inbuninbu

Thu, 24 Dec 2009 23:18:04 GMT

Happy Christmas or appropriate seasonal holiday greetings to everyone! Here's to more shiny and sparkly filled Takarazuka days in the next forthcoming year! Peace online and good fangirling to all men! (I use that in the sense of "mankind"!) :-)

Thu, 19 Nov 2009 10:17:31 GMT

Doesn't understand where the LJ cut button and all the other helpful buttons have gone!! (o_O;;) Tasukete onegai!! ...... (@_@')/

Yamato Yuga Interview vol.1

Wed, 18 Nov 2009 20:23:55 GMT

Yamato Yuga Interview vol.1

Cosmos Troupe top star Yamato Yuga, who announced her departure from Takarazuka on the 5th of July this year: It’s still only a little over 3 months since then, but Yamato has shown us her new figure, completely reverted to beautiful woman, in the production announcement for the musical “Curtains”. We interviewed Yamato Yuga who, also preparing for another big, much-discussed work, “Giden Sharaku”, which she will appear in after “Curtains”, has made a promising start in her career as an actress.

Yamato was known for her excellent fashion sense and her fastidiousness when she was in Takarazuka, but for this review she appeared dressed in the image of the young actress Nicki Harris, whom she plays in “Curtains”. She allowed us to take shots of a variety of poses, so please enjoy the fun photographs as well!

First of all, what are your feelings right now about your forthcoming debut as an actress in “Curtains”?

I’ve always loved Broadway musicals, but this one features suspense and comedy, plus it also features a love story, so it’s absolutely loaded with things to see; it’s the kind of play that makes you go, “ah, so this is an American musical,” so I’m delighted to be able to make my start as an actress in such a production.

Even when I was in Takarazuka, I was able to appear in an absolutely loads of Broadway musicals, starting with “Singing in the Rain”, so I was inspired by their appeal. Naturally, in the process of making them, it was hard, there was the difficulty of putting the jokes into Japanese and so on, but now I only have good memories of each of them.

Didn’t you have any reservations about turning into an actress straight from being an otokoyaku?

I’d had my fill of playing men’s roles in Takarazuka [so no, I didn’t]. When I decided to leave Takarazuka, when I thought about what I wanted to do afterwards, at that time I knew that first of all I wanted to make good use of the skills I’d cultivated at Takarazuka. I love singing, dancing and acting, so I wanted to carry on doing that for as long as possible.

You really do seem to have had a connection with Broadway musicals from the beginning, don’t you? In Takarazuka you must have appeared in 5 or 6...?

The very first one was “West Side Story” (1999). The director Alan Johnson’s rehearsal room (?) worked differently to usual. There was no hierarchy of upperclassmen or lowerclassmen; we were all cast in roles, “You’re this role,” “You’re the Shark team” (?).

There were a lot of auditions and he cast us after looking carefully at each person’s strengths and abilities. [Johnson?] crafted each scene carefully one by one so it was tough, but every day of rehearsals was fun. Part of the dances were altered for women, but we danced nearly all the original choreography.

I remember, you all climbed up the wire net (fence?) didn’t you?

It was the shoot-out scene (laughs). We had both the dancing and the action hammered into us, “You must do this here”... We took pride in standing onstage doing it without losing any of that quality for 3 months, including [the run in] Tokyo (?)

Because you were inspired by the appeal of musicals, right? Your next musical was “Guys & Dolls” in 2001: you played the role of Nathan and your moustache suited you well! But it was still only about your 7th year [since you debuted], wasn’t it?

I had the role of a middle-aged man. (laughs) Since then I’ve played roles with moustaches or middle-aged roles several times, but at that time it was my first experience so I thought, “Right, let’s do this the best I can” – my fighting spirit was different back then. (laughs) That time too I remember that the director and everyone in Moon Troupe was racking their brains over how to get the American jokes across [in Japanese].

And your next musical after that was “Singing in the Rain” (2003), in which you featured prominently in Star Troupe.

I really love that play, I got to do it again last year with Cosmos and it’s a really fun, enjoyable play. The first time around, “Sing!”, my solo number as Cosmo, was a ridiculously hard tune to sing. Even now I remember it, but when the production of “Singing in the Rain” was announced, it was decided that we’d start from my number “Sing!”and I thought, oh no, what am I going to do?? (laughs)

In the story in the play, I sing it to encourage Don, but I had to sing it without the scenes before and after [in the production announcement], so thinking that I didn’t want to it to be a case of [the audience?] feeling embarrassed about my conveying that sense of fun, I put some welly into my singing. I think I probably thought about the choreography myself too.

You got a huge round of applause in the venue [of the production announcement]. On those sorts of occasions you’re Yuga at your best, aren’t you?

I keep cool when it comes to crunch time (laughs)

In Cosmos Troupe’s repeat production [of “Singing in the Rain”] in 2008, you played the lead role of Don...

It’s a musical I really loved, so I was thrilled to be able to appear in it again. I actually got to do the scene where he sings and dances happily while getting soaked in the rain, so I was happy. I wasn’t bothered at all about getting wet, so I enjoyed every day of the performance. Both Cosmo and Don are roles I liked, so that makes it even more of an unforgettable production for me.

Going back a little bit, you also starred in “Copacabana” in Hakataza in 2006 didn’t you?

I was Rico, the kingpin of a criminal gang, but even though I’d had small-time gangster type roles before that, I hadn’t played that kind of bad, smug, reckless role before, but actually I’d really wanted to have a go at playing that kind of role, so it was really fun. It was a production in which I could play my character completely odiously and really let it all out, so that too was a show I won’t forget.

Since you’ve played a variety of male characters’ roles in Broadway musicals in the past, we were a bit shocked at your transformation for “Curtains”![no one can fail to be shocked by that much pink!]

When I was in Takarazuka I got to perform women’s roles several times in the show (revue), but certainly I never wore such frilly, girly clothes for that! (laughs) The frilly clothes too, but with the hair too it’s about the first time I’ve curled it so I was pleased! (laughs) In the actual play too, Nicki’s clothes are like cute and blue outfits so I’m looking forward to them.

The character you play, Nicki, is a young actress who assistant inspector Cioffi , played by Toyama, admires, right?

She’s a cute, innocent kind of girl, but a little bit spontaneous (laughs), she doesn’t really realize that’s she’s liked, but she quickly comes to like assistant inspector Cioffi during the time when they are investigating together.

Suddenly you’re playing Toyama’s love interest, that must be amazing?

He’s truly a fantastic person, he’s cool and he’s a gentleman. When I was in Takarazuka playing men’s roles, I aimed to play the ideal man, the kind who just doesn’t exist in reality, but when I met Toyama-san, I felt like there was the ideal man, he was the kind of man you could make into the target/model of the Takarazuka otokoyaku.

If you’re going to have a gorgeous guy as your opposite in your first debut role as an actress then I guess the fans will also be somewhat relieved.

But by the same token, it won’t work if I don’t make a pretty enough partner for him! I’ll do my best so ensure people say that we make a lovely couple when I’m stood next to Toyama-san. (laughs)

Ouki Kaname on Overcoming her Inner Demons (and a broken toe!)

Mon, 16 Nov 2009 17:39:53 GMT

Semi top star of Star Troupe Ouki Kaname is currently tackling the challenge of comedy in the musical “Reunion” (Saikai) (on national tour until 5^th November).

Her superb quickfire exchange of lines with top star Yuzuki Reon and Ayami Haya has been a great hit with the audience. It’s still only 6 months since Ouki Kaname moved from Snow Troupe. In that time she has also overcome her injury [poor baby broke her toe!].

Now she has finally settled into her new troupe, and the gorgeous trio shots of Ouki with top combi Yuzuki Reon and Yumesaki Nene draw sighs [of admiration] from those who see them. We asked Ouki to look back on her enthusiasm for her first national tour since she switched troupes, and half a year of upheaval.

An “up tempo” script, superb comic timing [it just says 絶妙の間 - any ideas anyone??]. With an unexpected twist at the end, the musical, which has a comedic touch, has got the audience hugely excited each day. “Reunion”was first performed in ’99, when Senka star Todoroki Yu was top star of Snow Troupe; it was performed again in ’02.

[Ouki says:] “Chie-san (Yuzuki Reon) and (her classmate)* Ayami and I play the roles of 3 close friends; our school years are close too, so it’d be good I think if a sense of our usual mode of communication came out in the performance on stage.”

This is Ouki’s 2^nd national tour. It seems the reaction of the audience who, unlike fans in Takarazuka and Tokyo, are not familiar with Takarazuka, will be her motivation: “The reaction of the audience is really interesting. They go completely crazy if we go down into the audience. For us [the performers] also there’s a feeling, something we don’t normally experience, so it’s fun.” She laughs.

This year Ouki has been through a lot. It was only 6 months ago that she came over from Snow Troupe. Nevertheless, she has been welcomed in by Star Troupe as nibante star at one bound [ = 一足飛びに according to the dictionary – a phrase I have never heard of!].

In between, she fractured the little toe on her left foot. When you think she was also [nearly?] suspended from performing in a Grand Theatre show, ’09 has been a year full of many vicissitudes for Ouki Kaname. [This sentence was a bit ropey - what does 頭をよぎる mean, clever people with better Nihongo than moi?]

”Of course, it was sad to leave Snow Troupe where I spent 10 years, but actually there were also periods when I struggled with various issues within myself. I myself [thought], “I have to change something”, “I want to be more like this but why can’t I do it?” “If I can break something won’t it get better?”**

In these words, the anguish that comes from being a model student who has attracted attention since her days as an underclassman floats in and out of view. “Perhaps somewhere I was always thinking “I have to do it well”.
I was worried about other people’s views, so I ended up disliking myself. But since coming to Star Troupe, I’ve been able to think “Even if I slip up in rehearsals, surely it doesn’t matter?”

Through her experience of changing troupes, Ouki has defeated an invisible “obstacle” inside of her. On top of that, just before her first Grand Theatre performance with Star Troupe, she broke the little toe on her left foot - with just 3 weeks to go before the opening night.

Everybody was thinking, “She's no choice, she’ll have to miss the performance”. It was an important show, as Yuzuki Reon’s first performance as new top star and Ouki's own debut with Star Troupe, so naturally she wanted to appear at any cost.

To the surprise of even those around her, with a scrupulously careful programme of rehabilitation and extraordinary [ケタ外れの精神力?] force of will, Ouki made it back in time for the opening night. [You go girl!! You show 'em! :-)]

"I thought, now, thanks to my trials, ???*** I can do anything.” By the time the show finished, Ouki was equipped with manifold toughness. [tee hee, I like this line "manifold toughnes" - sounds like a Gundam!]

With a height of 173cm, Ouki possesses a distinguished style. The trio shot of her with Yuzuki (172cm) and Yumesaki (164cm) has a brilliant impact. [= b est I could think of for 迫力満点 at the moment]

”Chie san is an upperclassman you can look up to. I really admired her, so it’s marvellous now I’ve been put in a combi with her. Chie san has a wildness like the sun, and I’m the exact opposite. I dare say I’m the moon?? But if we can get across that [sense of] "total opposite-ness" on stage in a good way I think it'd work well, wouldn’t it.”

Saying this, Ouki’s face as she laughs coolly is impressive. ”Sun and moon”: In the new Star Troupe, a sense of infinite possibility unfolds.

* Is "classmate" or "batchmate" the usual translation of 同期 in this context?

** Original text:「自分自身“何かを変えなきゃ”ってもがいていたというのか“もっとこうしたいのに何でできないんだろう？”“何かを壊せたらもっと良くなるんじゃないか”って」

*** Original text: 折れてようが何しようが... Any ideas anyone?

Swine flu @ Takarazuka (Hoshigumi)

Mon, 24 Aug 2009 17:22:50 GMT

A Japanese friend alerted me to this article. Two seito in Hoshigumi have fallen ill with swine flu. Let's wish them a speedy recovery and hope that nobody else gets ill in that troupe or any others! 一生懸命祈ってます!!

http://osaka.yomiuri.co.jp/tokusyu/influenza/if90823a.htm?from=tokusyu

宝塚星組公演、出演者２人が感染

　東京宝塚劇場は２２日、上演中の宝塚歌劇団星組公演の出演者２人が新型インフルエンザに感染、休演すると明らかにした。公演は代役を立てて続ける。劇場によると、感染が確認されたのは、磯野千尋(いそのちひろ)さんと、天霧真世(あまぎりまよ)さん。天霧さんは１９日、磯野さんは２１日の公演後に発熱し、新型インフルエンザと診断された。

（2009年08月23日読売新聞）

To summarize: the 2 students who have swine flu are 1) Isono Chihiro and 2) Amagiri Mayo. Isono got a fever on the 19th and Amagiri on the 21st. They are both taking a break from performing and their roles have been filled by replacements; the run will continue unaffected.

New senka + Hoshigumi show article (Japanese)

Sun, 19 Jul 2009 21:23:18 GMT

http://www.asahi.com/showbiz/stage/spotlight/OSK200907180089.html

While browsing the Japanese news on the Asahi Shimbun website I stumbled across this article about a forthcoming show with Todoroki Yu from Senka and Hoshigumi members, an adaptation by Kobayashi Kouhei of the well-known tale of Pedro and Ines of Cumbria. It promises to be a lavish affair, based on the love story of the Portuguese royal family.

Will at some point translate for non Japanese speakers, in the meantime there are a couple of gorgeous costumed photos showing that this'll be one for those who love costume dramas/jidai geki such as myself! We also get to see Todoroki in a crown! I must say, it becomes her very well.

OK, gotta hit the hay, my flight for Croatia leave at 5am tomorrow so it means a ridiculously early start. Oyasumi all zzz

Takarazuka items for sale

Tue, 14 Jul 2009 12:32:46 GMT

Hi Am selling a couple of items to raise a little cash for my summer holiday. Have just put prices down! Click for Sena Jun/Todoroki Yu/Yamato Yuga goodness! Only 6 hrs left of auction so time to bid bid bid :-) Make me an offer, go ooooon...

http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&ssPageName=STRK:MESELX:IT&item=190320016921

http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&ssPageName=STRK:MESELX:IT&item=190320020040

Yamato Yuga's actress debut in "Curtains"

Fri, 10 Jul 2009 20:34:01 GMT

To summarize from the article from Sanspo linked by utena1409 (Thanks for the heads up!)...

大和悠河、ミュージカルで“女優デビュー”

Yamato Yuga will make her debut as an actress in the musical "Curtains"...Next year, from February 6th to 24th, @ Tokyo International Forum (oh my god, I've been there!!) - was announced on the 9th

Curtains" is a suspense comedy from Broadway; this will be its first performance in Japan. Yamato will play the role of the heroine, young actress Niki opposite the main chanaracter, played by Higashiyama Kinosuke (totally guessed that - have no clue with non-obvious Japanese names, please correct me!), who is taking up the challenge of his first role in a musical in 9 years.

It'll be a major change for her, going from playing 凛々しい (can't be bothered to translate ririshii properly - means gallant, etc) otokoyaku roles to playing that of a respectful young lady/daughter...She falls in love with the assistant inspector played by Higashiyama , who investigates a murder incident that occurs actually on stage. Ooh, how thrilling!

Yamato was thrilled, saying, "I will be acting alongside Higashiyama-san and I'm looking forward to turning from a Takarazuka otokoyaku into an actress." That's all for now folks. oyasumi! zZz

Osa Haruno Sumire interview from TCA Press Sept 2008

Wed, 08 Jul 2009 22:30:58 GMT

Osa joy! In which she talks about what she had got up to in the year since leaving Takarazuka and before she opened her first concert "My Heart" and began acting in "margueritte". All those references to 'being a woman' perhaps makes me think even then she knew...Maybe too loved up?

Couple of sticky points: 芯のある女性? = woman with a tough centreでいいのかな? And one weird sentence towards the end (italicised in the translation) that I couldn't figure out what she was getting at, so any help there is most appreciated. In the original Japanese it reads 忘れかけていた何かを気づかせてくれたり、自分自身にとても素直になれていたり。More than half the problem is - what is the damn subject?? Yes, I lost it there somewhere, oops...

Enjoy!

劇場の赤い椅子に身を沈めてただ観てほしい。。。You go girl, you get those bums on chairs! :-)

Haruno-san graduated from Takarazuka last year on December 24th. She has recommenced her artistic activities, but what changes have there been in her heart since she graduated up until now?

I was completely burnt out by my Sayonara performance and so immediately after obviously I couldn't think about anything but, after about one month had passed, the feeling arose inside of me that I wanted to sing again. Clearly, to me, singing is very important, and so I couldn't separate myself from singing. During my days as an otokoyaku in Takarazuka I sang and danced with 120% of my might every day, so it was natural to have a life involving singing. So much so that I felt that singing was more important than even eating meals. Just because I stopped appearing on the stage it didn't mean that my thoughts with regard to singing disappeared. It was a very weird sensation not having that moment to put my feelings into the music and sing. When I graduated, I thought I'd rest and take it easy for a year or so, but I'm the kind of person who is no good if they aren't constantly deciding on targets and working towards them. Since I realized my desire to want to express my feelings on stage again my heart has really felt relaxed.

Your first concert since graduating, which opens in September -- this time, from the stage of organization and production, it seems you have come up with various ideas yourself, haven't you?

On this important occasion, when I can deliver the songs I love to the audience, the question of how to express "Haruno Sumire" as she is now is a big topic. When I was in Takarazuka, my roles were decided for me, but this time there are almost no roles or restrictions. The staff are people who helped me in Takarazuka, so I'm relieved and leaving it up to them, but I'm also doing some of the arranging and producing myself. I do have insecurities but it's very fresh to go on delving deeply into it, everyday is fulfilling. The hard bit was choosing the songs. When I chose the tunes I wanted to sing, it was quite a number, so it was terrible narrowing down the songs. The set list of course includes songs from my time in Takarazuka, as well as covers, and I also sing songs I wrote the lyrics and tune for myself as a challenge. For costumes too, I've conveyed my ideas to the staff. The "man" that I cultivated in Takarazuka and myself as one "woman" -- I too am hoping that it'll be a show that shows those two sides.

Your are also preparing for the musical "Margueritte" from next February.

It depicts the tempestuous life of the songstress Margueritte just at the time when Paris was being occupied by Nazi Germany; France just before the Second World War intensified. Marguerite is a very pure and sweet women, but with a tough core. Even while at the mercy of the age, she presses onwards with her love. I'm playing such an amazing heroine, but how should I do it? That's my true feeling right now. First of all, the fact that the key is different is one of my challenges this time. In Takarazuka it was always in the otokoyaku's key, I could modify it in my own way whatever sort of song it was, but how to arrange (the songs this time) I expect be a task for me. There are lots of difficulties in the songs themselves, but if I stand onstage and combine them with my lines then I think I can enter into the world of song. Right now, first of all, I feel I want to take care of myself, a woman, and pass my everyday life carefully.

Watching the Takarazuka Revue anew since you left, how does it feel?

Since I left, I've been to see my classmate Aran Kei's performance, but really I thought it was simply wonderful. It was cool! And the atmosphere of the stage and the sets were also beautiful! So I completely regressed to the time when I was a high-school fan. (laughs) While I was in the troupe, whatever I did, I was bothered by the fine points of the acting or production, but now when I watch it objectively I was deeply moved all over again, the Takarazuka Revue is so amazing. It makes you anxious about something you'd been beginning to forget, you can be very honest with yourself. (?) I thought, I want to get many people to sink into the red seats of the auditorium and just watch, without thinking about the difficult things in life.

Couple of items up for grabs (through ebay)...

Tue, 07 Jul 2009 18:47:46 GMT

Am selling a couple of items on ebay to raise a little bit of cash, mainly to pay for my summer holiday. Take a look - there are some Sena Jun things as well as Todoroki Yu and Yamato Yuga items too. The prices may seem a little high but actually I'm perfectly willing to take lower offers...As you'll see if you make me an offer :-P

All items posted promptly, in cardboard backed envelopes. I don't think it'll cost much more to post overseas either. The Todoroki Yu stuff and Yamato Yuga stuff I'm sorry to see go but willing to see go to a good home. I have duplicates of some anyway...

Sena Jun

http://cgi.ebay.co.uk/Takarazuka-Sena-Jun-Sky-Stage-magazine-poster_W0QQitemZ190320020040QQcmdZViewItemQQptZUK_Magazines?hash=item2c4ff50a48&_trksid=p3911.c0.m14&_trkparms=65%3A12|66%3A2|39%3A1|72%3A1683|240%3A1318|301%3A1|293%3A1|294%3A50

Todoroki Yu & Yamato Yuga

http://cgi.ebay.co.uk/Takarazuka-Yamato-Yuga-Todoroki-Yu-collectable-postcard_W0QQitemZ190320016921QQcmdZViewItemQQptZUK_Collectables_Postcards_MJ?hash=item2c4ff4fe19&_trksid=p3911.c0.m14&_trkparms=65%3A12|66%3A2|39%3A1|72%3A1683|240%3A1318|301%3A1|293%3A1|294%3A50

Asami Hikaru interview translation 2008

Tue, 07 Jul 2009 16:34:27 GMT

Translation of an article that appeared in the front of the little Sky Stage 
listings mag you can pick up free in the foyer of the theatre with ex top 
otokoyaku Asami Hikaru. 2008, so approx 1 year after she graduated from 
Takarazuka.
Couldn't be bothered to translate the title but it's entitled
最後は必ずハッピーな気持ちになれる;宝塚は観客思いな夢の世界

NB Interviewer's questions are in bold and her answers in normal text.
 
In the fully one year since graduating from Takarazuka, Asami has appeared in
musicals one after the other. Recently she has been appearing in the musical
comedy "Triumph of Love".

"It's a long time since I've done comedy so it was great fun. I had the role of
a queen who wants to get a prince whom she has fallen in love with to notice
her, so she cross-dresses as a man and gets close to him. Usually you don't
consider that sort of bold thing, do you. But young girls in love are like
that, I thought while playing the role. Before, I was an otokoyaku, so
naturally I thought about the psychology of men, but now while reaffirming,
"what we call women have this sort of emotion", I'm  learning everything
including their movements and behaviour.

Unlike while you were in Takarazuka, now you have plenty of opportunities to
co-star with men; do you feel there is any difference?

I'm often asked, How do you do it without such a sense of unease?, but I think
when you're doing a play, sex or gender has nothing to do with it. Simply to
say that the people playing those roles are sometimes men, as a sense that
doesn't really change. The biggest difference is that up until now I always
went back and forth between the same place, the troupe, so I was creating
productions always with the same members, but now the place and my co-actors
are different each time. Perhaps it's similar to the feeling that you were a
company employee but now you've become a temporary dispatch worker, as it were.
(laughs) It's fresh and exciting every time I meet new people and say "how do
you do". I'm quite shy in front of strangers, so at first it's ??? But, everyone  
shares the same desire to create a good production, so in the end you open up to
 a curious extent, you wonder how you can be talking this frankly. Also, people  
who have been able to work in a different environment to yourself have a  
different way of getting to grips with a role, so you are inspired all over again,
 there's this way of doing it too.  

We hear that this April you are publishing a photo collection of photos
collected over the year since you graduated from Takarazuka.

Yes, it's in the form of a collection including both stage photos and offstage
photos, of the things I've done up til now in the past year. Furthermore, I'll
appear in "Elisabeth" from August, so I've been on a tour round places
connected to "Elisabeth", such as Vienna, Hungary and Germany, so we also
included a food diary of photos I took myself on location too. Vienna I have
been to before after I played the role of Prince Rudolph in "Elisabeth" in
Takarazuka, but I remember that time I felt really into the role of Rudolph and
found the sight-seeing deeply emotive. This time I was able to visit the place
where Elisabeth actually lived. If I can make use of the atmosphere I felt in
preparing for the role from now on, it'd be good. The Toho version of
"Elisabeth" depicts it realistically while mixing in the historical background
and focusing on how entranced by death Empress Elisabeth was, so it is
completley different to the Takarazuka version I think. Only the music is the
same, so I feel like when the music for the role of Rudolph's overture sounds
my body might react... I'll have to try not to get it wrong and rush out on
stage at that point...(laughs)

We hear that even now you often go and see Takarazuka performances. How do you
feel watching that stage on which you yourself once stood?

I recently saw a performance by Yukigumi, the troupe I used to belong to, but
now I can enjoy it completeley objectively, while being thrilled. With
Takarazuka, the story itself is happy, or even if it's a tragedy there is
always some positive element, and it's great that it provides relief. Even if
the main character dies in the end,  they always brighten the heavy atmosphere
in the audience with the show afterwards. That is very Takarazuka-like, very
considerate of the audience, I think. If you can go to the theatre
(Takarazuka), it's a wonderful, unique space that invariably makes you forget
about reality and leads you into a world of dreams. I thought that too when I
was active in Takarazuka, but since graduating I feel it acutely all over
again.

陽月華 Sanspo article translation 3/3 (Hizuki Hana)

Mon, 06 Jul 2009 22:08:45 GMT

The last section of the Sanspo article, Hizuki Hana's words of goodbye. And here's the link to the original article:

http://www.sanspo.com/geino/news/090705/gne0907051937000-n1.htm

陽月華　舞台挨拶

Hizuki Hana Farewell Greetings

Takarazuka, seen from the stalls. It was beautiful. In the middle of stress, smelling the smell of sweat, watching the stage from the wings too, it was beautiful.

Having been able to encounter a theatre that makes my heart dance (?). The fact that Takarazuka exists in this world. The fact that there are people who support Takarazuka, that there are people who support me...

I'm full of feelings of gratitude, but I feel impatient with myself for only being able to say, thank you. I hope that Takarazuka will last forever. Thank you so very, very much.

大和悠河 Sanspo article translation 2/3

Mon, 06 Jul 2009 21:38:22 GMT

Part/page two of the Sanspo article. There's one phrase I had literally no idea what it meant...I left it in there, down the bottom somewhere, you'll see it. If anyone knows what that means I would love to be let in on the secret, lol. Luckily, in general, Tani-kun's musings are pretty intelligble and easy to understand and translate. So just that sneaky phrase. :-P

大和悠河　舞台挨拶

Yamato Yuga Farewell Stage Greetings

Since the day I announced my decsision to leave Takarazuka up until now, the happiness of my standing on this once-admired stage, all the wonderful people who came to see me, the happiness of being able to create production with the bright and cheerful members of Soragumi...While sensing these things inside of myself, I have got to where I am.

I am supremely happy right now. Being able to meet all the people who havesupported me, who have supported Takarazuka, being able to work with everyone in Soragumi, and being able to spend the time up until now is something that is a very, very important treasure in my life.

To all the people who have been connected with Yamato Yuga: thank you so very, very much for all your help and support up until now.

大和悠河　記者会見一問一答

Yamato Yuga Press Conference

Yamato Yuga Press Conference Yamato: Today I have been able to safely graduate from Takarazuka. I have received warm shouts of support from all my fans and I have also received warm shouts of support from everybody in the troupe. I have been able to spend a supremely happy day. Q: What does Takarazuka mean to you right now? A: I think it's a supremely warm,beautiful place, a place of dreams. I've been so happy. Thank you. Q: You wore a tuxedo rather than the green hakama uniform to come down the stairs... A: The reason I wanted to join Takarazuka was because I was charmed by the otokoyaku's style. It's said even among those cool otokoyaku that it takes time to learn to pull off wearing a tuxedo. It's that tricky kind of thing, but I loved dances in tuxedo. That's why I wanted to come down the stairs for the last time in a tuxedo. I thought about (what to wear) when I was installed as top star. Q: Looking back, was there anything difficult? A: Up to now I've played all kinds of roles and I've tried my hardest to deal with and perform those roles in my own way. It's about brushing up your accomplishments. There have been a lot of challenges but no real hardships. If I look back, as a performer it has all been wonderful. No painful problems, everything has been a wonderful experience. Q: What have you shed tears over? A: Actually, I'm a real crybaby! At Takarazuka Music School I was often crying. It was vexing if there were things in class I couldn't do. But recently, when I'm touched by the warm thoughts of everyone who has supported me, or when I'm touched by the warmth of everyone in the troupe, I've cried because I've thought, I'm really happy. Even today, when I looked the faces of everyone in the audience, tears started to fall. Q: What are you going to do as of tomorrow? A: There are loads of things I want to do. First of all I want to take it slowly. Also I want to go abroad. Mayeb do some shopping, see a film, that sort of thing. What would you say - I want to separate myself a little from the time I was spending onstage up til now and take a breather. Q: Do you have plans for stage activities? A: After I quit Takarazuka, what shall I do? When I thought about it, naturally, there's a tremendous amount of things I've learnt from my experiences in Takarazuka, so it'd be a waste to throw that all away. At the moment, I think I'll carry on artistic activities in some form or another. Q:Any concrete plans? A: Nothing concrete has been decided. I enjoy acting and I enjoy singing, and I don't want to stop dancing. It's all enjoyable! What should I do!? Q: You won't do male roles anymore? A: Male roles...? If I was asked to do a male role I'd want to do it. But there's not really anywhere...? Q: Recently Takarazuka graduates have been doing male roles a lot in OG performances... A: If they asked me, I'd love to do it. Q: What does 'otokoyaku' mean to you? A: I joined Takarazuka because I admired the otokoyaku's sexiness, their coolness, I thought they were great. When I was an underclassman, I said I wanted to be an otokoyaku who ?? (背中に哀愁を漂わせる男役), but the whole time I've been studying just what it means to be an otokoyaku. Now it's the time for me to graduate from being a top star, and, as a performer, I've come see myself as neither a male role player not a female role player. But I think obviously it is because it has otokoyaku that Takarazuka is able to produce a lovely, splendid world of dreams. If there are no otokoyaku in Takarazuka it doesn't exist. I want the underclassmen too to each pursue the 'otokoyaku' as they conceive of it. Surely if there are underclassmen like that in Takarazuka then without doubt it will be able to welcome its 100 year anniversary, I think. If they can go on steadily making fantastic performances, being supported by everyone, then I think that'd be great.

大和悠河 Sanspo article translation 1/3

Mon, 06 Jul 2009 20:17:04 GMT

【宙組】大和悠河、１５年の宝塚生活に別れ (1/3ページ)

Quick translation of the first page of the Sanspo article of Yamato Yuga's retirement. Page 2, with the butai aisatsu (final greetings) and kisha kaiken Q&A (press conference) to follow shortly. It's not perfect and there were a few tricky bits of vocab or turns of phrase I hadn't encountered before so any suggestions from my Nihongo senpai out there are always greatly appreciated. Enjoy reading. :-)

Takarazuka Revue Soragumi top star Yamato Yuga (31)
retired with the Tokyo performance of "Rain Falling on Roses/Amour, It's...",
greeting her final performance at the Tokyo Takarazuka Theatre in Hibiya,
Tokyo. She said goodbye to 15 years of life at Takarazuka. With a flower of
genius (?), from her days as an underclassman the energetic Yamato has been
selected for impressive roles. On this day too she gave a brilliant,
impassioned performance, captivating the audience.

In the "sayonara show", which is carried out by the person graduating after the
main performance, Yamato sang songs from representative performances one
after the other, including songs from "Singing in the Rain" and "Sidestory Rose
of Versailles" besides her first Bow Hall performance solo lead "Cinderella
Rock". 

For her final descent down the Giant Staircase, rather than the green hakama
which is the proper uniform of Takarasiennes, she wore a tuxedo, the
symbol of otokoyaku. "When I became top star I had decided (to wear a
tuxedo)." she said.

"I am supremely happy right now. Being able to meet all the people who have
supported me, who have supported Takarazuka, being able to work with everyone
in Soragumi, and being able to spend the time up until now is something that is
a very, very important treasure in my life." As she said her words of thanks, a
trickle of tears ran down Yamato's cheek.    Her classmate, former Yukigumi musumeyaku
top star Maikaze Rira hastened forward and handed over a bouquet of deep
crimson roses. At the unending round of applause from the audience, the stage
curtain, which had come down once already, went up 5 times and each time Yamato blew
kisses; cheers and shouts rose from the audience.

At the graduation press interview held afterwards, Yamato appeared fresh-faced.
With regard to after she graduates, saying, "I enjoy acting and I enjoy
singing, and I don't want to stop dancing. I think I'll carry on artistic
activities in some form or another." she indicated her intention to capitalize
on her experience in Takarazuka.

Around 8000 fans crowded in at the customary sayonara parade in front of the
theatre and called words of encouragement (?) Yamato waved to her fans with a
smile on her face and got into her waiting car, which was a super-flashy sports
car decorated with sparkling golden spangles.

Hizuki Hana, Yamato Yuga's partner, also gradutated today at the same time.
Also, Sakumo Takane, Moeno Riria, Kashou Naoto, Mimaki Sakyou, Karin Moyuru,
Nanaho Hikaru, Miwa Asahi and Ayazono Yuki, 8 performers in all, have also
retired from Soragumi.TBC...

Question

Sun, 28 Jun 2009 21:36:40 GMT

I am looking for some more Takarazuka-related stuff to translate in my spare time. Someone suggested the Kageki Round Tables but I don't have any copies myself. If someone can point me in the direction of this or anything to translate I'd be grateful, though I'll having a flick through my old Graphs and so on. If anyone has anything they desperately want to read then pass it my way and I'll see what I can do, though I reserve the right to cancel or retract this promise if anything proves to be too hard/boring (unlikely!!) or not to my taste. :-)

Seshiru Daigo interview (translation)

Sun, 21 Jun 2009 21:25:28 GMT

Now I am a free woman with no dissertation, final exams or anything else to hold me back or distract me, I am free to pursue translations of things that actually interest me. Like, for example, Takarazuka! Here is a translation of an interview with up-and-coming Yukigumi otokoyaku Seshiru Daigo.

The Anticipation of Coming up against New Hurdles

Yukigumi's otokoyaku "hope", Seshiru Daigo, has played her long-awaited first shinjinkouen lead role. She took on the challenge of Nero, played by top star Mizu Natuski in the musical "Mariposa no Hana". Set in the Caribbean, she gave an enthusiastic performance as a stout man who assists revolutionaries, former soldiers.

"There were lots of challenges. Really standing centre-stage for the first time, I discovered a mountain of challenges." It was a first shinjinkouen role that carried with it a huge amount of pressure. Nothing but words of reflection rush from Seshiru Daigo's mouth. Usually one would heave a sigh of relief, but, "This time there was no sense of liberation, and I thought, 'I'm really still such a novice' If I don't try harder for the Tokyo run (21st Oct)..."

However, this was also a special show as Seshiru's last shinjinkouen. Last year in the shinjinkouen of Elizabeth she won the audience over with her eccentrically played Luigi Lucheni, the role given to the sambante (third-ranked otokoyaku). The time before that, in Kimi wo Aishiteiru, she gave a good performance as the villain played by semi-top Ayabuki Mao. Climbing the ranks of the ladder one by one, this time in the shinjinkouen for which she was biding her time she feels almost painfully aware of the hopes of those around her.

"I'm the kind of person who goes at my own pace, so I'm grateful to have been given this big role at this time. If I'd been given the main role in a shinjinkouen when I was an underclassman, I'd have panicked, but this way I feel I have the things inside of me that I've accumulated over the years, so maybe I'm a tiny bit looking forward to being able to come up against new hurdles."

Before the performance she was coolly analysing it but now, having experienced playing a big role, she look back naively: "I realized all over again what a different thing it is to stand in the centre of the stage this much. First of all, I was surprised at how bright the lights are. It's so dazzling it makes you hallucinate - are my clothes reflecting the light?" That's how special a thing the main role is in a shinjinkouen.

With big eyes and memorable dimples, there were time when Seshire Daigo's charming looks have been a concern as an otokoyaku, playing Cinderalla in one show, for example. "This time, in the play I can't afford to give out any 'cuteness' whatsoever, so it could be a chance for me to overcome my own complex. I don't dislike coming up against hurdles, and if I can think that my potential is incresaing then I can try harder." Sehsiru Daigo is never satisfied with the status quo: even though the has finished the shinjinkouen in Takarazuka, she is already thinking about the main performance currently playing, and the Tokyo performance next...Her challenges will continue.

Lyrics to Makoto Tsubasa's "WISH"

Sat, 06 Jun 2009 21:51:53 GMT

真琴つばさWISH

Transcribed the lyrics from the music vid on Youtube but haven't got around to translating them yet. I'm mainly posting them here for "private home karaoke" purposes since it's one of my favourite Takarazuka-related songs to sing along to while working and they also usually stock it on Japanese karaoke booth systems. Lalalala

疲れ果てた

羽を休めきみは

明日という

風に何を見てる

壊れそうな夢を抱いて

一人おびえてるのか

誰にも見えない

心の羽をあてもなく

広げるのか

何よりも大切なものを

一握りの永遠に込めて

どこまでも続く

風の中へと

飛んで行きたい

誰もいない

かわいた道に立ち

希望という

風を探している

凝れそうな花を抱いて

人りさまようのか

気まぐれに

流れ行くあの夢は

どこへたどりつくのか

見失った時の流れを

ひとしずくの涙にかえて

風よりも強く

飛んで行きたい

あの空の彼方へ

何もよりも大切なものを

一握りの永遠に込めて

誰にも見えない

心の羽を

空に広げたい

うつりゆくこの時の中へ

人かけらの

永遠この手に

風よりも強く

飛んで行きたい

光浴びながら

シラユキ White snow - Aqua 5 song translation

Fri, 27 Mar 2009 22:54:23 GMT

I was bored stuck at home on a Friday night with a broken foot *sigh* so instead of finishing writing my dissertation I transcribed and had a quick bash at translating the lyrics of one of Aqua 5's songs, "Shirayuki". Here it is for your delectation. Warning: it is not a happy love song :-( No siree.

EDIT: Just added the romaji reading but I did it without my dictionary so there may be a few mistakes on the hard kanji...Corrections gratefully accepted until I can be bothered to check it myself.

シラユキ White snow

千切そうに痛む心がまだ今もサヨナラと云えない

走り去った背中の向こうキミを探し求めている

chigiresouni itamu kokoro ga mada imamo sayonara to ienai

hasirisatta senaka no mukou kimi wo sagashimotometeiru

My heart rent to shreds, even now I still cannot say goodbye

Beyond your back which has turned away I am searching for you

胸の奥に空いた傷を零れ落ちるぬくもり

鼓動さえ凍らせてしまいそうさ

mune no oku ni aita kizu wo koboreochiru nukumori

kodou sae korasete shimaisousa

The warmth that spills over from the wound in my heart

Even my heartbeat seems about to freeze

風に泳ぐキミの髪は眩しいほどに煌めいて

明日の闇をそっと照らしてくれてた

Kaze ni oyogu kimi no kami ha mabushii hodo kirameite

Ashita no yami wo sotto terashite kureteta

Waving in the breeze, your hair is sparkling so bright

You gently lit the shadows of my tomorrow

面影さえも消し去るようにすべての色を奪うシラユキ

静寂の空舞い踊るようにカナシミの羽根が街をつつむ

omokage saemo keshisaru youni subete no iro wo ubau shirayuki

seijaku no sora maiodoru youni kanashimi no hane ga machi wo tsutsumu

The white snow steals all the colours as if to erase even their trace

As if dancing, in the silent sky the wings of sadness envelop the street

Darlin'千切そうに痛む心がまだ今もサヨナラと云えない

走り去った背中の向こうキミを探し求めている

Darlin' chigirisou ni itamu kokoro ga mada ima mo sayonara to ienai

hasirisatta senaka no mukou kimi wo sagashimotometeiru

Darlin’ My heart rent to shreds, even now I still cannot say goodbye

Beyond your back which has turned away I am searching for you

咲き誇る淡きこのシラユキを永遠に忘れることはないだろう

きっと思い返すその度せつない恋を愁うだろう

sakihokoru asaki kono shirayuki wo eienni wasureru koto ha nai darou

kitto omoikaesu sono tabi setsunai koi wo ureu darou

I’ll never forget this white snow in its fleeting fullness of bloom

At that moment when I recall it I lament our heart-rending love

千切そうに痛む心がまだ今もサヨナラと云えない

走り去った背中の向こうキミを探し求めている

chigirisou ni itamu kokoro ga mada imamo sayonara to ienai

hashirisatta senaka no mukou kimi wo sagashimotometeiru

My heart rent to shreds, even now I still cannot say goodbye

Beyond your back which has turned away I am searching for you

Seshiru Daigo interview

Tue, 17 Feb 2009 17:20:34 GMT

Interview with up-and-coming yukigumi-sei Seshiru Daigo (Japanese). I got my eye on this one.... ;-)

http://www5.nikkansports.com/entertainment/takarazuka/entry/20080908_67012.html#more

Asami Hikaru interview translation (old - 2005)

Fri, 06 Feb 2009 19:41:13 GMT

An English translation of a really old interview in a leaflet that I've been meaning to post for ages. It's about Asami Hikaru and dates from 2005, from the first live Zuka performance I ever saw, Yukigumi's "Kiri no Mirano"/Wonderland. How wonderful it was...

Takarazuka Revue Guide

Performance Guide Information Leaflet

Front interview

Takarazuka Revue Star’s Voice

The sense of accomplishment from having played a main role gives birth to a new motivation

We asked Yukigumi’s lead otokoyaku, Hikaru Asami, to talk about the appeal and performances of Takarazuka.

A main character who has hidden his pride as a noble

Our next performance, "Kiri no Mirano" (Milan Wrapped in a Fog), is a play set in Milan, in nineteenth century Italy, which was under Austrian rule. Lorenzo, who I play, is a nobleman who, even while he is employed at the town hall, behind that has another identity acting as the leader of the anti-Austrian movement. I’m thinking – a mediocre employee and a shrewd, able activist – while skilfully performing those two aspects of the character, if I can also express another, kind-hearted aspect of him in the rapport he has with the maiden Francesca then it'd be good.

As for the show part of the revue, "Wonderland", the theme is the ‘combined power’ of Yukigumi’s singing and dancing, and the ‘individual skill’ of the individual performers. What sort of contents? Wait and see!

The challenge of Rose of Versailles, which shines out in the history of Takarazuka

A performance of Rose of Versailles has been settled on for February next year.Of course, it is a production that everybody knows, but for me it is the production I appeared in for my debut, so I have deeply intense feelings about it.

That I would end up playing Oscar, a role so sublime it's like living on top of a cloud – at that time, I really didn’t even dream of it.

My head’s still full of our forthcoming production, but when the time comes, I want to act well so as not to disappoint the great hopes of those around me.

Elisabeth – a crucial turning point

Up until now, I have encountered many good productions and roles, but the one that was particularly a turning point was my role of Rudolph in Elisabeth. I also learnt about delving down into the depths of a role. Also, the sense of achievement I got from playing that type of major role, leading on to new motivation, brought to life to my next performances.

Since I came to have the duty of heading the cast, even though there have been times when it seemed like I had hit a wall, thinking, There’s no time to be disheartened! I've pushed my way through.

From here on too, holding aloft my ideals as an otokoyaku, if there’s something that I can teach them, then I want to give advice to my lower classmen. Conversely, I receive impetus from their enthusiasm and their whole-hearted expression. I want to go on transforming that also into a great power.

「卒業する日まで、宝塚の男役満喫」

Tue, 20 Jan 2009 17:48:38 GMT

This sems to be one of the longer, more in depth articles from the press conference about Yamato Yuga's retirement:

http://headlines.yahoo.co.jp/hl?a=20090120-00000508-sanspo-ent
For the photos, click the 2nd link (the big one with brackets in it, not the little one) after the title; the one sort of diagonally above the word "Amour" and scroll through using the buttons above the pictures.
No 7 is not a flattering photo imho but no 8 more than makes up for it ;-) I love it when she wears those gorgeous white high heels. No 10 (a close up) is also rather good; she looks steely-eyed and determined and thus very very cute. ^_^

I picked out some interesting points:
-- she decided to retire last July during the run of Singing in the Rain (Ame ni Utaeba) and made her application to the management then
-- she graduated the year that the Hanshin Earthquake struck. On the day, she was actually in a graduation exam! They didn't know whether they would be able to make their debut but in the end they did.
-- she picked Nathan in Guys & Dolls as the role that made the deepest impression on her. She felt she grew and learnt a lot as it was her first nibante role.
-- she told Hizuki she was intending to leave some days before, and the others in Soragumi on the day of the official announcement - as you can imagine, everyone was astonished!
-- thanking her fans for all their support over the years since she was a kakyuusei, she ended the press conference with tears in her eyes.... Bet the fans had tears in their eyes too! (;__ ;)

Big Picture
http://headlines.yahoo.co.jp/hl?a=20090119-00000509-sanspo-ent.view-000

Tani-kun's retirement announcement T_T

Mon, 19 Jan 2009 14:25:44 GMT

Don't know if anyone has done this already but since I have nothing better to do with my lunch hour. Here is the link to the sad, sad news of Yamato Yuga's forthcoming retirement.

http://kageki.hankyu.co.jp/news/detail/e38e36c47f7fe77a71da49545dac28f2.html

And a quick translation for those who want/need it (to show I am not lying!!):

Soragumi top star Yamato Yuga will retire with the final Tokyo performance of Rain Falling on Roses/Amour, It's... on 5th July 2009; a press conference witll be held on 20th January.

Can someone post the press conference straight away if they can get it? I am dying to hear what she has to say. What I'd really like to kow is that she has a bloody good reason for retiting and leaving us all in the lurch so soon!! +_+;;

Todoroki as Pineapple Queen!! (in a dress!!)

Sat, 17 Jan 2009 22:33:35 GMT

My brain did this when I saw it and realised who it was posing as a tropical fruit here. (o_O;)** Ok, I never thought it could ever have happened, given all the fuss that was made over that one photo of Ishi-chan in a dress-like garment on holiday, but here it is:

http://uk.youtube.com/watch?v=cJOnTTVmRmA&feature=channel_page

Proof that the Takarazuka management retains the power to "emasculate" even the most blokey otokoyaku. This, my friends, is Todoroki san's Pineapple Queen. Watch it and weep, girls, watch it and weep. T_T Or, laugh hysterically - she's still amazing!!

I thought they could never do it, I thought she never would, but here it is. Todoroki-san in...drag!?? (>o<) Anyway, she has a very nice (presumably very fake) pair of boobies and, unsurprisingly, beautiful skin on her arms. If I age half as well as Todoroki-sama, I will be eternally grateful to the gods.

Thu, 16 Oct 2008 21:45:08 GMT

http://uk.youtube.com/watch?v=e6-BdmGXbQs&feature=related

This is the nearest I've come to seeing Tomu-sama in a dress (of sorts) on stage. And it doesn't exactly become her. Too many feathers; silly head decoration. Notwithstanding that the gorgeous cheekbones remain, of course, unchanged, not at all diminished by all of the above. And she sings nicely too, a slower rendition of the song than I've heard before.

Aran Kei's retirement (my first post??)

Wed, 15 Oct 2008 16:22:36 GMT

I never ever thought that the first post in my journal would be about Aran Kei - after all, she's my least favourite current top star (sorry fans)!! Not that I am rejoicing or anything at the news.

But anyway, without further ado, here is the article about Aran Kei's recent announcement of her retirement, from Sanspo.com. It's probably elsewhere, but this one seems to be quite in depth, plus the kanji are nice and big and easy on the eyes. Yippee

http://www.sanspo.com/geino/news/081015/gne0810151418001-n1.htm

Enjoy (^_^)

inbuninbu

Yamato Yuga Interview vol.1

Ouki Kaname on Overcoming her Inner Demons (and a broken toe!)

Swine flu @ Takarazuka (Hoshigumi)

宝塚星組公演、出演者２人が感染

New senka + Hoshigumi show article (Japanese)

Takarazuka items for sale

Yamato Yuga's actress debut in "Curtains"

To summarize from the article from Sanspo linked by utena1409 (Thanks for the heads up!)...

大和悠河、ミュージカルで“女優デビュー”

Osa Haruno Sumire interview from TCA Press Sept 2008

Couple of items up for grabs (through ebay)...

Asami Hikaru interview translation 2008

陽月華 Sanspo article translation 3/3 (Hizuki Hana)

大和悠河 Sanspo article translation 2/3

大和悠河 Sanspo article translation 1/3

【宙組】大和悠河、１５年の宝塚生活に別れ (1/3ページ)

Question

Seshiru Daigo interview (translation)

Lyrics to Makoto Tsubasa's "WISH"

シラユキ White snow - Aqua 5 song translation

Seshiru Daigo interview

Asami Hikaru interview translation (old - 2005)

「卒業する日まで、宝塚の男役満喫」

Tani-kun's retirement announcement T_T

Todoroki as Pineapple Queen!! (in a **dress**!!)

Aran Kei's retirement (my first post??)

Todoroki as Pineapple Queen!! (in a dress!!)