#whereas now sure I’m not totally healed from my last heartbreak

[rowanhoney]

insisting on a celibacy phase was maybe a bit much but honestly it fixed me

[zukadiary]

Company/BADDY ~ Moon Troupe 2018

Welp I'm in Japan again, for a bizarre trip considering none of my so-called faves are doing anything I'd normally clamor to see live... There are multiple reasons for that, but a big one is I let the idea of this show seduce me completely. I pegged it my most highly anticipated Grand Theater of the year pretty much as soon as the blurbs came out, anticipated it even more after I read and loved the novel, and pretty much lost my mind as soon as the first BADDY tweets surfaced back in February. So I braved Golden Week crowds in Hibiya to squeeze two viewings out of the last week of the run, and I'm quite pleased with my choices.

COMPANY

I summarized Company and its characters a bit before so I won't do it again; they stuck to the premise well enough.

I'd call Company cute and very pleasant; I thought everyone did a wonderful job and any qualms I have are with Ishida-sensei. My love of the book definitely enhanced my appreciation of the show because I went in already attached to the characters, but it also set me up for disappointment in a few places where Ishida fell flat. It's a bit of a long book though, and overall I think he cut exactly what needed to be cut to fit it into one act.

What I LOVE about the play as a whole is the modernness of it; Takarazuka almost never does shows set in present-day Japan, and its shows set in present-day elsewhere often come awkwardly tinged with an uncool dad vibe (LET'S TAKE A SELFIE FOR FACENOTE a la Vampire Succession, for example). Company felt totally natural and it was really refreshing. That said, something bugged me about the line delivery in pretty much the entire show; it was kind of stiff and hammy. I'm inclined to believe it was the direction, but I do wonder if it was just Patented Takarazuka Acting™ and it happened to stand in greater contrast against a modern play (and I also wonder if that's why they shy away from such stories).

Tamakichi was so beautiful it hurt to look at her. Her character Aoyagi's backstory was changed by absolute necessity; the book opens with his wife leaving him, but in the opening song of the show he tells us she's died from cancer two years back. Book Aoyagi is a nobody at work and pretty much a total loser in general at the beginning, and goes on a real journey of self love and improvement. I am a little sad we didn't get this angle because I think Tamakichi could have done an absolutely heartbreaking job portraying that particular transformation, but I also completely understand that including all that simply wasn't possible. Instead we have Cool Good-Looking Senpai Aoyagi, reliable leader from start to finish, whose journey is injecting some joy back into his life and beginning to heal from his wife's death. Tamakichi is so good at the wholesome everyday hero I don't think I'll ever get tired of it. My biggest takeaway from her performance, other than that she slays in a basic clean-cut suit, is that she has blossomed and is such a top star. NO SHADE to Tamakichi up till now; she's done nothing but impress me since assuming office. But while what stood out to me in Grand Hotel and All for One was the balance of the troupe and how perfectly they allowed their other wonderful players support her, SHE stood out to me in Company all on her own; her presence and confidence were incredible. They kept Chapi the exact right amount of time.

This could be Chapi's most typical top musumeyaku role since Tamakichi took over, but it's still unique in that she's the pursuer in their romance and I love that. Minami, while less confident in her ballet/work life than Stage Aoyagi seems to be in his work life, is slightly more confident in their personal interactions—always trying to joke, lighten the mood for him, drop hints—and it's a lovely dynamic. Her portrayal was probably the most faithful to the book. Chapi is bright and cheery and the smoothest actress, and every bit of real ballet we get to see her do is a blessing.

I had the greatest attachment to Haruka (MiyaRuri) and Yui (Umi-chan) going in. My absolute favorite aspect of the book was the slow burn surrounding everything Haruka: his relationship with Yui especially, but also with Aoyagi and the others. Of course I totally understand there is no room for slow burn in one act. Aside from that, Miya was exactly the Haruka I imagined and that was a joy to watch (her costume and countenance in the Dark Gay Swan Lake scene in particular is a VISION). Yui is another refreshing atypical musumeyaku character and Umi did a great job. It's a pretty good show for musumeyaku roles in general; Sara (Wakaba) and Noa (Touka Yurino) are also pretty big parts. I loved Kumichou in particular, she had some amazing one-liners.

My biggest disappointment was in Ishida's handling of Nayuta (Reiko). Reiko did just fine, but I felt that Ishida sucked all the life out of the character. Book Nayuta is a hot-headed asshole who underneath all the strutting and crude commentary cares a lot about his performing. A lot of that comes from him being a trainee idol and trying to prove that he has a place among his equally hot-headed senpai whereas Stage Nayuta is the star of the group, but it's NOT AT ALL HARD TO IMAGINE that a star idol might be kind of a hot-headed asshole. Stage Nayuta was just kind of pretty and there, and as a result the drama surrounding him joining Dark Gay Swan Lake in the Prince role felt flat to me. This is one change I really think could have been made in the given timeframe. (Trivia bit: in the understandably zuka-fied Final Drama where Nayuta injures Sara on stage with a lift gone wrong, Nayuta locks himself in the bathroom at intermission and won't stop crying from guilt. In the book, he feels his finger slip between her ribs during the lift, and dwelling on the sensation makes him so ill he can't stop throwing up).

Toshi is a VERY cool idol group leader; Ari is, as I predicted, herself; and Ruu, Shimon, and Mayupon are a pretty funny group (boss and salarymen), with Mayupon in particular also absolutely WEARING the normal suit look. Everyone else was pretty light on the stage time.

BADDY

BADDY is a triumph. If you still have the opportunity to watch it sans spoilers, I recommend it, I'm jealous, and I would love to know what that's like. However I can also say that I read almost everything about it before seeing it and I felt no less impact from its brilliance.

It's completely ridiculous, but the balance it strikes in its ridiculousness is absolutely sublime. Simplicity combined with absurdist randomness; both using and upending traditional Takarazuka elements JUST enough; it strikes the perfect note.

There's so much to unpack.

For one thing, it's SO META. We open in Takarazuka City on the Peaceful Planet that has seen no disturbance in 103 years, and down comes the Baddies' spaceship with a thunk. Following the thunk, Tamakichi declares "Looks like you've been waiting quite a while for this," RIGHT BEFORE going into the standard opening announcement—"written and directed by Ueda Kumiko," etc—and I am sure that's her sticking in her own jab about Takarazuka waiting 103 years before letting one of their female directors do a revue. Really, I wouldn't be surprised if the ENTIRE THING was a reference to this; I mean we're in TAKARAZUKA CITY where COOL BADDIES infiltrate a BORING LAME SOCIETY THAT HASN'T CHANGED IN 103 YEARS and then they BLOW EVERYTHING UP and EVERYONE GOES TO HEAVEN. That's bold, UeKumi.

There are smaller amusing references too... Reiko commenting that Amashi Juri's character looks new (she just switched to musumeyaku), Tamakichi kidnapping Reiko and giving her to Miya saying "here you're in charge of improving this person's general everything" which I'm pretty sure is Miya and Reiko's IRL relationship.

(Amashi Juri is so cute I can't stand it, help).

Another thing, it flows so beautifully for a revue with a plot (not a theme, a plot... the only other example of which I can recall at the moment is Nova Bossa Nova, which does not flow like this). Despite the scenes connecting perfectly into one cohesive story, they are still individual scenes that feel like standard revue scenes, with variety and costume changes and great music and really fun choreography.

Chapi is given the queenly treatment she deserves; she's as much the star of the revue as anyone else. The rockette with her in the center might be my personal highlight, and it's the perfect example of what I mean by both using and upending Takarazuka traditions. We've got typical rockette-style costumes, synchronized kicking, the works—but we've traded the high-pitched KYAA for YELLING ABOUT HOW ANGRY THEY ARE in unison with some really badass choreo. It's the perfect balance of respect and rebellion; it works because the rockette is such a standard part of our fan lexicon, and the small differences make us open our eyes wide. Crushed velvet kuroenbi. Ray Bans during the parade...

The duet dance also—passionate and angry and LITERALLY fiery, as Tama and Chapi dance and eventually descend through the floor with one long hard kiss surrounded the entire time by swirling flames. I mention that in case the flame effect (like the starlight during Maa's Chopin in HOT EYES) does not show up on the DVD, which would be tragic.

As beautifully and wholesomely as Tamakichi carried herself in Company she pulled out all the stops and slayed in BADDY. Dynamic (and dangerous) radiantly glowing top star. Miya is downright erotic.

Mayupon is just an alien, in the background, through costume changes, the entire time.

There was a fun amount of gender fluidity presented in sort of a nonchalant? way?? Like not the gratuitous otokoyaku-in-drag situation we usually get; paired with the free-flowing top 4 love quadrangle, it felt, dare I say, progressive.

I had an extra fun experience at my first viewing... TSUKI MATSURI! Tsukigumi has a tradition where one day per run (though I imagine not every single run) they all wear afro wigs in one scene and adlib it to hell and back. Since it was my first time and this did not seem at all out of place against the backdrop of BADDY I didn't even realize until after, but what lucky timing.

I can't wait for UeKumi's next show, and I went into QR and came out only with Tsukigumi bromides, I don’t know myself.