#yuunami kei

[beccalendsahand]

"Ahh Prince of Roses, is this really the path you think we ought to take, ahh Prince of Roses take us to glory, will the King said to lead us, make his entrance?" Prince of Roses, Takarazuka 2021 -watercolour, fineliner, gel pen on sketchbook paper, layered digitally

When I had Takarazuka were doing a musical based on the wars of the roses I thought "HOW?" but then I was blown away and it became one of my favourite musicals from last year. My favourite scene was the nightmare scene between Yuunami Kei as Richard III and Mihane Ai as Anne Neville. Loved how Mihane was st so calmly and serene, eyes glazed over as a figment of Richard's imagination whilst Yuunami clings to her with fear in her eyes as the red rose petals start to fall above them. Chefs kiss!

[yuzukahibiscus]

dance olympia NOS: talking about “takarazuka corner”

don’t u miss NOS where people get to vibe around?

cause i do, and this is from dance olympia, TWO YEARS AGO

when hanachan and yuunami haven’t taidanned yet

and they’re talking about takarazuka corner when they relay the songlist

and my beloved rei, just kinda forgetful looking at the ceiling (i adore her)

[sunnystoriesx]

Currently watching Hana Yori Dango by Takarazuka Hanagumi ! If anyone wants a review let me know ~ 💕

[fallinginlovezuka]

Maitii

[margridarnauds]

Photos from Takarazuka’s 『PRINCE OF ROSES－王冠に導かれし男 』 (The Man Guided By the Crown) (2021) - With Seino Asuka as Henry VII, Yuunami Kei as Richard III, and Hoshizora Misaki as Isabel

[zukadiary]

Scattered Anecdotes #4

Also exceptionally scattered. From recent Kagekis, old Kagekis, Sky Stage specials, and twitter.

Someone who was possibly @zukazukazuka​ told me to tell this at the Seattle party and I promptly forgot and never did (to be fair, we were watching Santé, and I’m 100% sure I said “after the kuroenbi!” and then just melted into the floor instead). But on the topic of the Santé kuroenbi, it’s a revival of the Cocktail kuroenbi, with choreography by the indomitable ANJU-sensei. During Santé’s run, Sena Jun had a concert, and Haruno Sumire was the talk guest one day. They said they heard all the current Hanagumisei managed the kuroenbi choreography perfectly, but back when they were in rehearsal for Cocktail, the two of them messed up so many times that ANJU-sensei said “the next time you guys screw up I am going to kill you.” Osa and Asa’s consensus was that if you’re not nervous enough to screw up in the presence of ANJU-sensei there’s something wrong with you, and if she’s the one doing the killing, they wouldn’t at all mind being murdered. 

Speaking of Osa, Wataru’s staff tweeted that she bought Wataru a fuzzy bunny hoodie during Pukul.

In that same Sky Stage thing where Maitii whispers “I love you” into a high school girl’s ear and ruins her life, she and Yuunami Kei talk about various on stage blunders they’ve had. When Maitii was in her first year she had some sort of bird dancer role and went out without her feathers. 

One day during the very dramatic 僕はママの鏡だから number of Elisabeth ‘98 (in which Rudolf is pleading with his mother in desperation), Komu’s contact was visibly half out of her eye and she just ran with it, which was tremendously disconcerting to Ohana. Apparently playing Rudolf involves so much crying that Komu was losing contacts left and right throughout the run.

December Kageki includes lovely messages congratulating Daimon on her ohirome, and Fujii Daisuke’s is brilliant. He calls her out for crying through Maakun’s entire dinner show, then says he thinks her voice has the power to eliminate all war from the planet, and ends with “huh, Nozomi Fuuto is a nice name,” leading me to doubt he wrote his message sober.

[zukazukazuka]

Takarazuka Calendar Lineups - for info on size / price visit the website, I’m just gonna quickly put down who is where:

Takarazuka Star Calendar Release date: October 20 Cover Page - Yuzuka Rei and Hoshikaze Madoka January - Asumi Rio Feburary - Miya Rurika March - Makaze Suzuho April - Kurenai Yuzuru May - Nozomi Fuuto June - Todoroki Yuu July - Senna Ayase and Kisaki Airi August - Tamaki Ryou September - Manaki Reika October - Rei Makoto November - Ayakaze Sakina and Maaya Kiho December - Serika Toa

Desktop Calendar Release Date: October 20 January - Aizuki Hikaru February - Toa Reiya and Mao Yuuki March - Towaki Sea, Ayaki Hikari, and Rui Makise April - Houzuki An May - Minami Maito and Asami Jun June - Seo Yuria and Shidou Ryuu July - Ayanagi Shou August - Kazuki Sora, Yuunami Kei, Yumena Rune September - Rinjou Kira, Mana Haruto, Sorahane Riku October - Sakuragi Minato November - Akatsuki Chisei, Rukaze Hikaru, Amahana Ema December - Tsukishiro Kanato

Stage Calendar Release Date: November 10 Covers - Tsukishiro Kanato, Hoshikaze Madoka January - Nozomi Fuuto, Miya Rurika February - Manaki Reika, Seto Kazuya March - Serika Toa, Nagina Ruumi April - Ayanagi Shou, Makaze Suzuho May - Kurenai Yuzuru, Houzuki An June - Maaya Kiho, Rei Makoto July - Asumi Rio, Kisaki Airi August - Nanami Hiroki, Todoroki Yuu September - Hanagata Hikaru, Senna Ayase October - Aizuki Hikaru, Tamaki Ryou November - Sakuragi Minato, Seijou Kaito December - Ayakaze Sakina, Yuzuka Rei 

Personal Calendars Release Date: November 17 Senka - Todoroki Yuu Hanagumi - Asumi Rio, Serika Toa*, Yuzuka Rei Tsukigumi - Tamaki Ryou, Miya Rurika Yukigumi - Nozomi Fuuto, Ayakaze Sakina Hoshigumi - Kurenai Yuzuru, Rei Makoto Soragumi - Makaze Suzuho  *Serika Toa will be transferring to Soragumi on October 30th, 2017

Personal Desktop Calendars Release Date: November 17 Senka - Todoroki Yuu Hanagumi - Asumi Rio Tsukigumi - Tamaki Ryou Yukigumi - Nozomi Fuuto Hoshigumi - Kurenai Yuzuru Soragumi - Makaze Suzuho

Poster Calendar Release Date: November 17 Senka: Hanagata Hikaru, Seijou Kaito, Sao Kurama, Nagina Ruumi Hanagumi: Seto Kazuya Tsukigumi: Uzuki Hayate, Shimon Yuriya Hoshigumi: Nanami Hiroki, Tenju Mitsuki Soragumi: Sumiki Sayato

[chemicalperfume]

All That Takarazuka: Sagiri Seina x Towaki Sea Cross Talk

A couple of months ago, @chevalierene requested a translation of this interview (and very graciously provided materials for it to be made possible.) Read more below for some warm discussion between Chigi and Hitoko about “Caleb Hunt, Private Eye”, and the special system that is shinjin kouen. I also translated a small section at the end, with the reporter’s description/impressions of the leads of each 2016 shinjin kouen (from Shakespeare to One Samurai From Kagoshima).

Special thanks to @animaniacal for beta-reading and puzzling over English with me. <3

Snow Troupe Show Special Talk: Top Star x Shinjin Kouen Lead

A shinjin kouen is a regular show as performed by young actresses who have been with the Revue for seven years or less. In particular, the young actress who plays the lead, the same role as the Top Star, receives special attention. We spoke with the Snow Troupe Top Star, Sagiri Seina, and shinjin kouen lead, Towaki Sea, about “Caleb Hunt, Private Eye”, then we looked back on the up-and-coming actresses who starred in each troupe’s 2016 shinjin kouen performances.

-- What kind of man is Caleb, in “Caleb Hunt, Private Eye”? Sagiri: He is a very straightforward man, with justice as his core, who always pursues what he believes in. Also, the way he does not waver out of concern for himself or his surroundings, and just faces the case straight on, is another part of that wholehearted determination to help the weak and those in trouble. Isn’t that right?

Towaki: Yes, I also believe he’s a very straightforward person.

Sagiri: While he’s a private detective, which is not a common setting, I think there must be people working in normal companies and independent businesses who are like him. Caleb’s sense of justice can resonate with everyone, after all. As a play, it is not just a “hardboiled” crime drama, there are some comedic elements, too. You can see that through Masatsuka Haruhiko’s direction, and I think the play constantly switches gears between the comedic and the serious aspects of solving a case.

--Masatsuka’s works are known for their natural dialogue and characteristic manly worldview; doesn’t this make it a highly difficult production, especially for a shinjin kouen?

Sagiri: It is essential that we maintain the pauses and tempo of natural, everyday conversation, even with dialogue that is merely there to move the story along. This is difficult even for me, with all my experience, so I think this role will be a big challenge for Hitoko (Towaki). She’ll need to bring the role into existence while standing on stage as an otokoyaku within a very minimal world, wearing a simple suit as if it’s her everyday clothes…. A really big challenge.

Towaki: Yes!

Sagiri: I’m looking forward to seeing how Hitoko will make this role her own.

Towaki: I always watch Chigi-san (Sagiri)’s rehearsals, but I’m also aware that I shouldn’t become too much like Chigi-san’s Caleb...

Sagiri: Yes, that’s it! It’s amazing that you’ve noticed that.

Towaki: *laughs* I think that is especially important with this kind of play.

Sagiri: Yeah. Even if you use me as reference, you need to play it like it’s an entirely different part.

Towaki: Yes. This will be my third shinjin kouen lead, so instead of just studying by observation, I have come to first think about the part on my own, and then watch how Chigi-san acts it out in rehearsals. Seeing Chigi-san’s acting really helps me figure out the parts I don’t understand by myself.

--Such a dilligent youngster we have here!

Sagiri: Ain’t that the truth!

Towaki: Absolutely no such thing!

Sagiri: Even that first time she played one of my roles, in the “Maeda Keiji” shinjin kouen, she thought about the role and her acting very deeply, and asked some very perceptive questions. Even some that made me go “I hadn’t thought of that!” and then made me reassess some things *laughs*. There have been many times she’s asked good questions, which I enjoy. Throughout my own shinjin kouen era I was in a frantic state, so I think Hitoko is really amazing.

Towaki: Not at all! However, “Lupin III” and “Rurouni Kenshin” didn’t have particularly strong romance elements, while in this play I have a lover for the first time, and there are kissing scenes; it’s packed with first-time experiences.

Sagiri: Can’t wait *laughs*

Towaki: Chigi-san’s gestures are incredibly natural and cool.

Sagiri: Eh, I don’t think I’ve shown you much of that *laugh*

Towaki: No, it is all very educational for me!

-- What is Towaki’s appeal as a stage actor?

Sagiri: While she has all the makings of an otokoyaku and a Takarasienne, she also has the humility to not rely too much on her natural talent, as well as the ability to think for herself. That said, if instead of overthinking and then freezing up, she could add to her other qualities the daring to just go for it, even if that takes her in a different direction than she’d intended, I believe she would rise even higher.

Towaki: Before I go out in front of people, I’m scared of freezing up, so I end up thinking too much. I always want to give it my all and do it properly, though.

Sagiri: Yeah, you can do it, but something inside you is holding back.

Towaki: I lack confidence……..

Sagiri: No one is confident. We don’t have confidence, that’s why we rehearse.

Towaki: I think I’m scared of not being able to do it. Even if the rehearsal room is where you’re supposed to mess up, I don’t want to be seen messing up.

Sagiri: You are still too protective of yourself, definitely *laughs*

Towaki: I’ll do my best!

--What can one gain from performing as a shinjin kouen lead?

Sagiri: An endless number of things. Personally, more than anything else, I think I realized that no one can go out on stage alone; that a play becomes possible when everyone’s strengths become one. You are given the privilege of standing in the middle, wearing the most beautiful outfit, and having the brightest spotlight shine on you. You are automatically made to stand out, so you must grow into someone who can rise to the occasion. That realisation has probably led to where I am today.

Towaki: During my first lead, I realised I couldn’t do it without the support of everyone around me. The second time, there was the dread of having to exceed the first, along with feeling that I must pull everyone forward, and so it didn’t go well and I stumbled. This third time, as one of the senior actresses in shinjin kouen, I would like to look over the play in its entirety and also get to show off being the “energy at the centre”.

--Snow Troupe has many rapidly maturing young actresses. What kind of performance are you aiming to get in your troupe’s newest production?

Sagiri: It’s been a while since we had a completely original play and revue combination; therefore, I would like for us to enjoy our material, make the audience discover new, charming points in all our performers, and want to follow the show’s entire run.

2016 Shinjin Kouen Playback

Performed only once in each theatre during a show’s run, the shinjin kouen is a place of diligent study for young talents. The lead actresses walk their first steps to stardom, as the future hope of each troupe.

Shakespeare: Rukaze Hikaru, Haruha Rara

Rukaze, who joined the Revue in 2012, was chosen to play her first lead in her 4th year. Her vivacious role-building, robust singing and stage presence that capitalises on her whole 174cm of height, all made a memorable impression. Her classmate, Haruha, was the heroine. With her lovely looks, she exhibited high suitability for the position. A fresh and striking combination.

Rurouni Kenshin: Towaki Sea, Irodori Michiru

The second lead for Towaki Sea, the hopeful who debuted in 2011. Thanks to also being given the part of the “shadow” of the protagonist, Kenshin, in the main production, her sword-fighting is now magnificent. Her originality in building the role and her emotional singing charmed audiences. The heroine was Irodori Michiru, also in her second lead role. In the main performance, she got to display her aptitude for acting in a boy’s role, which earned her favourable reviews.

Die Fledermaus: Shidou Ryuu, Maaya Kiho

A highly difficulty production, adapted from Johann Strauss II’s operetta, served as Shidou Ryuu (class of 2010)’s first lead. With earnest singing and youth as her main weapons, she displayed quite the stately stage presence. The role of the heroine went for the first time to Maaya. She lived up to her reputation as a true talent of outstanding vocal and acting skills.

ME AND MY GIRL: Yuunami Kei, Shiroki Mirei/ Ayaki Hikari, Oto Kurisu

This grand musical was split into Acts 1 and 2, and the pairs of Yuunami / Shiroki and Ayaki / Oto played the leads in each. Yuunami built her role as noble and straightforward, while Ayaki used her raw talent to act with a remarkable aura. Shiroki and Oto, who got to shine in the main show as well, are both certified talents. It turned out to be a very high-level performance.

NOBUNAGA: Akatsuki Chisei, Yukarino Koyuki

With her excellent dancing skills and robust vocals, Akatsuki Chisei got to play an active part in the main show as well; this was the third lead for the strapping young star, who joined in 2012. She broke new ground for herself playing an imposing Nobunaga, quite different from her own personality. Her classmate, Yukarino, served as the heroine for the first time. A musumeyaku of adorable countenance but inherent vocal skill and charisma, she enchanted audiences.

Elisabeth: Rukaze Hikaru, Hoshikaze Madoka

The one to lead the shinjin kouen for this Takarazuka staple, was, for the second time, Rukaze. The role of Der Tod demands strong vocal prowess, and with her powerful singing voice, she gave an enthusiastic performance. The heroine was Hoshikaze from the 2014 class. Since she was chosen for her first heroine role in 2015, she is a rapidly rising musumeyaku star. She also delivered a great performance in the main show as young Rudolf.

One Samurai From Kagoshima: Amahana Ema, Kozakura Honoka

A combi that each received their first lead roles, Amahana and Kozakura. Amahana joined the Revue in 2012. Even in a difficult nihonmono role, she managed to enchant audiences with her dynamic acting and beautiful guise in casual traditional wear. The lovely Kozakura, of the 2013 class, also displayed staunch acting and vocal skill. It was a passionate shinjin kouen overflowing with youthful energy.

[beccalendsahand]

Flower Troupe Survey! The Best of Yuzuka Rei (PART 2)

The Troupe Survey is a current segment in the TakarazukaGRAPH magazine in which each month a different troupe is given a survey on their Top Star and a selection of their answers are printed in the magazine. There are 4 parts to this article: 1. The things about (Top Star) that have made a big impression on us 2. Stage: Shows or scenes which have stayed in our hearts 3. We want to see (Top Star) as a… 4. The (Top Star) Awards (The Top Star gives out special awards to troupe members)

As this article is so long I will be publishing the translation in parts! You can read part 1 here Part 2 is under the cut!

Part 2: Stage - What Shows or Scenes have remained in your heart?

1st place, 23 votes: “Boys over Flowers” (2019)

Miharu Ayu: The fight scenes she has against Sakurako (played by Oto Kurisu) and Rui (played by Seino Asuka). I always love seeing Yuzuka in fight scenes but this show was extra special because they were staged as fistfights, which is pretty rare for Takarazuka and made the otokoyaku even more masculine! Seeing her using her whole body to protect Tsukushi (played by Shoroki Mirei) really moved me.

Takasho Mizuki: Domyouji (Yuzuka)’s dance during the song Metamorphoses. I have no other words for it other than that it’s the definition of coolness.

Oto Kurisu: Maybe this is in part due to the show itself being set in modern day, but she felt so real as Domyouji that I found myself thinking she was him even when we weren’t performing. Yuzuka’s acting is always so natural.

(in the photo, Domyouji in the original Boys over Flowers Manga, and the stars of the original 2005 Jdrama adaptation, Matsumoto Jun and Inoue Mao, with comparison shots to Yuzuka Rei and Shiroki Mirei)

Yuzuka’s Comment: This show is really important to me too! Even now whenever I think back to it I’m just overwhelmed by all the fond and warm memories I have from that show. I’ve done quite a few fight scenes with swords and guns before, but very rarely with my bare hands. That scene was one of those “fights between men” that is very typical of teenage boys. All the members of the F4 have a strong sense of chivalry which was suuuuper fun to play.

2nd place, 20 votes: “Haikara-san: Here Comes Miss Modern” (2020)

Ichinose Koki: The back and forth she had with Miss Benio (played by Hana Yuuki) would change every day. I never stopped being excited the whole run because I’d always be wondering “Ooh what’s going to happen between them today?!!”. The kiss scene at the end of the show was especially well done. Whilst I watched I’d be thinking “wow the Lieutenant (Yuzuka) is real! He’s come straight out of the manga!”! I really wish there had been a compilation made of every performance of that kiss scene! (laughs)

Keina Maya: In the finale number where she dances in the silver military uniform she has this beauty that is so dignified and cool! That number is filled with a certain charm that you can’t see in any other show. I love it.

Haruya Yuri: She was just so cool in everything she did on stage, from how she would wrap Miss Benio in her arms, to when she fought to protect her men during the attack in Siberia! Also, let's be honest, otokoyaku in uniform are the best.

Yuzuka’s comment: It’s such a wonderful show isn’t it? The Lieutenant is meant to have an almost fantasy-like beauty and charm, the kind that you don’t find in the real world, so I was quite anxious about how I could make him come to life on stage. But I also have fond memories of those days, even when I was having trouble with the character. I like the army uniforms too but they make it hard to show the lines of the body, so it took me a while to figure out how to wear it well.

3rd place, 11 votes: Dance Olympia (2020)

Yuunami Kei: The flamenco scene. Not only was her technique amazing, but she managed to make the whole theatre focus on one point, the sound of her feet. She performed an outstanding solo number that will go down in takarazuka history.

Mano Kazuma: The flamenco dance. It was a passionate performance full of life and soul which was so moving that I teared up watching it. I won’t forget it for the rest of my life.

Futaba Yuyu: The flamenco number is one of those moments where Yuzuka’s every movement takes your breath away and shakes your very soul! Yuzuka, are you actually spanish?

Yuzuka’s comment: In that scene, I wasn’t thinking about how to present myself as a takarasienne, but rather, as a human being. With the help of our choreographer, Satou-sensei, I focused on dedicating myself to the essence and feeling of flamenco.

END OF PART TWO Read in Part 3!

For more zuka-related translations click here Part 3 coming soon!

[yuzukahibiscus]

the fascination! lyric cards

well revues need to be translated

or else you’re missing out unsumire stuff lmao

[zukazukazuka]

Hot takes after our first KANGEKI-ing today:

☆Yamatai is a hot hot mess of a show that has everything to do with basically a bad script that tried to do far too much in a one act play and is all telling instead of showing with lots of questionable staging decisions.

☆Kiki basically owns the stage every time she's on it and no that is NOT just my biased opinion talking here. Her presence and movements and expressions were INCREDIBLE and she managed to give depth to a character whom we essentially get to learn nothing about because of aforementioned hot mess of a script. In my biased opinion she was the actual best part of the show.

☆Rei's singing has gotten SO GOOD recently damn kid keep up the good work.

☆Beichan actually had a very small part which pleasantly surprised me and I was hoping that plot line (of twenty) would see Kiki kidnapping her but alas.

☆SANTE is everything and life changing and basically perfect from start to finish (ngl I really liked the Jesus number but I love narrative dances like that RIP).

☆We were one row off the very back of the first floor seats and still got to kanpai with Yuunami Kei, a musumeyaku I need to look up, and air-kanpaied Rei.

☆There's a reason "sexy" is in the lyrics of the main song, I'M JUST SAYING.

☆We have three more viewings at least of SANTE I'm so stoked. Shinko is tomorrow too.