#troupe: senka

[nakoayas]

Maisora Hitomi × Minami Maito Special Talk for Maisora's photobook Sincerely ~my twinkling dreams~

Scanned from my personal collection.

Translated interview by @yuzukahibiscus under the cut!

Maisora: It almost felt like I had been in Flower Troupe for so many years and months, and yet it’s hard to believe that it’s only 3 years. I think the reason I felt that this time felt so meaningful was because of the time I spent together with Minami-san. I wanted to take this opportunity to say what I’m grateful for… so thank you for coming today!

Minami: Thank you for inviting me, I’m very glad to be here (LOL). When Maisora came to Flower Troupe… and when I saw you play Hanna in Hanna’s Florist, I thought “this girl will definitely become a star”. But at the time, since I still saw you as “the underclassman Maisora Hitomi”, we didn’t talk much (LOL).

Maisora: Both Minami-san and I are shy people… (LOL)

Minami: I’m not the type to talk to underclassmen so enthusiastically (LOL).

Maisora: I think our relationship changed because of Minami-san’s starring Bow Hall performance Senhor CRUZEIRO!. When it was announced that I would be in this performance, before we went into our actual rehearsals… I remember that we went to take tango lessons together after our Tokyo performances in our previous Grand Theatre performance (The Poe Clan).

Minami: But at first both of us were very careful. Just wondering, “should we do it…like this…today?” (LOL).

Maisora: Both of us were quite nervous (LOL). This was almost the first time that I’m paired to dance with an otokoyaku, not to mention how difficult the dance genre of tango is… it became a greater challenge. From when we began our rehearsals, there were also other genres of dance I had to perform in various scenes, but every day Minami-san would take the time to practise tango with me. After the various lessons, you would say “Okay, let’s practise tango now!!”

Minami: I thought “let’s go!!!” (LOL). We kept practising. I think in Takarazuka revue shows, rather than just the genre of tango, this concentration for serious choreography between the pairing of otokoyaku and musumeyaku, so they’re quite difficult. In normal Takarazuka dance scenes, I’d say a complimentary effect happens when the otokoyakuk leads the musumeyaku step by step, but tango can’t be made possible if the otokoyaku and musumeyaku aren’t dancing as contrasting equals. Then I started to realise there’s no time to be shy anymore (LOL). We started thinking how we could make the dance look better, and our relationship became one like comrades when we had the same goal.

Maisora: Yes. I couldn’t remember how many times I accidentally stepped on your feet…

Minami: (LOL).

Maisora: You said “Don’t worry about it!’ “It’s okay if you got it wrong, just try it once more!” Every day, I observed how sharp Minami-san was with her dance moves… I think that didn’t impact just me, but also all of our members too.

Minami: No, no, no…

Maisora: During the performances, when I came back to the company every morning before the performances, you were already getting ready (LOL). You were always so diligent on yourself.

Minami: Did that really happen…

Maisora: Since going on stage and going to rehearsals were so different, I still felt nervous over it. I thought, what if I couldn’t dance as I thought I would? But at the time, I thought of overcoming this with an unwavering mindset…

Minami: I felt the same. Because if one of us were uncertain, then the other should support her!

Maisora: You were so fantastic at leading the dance.

Minami: No, Maisora has great sense too. You’re like this now as well, but you have always been straightforward without thinking too much.

Maisora: Because at the time, I didn’t know anything.

Minami: Yes, but that also makes accomplishing things much easier. And your body balance has always been firm. I guess both of us were diligent in body training. I also think that we’re quite passionate the same way we approach things.

Maisora: Yes. I wanted to focus on that scene, because it conveyed a world where only two people remain. Then on the closing day, before I realised it, the scene was already over… Before I noticed it, I was already hearing the audience’s applause.

Minami: The applause was deafening. I was really glad.

Maisora: The moment I heard the applause, I remember how happy I felt to be on stage, that I still remember how it feels now.

Minami: Me too.

Maisora: I was truly happy. And then afterwards, we went on the national tour Melancolique Gigolo / EXCITER!! 2018 in the same year.

Minami: We danced tango as a pair again in the prologue of this show. Because the two of us wanted to show this burning passion, to look cooler than any other couple! (LOL).

Maisora: It was as if we turned this switch on (LOL).

Minami: Yes, yes.

Maisora: You told me, “Dance more, dance more!”, so I said, “Yes, I’m coming!!”

Minami: (LOL). I don’t usually do that. But that’s because I trust Maisora.

Maisora: The “Havana” scene too..!!

Minami: That was fun too. I remember that scene made me realise again, “Wow, Maisora is so good!”

Maisora: No, no, no… I’ve loved EXCITER!! for a long time, so I was really happy to be in this scene in this show that I used to watch a lot. And as the national tour ended, there was the TAKARAZUKA SPECIALS, and the rehearsals for CASANOVA began… what a dizzying schedule.

Minami: That’s true.

Maisora: In which you told me after the TAKARAZUKA SPECIALS was over, “You did great in the national tour, let’s work hard together!”

Minami: Huh, really? I don’t remember that at all (LOL).

Maisora: I thought Minami-san also worked so hard for it too, but hearing your words really made me so happy.

Minami: No, I mean Maisora too was so busy, but didn’t you and Hana Yuuki-chan create this national tour photo album for Rei (Yuzuka) and me? “How cute these girls are”, we thought. Now I still cherish that album. I come to look at it once in a while.

Maisora: Thank you. Later, it was announced that I’d be transferring.

Minami: I was too shocked to hear that…

Maisora: When I told everyone, I remembered Minami-san disappeared elsewhere.

Minami: At that time, I just couldn’t come to accept it… I don’t know (LOL).

Maisora: Even after we were in different troupes, every time we met, it was as if our relationship never changed, since you’d call out to me, “Hey, Maisora!” like that.

Minami: That’s because I still see you as my friend and comrade.

Maisora: Thank you. I’m so grateful. And then time flew by… then came the Hakataza performance Me And My Girl!!

Minami: I was surprised. Hearing from the company that I’d be performing in Star Troupe’s Me And My Girl and Maisora would be playing Sally, I screamed… I even worry if the whole company could hear the echoes of my screaming (LOL). After I became a Senka member, when I heard that my first performance would be with Maisora, I was deeply thankful from the bottom of my heart. How can this destiny be possible, I thought.

Maisora: I was also surprised. Before our rehearsals, together with Akatsuki-san, the three of us went to Hakataza for the interviews.

Minami: That’s right. Both me and Ari-chan (Akatsuki Chisei) were shy (LOL). Thanks to Maisora that we were able to break the ice. I was grateful to spend the time with you two.

Maisora: Then our rehearsals began. You had to play both Bill and Sir John… I can’t imagine how difficult that would be.

Minami: At first, I was like “you’re lying” (LOL). But looking back, that was such a valuable experience. I think Star Troupe members, led by Co-chan (Rei Makoto), were all very energetic and powerful, and that’s exactly how you all were. At first I was really overwhelmed by your power.

Maisora: I remember you telling me that.

Minami: Everyone was so bright and straightforward, so I was inspired by the Star Troupe members’ philosophy of “Let’s give it a try” on anything. While creating the role, I could feel how difficult it was because many seniors performed this performance in the past. And to me, I wanted to bring something out of me, so that I could perform it like how a particular actress did it in my favourite Me And My Girl version. But the director Miki Akio-sensei said, focus on creating the Me And My Girl with these members this time. And then, I was most moved by Maisora’s growth. As a Top Musemayku, you had various experiences… and there must be countless things you have to consider that I didn’t know. But with the guidance from Co-chan and from all members of Star Troupe, I believe you worked even harder. So to feel this Maisora Hitomi was really amazing…

Maisora: Nothing… like that at all. It’s because everyone was guiding me.

Minami: The applause was deafening. I was really glad.

Maisora: Since this was a musumeyaku role I admire, I was concerned and frustrated and couldn’t find myself breaking through this bottleneck, and when I was troubled with these things, Minami-san would kindly guide me along. Since you already knew me back when I knew nothing, so I’m delighted that you could tell me how you really felt or thought when you look at me now.

Minami: Sometimes I find it difficult to express my thoughts if what I say will have a negative effect, but I also believe that there`s no good in being reserved and not telling you... because you`re my comrade Maisora.

Maisora: I’m so thankful.

Minami: Even though it would be great if I took care of myself the same way (LOL). But I certainly feel that the quality of the performance shouldn’t drop. And I think that’s possible because the members were leading me.

Maisora: No, no, I believe that it’s because Minami-san led everyone!! You always cared how everyone was doing… And even though you were already busy with your two roles, you wrote every one of us a letter and gave it to us on the last day of performance, just like what you did during Senhor CRUZEIRO!!.

Minami: Well, there’s that (LOL).

Maisora: You wrote to me, “When I’m with Maisora, there’s nothing I have to worry about and I can tell you everything, and so I’d like to aim higher”. You don’t know how happy that made me feel. Thank you so much (cries).

Minami: Thank you too.

Minami: Earlier, I watched your Music Salon, and it was really amazing.

Maisora: Thank you, for writing such a warm message to me.

Minami: Did I (LOL)? Well, that’s because you sent me a long message first. I hope that you’ll be healthy in mind and body until the end… I’m looking forward to it, that while you may be fighting it to the end, I hope you can accomplish everything and complete your Takarazuka journey to the end.

Maisora: Thank you.

Minami: Ah yes. My fans told me that they found me calling you “Maisora” in a manner with such affection and love… so I hope you understand if I continue calling this as such (LOL).

Maisora: Speaking of that, during Me And My Girl, I think you called me “Hitomi” at some point.

Minami: I did (LOL). Everyone in Star Troupe were surprised to see me calling you “Maisora”... even you told me so. I remember you telling me, “You called Hana (Yuuki)-san as Hana-chan♡ too so why are you calling me ‘Maisora’”... And I had to do my best explaining to you why my affection for each of you was different, but in the end I did call you ‘Hitomi’. I said, “Hitomi, you did well.” But then…

Maisora: It was quite awkward for me to hear that… So I said you can still call me Maisora just fine (LOL).

Minami: And I’m like what… In the end, I’m back to calling you Maisora.

Maisora: (LOL).

Minami: … With that, I hope Maisora will always be Maisora.

Maisora: Okay!! (LOL)

BONUS!!!

Caption: In this photoshoot, since both are splendid dancers, they kept doing more mature and fantastic poses, but... they kept chattering before and after the shoot, and that's the Maitii and Maisora who kept laughing all about.`

[yuzukahibiscus]

Minami Maito on Bling! – A closeup on the updates of Senka members.

(Source from 2024 TAKARAZUKA GRAPH November Issue)

— You transferred from Flower Troupe to Senka in late April 2923, and your first performance was the Star Troupe performance “ME AND MY GIRL” in Hakataza.

I was really nervous before the first day of rehearsals, but I became more reassured with the presence of Maisora (Hitomi) who was in Flower Troupe with me before. I met Ari-chan (Akatsuki Chisei) for the first time and with Maisora Hitomi, the three of us had our first interview together. Ari-chan and I were both really shy with each other, and we couldn’t’ talk to each other without the help of Maisora (LOL), but later when we went to Fukuoka for our press conference, the three of us quickly got along in that 2-day-1-night trip. Afterwards, our relationship was really good when rehearsals began. As rehearsals started, I truly felt that since Maisora had a more important status (as Top Musumeyaku) now, that compared to her Flower Troupe times she worked even more diligently, and I realised that I could only do my very best to support her. I feel like I knew her, but at the same time discovered something new from her as I watched her performance… I’m grateful to spend this time with her. Ari-chan and I played either Bill or Sir John in the role swap arrangement, and there was so much to remember about the details of these 2 roles, so it was really challenging… But it can be a form of support being close with someone who’s also playing the same role, and we can cooperate together. We’d point out and be careful in scenes when we’re wearing tap shoes but not dancing in tap yet. We’d remind each other, “What about the playing cards? And the hat? Don’t forget the watch!” (LOL) Through our role swap arrangement, we had th experience of looking at our roles objectively and creating our own, so it was really fun.

— How was Star Troupe?

When I was in Flower Troupe, I find Star Troupe a contrasting troupe, because I see different colours in this troupe. So while I imagined how I’d feel, I found it stimulating to have rehearsals with them. When I tried something, I was surprised how fast they adapted to my acting. I realized that I used to be too reserved with my acting, and I learned the importance of just trying things without overthinking them. What’s more, Star Troupe members have this energetic and bright ambience so I felt very comfortable with them.

— Were there any changes becoming a Senka member?

I had a long rest before “ME AND MY GIRL” performances, and I went to London, Paris and the Versailles Palace…at that time I didn’t know I would be performing in the “Rose of Versailles 50” concert (LOL)… In that vacation, I took dance lessons in London, and surely I had a change in mindset. As I become more senior in year, with much gratitude I took on more important roles and received more attention from the audience, but that’s also why I have to aim higher, and have more things I want to pursue. With that, I could only see my weaknesses, and at one point there were more things that “I needed to do” rather than “I wanted to do”. Yet, in the lessons in London, there were people wearing pointe shoes; some weren’t; some were dancing the same moves over and over again…the people were dancing freely and enjoying it. Then I realise: that’s right! It’s because I wanted to enjoy dancing freely that I entered Takarazuka. I was able to return to my primal joy and these lessons became a very significant experience for me.

— Later, it was announced that you were performing in the external performance of “HiGH&LOW: THE SENGOKU” produced by LDH.

When I heard the news, I really didn’t know what was going to happen. I thought, “Am I playing an otokoyaku? Or a woman? Or am I part of a choir?” (LOL) I had so many question marks in mind, at the same time I believe it would be an interesting experience to have during my time in Takarazuka so I was excited. During the interview, many asked if I felt the difference between Takarazuka and LDH, but I think both companies wanted to create good stage performances, so fundamentally they can’t be too different. But in comparison with Takarazuka where the director basically manages everything, the scriptwriter, the director and the music directors in LDH have different sections to guide us , so it was refreshing to lean from their way of work. What’s more, when there’s professionals of different fields all in one place, in one-to-one sessions, they teach us the techniques generously and I really learnt more new things. Also, we have Top Stars in Takarazuka as leading roles of each story, so the story would be created to make the Top Star stand out, but it’s different in LDH. Certainly, I’d say they have a concept of making every member as important as a lead role, and there are directions which I question, “Is it okay when the audience cannot see Katayose-san in this scene?!”. At first I was really confused with Seo, who also performed with me this time. LDH members said that we could ask them if we have any questions, and so we told them things that didn’t make sense to us “That in Takarazuka, we would…”, and discussed these parts thoroughly with the members.

— It must be a rare experience to play otokoyaku among men.

Since we were always supported by musumeyaku around us, so I’d always feel that I want to play my roles more masculine! But they advised me that, “Men don’t stand with arms that wide apart. You’ll be fine as long as you’re keeping your mindset as if you’re a real man.” But since I felt really apprehensive if people would see me as a woman when the performance started, I think this frustration helped me shape Kamisuzaki Yusui’s troubles and concerns as the leader of a state. After the first day finished successfully, I was relieved that I could tone down my thick eyebrow makeup (LOL) and I applied lighter makeup, in which I became more confident in conveying my role as a man, rather than simply relying on makeup.

— You had various swordfight choreography scenes with the men.

I love swordfight choreography, and they have this momentum as men and it was so satisfying learning, “That’s how I have to fall down when I’m being slain!” (LOL). Since this was a performance about 5 warring states, our teacher said that we’d be learning different fighting styles depending on which state we belonged to. I was the state leader of Nogi-kuni, a state holding pride for its flourishing waters, so the teachers taught us swordfight choreography that is smooth as the flow of water. It was really difficult, but I enjoyed learning it.

— Continuing from there, you played Andre in “Rose of Versailles 50” with the distinguished OGs.

A total opposite to LDH! (LOL). But I savoured the experience of being one of the youngest underclassmen again while playing among legends (LOL). Well~ the rehearsals every day was so fun and as I checked the schedule timetable, I’d be excited when I realized, “Oh, tomorrow’s the day they’re going to play Oscar! I look forward to it~!” I know that’s not a timetable is really for (LOL). But actually it was super thrilling being in the same rehearsal classroom with those legendary Oscar, Andre, Fersen actresses. Originally, these OGs have established their individual careers, but when they’re all assembled in one place, it felt so extravagant that it was a feast for the eyes. Kacha-san (Nagina Ruumi) who paired up with me as Oscar was busy performing in the bow hall for an external performance, so it was really me that was still a current Takarasienne…and I couldn’t believe I had the chance of rehearsing with other legendary OG Oscars during rehearsals. I panicked so much because “the people I looked up to are looking at me! They’re holding me in their arms~!” (LOL). I develop these different feelings depending on which OG I’m acting with. Of course, the ambience changed drastically from the different combinations, and I wanted to take all these experiences with me. When I wore the costume on stage, and when they watch me from the audience, they come to give me advice, “Mina-chan! You’d look better this way!” I couldn’t be more grateful to have spent this time.

— And now, you’re rehearsing the Moon Troupe national tour performance “In the Amber Hued Rain” and “GRANDE TAKARAZUKA 110!” You’re performing with Houzuki An again after being in Flower Troupe together in the past.

That’s right! First of all, many people are looking forward to Chinatsu-san (Houzuki) and Juri-chan (Amashi Juri)’s debut performance so I’m very glad to be part of it. And I really love Moon Troupe’s acting, so I look forward to seeing how they create a play from start to finish. This is also a troupe that I haven’t performed with, so I believe I’ll be inspired by them. I acted with Chinatsu-san before in “Stardom” back in the Flower Troupe times, but I was still an underclassman at that time, and I didn’t know much about acting or how to establish my presence in the troupe yet, now that I’m an upperclassman, I believe we can talk more about those issues. What’s more, I really love Chinatsu’s acting, so I want to feel more concretely how it feels and I will do my best to follow her.

[andromache-hectoris]

I have promised @eralkfang a great while ago to post my scans of Mitsuru. As an apology, I now present all her postcards I've collected by far with no watermarks. Still a long way to go...

Please do not repost them outside Tumblr.

[zukadiary]

Hi there! I have been wondering for some time de diferences between the senka and the different troupes. Do they have to transfer directly to senka? Or can the actreses graduate and later on join it? Do they also have rules regarding dating/marriage/ social media? Thanks for your time!

Hi! Senka members may not have a regular schedule, and they rotate between troupes, but other than that they are subject to the same dating/marriage/social media rules as members of the other 5 troupes. You cannot graduate and then join Senka later, although there are instances of top stars graduating and immediately going to Senka (e.g. Todoroki Yuu, Haruna Yuri, etc). Non-top stars frequently transfer in and out of Senka.

Originally, Senka was designed to hold actresses with a particular specialty or expertise, who were called on when a specific show called for it. However, lately they have been using it as kind of a temporary holding ground, in addition to the original reason.

[ashyronfire]

Red Sky at Morning || Chapter 58: The Mouth of Infinity

Title: Chapter 58 - The Mouth of Infinity Rating: M Characters: Grimm, The Grimm Troupe (including OCs), The Radiance Warnings: Introspect-Heavy, Found Family, Pre-Canon, Time Travel Fix-It Adjacent, Grey-and-Grey Morality, Torture, Aftermath of Torture, Dismemberment, Graphic Depictions of Violence, The Author Likes Gore

Summary:

“You feel like home, Nightmare King. The place that the stars lead us to.” The whimsy in their tone told him that Alula was right. Senka and Deimos were terribly lonely people; they longed for a place to call their own, where they would belong. They wanted a home. It hurt to hear. It hurt more to know that his own voice had a similar cadence. It wasn’t a place that he longed for, though. It was something far harder to put to words, a longing without definition that strangled something within his chest. The closest that he could come to describing it was mourning. He missed someone that, perhaps, had never existed in the first place.

Author’s Notes: Hi! I'm back. Turns out writing this fic in longform fixed me, who knew? Special thanks to @astorichan for letting me grill them for language stuff in this chapter. <3

CURRENT CHAPTER || READ FROM THE BEGINNING

[berserkerbarbie]

The Merry Widow by Senka / Moon Troupe 2013

[castroxche]

hi, what's the gif in your recent post from?

it's from Che Guevara The Musical, performed by the Takarazuka Revue, particularly the Moon Senka Troupe. unfortunately i cannot find any proshot or version of it online, and even if i could it's not likely that it will have english subtitles (the musical is in japanese). i did manage to find gifsets on tumblr!

the only other thing my comrades and i could find is this clip from bilibili: https://www.bilibili.com/video/BV1P44y1h7xC/

if i manage to find a full version which happens to have english subtitles i'll tell you guys! but for now, DVDs of the musical are like, 75USD and dont come with english subtitles. soooo.... sad!

[tokyo-tower-symbolism]

Day 1 Masterpost Top Star Audition Masterpost

Tendo Maya - A thoughbred, a genius, the undisputed first rank of the 99th class. She stands apart from her costars, and her classmates and peers can do nothing but step aside in front of her immense talent. Already being scouted by professional troupes, it's not an exaggeration to say that when she graduates she will become the new face of Japanese theater. Maya played Claire in Seisho's 99th production of Starlight and has no plans to let go of that role.

Hanayagi Kaoruko - The granddaughter of the 11th head of the Senka-ryu school. When it comes to traditional Japanese dance, she is unparalleled. Although she can be rather lazy, she always steps up when it counts and so earned a role as the Goddess of Escape in the Seisho's 99th production of Starlight. But she's wouldn't be satisfied with just that would she? Could this be Kaoruko's chance to become the one who shines brighter than anyone else in the world?

[tagstrums]

Takarazuka Troupe Transfers

°°°°°°°°

It has been confirmed that Minami Maito will be transferred to the Cosmos Troupe. Interestingly, this transfer will take place either a day before or after Sakuragi Minato is transferred to Top Star. This raises an intriguing question: will Minami Maito specifically take on the role of Nibante in the Cosmos Troupe?

Additionally, several other transfers involving actresses from different troupes have been announced:

Kiyora Haryu (from Moon) will be transferred to Cosmos.

Futaba Yuyu (from Flower) will be transferred to Cosmos.

Minami Maito (from Senka) will be transferred to Cosmos.

Ai Sumire (from Snow) will be transferred to Cosmos.

Yuuri Kanou (from Snow) will be transferred to Cosmos.

On the other hand, there will also be significant moves to other troupes:

Hikaru Rukase (from Cosmos) will be transferred to Star.

Kiwami Shin (from Star) will be transferred to Flower.

Interestingly, following Serika Toa retirement and Sakuragi Minato promotion to Top Star of Cosmos, it was expected that Hikaru Rukase would step into the role of Nibante in Cosmos. However, she has been transferred to Star, while Minami Maito has been brought to Cosmos. This suggests that Minami Maito might indeed be transferred to take on the role of Nibante in Cosmos.

[tarry-a-lot]

Hello, sorry this is late and super long, but I sure can add more. I should preface this by saying I'm not a big Takarazuka fan so my knowledge on it is not perfect, lyrical analysis is not my strong suit and that my French is quite bad, so a lot of machine translation was used so apologies in advance for any inaccuracies. Additionally. I should note that my opinion is formed from watching the French ver. online, listening to the 2013 Japanese soundtrack on YouTube, and owning the French CD, Takarazuka CD, and the "Le CINQ" (Takarazuka Magazine) issue on Mozart L'Opera Rock. I probably will accidentally breeze past some explanations, but I do plan to post the Jp lyrics later so for those who want to go through them themselves there will be that.

Casting:

To begin with, I think it's relevant to know that unlike the Fr!MOR, the Jp2013!MOR cast had double casting (in Jp you may see it written as "w casting") so there are multiple actors cast as a character (usually only 2 but sometimes it's 3 or 4). They are not understudies. Instead, it’s like having multiple versions of a cast. The Jp2013 ver. has 2 cast members playing Mozart and Salieri interchangeably, which created the show having two labels, Indigo and Rouge versions (Rouge=Nakagawa!Mozart +Yamamoto!Salieri, Indigo= Yamamoto!Mozart+Nakagawa!Salieri). This casting method of having two actors sharing and switching between characters reflects the emphasis this production put on the connection between Mozart and Salieri. 

Takarazuka casting is also important to consider due to the fact it is a ranking based troupe. The actors are similar to idols (think jpop+kpop), most have a following and fan base. Takarazuka has 2 types of actors, those who only play female roles and those who only play male roles (though some exceptions exist). There is a top pair of male and female role actors that usually are cast as the main characters of each show. This casting culture of Takarazuka is reflected in their shows by often having a main female and male character. For a show like MOR this would be Constanze and Mozart as the main couple, thus this production added more Constanze scenes compared to other productions. This also affected Salieri's characterization, though likely not the only reason for the change, he is the secondary male character and main antagonist, and is an antagonist to a larger extent than the French version. Tkz!Salieri adopts other sub-villain roles and plots into his characterization (for example: Webber marriage contract plot? Tkz!Salieri was behind it). It also should be noted that the actor who played Salieri is a Senka actor and not part of a specific troupe, so perhaps that is also an indicator that while Constanze+Mozart was prioritized Takrazuka still valued the Mozart+Salieri dynamic in the production.

Plot:

I don't know enough about the Jp2013 production to say too much but from what I gather it follows the original French plot closely. Tkz!MOR is a different case (I will focus mainly on the Salieri related changes). Tkz!Salieri is the one who sent a lawyer to convince Mdm. Webber into making a contract to ensnare Mozart in a marriage with Constanze. He also ends up blackmailing Rosenberg to keep helping him (Salieri) after Rosenberg becomes Mozart's fan and wants to stop plotting against Mozart.

Songs: 

Before I get into the lyrics, I want to point out the differences in songs Salieri has between productions. In the French and Jp2013 ver. Salieri sings (in chronological order): “Le Bien Qui Fait Mal” (LBQFM), “l'Assasymphonie'' (L’A), “Victime de ma victoire” (VDMV) and “Vivre à en Crever'' (VAEC). In the Takarazuka version they cut VDMV and instead gave Salieri “Penser L'impossible'' (PL’I). So chronologically Tkz!Salieri sings: PL’I, LBQFM, L’A and VAEC.

Lyrics:

Summary (just read this if you want the short ver.)

Fr!Salieri is quite new to jealousy and negative thoughts, and throughout the show struggles with it while also being burdened by his own guilt and self-hatred. He is also the Salieri with the most direct references to having a bad self-image.

Jp13!Salieri is also quite new to jealousy and violent thoughts. He is afraid of this new change, but quickly accepts it because he is desperate to escape all the swirling emotions and believes that embracing it is the only way to alleviate it. He also is the Salieri who negatively comments about the world the most, not only does he see himself as messed up, but he also thinks the world is too.

Tkz!Salieri is made out to be not a good person from the beginning, he doesn’t understand friendship and is obsessed with the idea that it’s him vs. Mozart and that only one can win/survive. However, despite the angry bravado he shows and believes in, underneath it all he is a genuine music lover that is aware and sad about who he is.

Song Analysis (long ver. where I ramble about lyrics)

PL’I (Tkz only)

This is an important song to understand Tkz!Salieri. Salieri speaks of Mozart’s musical talent as something divine, something received from the heavens (1). From the start it’s established that Salieri thinks highly of Mozart’s music. This admiration is heavily contrasted by Salieri’s deep hatred for Mozart, specifically his character and lack of class. Additionally, Salieri implies that the talent that Mozart receives/has could have been and should have been his (2). Unlike the Fr!Salieri and Jp13!Salieri, Tkz!Salieri is not simply jealous, but he also feels that something was unfairly taken from him by Mozart. This really sets the Tkz!Salieri plotline up to be about this intense sense of rivalry and competition Salieri has for Mozart. Technically the other versions are also about Salieri and his perceived rivalry, but those versions also prominently feature his internal struggles and so their Salieri plotlines seem to be more about his internal conflict rather than being about the rivalry.

LBQFM (Fr, Jp13, Tkz)

The French version is hard for me to understand but from what I gather it’s about his newfound jealousy towards Mozart. The part I’m a little vague on is whether the contrast between love/good with pain/suffering is referencing Salieri’s love for Mozart’s music in contrast to his painful jealousy towards him or that it is referring to the way Salieri is drawn to the negative thoughts that come from his jealousy. He is initially confused about the new emotion but is strangely enthralled by it despite it hurting him (3). The ensemble chorus also seems to act as tempters who are urging Salieri to not fight against the emotion and that he should allow it to consume him (4). In other words, they call for him to embrace his jealousy and the accompanying negative thoughts/violent impulses. In summary, Fr!Salieri is confused by his attraction towards the intense jealousy and negative thoughts he has towards Mozart.

The Jp13 version is actually quite similar to the French version with only slight differences. Jp13!Salieri is also confused about this new emotion he feels (5). Rather than feeling conflicted about enjoying the new emotion, Jp13!Salieri is just afraid of it (6). In this version the ensemble chorus also acts as tempters. They tell Salieri that he should not only succumb to his emotions, but that by doing so he will know the “truth” and his “true self” (7). I think this could mean both that the tempters are saying that this new side of him is actually the true version of himself, and that he should face the emotions head on so he can understand it and himself better. Notably, unlike the Fr ver. there is a lack of “good/love accompanies pain/suffering” in the lyrics. At most the tempters try to convince Salieri to give in through a metaphor using blood (8) and so there is some of the French love/pain pseudo-masochistic metaphor present, though Salieri himself never says this. At the end, Salieri implies he’s starting to buy into the chorus’ suggestion by joining them in singing, “The blood that flows down speaks out to the true you/me” (9). In summary, Jp13!Salieri is afraid of his new dark thoughts and emotions but gives into it as he begins to believe that it is the only way for him to be free or at the very least the only way to alleviate him from his struggle with the said thoughts and emotions.

Tkz differs greatly from the other two versions with Tkz!Salieri being fully aware that he feels jealous of Mozart's musical talent (10). This is even reflected in the song’s title being “ジェラシー,” which is just “Jealousy” written in katakana, while in contrast the Jp13!LBQFM is called “痛みこそ真実'' which means “Pain is the truth.” In the verses, a new characterization for Salieri is introduced, which is not present in the other versions. He admits that if there is something he wants he will just take it/steal it (11). It seems that even prior to Mozart, Tkz!Salieri was ruthless and cared only for personal gains and disvalued others (seen later on when he blackmails Rosenberg to help him). Interestingly, there are quite a few references to God in this song, a trend we will see in both Japanese versions as we go along. Tkz!Salieri seems hyper-aware of God’s judgment, and through this awareness it can be determined that he, to a certain degree, is aware of the “wrongness” of his feelings and thoughts (12). In other words, though he is confidently singing about his jealousy, hatred, and feigning nonchalance to his own despicability, there is another self-aware part of him that is guilty and shameful of his actions. I think he is attempting to deny his own self-awareness by claiming that it is in fact God who is judging him and that he just finds it frustrating. We see a glimpse of his true self hidden underneath the hostile persona when he truthfully sings that he really respects Mozart, and that fact is frustrating/humiliating for him (13). In summary, Tkz!Salieri knows he’s jealous and is frustrated that he can't just solve it by taking what he wants. He pretends to have fully embraced his jealousy and the plotting that accompanies it, but in actuality this confidence is hiding his true feelings of guilt and admiration for Mozart as a musician.

L’A (Fr, Jp13, Tkz)

Fr!Salieri in L’Assasymphonie is struggling to deal with his guilt and his continued hostility towards Mozart. The song starts to reveal the negative ways his guilt is affecting his life. He begins with describing his insomnia (14) and troubled mental state followed by admitting that his unhappiness and struggles are leading him to resent others who are happy (15). This is continued in the bridge where he describes how it’s warping his view of his musical capabilities and work (16). Aside from a quite direct admission of guilt, another distinct part of the Fr!L’A is that he admits that he is grappling with the self-sabotaging and self-hating parts of himself (17). He says that he wishes to be reborn: to leave the current painful life and be free again (18). During this whole verse, he has a knife to his wrist, thus the reborn line is not a metaphor for desiring change, but rather actual suicidal ideation. From his guilt Fr!Salieri is becoming jaded and feels trapped in his choices and so he wants to die to escape it all, though he eventually decides to see his plans through to the end.

Jp13!L’A is quite similar to the French version. Jp13!Salieri is plagued by voices which represent his guilt (19). But Jp13!Salieri begins to diverge from the French with how he finds issue with not just himself, but also with the world as a whole (20). Unlike Fr!Salieri who is hostile to his surroundings due to his jealousy over the happiness he sees there, Jp13!Salieri can't even see the hope/happiness in the world because of his internal struggle clouding his perception. In verse two, Salieri now sees himself as changed for the worse (21). Chorus two is where we get more of the distinctness that is Jp13!Salieri; he sings, “If there is no hope let us end this messed up world even if these hands are stained with blood” (22). It seems that while Salieri is aware of the harmful choices he has made, he feels there is no going back and is compelled to embrace it. Another interesting part is the conditional statements he makes about this commitment to his destructive path. He says that “If everything is going to be erased, then I’ll go to hell with you” and that “If this beautiful music is to be taken from my hands, I don't want light… I won’t hear the prayers…” (23). While it is quite different from desiring rebirth like Fr!Salieri, through these “if” statements Jp13!Salieri shows his disregard for his own wellbeing. There is a lack of direct desiring for death, however his thought process of being willing to go to hell and ruin himself for the sake of his desires/jealousy is a self-destructive thought process that is not that far removed from the suicidal ideation of Fr!Salieri.

Tkz!L’A stays in theme with the other two versions, however the language—like the Tkz!Salieri’s personality—is much more aggressive and so it feels quite different from the other two. It starts with the distinct dialogue line of, “However, I want to pay respect to his music, to the point of wanting to kill” (24). As the dialogue indicates, Tkz!Salieri is not going to sing about his internal struggles and the morally questionable path he has chosen for himself, instead, he is gung-ho ready to murder. All jokes aside, Tkz!MOR lyrics are usually more literal and extreme than the French or the Jp13 versions, (L'Assasymphonie lyrics being the most evident case of this). In verse one, unlike the other productions, he doesn't sing about the torment from guilt, rather he sings about being encouraged by the l’assasymphonie as he holds a knife (25). The phrasing makes the voices less like tormentors, as it is in the other versions, and instead they are crowd egging on his violent side. The chorus gets quite direct with the lines, “Do I slit my own throat or do I kill that man” (26). While there is the disregard to his own life like the other two versions, the harm to the self is seen from the perspective of me vs. them, the “this town isn’t big enough for the two of us” concept if you please. Again, like the other Tkz lyrics the Mozart vs. Salieri's idea is pushed to the forefront in the song. It is also interesting to note that in the staging Tkz!Salieri has a knife and puts it against the throat of a dancer dressed as a traditional representation of Mozart. Later on, Tkz! Salieri finally pulls the curtains back and shows what he truly feels. He sings “This heart is cold…The truth is I’m scared” (27). Here we start to see a familiar Salieri, someone who is struggling and is aware of the “wrongness” in his chosen path. However, even after this reveal, in the final chorus he puts his aggressive mask back on and even goes a step further by declaring “I want to kill that man!” (28). I think this change could be connected to the line in the bridge that he is scared. As we’ve seen so far Tkz! Salieri hides his true feelings with hostility; he is scared of what he is becoming and his own lack of self-preservation. Thus, for him, the only way he can only survive is by destroying Mozart. 

VDMV (Fr, Jp13)

VDMV is Salieri’s regret song. Throughout the song Fr!Salieri explains that despite winning he feels hollow and unsatisfied due to his unscrupulous methods to achieve it (29). The ensemble chorus are again (like LBQFM) morally questionable in their suggestions by telling Salieri to just enjoy the win and forget the rest (30). With this regret-filled number there is confirmation that despite a successful “false victory” over Mozart, by going down the “wrong” path—that he earlier anguished over in L’A—he still keeps his moral judgment intact. Fr! Salieri ends the song by saying, “I lost for the story” (31) which I assume is a reference back to the first line of “I thought I was the chosen one by stealing my story, but I lost myself to win” (32). Through these lines it seems that not only has Fr!Salieri woken up from his delusions that he would be relieved once he defeats Mozart, but he also realises how much he lost and sacrificed for this unsatisfactory end.

The Jp13!VDMV stays pretty close to the French version with similar lines of regret and emptiness from winning a “false victory’ (33). It also has the ensemble chorus singing similar suggestions as the French version (34). Despite the similarities there are two lines I want to point out. The first is the end part of each chorus where Jp13!Salieri sings, “Audible from within the mirror, my voice laughing at me” (35). This line is clearly referencing the French version of that same section where it says, “But the mirror flees from my gaze so as not to see that I’m a victim of my victory” (36). The Jp13 version is more so a statement for self-mocking and how he views himself as a fool, (he even earlier stated that he is a “pathetic clown” 37). In contrast, though similar, the French version lacks the “pathetic” description and sticks to embarrassment and perhaps shame over his actions. The second line I want to highlight was the very last line of the song. In Jp13 the lyrics are “My voice laughing, saying that ‘You're bound to hell’” (38) Unlike the Fr!Salieri who now sees clearer but regrets what he lost along the way, Jp13!Salieri is still in the thick of the turmoil from before. With the unsatisfactory fake win Jp13!Salieri is doing worse, tormented by self-deprecating thoughts which is quite similar to the state of Fr! Salieri in L’A (39).

VAEC (Fr, Jp13, Tkz)

VAEC is a song about the transience of life and that due to this one should enjoy life to the fullest. These ideas are consistent throughout all three versions of the lyrics. There is not a lot to say about the French or Jp13 versions since they stay quite similar. Tkz stays pretty much similar to the other two but differs slightly at certain parts. Perhaps due to Tkz having more emphasis on the Salieri vs. Mozart rivalry, Salieri sings the line, “I met a rival like you” (40). While I tried to stick to just lyrics since the scripts would be a lot of work, I should mention that prior to VAEC, where Salieri visits a dying Mozart, Tkz!Mozart greets Salieri as “my friend” and when Salieri questions that label Mozart explains that is because they both love music (41). Though it may seem like Salieri not using “friend” in VAEC is a sign that his view of Mozart is not fully resolved, in the dialogue prior to VAEC Salieri redefines how he sees rivalry by saying “You're right. Let us continue fighting/battling through music (40)” (the first part is him agreeing to Mozart’s explanation of the use of “friends”). And so Tkz!Salieri calls Mozart a rival, a person to both compete with but more importantly someone to interact with and exist together with, a stark contrast to his earlier belief of “it's either me or him.”

I cannot express how different salieri is between the French version, 2013 jp and 2019 takarazuka, I’ve been analyzing the lyrics for reasons and it’s just so different

Perhaps with the visuals and acting scenes it all melds together to be similar to each other but the lyrics really paint him so differently

[zukalations]

Takarazuka Revue – Torodoki Yuu’s retirement press conference: as herself to the end

I don’t usually post content on here directly, but I decided to cross post this translation of coverage of Todoroki Yuu’s retirement press conference in order to make it as visible as possible. I will put a link to the wordpress version, which contains the original sources, in a reply.

Takarazuka Revue – Torodoki Yuu’s retirement press conference: as herself to the end

Todoroki Yuu, Takarazuka Revue special advisor and Senka member, held a press conference in Osaka on the 18th, after announcing her retirement on October 1 of this year. With an open expression as if everything was as usual she said “As I have until now, I want to keep enjoying myself onstage to the end while working together with my fellow performers.”

Todoroki was born in Hitoyoshi, Kumamoto Prefecture. She discovered Takarazuka when she saw it on television, though it seemed so distant that she even thought “it was a bunch of foreign men acting in fluent Japanese”*. However, her fire of longing to join that dazzling world would not be extinguished, and when she entered middle school she decided to enter Takarazuka.

Todoroki said that she asked her middle school music teacher to play the sheet music of the repertory songs included with the application papers for the Takarazuka Music School, so she could figure out what the melodies were like. She was sure she failed the exam, but as she was in a taxi back to the airport, she told the driver “I’ll just go and see for memory’s sake,” and went to the results announcement. She said she was shocked when she found her own test number. “That driver was the first one to tell me ‘Congratulations!’ so I still remember that even now”

She debuted in March of 1985 with the Moon Troupe production If There’s Love I’ll Live Forever. In 1988 she transferred to Snow Troupe, becoming Top Star in 1997, and in 2002 she transferred to Senka as the successor to Kasugano Yachiyo, who has been described as ‘the greatest pride of otokoyaku’. As Senka star, she appeared in many productions, leading her juniors along. She excels in singing, dance, and acting, and the overwhelming presence she exudes on stage captured the hearts of many fans.

“35 years is really too long, so it’s hard to pick shows that stand out in my memory,” she said, but looking back she said that roles such as Rhett Butler in Gone With the Wind, which has been called her masterpiece, and Reverend King in JFK, are “memorable roles” for her.

She decided on her retirement around September of last year. There was no particular inciting incident: “I realized in my heart that the time had come,” she said. “I’m grateful to Chairman Ogawa Tomotsugu, and everyone else who respected my wishes. She has no plans to continue as an actress, and what she will do post retirement is undecided.

In July, she will star in the Star Troupe performance ‘Gesaku’: Heir of Basara, which will be produced in the Umeda Arts Theatre Drama City and Tokyo Arts Theatre Playhouse. In the play, written and directed by Ueda Shinji, she will play a man full of a sense of justice, living in the Edo era. After that, the end of her career will be decorated with hotel dinner shows held first in Osaka in August and then in Tokyo in September. This is because of her desire to “say farewell to the fans properly from close up”.

When she moved to Senka, “I thought that I wouldn’t have a farewell recital or a descent down the Grand Stairs,” said Todoroki. “I want to be myself to the end and welcome the last moments.”

Finally, when the reporters asked “Do you have marriage plans?”, she said jokingly “Well, actually, it’s a non-celebrity, so as for the name, I can’t really…that’s as far as I thought that one through**…I’m taking applications.” The hall was filled with laughter.

* From the time this would have occurred, most likely this was a Rose of Versailles production.

** Todoroki is riffing on the near-obligatory ‘marriage question’ of retirement interviews here, rather than expressing any earnest plan to marry.

[yuzukahibiscus]

Takarazuka Revue Flower Troupe Top Star Yuzuka Rei does sayonara performance in home base "I ran with all of my youth"

(Source from Daily Co)

Takarazuka Revue Flower Troupe Top Star Yuzuka Rei will be graduating from Takarazuka Revue on May 26, and she performed on the closing performance of their graduation performance "Arc en ciel" on 24 March, saying goodbye at the home base.

The sayonara show after the original performance was around 30 minutes. The sayonara show began with one of her representative performances "Haikara-san ga Tooru" and appeared in the military uniform. Also graduating is Top Musumeyaku Hoshikaze Madoka to whom they sang a song of "Genroku Baroque Rock" and had a duet dance later*. And with Towaki Sea who is the next Top Star, they sang from "A Battlefield for the Two of Us" and as if passing on the last baton, they shook hands.

(*note: the article was wrong because the duet dance was from "TOP HAT" and not "Genroku Baroque Rock", so I changed this bit.)

"Since it's the formal otokoyaku costume", Yuzuka chose the black tails and went down the grand staircase. Senka star Minami Maito who supported Yuzuka for a long time came to give flowers as her classmate.

Yuzuka thanked the audience and delivered the following speech.

"I just kept on running. It was a journey that I devoted all of my youth to. I have only continued running with all my might. Facing uphills and downhills, even after there was finally a clear road for me, I have been in deep frustrations. When I faced muddy paths, my footsteps become heavy, and there were days when I couldn't move forward. But in the midst of running these paths, many wonderful sceneries are waiting for me. Either it's how we all became united as one, or that I accomplished something, at each turning point, there were sceneries that were imprinted in my heart. In the road ahead, there will definitely be sceneries that I've worked hard for, waiting for me. And that scenery is something I can see on this stage now. To me, this scenery is my favourite one. Be it the dazzling eyes of the audience, the shining scenery as far as my eyes could see...If I could see such happy scenery in the place I've arrived in, I have no regrets in remain. I will never forget this wonderful scenery!"

[andromache-hectoris]

Hanagata Hikaru OFF STAGE

Part Two

Part One

@eralkfang I hope you can see some updates

please share these within Tumblr

[dossei-dossei]

lucheni photo study

[ashyronfire]

Red Sky at Morning || Chapter 51: What's Birthed In You Cannot Die

Title: Chapter 51 - What's Birthed In You Cannot Die Rating: M Characters: Grimm, The Grimm Troupe (including OCs), The Radiance Warnings: Introspect-Heavy, Found Family, Pre-Canon, Time Travel Fix-It Adjacent, Grey-and-Grey Morality, Torture, Aftermath of Torture, Dismemberment, Graphic Depictions of Violence, The Author Likes Gore

Summary:

“Are you sure?” They sounded like they were not. “They might –” “—need our help, yes, I agree. We will bring back food for them… and I want to retrieve some… supplies.” Senka shuffled, then took it from within Deimos’s hood. They liked to hold it, it was learning, and it did not mind. They tucked it into a pocket within their tanned hide armor, presumably close to the center of their body, for it could hear their heartbeat like a drum. “Supplies.” “Medicine,” Deimos soothed. “Of a sort.” Medicine? It chirped curiously and though it could not see him, it could practically feel the millipede’s gaze focusing on it. “You will see.”

Author’s Notes: Welcome back, Red Sky! Happy 300 kudos on AO3 too :>

CURRENT CHAPTER || READ FROM THE BEGINNING

[berserkerbarbie]

The Merry Widow by Senka / Moon Troupe 2013