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zukalations · 6 years

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Dream Stars’ Salon - Fuji’s Bar w. Ranju Tomu (Flower Troupe)

This Kageki feature from the mid-2000s had directors Fujii Daisuke and Ueda Keiko trading off hosting a ‘bar’ where they would conduct talk features with young otokoyaku stars. The interview between Fujii and Ranju Tomu was published in the February 2006 issue.

Dream Stars’ Salon - Fuji’s Bar w. Ranju Tomu (Flower Troupe)

Fujii: Welcome to ‘Fujii’s Bar’.

Ranju: Thank you for inviting me.

Fujii, Ranju: (laugh)

Fujii: I think the first time I met Tomu (Ranju) was your debut in CAN-CAN, when I was attached to the production as an assistant… You’ve grown up a lot since then.

Ranju: No, I haven’t grown up a bit~ (laughs)

Fujii: Is that so. I think the really cute thing about Tomu is that you’re really bright and friendly, and while you’re mature you can still be a little bit spacey. You’re someone who’s very easy to talk to. You had the ‘otokoyaku’ atmosphere even as a ken-1, didn’t you. I think I remember in Nao-chan’s (Iori Naoka’s) dinner show, you were ken-5, but they introduced you as ken-15… (laughs).

Ranju: I was constantly being used for that punchline in dinner shows and such as a junior actress (laughs).

Fujii: And then recently it feels as if you’re getting younger by the year (laughs).

Ranju: Yes, people say that to me all the time! (laughs) It really makes me think about how hard I was working as a junior actress…

Fujii: Really… Yesterday, I went to see the Flower Troupe performance, and felt like the kindness and big-heartedness I felt from Tomu is something nobody else could express.

Ranju: That makes me so happy~. For my character of Nicola in Palermo in the Setting Sun, that ‘big-heartedness’ was what I most wanted to express, so I’m really happy to hear that.

Fujii: And then in the revue show you had a really natural sexiness. Recently, you’ve come to the point where you can do things without having to push yourself past your limit, right?

Ranju: I’ve had people telling me ‘You’re more relaxed’ or ‘you seem so natural onstage’, so I do feel like I’ve begun pushing myself less onstage, but in a good way…

Fujii: That might be why you’re really standing out recently. By the way, Tomu, did you like Takarazuka ever since you were little?

Tomu: I started watching Takarazuka when I was in middle school.

Fujii: And did you decide ‘I want to join!’ from the start?

Ranju: No, it was when I was thinking of my future path during high school that it started to get to me. I thought ‘I at least want to try out for it’. So then for a year, I took entrance exam prep lessons in secret from my school…

Fujii: But weren’t you taking dance since you were little?

Ranju: When I was in elementary school I took classical ballet for 3 years, and then in middle and high school I was put in the ‘Creative Dance’ department. We had ballet lessons and danced to our own choreography…

Fujii: So, you can do choreography too!

Ranju: That would be a huge challenge, but I would like to try it once, I think.

Fujii: Oh, that would be great! If you hadn’t passed the exam, what path do you think you would have taken?

Ranju: I like English, so I had the vague idea of studying English in college and doing some kind of work related to that.

Fujii: You’re a really flexible person, so I can definitely picture that. Your grades have been excellent ever since you entered Takarazuka, and then you kept getting roles in shinjin kouens and Bow Hall performances, and lots of appearances in dinner shows. Are there any shows for you that were turning points, Tomu?

Ranju: Maybe the 2001 Bow Hall, Manon. That’s when I really started to aim for being an ‘otokoyaku’.

Fujii: Slightly wicked roles, like your character of Lescaut in Manon, really suit you, don’t they. And then that same year you had your first shinjin kouen lead, Michelangelo. What do you think about that?

Ranju: I was so desperate. It was like I was pushing to the limits of my energy, so I don’t really remember the particulars.

Fujii: But I think it’s exactly that which helped you suit the role so well, perhaps. And then the next year was Drenched in the Amber Hued Rain and Cocktail!

Ranju: In the show Director Fujii created and directed, Cocktail, I was able to sing with Haruno-san, Sena-san, and Ayabuki-san in the opening sequence, and then in the basketball scene I was playing the part of Haruno’s opponent, so I was thinking “is it really okay for me to be doing all this…?” It was a revolutionary show for me, internally.

Fujii: Is that so; it seemed perfectly ordinary to me, though (laughs). When all the current Flower Troupe otokoyaku are gathered, they’re so interesting, no matter what you look at.

Ranju: There were so many stellar otokoyaku when I was a junior actress. Maya Miki-san, Kaikyou Hiroki-san, Aika Mire-san, Yabuki Shou-san, Takumi Hibiki-san, Hatsukaze Midori-san, Kizuki Ayumu-san, Ranka Rea-san...And then at the time, Sena-san, Mizu-zan, and Kiriya-san were in Flower Troupe too, and everyone was so cool… I was like ‘what even is this troupe!’ (laughs)

Fujii: (laughs) And was it good training?

Ranju: For example, they would give very clear advice about the best way to wear a tailcoat, and precisely how many centimeters and millimeters until it started to look ‘just a bit off’. Even now, when it comes to how we’re holding a tailcoat, the senior actresses will still suggest ‘so, let’s do it this way this time’ and keep an eye on that. I think they all have a great aesthetic sense of ‘how an otokoyaku should be’.

Fujii: It’s something that’s passed down from senior actresses to the junior actresses. You were ken-7 in Cocktail.

Ranju: Yes. I had a lot of different experiences that year, with Gone with the Wind, Shadow of the Moon, and Elisabeth.

Fujii: How do you feel about singing, Tomu?

Ranju: I’ve studied it for a much shorter time, compared to dance. When I entered the Takarazuka Music School, if I had to use my voice in singing or acting, I never knew what I ought to be doing… In Director Shibata’s acting class he would always call on me as ‘that girl over there, with the strained voice’. I had a complex for a while that made it hard for me to get my voice to come out. Right now it’s not as bad as it was before, but unlike dance, where I can just go with my feelings, I have to think about using my voice more and tell myself ‘I just need to do it how I did in the rehearsals.’ When I hear Osa-san singing, I think that it feels really good, and I want to be able to use my singing to express what’s inside myself that way too…

Fujii: In the shinjin kouen of Elisabeth, it definitely seemed that while your gestures and such were very striking, you were nervous about the singing.

Ranju: Especially in the Takarazuka shinjin kouen I never got over the nervousness… I was in a battle with myself every day until the Tokyo performance. I remember that even right before the performance, I had shut myself in the dressing room baths and was singing. Finally, at the very end, it felt like I had made it over a huge mountain during that performance.

Fujii: That was a good experience for you, wasn’t it. You seemed to be enjoying yourself singing in the recent production of Ernest in Love, so I thought ‘she seems like she’s grown a bit…’

Ranju: Thank you very much.

Fujii: You were playing all sorts of roles in 2005, weren’t you. Hachigorou in Kurawanka was such a skillfully done role that it almost made me think you were ken-30 (laughs).

Ranju: (laughs) Although it was a hard time with the switch roles and things, the junior actresses put so much energy into it, and I think that show really helped everyone in the cast grow.

Fujii: After that you played Gunther in Marakesh: The Crimson Tombstone, and the outside performance R-HATTER*. You were so cool!

Ranju: Although at first I couldn’t even picture how things might end up, but Hattori Yuukichi-san was very understanding of what a ‘Takarazuka otokoyaku’ is, and put together choreography that showed off how the otokoyaku looked.

Fujii: But it was the kind of choreography that you wouldn’t see very often in Takarazuka, right. It needed a very high technical level, didn’t it?

Ranju: Yes. At first I was struggling just to keep up. Performing with foreign male dancers was a very valuable experience for me that really made me rethink ‘the appeal of an otokoyaku.’

Fujii: Although you’ve developed quickly and have the image of a ‘star student’, have you ever had times where you’ve come up against a barrier or that you can’t relax?

Fujii: I’ve never relaxed… Since I haven’t been practicing since I was a child, I feel like if I don’t practice more than everyone else I won’t be able to do it. When I was in the music school, I would dance at home until late at night, and I had my family buy a tap mat so I’d be tapping away at that...I was desperate (laughs).When I was a junior actress I hated being called ‘star student’ and I would break down sometimes. “Even though I’m always at my limit trying to deal with things, why do they still say those things about me…” I would think.

Fujii: I’ve never seen Tomu in a panic like that.

Ranju: I don’t let people see that (laughs). I hate failure, you see. Starting when I was around ken-3, I was able to act in the plays together with the senior actresses, and in the revues even though I was one of the youngest I would be able to join them, but I still couldn’t do things at the level the senior actresses were at… A lot of the time I would end up in the dark, deserted rehearsal room just crying, ‘Wah~’ (laughs)

Fujii: Oh… But you don’t do that any more now?

Ranju: No, if I can’t do things how I think I should be doing them, I’ll have a cry at home (laughs).

Fujii: You don’t want other people to see, yes. So, how are you going to progress from here? Can you tell me roles you want to play, or dances you want to do?

Ranju: In terms of plays, I want to do a really passionate grand romantic story. In terms of dancing, I’d like to do something in latin style, or some really vigorous dancing that they don’t do a lot in Takarazuka. Also, a really Takarazuka-style duet dance… When I was in the music school, in Shime-san’s (Shion Yuu’s) class, she told us “in your loudest voice, shout out your dream of what you want to do onstage”, you know. So, I said “I want to do a duet dance wearing pure white, surrounded by white smoke!” (laughs). I do want to do a charmingly romantic duet dance.

Fujii: So, finally, what do you think is the appeal of ‘Ranju Tomu’?

Ranju: Eh~, do I have to say it myself? I’m blushing… (laughs) Let’s see, first would be ‘Passion’. That’s been my theme ever since I was ken-1.

Fujii: Oh~ that’s great.

Ranju: From now on, I want to develop ‘big-heartedness’ and ‘sweetness’.

Fujii: Wonderful! I think Ranju has the ‘Takarazuka atmosphere’ in the best way, and you’re really irreplaceable. I’m looking forward to seeing how you flourish from now on.

Ranju: Yes. Thank you very much!

* This was a co-ed modern ballet production featuring Japanese and foreign ballet dancers as well as a few Takarazuka actresses.

#takarazuka #article translation #sienne: ranju tomu #troupe: hana #staff: fujii daisuke

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shoushatohaisha · 6 years

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report: haikyuu!! summer week day 5 part 2 (hajimari no kyojin)

(sorry for the delay! i moved home from japan to the states the day after… technically the day of posting the last report so obviously it's been. Busy. last one tho!! ♥)

previously: day 1 (shoen) day 2 (itadaki no keshiki) day 3 (karasuno, fukkatsu!!) day 4 (shousha to haisha) day 5 part 1 (shinka no natsu)

guests: kenta, keita, funaki masahide, yanagihara rin

Hoo Boy this was by the most outright emotional of all the screenings so far. like, shousha to haisha was intense, but the content was intimately familiar by now. the impact of this was fresh -- and we all knew it was the end, you know? the end of our happy little week, obviously, but also the beginning of the end for karasuno. over the week all those showings had built up this tidal wave of Feelings it then unleashed here, aha. so that the cheering was right on the edge of desperate, like there were real results on the line. self extremely included. this was our last chance, in all kinds of ways.

(i, aware that i would be leaving the country in two days, was perhaps a little more desperate! but it sure as hell wasn't just me. cheering along at the top of our lungs to the opening/closing karasuno jog i described here… it was. a lot.)

of course the reaction to certain parts were as you'd expect. there was dead silence for ennoshita's big scene(s). the cheers for his receives were like nothing else. when ennoshita tells yamaguchi "let's fight together" kenta reeled backward like he'd taken a physical hit. (my son, i love you.) and of course kenta and kt were emoting all over the place for that whole storyline – kt was wiping his eyes after daichi had to leave the court, and then they both teared up over "thank you for coming back" and "captain ni tsunagenakya!"

and of course when it came to rin and funaki they had their own moments – rin obviously got misty-eyed when all of wakutani started losing their shit, lol, and funaki surprised me by wiping his eyes after misaki's goodbye to johzenji. (my guess from daisenshuuraku was right, btw, momo was crying irl during that scene. awww.)

OK BUT BACK TO THE BEGINNING sorry.

once again kt was tricked into dashing out before everyone else. XD kt: um this is not how rehearsal went. kenta: what are you talking about? :( funaki: this is just like we practiced. rin: (nods furiously) kenta: isn't it? kt: ………yes. fine.

so they accidentally grabbed the afternoon's MC script, whoops. which i'm sure kenta noticed as soon as he glanced at it, but didn't turn a hair until it was time for their self-introductions. "playing kageyama tobio, i'm kageyama tatsuya—" kt: playing nishinoya yuu i'm fuchino yuuto ^_^ funaki: hahahaha PLAYING KUROO TETSUROU IM KONDOU SHOURI audience: (CHEERS) rin: (squints at script) playing konoha akinori im… (mutters) ….azuma… takumi…? kenta: ….you were IN A PLAY WITH HIM rin: is that wrong kenta: what have you been calling him all this time rin: …………azuma…..kun………. kenta: and what did he say to that rin: …"yes?" funaki: well he does seem like he'd just roll with that kenta: IT'S HIGASHI HIS NAME IS HIGASHI

kenta: i was the MC for the shoen screening, but earlier this week, rather than do it twice himself, ryoutarou turned it over to yamagiwa kaito-kun-- audience: (bursts into giggles) kenta: …yeah so i thought maybe tonight i'd give someone else a cha-- funaki: ME I WANT TO kenta: --ok here you go funaki: wait what kenta: you looked like you really wanted to so funaki: I SUPER DO :D funaki: so uh (flips pages) next uh -- kenta: r u srs

i was SOOO fond of funaki omg what a friendly bro ahhh. so cheery and good-natured. :D (can u tell i like em dumb and smiley, apparently.) whereas rin-kun was… endearingly ditzy. XD (is he an ex-johnny's? he kind of had that air. it was like looking at ueda tatsuya circa 2005. in no small part because of the wakunan towel tucked into his waistband, which draped to the floor.)

funaki: don't forget to call the player's names during the starting order, like "terushima!" or "terushii!" or "yuuji!"

funaki: so next we'll practice cheers! i, the MC – yeah yeah yeah (rapper pose) -- kenta: masakki! kt: masakki! (like. funaki + masahide = masakki? apparently? i was unfamiliar with this nickname.) funaki: ok now yanagihara-kun's gonna lead the cheer practice rin: nice to meet you i'm MC rin ^_^ rin: where were we again? kenta: rin: wait right. this is. a cheer screening. so we want you to cheer! kenta: they know that. rin: kenta: rin: wait ok i remembered!! audience: GANBARE rin: :D;;

it took SEVERAL MORE FALSE STARTS before we actually got to the cheer practice. poor rin-kun. XD but he wasn't like, shy or embarrassed like takumi-kun he just. was kind of a ditz. "NO WAIT :D lemme try again :D wait where are we? :D"

kt: ARE YOU FIRED UP audience: WHOO funaki: ARE YOU READY TO GO audience: WHOOOO kenta: WHAT'S YOUR FAVORITE FOOD audience: tamago kake gohan!!

the screening: abovementioned emotions aside, plenty of dancing and choreo as you would espect, especially from funaki. rin apparently was young terushima in the flashbacks! so he and funaki did all the double terushima scenes together. and rin did all of his white coat dance choreo as well.

during the opening, kenta joined rin so he wouldn’t have to do the wakunan choreo alone. XD and funaki and rin played kiyoko-san and yachi ahahaha. then when hinata and ushiwaka begin to turn on the revolving stage, kenta started scuttling around stage trying to "revolve" himself with limited success.

yamaguchi: (snubs shimada's high five) kenta: don't mind!!

despite kenta's gleeful delight in audience comebacks, there were understandably few of them from either him or us because it was everyone's first time watching the show since daisenshuuraku! the demon elementary school children did get this massive cheer that made kenta almost fall out of his chair laughing. ditto akaashi's "michi wo tsukurimasu no de" – that was one of the most full-throated mass "KYAA"s i've ever heard (again… self… included…) and kenta thought it was HILARIOUS.

i myself was reminded all over again what a great show this was, ugh. blah blah I Love Kawahara Kazuma digression aside, please take it as read, IN ADDITION i know i briefly talked about the, like, emotional sensitivity kouhei brought to playing tanaka but fjkdlajfd the close ups on his face made it so much worse, ffffffff. GOD. dude's emotions were A Lot. just. please. gimme the dvd already.

i was also so caught up in nekoma vs fukurodani the first time i watched that i didn't notice how well kuroo and kenma's final scenes onstage functioned as a goodbye for takato and shouri. when you've been in four consecutive shows, you deserve to go out on a meaningful note. (yes ofc we don't know what the future holds etc etc but.) shouri's delivery of "you're our brain, and our spine, and our heartbeat." fffffffffffffffffffffffffffffff murder me.

ahem ok. the aftertalk:

funaki said that he was used to watching videos of himself on stage to review and practice with, but it was the first time watching from a normal spectator's perspective. "oh, THAT'S how that came across." and that the effect made him cry.

rin had a really nice thing to say about how watching really impressed on him how haikyuu stage in particular is a work that is dependent on everyone's contributions combined – i.e. it's not just the lead characters, it's the combined effect of the characters in the spotlight and the characters in the background and the white coat ensemble and the technical staff that make haikyuu stage the unique production it is. (this was hard for rin to express in japanese, tbh, so idk how well i'm getting it across in english but his point was that when he says "it's a show we all create together" he's not referring to ideas or feelings but quite literally saying that everyone's contributions on stage are necessary to make haikyuu stage what it is.)

and kenta talked about how (attending every single screening as he did, lol) it was great preparation for saikyou no team to have had the chance to look back on each different production -- especially to look back on the schools and characters that appeared in just one show and carry their feelings forward to the next play.

…then they discussed how quickly rin's hair had grown back since daisenshuuraku. XD rin: tbh… i was emotionally moved when i first looked in the mirror and saw myself with hair.

then as soon as keita prompted them for backstage stories kenta was like GOKU. DEFINITELY GOKU. apparently at daisenshuuraku he started crying before wakunan even huddled up for their pre-show cheer. "I CAN'T HANDLE IT, IT'S TOO MUCH." kenta: i was watching this like R U KIDDING ME WE HAVEN'T EVEN STARTED YET rin: ahaha during the show as well, idk if this is good or bad, but he was always crying, like – there's a bit where hanayama calls "takeru!" as he makes a toss rin: and goku was always like "(sobs) TAKERU!!" kenta: ONE TIME HE CRIED SO MUCH HE SHORTED OUT HIS MIC audience: EHHHHH? kenta: how did that many tears even GET there funaki: probably the sweat plus the crying rin: incredible. kenta: that's haikyuu stage. so much sweat and tears we destroy our mics.

rin also told us about the wakunan red bull rule. they did a lot of team practice on their own, and people were chronically "just barely" late – i.e., never more than a few minutes, but it was enough to throw off practice. so they instituted a rule that whoever was "just barely" late had to buy the rest of the team red bulls. to this day, as they're preparing for their august 25 event… whoever's late has to buy everyone else red bulls. rin: we also took a lot of purikura together kenta: yeah they had such a reputation that whenever they were late karasuno would be like YOU WERE TAKING PURIKURA AGAIN WEREN'T YOU

then for johzenji funaki told the story of "The Take Two Incident", in which during johzenji's ad libs he fucked up his lines two shows in a row – and the second time was so bad he thought "what would terushima do???", straight up yelled "TAKE TWO" and started over. after which kenta collared him backstage like "did you seriously fuckin do that???" funaki: i reflected deeply on my actions.

johzenji also had iizaka, who's a pretty reticent and quiet character. but he had to do something on stage when johzenji was… being johzenji. so karasuno came up with a quirk for him: every time johzenji successfully scored or blocked he would pump his fists and happily yell "MAAA." (5 foot nothing suga kenta reenacting this was delightful, fyi.) kenta: he played the nakashima household's father too. nakashima masayoshi. nakashima… MAA… sayoshi…

THEN, UGH, keita talked about how he gave the post-curtain call greeting for maeraku (i.e. the second-to-last show, the one before senshuuraku). and of course in the greeting he talked about leaving and coming back – and as he did, suga kenta appeared on stage behind him with exactly the same staging/lighting/sound that daichi does during the play, and said daichi's line, "tanaka keita, thank you for coming back." at which point (in the greeting) keita broke down in tears. he somehow managed to relate this story to us without more than a suspiciously husky voice, haha.

(PLEASE FOR THE LOVE OF GOD INCLUDE THIS ON THE DVD)

final messages:

rin started off by talking about what a warm atmosphere haikyuu stage has – not only is the production itself good, the people involved in the production are good. this is particularly notable because of the number of people involved. productions with this many people are usually difficult in all kinds of ways – and in his opinion this production is as welcoming and smoothly run as it is thanks to suga kenta. rin: i mean, we're the same age, so as a goal -- well he's not my goal but— kenta: excuse u?? rin: WAIT NO kenta: U COMPLIMENTED ME AND THEN rin: no that's not what i meant!! kenta: WHAT'S WRONG WITH ME HUH (mock flounces off stage) rin: PLEASE LET ME DO IT ONE MORE TIME

(takeru's line, "mou ikkai yarasete kure yo" XD)

he then nicely cleaned it up into what he meant to say about how much he respects kenta and how grateful he was to be part of haikyuu stage.

funaki: WELP JOHZENJI LOST so. that's. my first and last appearance in haikyuu stage. but. tbh. watching this. i really. want to be in it again. i want. to go back. BUT I CAN'T. but all of us in johzenji will do our best in our different venues so maybe we'll meet again. thanks for loving our play so much.

keita: (deep breath) lone audience member: okaeri <3 keita: tadaima :) keita managed to get through his without tearing up… i think. (i love him!!!!) he talked about how of course during a normal show one gets energized and encouraged by the audience's applause, but the energy from these screenings were different and even more direct. "it was like we were all a team." ;___;

and kenta talked about how enjoyable it was to share the emotions of a match directly with everyone, and that looking back on all the productions so far, he was reminded of all the friends and companions that got them this far, including of course the audience. :)

and that's a wrap for the summer week screenings! as i said before, i'll write up a little report about the haikyuu day event – they did an aftertalk after the livestream ended just for the theater – but it should be relatively short compared to these monsters. thanks for tuning in, everyone! ♥♥♥

#engeki haikyuu #hyper projection engeki haikyuu!!#haisute #suga kenta #tanaka keita #funaki masahide #yanagihara rin #haikyuu summer week #event report

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