#ranju tomu

[berserkerbarbie]

Streak of Light -一筋の光- by Flower Troupe 2012

[wtheckzukasubs]

"The Rose of Versailles (2013 Moon) (Ranju André)" subs

Download the subs here: wtheckzukasubs.tumblr.com/shows

This is a project in collaboration with @matchala who was just too patient to fill in the gaps, retranslate, edit, retime, and whatnot some partial old subs I had. Suddenly, it's all brand new! I'm just so happy this can finally be released!

To be honest, this was probably the worst adaption I've seen of Berubara. I mean, the gaidens are probably worse, but I bet they have more plot than this. They've cut so much of the original performances, they should have just made it like the gala concerts and it would have been more pleasing. STILL, this was the only tome Ranju Tomu was in a Berubara, and for many other reasons, this aberration became very dear to me.

(Also, I kinda love the selfish portrayal of Oscar Masao made.)

Notice this is timed to the show with Ranju Tomu as André. The script is the same as the others of 2013 Tsuki, but the timing won't sync as they're not really robots to do it all the same lol (They almost are when you notice they get almost every single word in the script but still not there). So, beware.

[yuzukahibiscus]

Mr Swing (2013) and Fashionable Empire (2022)

Inaba in the Future Director Commentary:

I knew Yuzuka and Minami when they were still so young. They were in the opening of "Mr Swing" where the otokoyaku were all wearing suits and standing in the ginkyou. Even when they are the most underclassmen, beside Ranju Tomu-san at that time were Yuzuka-san and Minami-san. Seeing how they used to be, and now they are the leading members in Flower Troupe, that's how you feel that time really flies.

At that time, I was already interested in Yuzuka and Minami, so now I wanted to give them a number (in Fashionable Empire) they could wear suits and walk along the ginkyou and they are now in the centre. I will continue to pay attention to these two.

(Once again, Reimai worms in this Tumblr)

[thamychan]

Ocean’s 11, 2013 version

(1) DVD

(2) Senshuuraku

[talesofsorrowandofruin]

The Great OC Alphabet Caper: K part 1

Since I only posted about one OC earlier but have eight whose names start with K, I decided to split the Ks in two and post four today. These ones are from the Death series, TPATG, Totentanz, and LSOHG.

Karandren

Name: Karandren Hriaþansson

Age/Pronouns: 14 (physically), he/him

Brief physical description: This Artbreeder portrait is pretty close to how I picture him:

Brief list of defining traits: Generally a horrible person. Likes dragons and conquering countries. Doesn’t hate Diarnlan any more.

Excerpt:

Within days of the politicians forming some sort of government, Karandren began to have serious second thoughts about this ruling-a-country business. It was much more work than he remembered. Every day someone came to him with yet another urgent matter he needed to hear about. Karandren had never given any thought to tax systems or judicial reforms before. Nor had he ever expected to spend days reading dull old textbooks on trade and economics.

At first he made the mistake of leaving all of it to the politicians. That idea ended very quickly when he learnt some of them were robbing the people under the pretence of taxes. There were now seven fewer politicians in the parliament and seven corpses hanging from the palace walls. At least their friends' deaths had taught the other politicians not to try a similar stunt. None of them dared to do anything without first telling Karandren all about it and ensuring he knew everything they did was legal.

Trivia:

One of my favourite characters to write. He’s horrible in an entertaining way and provides plenty of black comedy

Ketevan

Name: Ketevan Diashamijë

Age/Pronouns: Mid 20s, she/her

Brief physical description: None yet

Brief list of defining traits: Can’t understand the word “no”.

Excerpt: None yet

Trivia:

Named after Ketevan the Martyr

Kilan

Name: Kilan raunSærnor, ursoArásy chlang-il-Amendath-ag-Caranilnav tar Zjurkyu (poor guy)

Age/Pronouns: Mid-20s, he/him

Brief physical description: This Artbreeder portrait is pretty close to how I picture him:

Brief list of defining traits: Out of his depth and landed with a job he doesn’t want. Trying his best. Worries a lot.

Excerpt:

"Why don't you threaten to call yourself something silly until they give up and let you have your way?" Varan suggested. "You could tell them that if they insist, you'll call yourself Emperor Paperwork or Emperor Chandelier, and what do they have to say to that?"

"I'm not a toddler," Kilan said, giving her the sort of exasperated glare that could only be managed by a brother annoyed by his sister's antics. "If I did that, they'd think I was either mad or childish."

"They'll think you're mad whatever you do." Death, naturally, had to get her tuppence-worth in. "You might as well make sure it's on your terms instead of theirs."

Was he surrounded by children?

"I. Do. Not. Want. To. Be. Thought. Mad," Kilan growled, managing to turn each word into a sentence.

Trivia:

His regnal name Tinuviel is, obviously, a Tolkien reference

The character I find hardest to write. It’s my own fault; I didn’t give him enough character development earlier 😅

Kiriyuki

Name: MIzushiro Kiriyuki

Age/Pronouns: Mid 20s, she/her

Brief physical description: I’ve changed my mind several times on what she looks like. Currently I imagine her as looking like Ranju Tomu, but that might change.

Brief list of defining traits: Doesn’t always think before acting. Tries to stop Abi but goes about it in the wrong way.

Excerpt:

Kiriyuki, still half-asleep and somewhat woozy after drinking so much, heard it from another patron at the hotel's bar. It sobered her up at once. "A dragon? Where?"

The other woman shrugged. "I don't know where exactly. Somewhere around the palace, I think. I heard it from my nephew's secretary who heard it from the postman who said a palace guard told him about it himself."

There was usually only one person to blame when something like this happened. If she had actually summoned a dragon then Abi had really surpassed herself this time. Kiriyuki set off for the palace with a grim frown, unsure what she'd find but certain of who to blame for it.

Trivia:

Can turn into a sea serpent

Like all Seroyawan characters she’s named after Takarazuka actresses. Her personal name is a portmanteau of Kiri from Kiriya Hiromu’s name and Yuki, Senna Ayase’s nickname. Her family name (which I’ve changed several times and might change again) is borrowed from Mizushiro Aoi

Adding TPATG’s and Totentanz’s taglists: @ajbrooks-writes, @mjmnorwood, @houser-of-stories, @time-space-and-the-muses, @lothloriien, @aliensmoon, @rataltouille, @thescatteredscribbles, @alexwritesfiction, @moth-with-a-pen​, @thelaughingstag, @diphthongsfordays, @athenswrites, @ladydawnxx​, @talesfromaurea​, @jacquesfindswritingandadvice​, @sirius-xm​, @analogued​, @starryeve88​, @garthcelyn, @weaver-of-fantasies-and-fables​, @thiscrypticfangirl​, @astridmayewrites​, @shydreamyechoes​

(Let me know if you want to be added to/removed from the taglists!)

[nessie665]

Ranju Tomu as Erik in Yeston and Kopit’s Phantom, Takarazuka Revue, 2011

[forevuee]

Ranju Tomu’s and Ranno Hana’s duet dance from Ocean’s 11 2013

[berserkerbarbie]

Streak of Light -一筋の光- by Flower Troupe 2012

🌹🌹🌹

[wtheckzukasubs]

‘Tsuki no Hokage’ (The Light of the Moon) subs

Download here: wtheckzukasubs.tumblr.com/shows

Timed to the footage broadcasted on the Jidaigeki channel, but it should fit the VHS and the DVD versions with little effort. Let me know if you need any help!

This is a nihonmono, so get ready for some sad story. But the content warning I think of is how Yumiko’s character’s sister has been sold by their own father. I’m almost sure there is mention of suicide, some people die, there is some fighting too, but I can’t remember exactly. I’ve been sitting on this project for way too long... As always, if you can add anything, leave a note here. I’ll be very grateful.

And ugh, was this hard to translate! I’m very thankful to who shared the closed captions with me, without them it wouldn’t have been possible. It wasn’t that possible even with them, that’s the honest truth. Ouka ni Mae is still the hardest show I’ve ever done, but this has entered the list. It’s beautiful, the language, the care the writer had with the use of the words, I wish my capability were high enough to translate how beautiful the script is. Even so, it is beautiful. I’d love to see this redone and I can’t think of a duo strong enough to translate the feelings the way Yumiko and Tomu did.

I’m not sure how much of this is queerbaiting (there is a straight couple and all, so it probably is) and how much it is closeted homossexual feelings, but the bonds between the two main characters... it’s all so beautiful!

The story may drag a little, it is a two-act and they tend to do that. But Stick to the end, it’s worth it.

The beauty of Bow Hall presentations!

(There’s a tiny Ichika in there btw)

[unsubtlelove]

rannohana_official 花組 DANCE OLYMPIA 出演者の愛と絆とエネルギーにこみ上げてくるものがありました… 花組の新たな門出を偶然にも大好きなメンバーと一緒に観劇できて幸せでした！

[kittychan-sings-enka]

[yuzukahibiscus]

Interview with Aizuki Hikaru

(Note: This was taken from the Aizuki Hikaru photobook, as kindly scanned by a mutual. At this time, Aichan was still in Cosmos Troupe.)

— Please tell us what made you want to enter Takarazuka and your memories for the first stage (hatsubutai). I’ve been watching Takarazuka since I was little. Star Troupe was performing their national tour performance “Golden Pharaoh” “Miracat” in the Ichikawa City Cultural Hall. Because this was a place where I’d also perform ballet, I was very touched seeing the people I admire performing there too. I’ve learnt ballet for a long time, so the thought emerged whether I should enter this world and how it would look like. I was already saying “Should I enter?” with my mouth. And then people around me were supporting me from my back and saying “You should try and enter!” When I was admitted to (Takarazuka) Music School and left my family, I was surprisingly not lonely and I didn’t contact much with them that I believe my mother must have been worried (LOL). In the hatsubutai, I remember that we still have other scenes apart from the rockette so we got to be in the rehearsal room for the original performance. I remember just looking from the side to our upperclassmen seniors (joukyuusei). I recall being touched by the audience’s applause in that great space in the theatre for the rockette. 

— As a member of Cosmos Troupe, how does standing on stage feel like.

The strongest feeling was I’m an otokoyaku, and I think of things like “I want to do that and I want to do this”. Even when I reflect that I couldn’t have used my skills and do what I aspire, it’s still a kind of courage to wish for something like that. While I was helping Yamato Yuuga-san around, I always felt this prince-like glittering aura, and I actually felt how important it for Takarasiennes to have this “glamorous” vibe. I played as John Menfield (Original role: Houshou Dai) in the newcomers’ performance (shinjin kouen, shinko) of “Paradise Prince” which was a character that could be portrayed on screen. At that time everyone of our classmates (douki) were going active in all sorts so in those continuous days, seeing their activities made me feel increasingly anxious. I cried while seeing the otokoyaku black swallowtail coat (kuroenbi) dance in the rehearsal room. Later on, director Okada-sensei said “I won’t forget those pitiful eyes while looking at the kuroenbi.” That experience became a foundation of me. — After that experience, you became more active with more opportunities in shinkos.

I was really happy to take on the role Henri in “Casablanca”. Coincidently, because my role in my first bow hall lead “SANCTUARY” was also called Henry, when thinking of the name for my dog, I used Henry (LOL). For the shinko, when I played Strasser (original role: Yuumi Hiro), it’s a role that really required me to be a mature adult. When seeing the original role Yuumi-san perform in the rehearsal room, I couldn’t help but be shaking and apprehensive, knowing I’d have to do that. But I knew that I had to do it eventually! I couldn’t miss this opportunity! Which was what made me work hard for it. I took on the role of Josiah in “Trafalgar” and when I read the script, I then knew that I was going to play as Oozora Yuuhi - Nelson’s son. And I was thinking, “Oh so I’m going to be the son” therefore shocked by this big role. There were scenes where (Oozora) Yuuhi-san and I acted alongside each other with some deep acting. For me, this was a role that I loved playing. I played the role Napoleon in the shinko (original role: Ranju Tomu) and that time my feeling and ambition overlapped with those of Napoleon, so I was thinking of how to breakthrough this part without hesitation. — You received your first shinko lead role as Robert Jordan in “For Whom the Bells Toll”. It was a role that was for a mature adult. Later on you also took on some lead roles in the shinkos and other important characters.

Because I was often so busy on stage during the shinko of “For Whom—”, I eventually didn’t have time to be nervous. For such a mature man, I wouldn’t be able to do it if I don’t have confidence in myself…I also felt that I’ve progressed a lot as Ishida Mitsunari in “Utsukushiki Shougai” shinko. The frustration began during my next performance in “Classical Italiano”. At that time I was going to be playing Leonardo DeLuca, a bright American teen (original role: Ouki Kaname). Since I’ve always been playing mature adult roles that were contained with disappointment, this American vibe of a teenager was the challenge for me. Also, I was struggling with how does the presence of my role mean to the protagonist. I got to play Oozora-san’s graduating role in the shinko of “Brilliant Days”. Since I got to be the closest to learn from her to the end, I definitely felt the pressure and challenged this role that was difficult to portray. In the shinko of “Legend of the Galatic Heroes @ TAKARAZUKA”, I played the role Oberstein (original role: Yuumi) which has quite the character. I felt how if I didn’t play my role well, it would affect the overall of the musical so I really felt that responsibility and when I’m working on stage, I thought in more of my position in the musical. — For “Phoenix Wright 3: Public Prosecutor Miles Edgeworth”, your policeman role had a kind of oldie character. You also displayed a sense of youth in the protagonist’s son’s role in “The Count of Monte Cristo". It’s a good impression that your qualities suited these various roles. What’s your memories in these times?

In “Phoenix Wright 3”, I was playing an older role compared to the protagonist Yuumi-san. At first I thought it was impossible, but after trying to wear a beard, looking into the original game, doing some research into it, I successfully presented an oldie policeman. In “Monte Cristo”, I played the role of Albert. There was a final duel scene with my father Dantes, played by Rika-san (Ouki) that I really had deep memories. I was happy to portray this boy that’s embracing those complicated feelings and the growth process of becoming a man. In the shinko, I played Dantes (original role: Ouki) and in this role I couldn’t exude much of those feelings. It’s difficult, but I felt like I’d learnt something from it. In the last duel scene with Mercedes, I forgot about what I knew and what I had, because that’s how Dantes feels and this first-time of a feeling was really a precious experience to me. Continuing next is “Gone with the Wind”, I played on a bright teenage role from the Southern (America) and I felt that I’m bad at playing young teen roles…I really challenged playing that most ever-shining adolescent leading other young people. In my last shinko, when I knew I’d be playing an onnayaku Belle Watling (original role: Ozuki Tooma), I was surprised. I didn’t think I’d be given even more of this opportunity and I was intrigued in playing that. I think no one would do a speech to people as an otokoyaku wearing a dress (LOL). It was a very memorable performance for me.

— Graduating from shinkos, did you have any changes in feelings?

When the shinkos ended and I’d be left with one original performance, the thing about giving up your one role, how difficult is that. That really stayed in my heart for a while. In “People Who Have Wingsx”, I played Franz Liszt, which was a narcissistic role. When my doukis come to see the performance, they were shocked and said that they think I had an image that is good at portraying that he’s proud of himself, and I discovered a new personality of mine in this role (LOL). I was devastated to portray the brute in the guards of the “Rose of Versailles”... Aside from being the guards, in the finale we got to dance the “Tango of Roses”. Since we’re the most joukyuusei among others, I really felt the responsibility and pressure, but performing that was my pleasure.

— How do you feel performing your first Bow hall lead "SANCTUARY"? When I heard about (a Bow Hall lead), I was very happy. Finally I got to do a costume musical and at first when I heard that the character setting is a prince, I was thinking of an image of white (costumes), so I was surprised knowing that it was a wild personality. In this production, I received a new kind of role image of brute and I was thinking I'm probably someone more suited for a manly role. Every time, I got to feel the warmth of the audience and I was really helped by the many performers present. In the next grand theatre performance, "Oath of the Midnight Sun" "Phoenix Takarazuka!!” I also put my heart in this and thought about doing it the best I can.

— Starting from "TOP HAT", Asaka-san was Top, and a new Cosmos Troupe started. The role of Beddini was a role that left great impression. How is your reflection on that?

"TOP HAT" was the first of my comedic roles (三枚目 = comedic relief). When I heard that this production would not be funny without the role of Beddini, thus important, I was really facing great pressure. Looking back, people told me that I may have gone far exaggerated on this (LOL), but I really had fun playing this risky role. At the time of "Song for Kingdoms", I felt that Cosmos Troupe itself was really changing, I also felt sensitively my weaknesses, and I think I was also changing. At that time, I got to perform in the "Takarazuka Buyokai" that I've always dreamt of. Performing in the Buyokai was really a dream come true for me, because I love Japanese dance (LOL). The next national tour “Melancolique Gigolo” was another comedic role for me, so I was feeling like "Here comes!" (LOL). In "SHAKESPEARE ~The Sky Filled with Eternal Words " also, I thought I would get a "handsome" role (二枚目 = handsome/pretty secondary roles) but I was given a role to wear women's clothes (LOL). In "VAMPIRE SUCCESSION", it was Yurika-san's (Makaze) lead and we had an interesting conversation so it was fun to work hard on stage.

— The role of Lucheni in "Elisabeth" was a backbone presence and also seeing your growth. Later in "The Eagle with Two Heads" when you act opposite to the lead role Todoroki-san, you got to play a dominant role. Looking back, can you tell us about your feelings and reflections?

Because I was also changing myself, the role of Lucheni was a really great timing to meet with while entering slightly into Ken-10. This was a role that didn’t really need all of the coolness and goodness of an otokoyaku, which was why I conflicted a lot with this role comparing with the Takarazuka Otokoyaku image I had in mind, and it was really a struggle to find the balance. My personality is very different from Lucheni that I would be playing. Seeing from the many actors whom have done (Lucheni), because I really felt that he's wild but also real, "Oh that's the charm of Lucheni" I thought of suddenly giving it up. After seeing the video of the first Lucheni played by Todoroki-san, I really learnt a lot. During "The Eagle with Two Heads", being able to act alongside her was really a great thing. Since Ishi-san (Todoroki) was always changing vastly in the musical, I was thinking about keeping up with her. Usually I felt Ishi-san's gentleness, acting with Ishi-san allowed me to receive her energy straight through and this was truly something irreplaceable. Looking back, this was such a treasure of time.

— About the current performance "Chateau de la Reine/Viva Festa", can you tell us your aspirations?

In the musical, I'm playing Kanezawa Kanichi, a novuveau riche from Kansai troubled by hair problems. Because he's definitely not the cool type of role, I'd say he's a very warm person. His heart is so great and his inclusivity relates to the inclusivity of what otokoyaku has. In the show, the theme song feels like an impression of "The Takarazuka". It recalls me of the memories of me singing to the theme song after watching the shows and going home (LOL) Then I get to lead some otokoyaku for a Kpop song and it's a scene that's a new challenge for me. There's a lot of scenes that has all members of Cosmos Troupe, so we'll try to deliver a show that has so much power.

— What’s your thoughts and feelings when facing the stage?

It’s very obvious of a thing but to make people be satisfied from watching the performance every time, I always want to do my very best on stage. Takarazuka, is really a place to see your dreams. When I see the audience, I’d deliver the depths of my heart in the lines during the musical and think what would the audience be thinking of now? And for shows, to allow people to be indulged in this sparkly, glittery world, and if they think after watching the show that it was great, I would be the happiest. Now that I’m in Ken-11, I’d think if people can observe something from my back. Also, I’ve never thought about suddenly giving up as a Cosmos Troupe otokoayku. I’ve seen and felt how so many joukyuusei in Cosmos Troupe are so stylish and natural..I think I’m starting to present more of those charms on stage.

— Lastly, what’s the most important as an otokoyaku? Please tell us your ideal otokoyaku image!

From my underclassmen times, the concept of Takarazuka otokoyaku is the most important and I’d think the most important for Takarazuka otokoyaku is to have class, and that thought’s always there for me. In order not to fail what the seniors have constructed those historic and good elements, and taking in the modern components, it’s then very important to cherish these roots of Takarazuka. Now with many roles that I’ve experienced, there were times that I’d think of what are my charms, surprisingly apart from being manly, it’s also being a little wild, a male image that is not so classical as the Takarazuka otokoyaku. At the same time, I’d also want to pursue that realness in being a man.

[thamychan]

Since I was doing this anyway why not share my favorite part in Canon?

(1) DVD recording day

(2) Tokyo raku

(3) National Tour

I’ll leave it to you to guess why I love to compare these so much.

[talesofsorrowandofruin]

Ranju Tomu as Death (feat. Toono Asuka as Elisabeth) in Elisabeth das Musical (Takarazuka 2002 shinjin kouen).

[nessie665]

Ranno Hana & Ranju Tomu