing around under a tree on the edge of a stage and does some incredible pantomime work getting a spider off of her. I’m a little in love with her. I could not be happier that they truly just let her GO OFF this show. If you have ever liked Ooki Makoto, you need to see this show. 

Ooki Makoto is always accompanied by Tenju Mitsuki who, as usual, is doing The Most for the Least Payoff because she like angered a God in her past life but not enough for the God to not give her the most beautiful face known to man. She doesn’t get to do much at all, unfortunately as USUAL, though her character very much has the vibe of her Kamatari character, and she does get to do a really fucking sick trick where she gets hit by an arrow and despite watching her through opera glasses three times in a row I have no idea how she does it. 

SEO YURIA REALLY STEPPED UP HER GAME? This was a good meaty role with a nice little bit of her Red Oni from Another World mixed in for like chaotic measure. She sounds vocally FANTASTIC and looks at times actually TRULY PHYSICALLY IMPOSING. I’ve always been theatrically on the fence about Seo, but it looks like she’s really finding where she fits onstage and her strengths and is working HARD. I’m really into it. 

Arisa Hitomi does beautiful work as the narrator of the whole piece, more or less, I just wish we could have seen more of her. That’s kinda how it’s gonna go from now on huh. Sigh.

Amato Kanon Amato Kanon Amato Kanon Amato Kanon Amato Kanon Amato Kanon . I will live and die in Hoshigumi, but if one day they move her to somewhere else to be top star, (after I mourn for a year and go through the five stages of grief), I will be right there by her side. Her character is spunky and fun and young and then gets tortured and killed (sorry, I said there were spoilers) in a way that I almost couldn’t WATCH. She’s an expert on throwing her (rapidly becoming lifeless) body around onstage in a way that really, really, really broke my heart. I winced. I’m sure I’m not the only one in the audience who would have put myself in her place to save her. 

It’s very cool when they use projections to enhance moments in this- like a sword striking a rock and the sparks that fly, or the mysterious man disappearing. Additionally, the SOUND DESIGN of this show was pretty flawless.

Current Kumichou and Soon-To-Be-Senka member Mari Yuzumi played, obviously, Coto’s mom, and the two of them share some really beautiful moments and part of a song- it was a fitting and sweet part to give her, and I’m so glad she got some real stage time here because lord am I gonna miss her. 

There’s a little drumline throughout some scenes of Wen people featuring (I THINK) Toudou Jun, Asamizu Ryou, Sayaka Rin, Sakuraba Mai, and POSSIBLY Kuresaki Rino. They don’t do anything to serve the plot, they just sometimes act as a transition in and out and winding through group scenes. It kicks ass. 

Though this show was by NO MEANS an “ensemble show” (it was obviously very heavily (and wonderfully!) pulled by Coto, and all the ensemble was…. To be honest, visually mostly indistinguishable from one another), it like… WAS an ensemble show. There are MANY scenes with the HUGE chunks of the troupe, whether it’s the soldiers doing some INCREDIBLE sword and spear work or the dancers as the Wen people telling stories through the sheer power of their NUMBERS, or the women in the palace with their ribbons and dance, the real power of this show is in the ensemble and what they give to the story. Personally, ensemble driven stories tick ALL my boxes, so even if the plot was a little rough for me, the sheer POWER of Hoshigumi really made this a show that I realize now, sitting at my desk in Tokyo, I wish I was seeing again like today. This show did a complete 180 for me, and I can not recommend it enough. It isn’t FUN, but I can’t find the words to express how MOVING and BEAUTIFUL it is. If you can’t see it in person, I guess I recommend buying the blu ray, renting out a movie theatre, and watching it on as big of a screen as you can possibly get.

RAY:

Ray was just OKAY to me, though I admit I DID love it a little more with each consecutive viewing. I wonder how I’ll feel about it at the end of the Tokyo run- it very well might grow on me and stick in my heart as a revue I really love, but for now I’m personally a bit lukewarm on this one. I’m gonna express my three gripes first, and then move on to the things I love. 

1.) God this revue really fucking abuses projections. Not only does it OPEN AND END with an unnecessary mini movie, and not only do they use the projections to transition us literally through the starry galaxy to the PANTHEON which they make with like Windows Screensaver level skill and then for some reason also show us on a real backdrop- if they had the REAL backdrop, why did they need to also show us a CGI version?, but they also straight up show us MOVIES while people are singing. As captivating as I find every single woman in Hoshigumi, I couldn’t tear my eyes away from the acid trip that was the projections. They weren’t STILL EITHER. They were THIS distracting, down to the literal giant eye. I hated them so much. They didn’t make any visual sense, they didn’t enhance a thing, they really weren’t even vaguely thematically appropriate. I hope beyond hope that the venues they use for the tour just don’t have the tech power for this and the projections get cut. I didn’t like a SINGLE one of them. 

2.) I can’t really explain this one but something was… missing. The numbers weren’t…. varied , I guess? They were all the same like. Power level and mostly had the same amount of people onstage (a lot), and while there’s NOTHING I love more than a big group number, this one had… I guess maybe too many? Or maybe it wasn’t the amount that is the issue, maybe it’s just how they weren’t like tonally varied. The numbers were all GOOD, but the flow was weird? I don’t know. Something felt off. If anyone sees this and gets what I mean, please talk to me about it. 

3.) And this one is personal preference, but I thought the whole Ray theme was…. Much too heavy handed for an ohirome GT. To clarify, I think this would have been VERY suitable for a taidan revue, thematically, but I think it’s too early to be playing top star name games and adorning the whole stage with her name… repeatedly. I GET that it’s clever because like, ray of light, starlight, etc, but I didn’t like it. I wouldn’t have liked like, Dramatic ‘S’ as a first revue either, for example. This isn’t personal or about Coto, if they had made Kai top and called her first revue like ‘Seven Seas’ I also would have been like ….#yikes. I just wish they’d save this stuff for later in Coto’s run. 

That said, the good outweighed the bad! Some numbers of note (this is NOT all of them, just the ones that stuck with me) include: 

The opening, which was very fun! The set was cool, multi layered and opening with just Coto inside like a cut out diamond shape on a platform and made good use of a pretty bare stage to really give EVERYONE a moment. There were more featured faces in this number alone that I didn’t even RECOGNIZE than I can count- and that made me really happy to see! Special shoutout to Taiki Hayate and Ruri Hanaka for getting to stand on the edge of the stage and sing. I just think they’re neat. The opening was rock-y and sexy and mature and it was very fun to get to see so many people shine in it. 

This was followed by Seocchi in a number with again, a BEAUTIFUL set. Seriously, when they aren’t abusing the hell out of a projector, this revue IS VISUALLY STUNNING. It’s like set on Jupiter kind of, there’s a swirling galaxy all lit up behind the dancers (Seo, Amato Kanon, Minato Rihi- who has big Renta energy and always makes me happy to look at) Aomi Sario, Ruri Hanaka, notably.) This number has big Look At The Youth Of Tomorrow energy. Seo sounds INCREDIBLE, and everyone who is featured here makes my heart leap. This was definitely one of my favorite numbers. 

There was a tango that would have been 90x sexier if only it didn’t feature those stupid turbans on literally everyone. Mikkii gets to sing her bridge solo (thank God), and the energy is rowdy. Everyone is in white pants.

The chuuzume is nice. It starts what feels like oddly early, but probably isn’t. They abuse the projections during the start of this one, (Hanagata Hikaru) and then thankfully pull the screen up and get rid of them for a while. The chuuzume is neat in that it also features a lot of little groups of siennes, from the young ones (who even get to SING small solos and things) (and I mean SMALL ones)- Amato Kanon has a solo at a point (and is CENTER ON THE BRIDGE for the kyakuseki part of the chuuzume), Aomi Sario and (iirc) Yuuhi Maki get a small duet, little groups are coming on and off constantly. It’s fun. They put the otokoyaku on the bridge and they do some sharp dancing and some kinda… seductive, to me, stuff. Most everyone is in red. The aesthetic of this chuuzume is GOOD.

THIS ROCKETTE MIGHT BE MY FAVORITE ROCKETTE EVER.

Aesthetically it is flawless, and it’s led by three girls including RURI HANAKA who gets a CENTER OF THE BRIDGE SOLO. These costumes are BEYOND adorable as well! Look at them! This rockette really shows off how skilled some of these girls are. They also do a lineup that goes as usual from shortest to tallest to shortest again, except they break this up by putting the three leads in the MIDDLE, which really means its like, short to tallest to SHORTEST to tallest to short again and believe me when I say it is COMICAL. There’s a solid foot difference between some of these women. 

The Olympics number which immediately follows the rockette is lovely, it features a biiiiiig group of the cast and then Mizuno Yuri, Otosaki Itsuki, Sazanami Reira, Aomi Sario, and Amato Kanon as the colors of the Olympic rings. Musically this one didn’t stick that hard with me, but it’s a visual treat, and everyone’s dance proficiency is on full display. Plus if you look at the back of the stage you’ll see Yuunagi Ryou and Hiroka Yuu doing like a dance battle and pulling and pushing each other around which is extremely relevant to my interests. 

From here it got really lovely for me personally. Amahana Ema and Kiwami Shin led Swingin’ On A Star on the bridge (and both of them sound lovely and sweet), and then theres a couple dance featuring about 10 or so people including  Toudou Jun and again Yuunagi Ryou (this is the only place in the revue I didn’t have trouble spotting her unfortunately, and I’m GOOD at finding her), going on while Maisora finishes up the number. It’s sweet and it’s sugary and it’s a piece of like small lightness after all the very Heavy and Full group numbers before. 

The kuroenbi is pretty good, it felt somehow… unfinished? But immediately after that is Coto jumping into You Are My Sunshine which I personally find to be the most charming thing in the world. It includes solos for Seo, Hanagata Hikaru, Aichan, and a LOT of attention on Hoshigumi’s musumeyaku who get to ALL line up on the bridge together and sing. It’s a treat. It made my heart happy and made me grin really big. 

Other shoutouts go to 

Sazanami Reira and her wild hair flips

Akachan who for some reason sounds vocally like she’s underwater, which was hard for me to place until recently 

Maisora and Coto who really DO work together well as a combi though these two shows didn’t give them much chance to see that (please watch Mozart once it’s out on DVD to see what these two can DO together)

Mari Yuzumi for still killing it with everyone else in every number despite the fact that she’s so up there that they’re moving her to senka after this- boy I am gonna MISS her

Amato Kanon for holding my future in her, soft, capable hands.

Minato Rihi for smiling like Renta

The upperclassmen for not letting being completely sidelined ruin their attitude and for still giving their all to everything and pulling my attention with their YEARS of expertise

Kisa Kaoru, Soua Takeru, Houma Toa, Hiroki Yuzuha, and Kuresaki Rino just because they make me smile.

Sakuraba Mai and Haruto Yuuho who should actually be a top combi together. 

Seo Yuria for really just like stepping it up all around and drawing my attention and taking up SPACE.

Ruri Hanaka because holy shit, girl….

All in all, this was a good pair. Not every revue works for everyone, and maybe this one just didn’t grab my heart the way I wished it did. It was still fun, and it definitely had enough numbers that I loved for me to want to go back multiple times, and whatever Ray lacked, Valley picked up for me. It’s a good set of shows, and everyone does really lovely work. I can’t wait to see where Coto and Maisora’s Hoshigumi goes!

[musumeyaku-forever]

TRANSFERS!

Ayaki Hikari - from Hanagumi to Hoshigumi

Asazuki Kiwa - from Yukigumi to Hanagumi

Towaki Sea - from Yukigumi to Hanagumi

Shido Ryuu - from Hoshigumi to Soragumi

Aizuki Hikaru - from Senka to Hoshigumi

[zukalations]

Takarasienne Talent Showcase! - February 2017

In this feature from Kageki, several siennes talk about skills they have that they don’t get to show off on stage. This issue features Ougi Mitsuru, Ouji Kaoru, Hiroka Yuu, and Ayaki Hikari.

Takarasienne Talent Showcase!

Takarasiennes show off their special talents!

Ougi Mitsuru, Moon Troupe[1]: Synchronized Swimming I was taking swimming from the time I was really little, but in 1st grade my mother said 'Wouldn't you rather do synchronized swimming? It's just the same,' and I fell for it (laughs). I was already taking ballet then, so I thought they'd blend well and started taking lessons at a club operated through the prefecture. In the end I went for ballet, so I only really did it for the 6 years of elementary school, but around 5 days a week I'd head to the club after school, and on top of the synchronized swimming lessons I did ballet, jazz dance, marathon, swimming...day after day I had Spartan training until dark. Once it got so tough that I started crying, but then I was told 'You did even better while you were crying!' so I was like 'Dammit!' (laughs). But at the prefectural sports meet I won a trophy in the junior division! Because of the stamina that gave me, I don’t get out of breath much on stage, and it was a good experience for me.

Ouji Kaoru, Snow Troupe: Awa-Odori[2] Due to my father's work we lived in Tokushima Prefecture for 5 years, until I was in 2nd grade. And if you're in Tokushima, obviously there's Awa-Odori. It's not an exaggeration that all the kids in Tokushima do Awa-Odori; I was assigned to a children's ren ('team') too. It wasn't just around the yearly festival for O-Bon, either. Even the adults would habitually practice after getting home from work, and though this might be a bit extreme it really felt as if everyone was just living for festival time. After that, we moved to Osaka, and to take the place of Awa-Odori I started taking ballet - so it's sort of thanks to Awa-Odori that I'm in Takarazuka now (laughs). When I was in the 1st and 2nd year of middle school in Osaka, I was able to find an Awa-Odori school run by a rakugo performer from Tokushima. Even now when I hear rakugo I get really stirred up. Everyone, please try to see genuine Awa-Odori at least once. It's really exciting!

Hiroka Yuu, Star Troupe: Chinese My father is from Taiwan and he would talk to me in Taiwanese from the time I was really little. Also, my grandparents would talk in a mixture of Chinese, Taiwanese, and Japanese. Taiwanese and Chinese are about as different as different dialects of Japanese, so when I thought 'It would be really nice if I could speak a bit more' I started taking Chinese in elementary school. During the Taiwan performance[3] I would explain things to everyone else and such, but since I haven't studied in a while I can't really call myself fluent; I'm at a conversational level. The word for 'thank you', '謝謝/Xièxiè', is one I like. 'Go for it!', '加油/Jiāyóu', is another I like since my father would shout that at sports meets. I like how clearly the meaning comes across in Chinese. I would love to be able to put it to use in a show set in Taiwan or China, so if there is another Taiwan tour I'd really like to go! (laughs)

Ayaki Hikaru, Flower Troupe: Kendama[4] When I was in elementary school, I had the chance to learn kendama from someone in my region. I didn't keep with it for very long, but last year I saw a kendama at a store that I fell in love with and bought on impulse, and before I knew it I was obsessed... I haven't been without one since. I know a lot of tricks, but my favorite is 'the lighthouse'[5]. You start out holding the ball, and catch the handle on top so it looks like a lighthouse. The appeal of kendama for me is first off, that it's fun; also there's the element of success and failure, so it's a really great feeling to get a trick right. There's also the fun of learning new skills, and you can even get official kendama certification so I really recommend it (laughs). As for me, I want to use all sorts of different kinds of kendama and challenge myself with the really large ones. My dream is to be able to use kendama on stage sometime.

1. Kijou Mitsuru is sadly retiring after the run of All For One concludes on October 10th.

2. Awa-Odori is the term for the yearly dance festival in Tokushima as well as the dances performed there. It is the largest dance festival in Japan, attracting over a million tourists per year. This is footage from the 2016 festival.

3. Takarazuka Japonisme/The Bandit Chu Liuxiang Side Story/Etoile de Takarazuka tour, 2013.

4. A traditional ball-and-stick toy from Japan that has recently also become popular in the West.

5. Explanatory video of this trick (Japanese)

[yuzukahibiscus]

230429 花組梅田芸術劇場メインホール公演　二人だけの戦場　初日

[Yuzuka Rei’s Shonichi Speech 初日ご挨拶]

Everyone, thank you so much for coming to the Flower Troupe performance: Musical Romance, “A Battlefield for the Two of Us” performance. I am Yuzuka Rei of Flower Troupe.

Firstly I am so happy that we could finish the first day successfully, I am thankful from the bottom of my heart. Everyone, thank you so much.

This musical by Masatsuka-sensei is a restage performance after 29 years. We hope to deliver our solid performance to the passionate fans, who have been waiting for so long. That is why we are also nervous when it comes to the restage performance.

Until today, Masatsuka-sensei has been teaching each and every one of us with great enthusiasm, caring about each and everyone. It was a rehearsal classroom that made me felt the joy and fun of creating a play with everyone, and the joy of being able to put it on the stage.

Even though it is a short time before Senshuuraku, i hope that I could remember what Sensei taught us by hear,t  so that everyone of us could have the sense of responsibility and sense of mission to a role, so that all of us could be together on the stage performance.

We kindly ask for your support before the Senshuuraku in the Umeda Arts Theatre Main Hall and the Tokyo Brillia Hall Senshuuraku. Thank you so much for today!

The other three curtain calls are omitted, as it is already way pass the Senshuuraku, hope you all don’t mind! 

It includes Rei thanking the two Senka members, Takashou Mizuki and Rinjou Kira as well as welcoming Ayaki Hikari on her return from Star Troupe to Flower Troupe.

It also includes Rei learning from Hauzer, the role played by Rinjou-san as his military superior on dry jokes, that she quickly coins the dry jokes along with her curtain calls 

(1) うれシンクレア (Uresinclair~ originally 嬉しい (Ureshii) happy + Sinclair, the role she plays together) --> this was thought of by Hoshikaze Madoka, the Top Musumeyaku of Flower Troupe.

(2) よろしクリフォード (Yoroshiclifoord ~ originally よろしく (Yoroshiku) take care of me + Clifford, the role played by Towaki Sea) --> this was thought of by Hitoko, indeed.

[zukadiary]

The whole top star subject is fascinating! Would you be willing to hypothesize on who seems to be the next top star/nibante/Sanbante in each troupe? Purely for fun, we know things can change!

Ok ok ok.... I will do this if

we all remember that in Takarazuka the rules are made up and the points don’t matter... I’d never stake anything on anything

no one @’s me about my hunches!!

(Full names only because lots of newbies in my inbox this week)

🌸 Towaki Sea is for all intents and purposes Hanagumi’s nibante. I know like... she’s not getting cast in nibante roles yet, and even with Seto Kazuya’s weird nibante-but-not reign coming to an end, Minami Maito might keep pulling rank for a bit. BUT, Towaki Sea is the Visa girl, she was pulled into Hanagumi to be top star, and barring transfers I think she’s pretty much guaranteed to be the the next top star.

Below that, well, Hanagumi isn’t exactly flush with upperclassmen. Seino Asuka is the next definitely tracked person, with 3 shinko leads and a solo bow, but she’s allllll the way down still in shinkos. Between her and Towaki Sea there’s Hiryuu Tsukasa with 1 shinko lead and 1 shared bow lead hovering in a kinda will-they-or-won’t-they scenario (I’m betting they won’t which is NOT my assessment of what should happen, just what I think probably will happen). I have no idea who they will treat as sanbante once Towaki Sea is consistently getting nibante roles, and honestly I think that between Yuzuka Rei and her so many years will pass that the landscape will change before Towaki’s successor.

🌙 Tsukigumi’s line of succession hasn’t changed since the Tsukishiro/Asami swap in 2017, with the exception of Miya Rurika removing herself from it. Ostensibly, Tsukishiro Kanato > Akatsuki Chisei > Kazama Yuno. 

HOWEVER, the next top combi has not been announced yet, and despite the relatively clear lineage, I also think Tsuki is the strongest candidate for RECEIVING CHAOS, just by virtue of the fact that they’re the only troupe with a top spot coming open in the visible future. I still think Tsukishiro Kanato WILL be top of Tsuki (even if there is a chaotic interlude), and if it’s immediate, I don’t know if Houzuki An is planning to stick around and steal the nibante roles for a little while, or if she’s going to leave with the outgoing tops.

This is based on NOTHING but a hunch but.... there are also a couple of troupes that feel, uh, a little unstable. I personally think Kazama Yuno is a good transfer candidate, because she’s IMO one of the few youngsters with I-can-save-this-troupe vibes almost as strong as Towaki Sea’s.

❄️ For the purposes of this exercise, I’m commenting on Yukigumi’s already announced next generation led by Ayakaze Sakina. I suppose TECHNICALLY, the lineage is Asami Jun > Aya Ouka > Agata Sen... however, I think Agata Sen is the only one of those three who might actually become a top star.

I HOPE they let Asami Jun do it, I think she’s interesting. But tbh, I don’t think Yukigumi’s next top star is in the troupe right now. 

⭐ FuuuuUuuUuuUUuuuck if I know. Seo Yuria was the latest bloomer out of the 95ths who became anyone, and literally just as the company decided “hey maybe Seo is a thing!” they also boinked Aizuki Hikaru right in front of her. So now we have something that looks like Aizuki Hikaru > Seo Yuria > Ayaki??? Hikari????? > Amahana Ema > Kiwami Shin 

Except...

The last and only time a nibante who outranked the top star (in terms of graduating class) was actually present in the troupe with the younger top AND actually became top afterwards was Kuze Seika taking over from exception-to-every-rule Amami Yuuki in 1997, so I don’t know if that’s a great endorsement for Aizuki Hikaru’s prospects statistically.

Why move Aizuki Hikaru in front of Seo Yuria if they really wanted to keep Seo on the path to stardom?? That said, I still think that of all the CURRENT in-troupe possibilities, I feel like her taking over next is the least far fetched.

(I don’t actually think Ayaki Hikari is a contender here)

They just like, FEEL WISHY WASHY about Amahana Ema to me. I can’t explain it with concrete evidence, they just do.

I think Kiwami Shin will be a top star. I have no idea when or where.

My actual prediction is they plan to milk Rei Makoto for like six years, and by the time she’s ready to retire the troupe will look nothing like it does today. In the meantime, we should all start stocking up on smelling salts for Amato Kanon 2029.

🌌 Serika Toa > Sakuragi Minato... however, especially now with COVID, either Serika Toa’s clock is hella ticking, or giving her a proper top run would force Sakuragi Minato’s clock to start ticking. I personally hope they just chill out, practice patience, and let them succeed one another, but I wouldn’t be surprised if there was some chaos surrounding one of them. 

After them, I think Kazuki Sora will get the roles, but we’ll be talking Rukaze Hikaru/Takato Chiaki/some transfer when it comes to the actual future top. 

Maybe I’ll reblog this in 3 years and see how much I embarrassed myself :)

[keepthisholykiss]

May 2021, Kageki, Ayaki Hikari’s “e to bun” translation - or - the one with all the Capulet Information

Okay here it is the Capulet version of Akachan’s e to bun column. Again blah, blah, this is a fun and casual translation (I also did this one like... particularly quickly and on 0 braincells this week so apologies for any typos that hopefully aren’t there!) also please don’t share it taking it as your own translation etc etc. Anyway please enjoy this new information on the Capulets! I’ll be sure to post the third and final edition next month whenever it is available to me. Also, later this month, I will be posting a translation of Hoshigumi’s Romeo and Juliet (2021) backstage talk from this same issue of Kageki! 

  The Situation in Verona, As I Reveal It - Ayaki Hikari

(title credited to: Iroha Reo)

Hello to all the readers of Kageki. It’s Ayaki, playing the role of Count Paris in “Romeo and Juliet” for the A Cast. This month, I would like to introduce everyone in the Capulet family and ask them the following questions:

(1) Name, (2) Family structure, (3) Is there someone they love? (4) Their favorite point.

I hope you enjoy comparing these answers with last month’s issue.

Otoha Minori: (1) Rebecca (and I like the meaning of the name) (2) Soubu Sakiho is my cousin. But he is like a little brother. (3) I love the whole Capulet family. But I really love Tybalt. (4) I live my life as Rebecca of the Capulets and am very particular about everything in my work. I have a different hairstyle for both A and B schedules so I hope you can see them!

Ooki Makoto: (1) Tigre (2) My sister, from another father, is Murasaki Rira (3) I love my sister the most (4) I’m sure you’ll be able to understand my absolute love and loyalty to my family. It’s not Tybalt’s fault, it’s all Romeo’s fault.

Hiroka Yuu: (1) Leonardo (2) From A Cast, Nijou Hana is my younger sister. From B Cast Mizuno Yuri is my sister. (3) My future love?! Montague Otosaki Itsuki (4) Leonardo means “daring lion” in Italian, so I made my hair blonde and stand up! I hope you can see the sadness I am feeling when I fight with Otosaki in front of the stage.

Murasaki Rira: (1) Sirena (from Sirens in Greek mythology) and I’m 19 years old (2) Half-brother is Ooki Makoto (3) Her brother is her love (4) The Sirens seduce people with their singing voices and lead them to their doom, but I want to do that with my dancing. I want to look different in front of Tybalt and the other Capulets during numbers like during the duel. I believe that a Capulet girl should be more feminine than a Montague girl. So I am conscious of my feminine power on a daily basis. 

Toudou Jun: (1) Theo (meaning God’s gift) (3) I have a crush on Miono Saki (4) I am very particular about my hairstyle!

Iroha Reo: (1) Squalo (3) I have a crush on Otoha Minori… (4) My name means “shark,” so I will try to stay sharp every day! Miono Saki: (1) Marta (2) I am an orphan and a childhood friend of Ouri Mao (3) Tybalt (4) I have cut off a lot of my hair for this.

Amaki Homare: (1) Basiglio (nickname Rose) (2) I am the twin of Soubu Sakiho (3) Ouri Mao and I are together and are being targeted by the Montague Minato Rihi (4) Look at my Super Saiyan-like haircut and my high speed turns!

Soubu Sakiho: (1) Mario (2) Otoha Minori is my cousin (3) I like all the girls. My favorite is Murasaki Rira. I’m not aware of my cousin’s love for anyone. (4) You should look for my lift of Hanayuki Rira!

Nanase Miki: (1) Bianca (2) Ouri Mao and I are sisters but I’m older (3) I am always running after Iroha Reo! But, of course, I love all the Capulets! (4) The moment Tybalt is stabbed, I’m trying to make the best scream to keep it realistic.

Ouri Mao: (1) Kiki (2) I am childhood friends with Miono Saki and Nanase Miki is my sister. (3) Amaki Homare (4) What I am interested in is interactions with otokoyaku! I am hoping to produce different results in both A and B patterns.

Akashi Reima (B Cast): (1) Roy (2) Yuuhi Maki is my younger brother, but we aren’t very close. (3) I like Ayazono Hina but she’s too fickle for me. (4) I’m not quick to fight, but I’m overbearing. And I take my hatred out on the Montagues.

Sakuraba Mai (A Cast): (1) Violet (2) I’m a loner with a free spirit (3) I’ll leave that to your imagination (4) I have long black hair and am trying to make my make-up shine.

Nijou Hana (A Cast): (1) Amanda (2) Hiroka Yuu is my brother (3) Sayaka Rin (4) I made my own hair mesh for the first time.

Sayaka Rin (A Cast): (1) Angelo (2) My cousin is Sakishiro Kei, like a younger brother. I am a close blood relative to Tybalt. (3) Sakuraba Mai loves me and thinks she is my girlfriend and Nijou Hana is my fiancee. (4) I love the multifaceted nature of each situation and the hidden true feelings behind everyone’s eyes.

Yuuhi Maki (B Cast): (1) Sol (meaning “sun”) (2) Childhood friends with Ayazono Hina (3) I like Juliet! I’m trying my best to be a man like Tybalt.

Ayazono Hina (B Cast): (1) Hayna (2) Sumika Amane is my sister (3) I am in love with a lot of people including Akashi Reima. I am a childhood friend of Yuuhi Maki and support his love. (4) I have a younger sister, so I’m trying to make her feel important! Sakishiro Kei (A Cast): (1) Thomas (2) Sayaka Rin is my cousin (3) Juliet (4) I have sharp bangs! Miyako Yuuna (A Cast): (1) Kianna (2) I’ve taken the liberty of setting myself as Tybalt’s younger sister. But I let him know already (laughs) (4) I am 15 years old, younger than Juliet! I am a cheerful girl that is full of energy!

Sumika Amane (B Cast): (1) Chiara (to mean “clear”) (2) Ayazono Hina is my sister (3) I like all men except Montague men (4) This is my favorite play.

Mizuno Yuri (B Cast): (1) Sophie (2) Hiroka Yuu’s younger sister (3) Count Paris (4) I am doing my best to be a Capulet woman who is strong, big-hearted, and cute! Please take a look!

There are only a few performances left! So if you can’t make it to the theatre to watch the play, please watch it on video to see how much everyone cares for their roles!

[such-a-fellow]

Forgot I hadn’t posted Paris over here!

Ayaki’s Paris is...far less dramatic and serious than this art but I loved her performance so much I just had to.