#shibata yukihiro

[zungumi]

Utakata no Koi (Soragumi 2013) subtitles

my very first subtitles! this show ate my brain. i cry every time i hear the blue danube waltz now. rudolf and marie's hamlet-meets-juliet love story absolutely swept me off my feet and i had to share it with everyone i know.

thus: these subtitles (...and i guess all of my subs) are pretty thoroughly localized, and aimed at people who have zero knowledge of japanese. ...i also made a localization choice to just axe franz's mistress's name and call her by her actual historical name, katharina - she's in the cast list as mrs. schratt, but he calls her ミレーネ? make it make sense. if this bugs you please feel free to change it back to your preferred romanization, haha.

also, i did jessica's song by ear so if i've totally botched it, please let me know!

this is the last of the subs i already had done, but keep an eye out, i'm working on a few others - and you can definitely expect hoshigumi's 2018 utakata no koi from me. (and hey, if you have a revue you'd like subbed, i'm pretty much down to do most of them as long as i've got lyrics/CC! hit me up.)

timed to: the dvd, recorded 8/11/13

check my shows page (zungumi dot tumblr dot com slash shows) for the DL!

[yuzukahibiscus]

Takarazuka Revue Star Troupe Top Musumeyaku Maisora Hitomi Retirement Press Conference “I am overwhelmed with sentiments”

(Source from Nikkan Sports)

Takarazuka Revue Star Troupe Top Musumeyaku Maisora Hitomi has decided to retire in December 2024, and she had her press conference in the Takarazuka Grand Theatre “Espree Hall” on the 8th. In a white dress, Maisora says, “to everyone whom I have met, taught me, guided me, raised me up, and to all the fans so far, I am overwhelmed with gratitude. I will continue to evolve every day as a Takarazuka musumeyaku before the last day comes and want to do my best.”

Maisora entered the Revue, ranking first of the 102th class in 2016. After assigned to Flower Troupe, she was known for her loveable appearnace and sharp dancing. In April 2019, she was transferred to Star Troupe and in the same year in October, with Rei Makoto as her partner, she became the Top Musumeyaku. She was the heroine for many overseas musical (adaptations), such as “Romeo and Juliette” “1789 – Lovers of the Bastille”. Together with Rei-san, they are the Top Combi of the firsts. (*Rei Makoto was ranked first of the 95th class.)

She decided her retirement after the closing performance of “ME AND MY GIRL”, in which she admired, and she played the heroine Sally in the performance. “I decided to retire on this 110th anniversary, a turning point in which I feel so content and fulfilled in my heart.” She told this news to Rei-san in the rehearsals for the previous Grand Theatre performance, and (REi Makoto has said), “If that is what Naco-chan (Maisora) has decided, I will suport her fully.”

Her memorable performances were three, including her first role without changes in Flower Troupe’s performance “Hanna’s Florist”, “Romeo and Juliette” to which she described, “how I instantly felt that I was welcoming a new ‘door’ of myself”, “Valencian Passion” to which she played the heroine in Shibata Yukihiro’s play, a director whom she admired.

In the conference, she wore the necklace Rei-san gifted her. “Rei-san said these encouraging words, ‘Even if you can’t do it, that’s fine. As long as you enjoy yourself the fullest on stage’. Such words gave me the motivation to continue moving forward,” she smiled and recalled.

Her retirement performance will be “Hit Me Anyone One More Time -Top Secret- / Tiara Azul -Destino-” which will be performing in the Takarazuka Grand Theatre on August 17~September 22. And after the Tokyo Takarazuka theatre performances on October 19-December 1, she will be retiring (from Takarazuka Revue) after the closing performance.

[kaynstein]

Thank you, Shibata Yukihiro, for so many wonderful shows!

Takarazuka wouldn’t be the same without him.

[kittychan-sings-enka]

gasexplosionatthescalpelfactory replied to your post “ways to advertise sad zuka shows to your friends”

So what show should I start with? :D

ALRIGHT IF YOU JUST WANNA HECK YOURSELF UP HERE ARE MY RECS

easy mode (translation of some kind available):

Hoshiai Hitoyo (2015)

Yukariko (2010)

intermediate mode (no translation yet but fairly easy to follow the action/based on other works):

Romeo and Juliet ‘99 (1999, lol)

Blood and Sand (2001)

Manon (2001)

Great Pirates (2001 or 2015, I’m partial to 2015)

Sorrowful Cordoba (2015)

Ooeyama Kaden (2009)

hard mode (no translation complex nihonmono):

Glow of Sunset in Asuka (2004)

A Beautiful Life (2012)

[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).

[newsintheshell]

“Killing Bites”

Serie TV anime, 13 gennaio 2018

Episodi: 12 x 24 min.

Adattamento animato del manga “Killing Bites” di Shinya Murata (storia) e Kazasa Sumita (disegni).

[PV2] [PV3] [PV4]

-STAFF-

Regia: Yasuto Nishikata

Sceneggiatura: Aoi Akashiro

Character design: Kazuo Watanabe

Musiche: Yasuharu Takanashi

Studio di animazione: LIDEN FILMS

Direttore artistico: Norihiko Yokomatsu 

Sfondi: Studio Wyeth

Colorazioni: Aiko Shinohara 

Direttore CG: Taisuke Gotou 

Supervisione modeling: Chung-man Kim 

3DCGI: SHiiTAKE DiGiTAL

2D Design: Natsuko Satou 

Direttore della fotografia: Yukihiro Masumoto 

Fotografia: Graphinica

Montaggio: Mai Hasegawa 

Direttore del suono: Jin Aketagawa 

Effetti sonori: Yasumasa Koyama 

Produzione sonoro: Magic Capsule 

Sigla di apertura: fripSide “killing bites” Sigla di chiusura: Kitsunetsuki “Kedamono Damono” 

-CAST-

Hitomi Usagi: Sora Amamiya

Yuuya Nomoto: Wataru Hatano

Eruza Nakanishi: Maaya Uchida

Ui Inaba: Sumire Uesaka

Kaori Rikujou: Yuu Asakawa 

Kaede Kazama: Takako Honda  

Youzan Mikado: Hidekatsu Shibata 

Reiichi Shidou: Rikiya Koyama 

Ichinosuke Okajima: Tooru Ookawa 

Taiga Nakanishi: Yuuichi Nakamura 

Oshie Nodoguro: Sayaka Harada 

Mai Shinozaki: Chinatsu Akasaki

Youko Mikado: Megumi Han

Takeshi Kido: Ryoukan Koyanagi

Shouta Yabe: Yuusuke Kobayashi

Gérôme Hongou: Taketora

Den Oonuma: Hiroyuki Yoshino

Ryuuji Shiina: Katsuyuki Konishi

Yuugo Tani: Yuuki Ono

Seira Son: Yoshino Nanjo

Narratore: Junichi Suwabe 

La storia è ambientata in un futuro dove esistono umani ibridati con animali, le cui innate capacità combattive sono sfruttate in cruenti combattimenti clandestini chiamati Killing Bites. Un giorno, il giovane Yuuya si ritrova a fare da autista per alcuni conoscenti in cerca di qualche ragazza. Ben presto scoprirà che le loro intenzioni sono ben più oscure però. Il gruppo rapisce una ragazza, un ibrido umano-tasso che per tuta risposta li uccide uno ad uno, lasciando in vita solo Yuuya. A causa dell'accaduto Hitomi, la ragazza-tasso, viene assegnata a Yuuya per la sua protezione.

Lanciato sulla rivista Monthly Hero nel 2013, il manga conta attualmente sette volumi, con l’ultimo uscito il 4 marzo 2017.

Sito ufficiale Twitter ufficiale

SilenziO)))

[enami17]

Meijiza no Hen - Kirin ni noru

("Le Hen" for short) will be this year's installment in Le Himawari series.

The play "Kirin ni noru" will retell the events leading to the Honnouji Incident, a forced suicide of Oda Nobunaga. The show is titled "3.5 jigen butai - Nihon no rekishi" (3.5-D stage play - History of Japan).

Complete Cast and Historical Personalities

Hirano Ryou - Akechi Mitsuhide

Anzai Shintarou - Oda Nobunaga

Kaminaga Keisuke - Akechi Samanosuke (aka Akechi Hidemitsu)

Kinomoto Minehiro - Toyotomi Hideyoshi

Takiguchi Yukihiro / Ooyama Masashi - Azai Nagamasa

Isaka Ikumi - Takenaka Hanbei (aka Takenaka Shigeharu) (timeslip character)

Matsuda Gaku - Araki Murashige

Kobayakawa Shunsuke - Shibata Katsuie

Yoshimura Shunsaku - Mori Ran

Tsuchiya Shimba - Mori Maru

Hayashi Tsuyoshi - Honganji Kennyo (aka Kousa)

Yato Ryouta - Ishida Mitsunari

Kawasumi Bishin - Ashikaga Yoshiaki (the 15th and final shogun of the Ashikaga shogunate)

Nihei Takuya - Sakuma Nobumori

Ibuka Katsuhiko - Akechi Hiroko (Akechi Mitsuhide's legal wife)

Katou Kei - Kirin (giraffe / Qilin)

Nakamura Ryuusuke - animal keeper Tamura-san

Tsubaki Oniyakko - Kichou (aka Nou-hime; Oda Nobunaga's legal wife)

Ouki Kaname - Oichi (Oda Nobunaga's younger sister)

Tsujimoto Yuuki - Oogimachi-tennou (the 106th Emperor of Japan)

Awane Makoto - Occhan (narrator)

Naitou Taiki, Harada Yuuichi (double cast) - Tokugawa Ieyasu

Tawada Hideya, Satou Takashi, Sana Hiroki, Nagata Seiichirou, Sugie Taishi, Kondou Shouri, Yamazaki Taiki, Harada Yuuichi (higawari cast) - Luís Fróis

Director: Harada Yuuichi

Script: Akazawa Mukku

2019.12.28-31 Tokyo, Meijiza

Official site: https://le-hen.jp

[takeaglance]

Sakiko Osawa - Gimme Action ft. Saga Bloom (OIRAN MUSIC 2014) from YUKIHIRO SHODA on Vimeo.

Starring Akane Komiya & Shuhei Nomiya / Eri Nishimura / Ayaka Fujikita / Kenji Masaki / Aren

Staff DP Ryouken Okamura / Light Atsushi Ueno / Camera Assistant Keiji Takahashi / Best boy Junpei Miyamoto Production Manager Takeshi Yoshihara / Transportation Nai'a,Inc. / Casting Yuri Hasegawa(OIP) Production Support Takeshi Mitsuoka / Hiro Kuramoto / Yo-hey Endo Visual Superviser yaCeee / Animator Haruna Gozu / Colorist Motoi Tanaka / Sound Designer Aki Mizutani Producer Takayuki Moriya / Director Yukihiro Shoda / Creative Director Yuki Kawamura

THX Yamakin(club asia), LX , ICON, TOBY, Luxury Rose, Teppei Takenaka, N Honzawa(Language), Akio Horiuchi, Kenichi Kaneko, Yui Kobashi, Koji Sato, Atsuhiro Cho, Yuji Akashi Kazuya Hachisuka, Yuma kume, Depil, Sho Kameda, Matsutaro, Junichi Fujikawa, Yusuke Inomata, Mina Hirono, Asami Shibata, Syunsaku Ikoma, TAKENAKA Co Ltd, RISSHI SATO

Sakiko Osawa Facebook facebook.com/sakiko.osawa... SoundCloud soundcloud.com/sakikoosawa

[yuzukahibiscus]

That’s TAKARAZUKA 2023 Flower Troupe

LOOK BACK on 2022 – You can feel their resilience and strength after overcoming the tribulations.

（The performance is Genroku. The Mizu Sumitomo Visa Card Theatre Musical “Genroku Baroque Rock” is full of glamorous costumes.)

From January, Yuzuka-san and Hoshikaze Madoka-san became the new Top Combi and started Flower Troupe’s 2022, going through a turbulent year. The year began with the Tokyo Takarazuka Theatre performance – a story of Chūshingura added with time traveling elements “Genroku Baroque Rock” and the show celebrating Flower Troupe’s 100th anniversary “The Fascination! – Flower Troupe’s 100th Anniversary To The Future and Beyond–”. But it was forced to stop right after it started and even though it reopened later, it was ultimately a performance period of 12 days. 

(Yuzuka-san was what people discussed a lot, as she not only played the beautiful pianist Liszt in “Years of Pilgrimage” but also for actually performing the piano live.)

In the next Grand Theatre performance, it is the musical portraying the life of the piano magician Liszt “Years of Pilgrimage~The Wandering Soul of Liszt Ferenc” and the stylish show “Fashionable Empire”. In the Tokyo performances also, the first day opened a few days later but it was announced that there were suspensions again and the performance reopened only on the last day (Senshuuraku). But the Senshuuraku performance was the thing to believe that it’s not just about feeling negative – I believe that was what the Flower Troupe members were thinking on the day. That it was a stage that’s not too forceful, but sincere and passionate; that it’s enriching with precision rather than leaving a blank. Especially the thing that caught my eye was how powerful the group dances were. That’s how strong the resilience of the troupe is, with Top Star Yuzuka-san in the centre. We are looking forward to Flower Troupe in 2023 as they accumulate and become a level stronger in resilience.

Q: What kind of troupe is Flower Troupe?

From Yuzuka-san:

Everyone is cheerful and bright and are wonderful kids that are moving forward enthusiastically. I’m thankful for them. Their energy in rehearsals are amazing, and I’m happy they can perform on stage with such liveliness and vividness. From now on, I’d be thankful that everyone could always be professional and aspire to improve, being a troupe that is honing and improving.

From Minami-san:

They’re very bright and I feel that everyone including the underclassmen have their own objectives and are progressing towards then. They have a passion for the performing arts. The underclassmen are always learning from the upperclassmen. The upperclassmen would also be the first in position ready to teach them, and when I see that every time, I’d think this is a good troupe.

From Towaki-san:

We’re a troupe that’s often growing and expanding to be better. That otokoyaku and musumeyaku are all enjoying to focus on the key points of being otokoyaku and musumeyaku and I feel that we respect each other.

Q: What kind of person is Hoshikaze Madoka-san? 

From Yuzuka-san:

I’ve been thinking of this ever since we’re a combi, but she’s quick at understanding what I want to do. I am truly grateful for her being straightforward, playful and ambitious and she enjoys the process of transforming with me. It's been about a year and a half since we started working together, but I feel like we'll be together even longer.

NEXT STAGE – This is the Takarazuka CLASSIC. A classical performance portrayed in Reiwa (year). 

Flower Troupe is starting January in the Takarazuka Grand Theatre with the two-set show of “MAYERLING” and “ENCHANTEMENT–A Luxurious Perfume–”. “MAYERLING” portrays the historical story of the misfortunate Austria Crown Prince Rudolf as the protagonist, a masterpiece performed again ever since the premiere in 1983. The one who wrote the script, Shibata Yukihiro-san was a longtime playwright and director of Takarazuka Revue ever since the ‘60s. Yuzuka-san led Flower Troupe to perform “Sorrowful Cordoba” in 2021, “Love Burns in Firenze” in 2022 for the national tour performances. The Shibata works have a classical depth to it and when they were performed by Yuzuka-san who’s modern and stylish, she adds smartness and reality to the melodrama. Yuzuka-san played Rudolf once in “Elisabeth – The Rondo of Love and Death”, and she enjoys it very much to pursue the portrayal of the ultimate love. At the same time “ENCHANTEMENT” is a show with perfume as a theme. From the title, it is a word meaning “magical” and “rapture”. It’s a performance that is sometimes sweet, sometimes spicy and exotic, one that is gorgeously charming.

Q: Please tell us about your favourite scents. 

From Yuzuka-san:

I love citrus smells when I’m in underclassmen times…recently I like something that’s a little stronger and deeper…compared to flower aromas, I like scents that are sweet like vanilla more. Also, when I clean the room, I open the window for a refresh of air, I love to light some aroma scented (candles) in the room.

From Minami-san:

I like the citrus and fresh kind of scents. I'm actually very sensitive to smell, so if it’s car refresher or car perfumes, I don’t like those with strong synthetic smell. I think scents I like can affect those around me, so I’ve been using perfumes a lot these years. Recently I like the laundry smell the most.

From Towaki-san:

Even though I like almost all kinds of good scents, recently among those scents, I like those with smoky aroma. That’s why instead of aroma candles, I’m the kind that likes the charcoal or incense smell. Recently, my favourite is using a spicy or smoky kind of spray type to fill the room with fragrance.

(Admin’s note: This is the last of the ANAN Translation series! 💙）

[yuzukahibiscus]

【Takarazuka・Flower Troupe】Yuzuka Rei　The set of the “Double-headed Eagle”, the dance ball...an assembly of glamorous beauty. The stage set in the politically unstable 19th century Austria, it portrays the story of the joy and struggle of finding true love 

【寶塚・花組】柚香光 以「雙頭鷹」為舞台的舞會⋯集結了美輪美奐的美感。舞台設置在政局動蕩的19世紀奧地利，描繪了尋找真愛的快樂與掙扎

(Original article from Fujin Koron 原文來自婦人公論)

The set of the “Double-headed Eagle”, the dance ball and the numerous military uniforms and dress – all of this is an assembly of glamorous beauty. This famous work by Shibata Yukihiro was performed again and again, and this time it would be revived in the Grand Theatre after 30 years under the adaptation and direction of Koyanagi Naoko. Yuzuka delivers the joy and struggle of finding true love. It is refreshing to see how the tragic love story of Rudolf and Marie was approched as a human drama in the politically unstable 19th century Austria.

「雙頭鷹」的佈景、舞會和眾多的軍服、長裙——這一切都是美輪美奐的集結。在小柳奈穂子的潤色和執導下，時隔 30 年後在大劇院再演。柚香光傳達了尋找真愛的喜悅和掙扎。看到魯道夫與瑪麗的悲戀在如何政治動蕩的 19 世紀奧地利燃起愛火是富有新鮮感的。

The dignity of the Habsburgs and how dangerous it was

Compatible with the blonde hair, and other matters such as the military uniform, Yuzuka Rei plays the role of Rudolf, the Crown Prince of the Austra-Hungarian empire.

While associated with the dignity of the Habsburgs, he also faced the danger of being confined to positional restrictions.

Upon a fateful encounter, he met Marie whom he looks at her with gentle eyes, calling her “a little blue flower”.

哈布斯堡王朝的尊嚴與危險

與金發、軍服等相得益彰的是，柚香光飾演的奧匈帝國皇太子魯道夫一角。

在與哈布斯堡王朝的尊嚴聯繫在一起的同時，他也面臨著被局限於皇太子位置所限制的危險。

一次宿命的邂逅，他遇見了瑪麗，他用溫柔的目光看著她，稱她為「一朵藍小花」。

◆ Summary of “MAYERLING” 「梅耶林」概要

In 19th century Vienna, Crown Prince Rudolf (Yuzuka) spent his every day bound by a political marriage without love and his affairs, aspiring to lead a free life just like his cousins such as Johann Salvator (Minami Maito). One day, Rudolf fell in love with the pure baroness’ daughter Marie Vetsera (Hoshikaze Madoka). Unaware of the looming political conspiracies, they often met up again and again...

19世紀的維也納，皇太子魯道夫（柚香）的每一天都被沒有愛情的政治婚姻和事務所束縛，憧憬要過著像他的表兄弟約翰 · 薩爾瓦多（麻衣美奈美飾）一樣的自由生活。有一天，魯道夫愛上了純潔的男爵夫人的女兒瑪麗 · 韋瑟拉（星風まどか），不覺政治陰謀在即，兩人屢屢相見⋯

Minami plays as Johann Salvator. Taking the role of a storyteller, she plays a man who celebrates freedom, showcasing kindness and masculinity naturally.

水美飾演約翰 · 薩爾瓦多。如同故事的旁白，她很自然地飾演一位善良、呈現男性魅力，高呼自由的男人。

Towaki Sea plays as the Archduke Franz Ferdinand, whose role was more deepened in this rendition. Her acting radiates the reflection of passing of time in light and shadow.

永久輝せあ飾演法蘭茲・斐迪南大公，隨著再演變得再給深化的角色。從她的演技，反映著時光的光與影。

It was impressive to see that Marie is not only cute, but also shows a sense of motherhood and Rudolf almost seem like finding her for salvation.

看到瑪麗不但可愛，也有母性的一面，魯道夫更要向她尋求救贖，是很深刻印象的。

Takarazuka Spectacular “ENCHANTEMENT–Luxurious Perfume–” 「–ENCHANTEMENT–華麗的香水」

This is a revue delivered by Noguchi Kousaku which is inspired by the “ka”  (香 = scent) from Yuzuka Rei’s name.

It’s a beauty and glorious performance delivering the sweet and fragrant scent to the audience.

Not only is there the forest in Paris, but also the NY streets and a night club where the gentlemen are assembled.

It is exploding with the various colours and charms of this stylish Flower Troupe.

It looks like a hot dance battle in the night club where the men are wearing unique suits. It is heart-fluttering to see the connection between doukis Minami and Yuzuka.

這是野口幸作的一個レビュー，靈感來自於柚香光名字中的「香」。

這是一場美麗而輝煌的表演，為觀眾帶來甜美芬芳的香氣。

不僅有巴黎的森林，還有紐約的街道和紳士云集的夜總會。

時尚花組爆發著各種色彩和魅力。

男人們穿著獨特的西裝，就像是在夜總會裡進行一場火熱的熱舞大戰，看得見同期水美和柚香之間的聯繫，讓人怦然心動。

[yuzukahibiscus]

【Performance Review】Takarazuka Revue Flower Troupe “ENCHANTEMENT–A Luxurious Perfume“

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)

Since there was a contrast of Koyanagi’s calm approach to the musical, after “MAYERLING”, there was a brighter layer of glamour in Noguchi’s “ENCHANTEMENT”.

With the golden tuxedo, the white suits and kungfu-like costumes, these gorgeous costumes are like layers adding onto each other, there were a variety of beautiful and powerful dancing.

About the “Perfume”, the whole show is composed and divided into 3 parts of “Top Note” “Middle Note” and “Last Note”.

After all, if we think of perfume, there are American standard numbers (scenes) and the wonderful music of classic famous songs that strike an impression, all of these are across the show.

The dominating CHUUZUME and the moving singing scenes in the Middle Note was exceptionally memorable.

Before the performance, during the stage rehearsal in the Tokyo Takarazuka Theatre, Yuzuka said this upcoming comment.

“This stage performance that we deliver in the theatre exists because of the support from everyone. As we will soon embrace Shonichi, I’m in heartfelt gratitude. The show is about the world in the tragic love story of the 19th century Crown Prince and the baroness, the show is about me as perfumer inviting everyone to this enchanting night. From New Year’s Day we already performed in the Takarazuka Grand Theatre, and finally as we enter spring, we will start performing in the Tokyo Takarazuka Theatre. Please look forward to it until Senshuuraku!”

【公演評論】寶塚歌舞團花組「ENCHANTEMENT–華麗的香水–」

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/小柳奈穂子）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）

在小柳冷靜處理音樂劇形成對比之下，在「梅耶林」之後，野口的《ENCHANTEMENT》多了一層光彩。

金色的燕尾服，白色的西裝，功夫式的服飾，華麗的服飾層層疊疊，跳動著各種唯美而有力的舞姿。

關於「香水」，整場演出分為「前調」、「中調」和「尾調」三個部分。

畢竟，如果我們想到香水，有美國標準的場景和經典名曲的美妙音樂，這些都貫穿了整個節目。

「中調」有壓倒的中詰和動人的歌聲，格外令人難忘。

公演前，在東京寶塚劇場的舞台排練中，柚香說出了這句即將到來的評論。

「在劇場這個空間上演的舞台公演是因為有大家的支持才存在的。因為我們即將迎接初日，我衷心感謝。劇講述了19世紀皇太子與男爵千金的悲戀故事的世界，秀是我作為調香師邀請大家來到這個迷人的夜晚。從元旦開始我們就在寶塚大劇場演出，終於終於在進入春天的時候，我們將在東京寶塚劇場開始演出。請在千秋樂前期待這公演！」

[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!

[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/小柳奈穂子）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。

[yuzukahibiscus]

Yuzuka Rei opens 2023 as the debonair Crown Prince; Talks about forging the bond to be stronger and warmer

(Article taken from Nikkan Sports)

Flower Troupe Top Star Yuzuka Rei starts 2023 by being in a white military outfit. Starting from the 1st, she stars in “MAYERLING”/“ENCHANTEMENT” which opens in the Takarazuka Grand Theatre in Hyogo.

The musical is a famous production describing Austria Crown Prince as the protagonist. The show is where she dances in clothes with the image of Fred Astaire. She chose the kanji “musubu”「結（ぶ）」(meaning a bond, or a connection) that brings people together. As the performances were struck by the pandemic, leading to suspension of performances from the 10th-16th, we await for the reopening of the performances till the last day (senshuuraku) of Takarazuka on the 30th. There will also be performances from February 18 - March 19 in the Tokyo Takarazuka Theatre.

The Crown Prince in military outfit experiences an ephemeral, beautiful and ultimate love... We are talking about “THE CLASSIC” archtype of Takarazuka character Rudolf. Opening on the first month of the year, since some performers were contracted with the novel coronavirus and performances were suspended from the 10th, we await for its reopening. From this material documented before the opening of the performances, we recorded her enthusiastic thoughts to Rudolf.

"Ah! ‘MAYERLING’ in the Grand Theatre! When I first heard of that, I had the same feeling with everyone (LOL). I was surprised that this was done in this Reiwa year, and also will the prologue be done on the grand staircase? So I was excited”

Shibata Yukihiro’s posthumous script was performed after 40 years from its premiere in 1983. The significance of performing “MAYERLING” again has been 30 years since its Star Troupe Grand Theatre Production in 1993. It’s been 9 years since Yuzuka played Rudolf in 2014 “ELISABETH”.

“9 years! Those were my first steps of wearing the military uniform at that time. But at that time I already felt that Rudolf was someone full of charm. In the stance of a crown prince, it was like from the moment he was born, his fate and his burdens were already decided for him...”

With her experience 9 years ago and reading the same book “The Truth of MAYERLING” as the foundation, she had her photoshoot (for the poster). She also reviewed videos of the past performances. Saying that “I’ve learnt especially much from the premiere (played by Asami Rei),” she solidified her impression of Rudolf. She also discussed with Koyangi Naoko responsible for the refinement and direction.

"(In the previous time and this time) For me, Crown Prince Rudolf is still 1 person. It’s difficult to show the body lines expected from a soldier when wearing the military outfit. (The performance time is) 1 hour and 30 minutes, so it is crucial element to think of how a soldier uses his muscles. Even if there are places where there’s no muscles, I have to use my body as if there were muscles.”

It’s not just for wearing the military outfit, but she couldn’t miss out on the important details. The design this time is simple. For that, “since the royalty wear (military outfit) frequently, wouldn’t you say that they were comfortable with it.” It makes you amazed that it’s an ‘Ah, look how it fits easily’-kind of design. This becomes more substantial for me to fit into the role of a Crown Prince.” With the strength of the costumes, she practised wearing them and polished the image of Rudolf being “A Crown Prince, with good upbringing”.

“I find it necessary to thoroughly create this demeanour that he received an overwhelming education and that he was living under rules and conventions. Why did he look so tired and so decadent, that it’s completely different from normal people? But then the way I use my muscles or display that exhaustion should not detach from that “Crown Prince” image at all.”

Continuously pursuing for the “optimum Rudolf” is Yuzuka. Yuzuka also becomes a perfumer in the show, opening the world of magic, performing in this other production.

“The prologue is romantic with a glamour flourish. I’m going to wear (my favourite) Fred Astaire-styled hat and suit, and would be paired with Hoshikaze Madoka in Marilyn Monroe style. This scene was us meeting in the New York streets and it was a stylish and playful scene, so I was happy that we got to dance in this scene (LOL).”

Even for scenes with difficult choreography and require high demand of physicality, she says “I thought that there were so many numbers where we used our body a lot so “we were all dancing (these kind of dances)” I really felt that my body felt happy too.” and laughs.

Last year, she expressed that the year was when “I was supported and guided by many people, having a year where I learnt a lot. I would cherish al of these experience and take my every step forward.” And, this year, her thoughts for 2023 were –

"I’ll devote it to the stage. And for that, I’ll put in my everything. I want to spend each day well with every thing and every time, hoping to have new encounters, productions, and roles, as well as the cherish the relationship with the audience.”

She replied “musubu” as the kanji for her thoughts on the year and something she hopes to pursue.

“It would be musubu. I want to make the bond between the performance and myself, between the role and myself, between all the staff and myself, between the audience and myself – all of them to be stronger and warmer. I’m so grateful to connect these bonds that I’m so appreciative off. Yes, I would want to connect all of these together.”

■Show is using aromas as the theme.

From the name of the show, it is based on aromas as a theme. Her favourite perfume has changed throughout her career. “I used to like strong types, but recently it’s been sweet ones. I also like vanilla type.” It’s good that the director Noguchi Kousaku would bring sample perfumes in the rehearsal venue “Because he would bring these nice aromas of perfume, it makes one feel good, makes one feel nostalgic and makes one want to go on vacation.” Having the power of the aromas, she strives to work hard.

◆ Musical Romance “MAYERLING” (Script = Shibata Yukihiro; Refinement and direction = Koyanagi Naoko) With the novel “MAYERLING” by Claude Anet as foundation, this is the poignant love story portraying Austria Crown Prince Rudolf and Baroness Mary, with its premiere in 1983. The significance of re-performing this classical Takarazuka Revue production is that it has been 40 years since the premiere and 30 years since it was performed as a Grand Theatre Production.

◆Takarazuka Spectacular”ENCHANTEMENT – A Luxurious Perfume –" (Author and director = Noguchi Kousaku) In French, “ENCHANTEMENT” means “enchantment” or “rapture.” The revue starts with perfumer Ray sprinkling some magic perfume.

☆Yuzuka Rei, March 5, born in Tokyo. Entered the revue in 2009. Assigned to Flower Troupe. She had her first newcomers’ performance lead in 2014. Also had her first bow hall lead in June the same year. She played Oscar in 2015. She had her first external lead “Haikara-san ga Tooru” in 2017. She starred in Tokyo for “Boys Over Flowers” in 2019. She became Flower Troupe TOP in the same year in November, paired as a combi with Hana Yuuki. In summer 2021, she became combi with Hoshikaze Madoka and starred in “TOP HAT” last year. Her height is 171 cm. Her nickname is Rei. 

[yuzukahibiscus]

Takarazuka opens 2023 with “MAYERLING”, a poignant love story between Top Star Yuzuka Rei playing as Crown Prince and the baroness

(Article taken in Kobe News 文章取自神戶新聞) (Chinese translation as below 中文翻譯如下）

Takarazuka Revue starts 2023 with the opening of Flower Troupe’s “MAYERLING”. The novel “MAYERLING”, written by Claude Anet tells a poignant love story between the 19th century Austria Crown Prince Rudolf and Baroness Mary. Shibata Yukihiro adapted this novel and made it a stage production in 1983. It’s been 30 years since it was performed in the Takarazuka Grand Theatre. Flower Troupe Top Star Yuzuka Rei plays the “classic archtype” Prince Highness Rudolf.

Yuzuka says, “Now, when I knew of doing this performance, I was surprised and excited.” “No matter if it’s portraying how people are attracted to another, not just the romantic but the realistic side of the characters; those numerous unforgettable, famous lines... Shibata-sensei’s script is really amazing”. Koyanagi Naoko responsible for refinement and direction of script also feels the same and comments “Shibata’s works are chic and of style”.

Yuzuka played Rudolf in “ELISABETH” in 2014. “(Rudolf) was someone whose life was already destined to happen a certain way”. But, behind the white military outfit and his inborn solemn image, “he shouldn’t be portrayed as how he was originally described. I’d think about how much more I should create for this role” and she continued spending these days of trial-and-error.

The latter half is a perfume-themed show “ENCHANTEMENT: A Luxurious Perfume”, which they will sing and dance to present the love and dream they can imagine from different scents.

Dancing in the scene wearing hat and suit with the vibes of her favourite musical star Fred Astaire, she comments “I love that the scene is stylish and I could feel a little playful with it.” On the other hand, the scene representing a barren earth sprouting in life “has a grand music. The choreography is difficult and there are a lot of movements that we’re always dancing till the end” that she looks forward to do her best in this scene.

2022 was the 100th anniversary of the establishment of Flower Troupe and for that she has spent fruitful days. She says with audacity, “I’ll dedicate my life to the stage in 2023 as well″.

The performances will begin on January 1 - 30 in Takarazuka Grand Theatre and in the Tokyo Takarazuka Theatre on February 18 - March 19.

寶塚的2023年由《梅耶林》開幕：描繪花組トップスター柚香光與男爵夫人的悲戀

寶塚歌劇以花組的《梅耶林》開啟2023 年。克勞德 · 艾勒的小說《梅耶林》講述了 19 世紀奧地利皇太子魯道夫與瑪麗男爵夫人的淒美愛情故事，柴田侑宏於1983年把此作舞台化。上次在寶塚大劇場上演至今已有30年。花組トップスター柚香光飾演二枚目的王子殿下魯道夫。

柚香說到：「如今，得悉要出演此作品讓我很驚喜，同時會感到興奮。」「不論是描繪人與人之間如何吸引對方、帶有浪漫和現實一面的人物、難忘的各種名台詞，柴田先生的台本真是很優秀啊」。負責潤色、導演的小柳奈穂子也有同感，留言說到柴田老師的「作品是很別緻」。

柚香光在2014年的《伊莉莎白》飾演過魯道夫。「他是一個已經給命運安排的人」。但是白色軍裝背後，與生俱來的莊嚴感以外，「我認為魯道夫不應該是給既定的印象來飾演的」因而繼續在試行錯誤的日子裡，研究如何演繹魯道夫。

後半的秀是以香水的主題《ENCHANTEMENT—華麗之香水—》，以歌與舞表現各種香氣所聯想的愛與夢。

穿著最愛的音樂劇明星弗雷德 · 阿斯泰爾風格的帽子和西裝跳舞的場面「可以帶著一點調皮心跳舞，非常喜歡這個很時尚的場面」。另一方面，說到荒廢的地球重新孕育著新生命的那場，「音樂很壯大。編舞很難，運動量很大，一直跳到最後的感覺」，從今開始也希望努力面對這場。

2022年是花組成立100週年，為此在舞台上表演過了充實的日子。她強而有力的說：「2023年也會把生命奉獻給舞台的。」

公演將於1月1日至30日在寶塚大劇場和2月18日至3月19日在東京寶塚劇場表演。