Backstage Report from "Years of Pilgrimage: The Wandering Soul of Franz Liszt"/"Fashionable Empire" (Flower Troupe Grand Theatre Performance)
(Many thanks Faye for sharing the sources! For those interested in the pictures, please support Flower Troupe by purchasing this issue of Kageki!
I've made a powerpoint on Flower Troupe's performance: "Years of Pilgrimage"!! Here's all you need to know about its history of the time!
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Yuzuka Rei
— About the musical as "Franz Liszt" Since Liszt is someone who's highly sensitive, he certainly knows what's expected of him. Even though he can react to others however he wants, he's easily manipulated by others...that's ironic. The piano I play on stage is Bechstein, one of the three greatest pianos in the world. It is a great honour, and I hope to play the notes in a tone that is worthy (of such piano). Marie is a woman full of love and tenderness. She started a revolution for her beloved one; (she's) someone whose life is full of energy. The days in Geneva allowed (Liszt) to take off his masquerade and for the first time, feel like breathing as a human. But when George appeared before him again and said "Are you running away?", that halted him. Having embraced so much complexities and working his way up through all his efforts, these words burn in him. Even if it triggers only a little, it's really terrifying to see how he can't control himself. For Liszt, he sees Chopin as someone who soars easily in the air, while he is still crawling on the ground...After all, (Chopin) is someone he's looked up to. When (Liszt) is with George, his ambition to be "higher and greater" accelerates, giving him a substantial feeling of being alive. About the last scene of reuniting with Marie, it's thinking "How much time has passed...How much did he pray to God? How much did he repent?" But it's a wonderful thing in life to talk to someone about the past and smile about it – I admire that. Some may say that when this happens it's too late, yet life is still a long way to go. |
— About the show First of all, I'm very happy to see the appearances of the audience that come to (see) the empire as the curtain opens. "LABYRINTH" reveals a performance that is stimulated by inspiration. Because I love the "CHUUZUME" in jazz, the dazzling medley always makes me feel excited. I especially love the "Moment" scene. Isn't it truly a miracle to be with everyone especially during that scene? I'm so blessed at how these irreplaceable times multiply and accumulate, and I'm very grateful that I could enjoy this scene every day. For the "FINALE", I think I've becomes friends with my coat (LOL), I'd be wearing it in a casual angle. The duet seems be more of a conversation rather than a dance. Since there aren't a lot of choreographed parts, I think about how to use my body to present more charm (from the dance). |
Hoshikaze Madoka
— About the musical as "Countess Marie d'Agoult" Every day, I would find something new when I think about (this musical with) Liszt as the centre. The more I play into this role, the more I feel how important such lines are and I want to deepen my understanding about that. It's difficult to present my emotions with those songs, but I'd hope to deliver (the song) as a part of this woman's life. In those times, it requires much power for women to defy boundaries, and she's a woman with admiring bravery, tenderness and great love. (She) met Liszt in this timing when they're both embracing the same anguishes, so they have empathies and they depend on each other. I think it's very important to have empathy in the scene when they both meet. You may say that Liszt may turn out to be dangerous...But when you see he's in confusion, I'd want to embrace him fully, I want to love him from my heart. I thought, I want to become someone who feels empathy for this Liszt played by Yuzuka-san. Marie's drive has always been her love for Liszt, but it's because of them both thinking of each other that they (ironically) passed by each other's paths. For the actresses, the last part is when the revolution ended. I hope to act along that I'm recalling these important memories to portray the flow of time. |
— About the show The show has an energetic start. The costumes are also modern and the choreography is very fresh and new, so I've had fun dancing in them. I dance with Yuzuka-san while my classmate (Oto) Kurisu sings for us. "THE FASHION SHOW" is (a scene) that your dreams will come true if you believe in it, Towaki (Sea)-san and everyone's personalities are all so dynamic (LOL), bonding with Takashou (Mizuki)-san was also fun. I really love the songs in the "CHUUZUME" that were so trendy, even in the earlier parts I would also mouth those songs and lyrics. I believe that duet (note: should be in "Fly Me To The Moon") has an image of adults testing each others' waters. "FASHIONABLE MOMENT" is something that I want to deliver from the bottom of our heart. We try our very best in these songs to present the wonderful scenes to the audience. The duet dance in the "FINALE" has a choreography that has a extended conversation, so it looks like there's some acting in it, and at that moment, I enjoy the feeling that Yuzuka-san dances in and it's really blissful. |
Takashou Mizuki
— About the musical as "Victor Hugo" (My character) is created from the combination fo the real Hugo and also the imagination that is portrayed in the script. On the surface, he's a positive role that looks at everyone from the overall. For one part, he doesn't choose revolution, it's not because of the things in his life, but rather he understands from the root the agony that would result from the revolutions. It may be difficult to present what I have from the depths of it, but I know these are important considerations to him. Looking more into the role, one of the strongest themes is when Liszt experiences the anguish in his life, which towards the end he reaches this dreamy place and talks about his thoughts, I'll try to deepen my role (to pave that theme to be emphasized). |
— About the show I'm a baron and a guide that takes everyone to the Empire. I hope to deliver this ever trendy style. Since I'm entrusted by the Emperor, I hold a sense of mission and also responsibility and would work hard to run around...I'd say my character is a little clumsy in that sense (LOL). I'll work hard to deliver the energy to everyone. |
Mikaze Maira
— About the musical as "Marquise le Vayer" Marquise is the hostess of the salon. I try to visualize myself as someone that's controlling forces of power among the socialites. Even in the first salon scene and also in the "Ivory Duel", you can see that I'm using my power in a lot of those places. We think that all the artists are "My Possessions!", in particular Oto Kurisu-chan's Countess Laprunaréde is quite a powerful one. |
— About the show I hope to deliver most of my power during the "PROLOGUE". I hope to sing my heart forever for the scene in "LABYRINTH". (Yuzuka) Rei and Minami's expressions are changing every day, so I try to cooperate with them and present different singing styles. The "CHUUZUME" is good and quite cute, in the "MOMENT" scene it seems like some little intermissions in a story. For the "FINALE", the musumeyaku also got to wear the long coat and (same) pants style, I wish to stand out in that. |
Wataru Hibiki
— About the musical as "Adam Liszt" As the father, there are important events that I am connected to Yuzuka's Liszt. It's a very realistic musical that has songs carrying through (the plot). (Adam) believes his son is the best and really has the talent and would be a good presence in any family. But (Liszt) may start to dislike him for being outright (that he's always being said as a Genius). Towards the end, there was a time when (Liszt) arrived in the "realm of IF" (note: actually translated from 『ifの世界』) after being in Hungary. To relate back to the root of this story, I hope to deepen my acting more. |
— About the show I have the image of being responsible for mic checking (as a staff) in the audio visuals department and we're like a chorus team. "FASHIONABLE MOMENT" features the upperclassmen, having imagination roles that portray the change of times; the latter half is a more natural scene and a time when we present our message. The "FINALE" is exactly what I would see in my fan era of watching Takarazuka. To remember the ways of wearing the hat well and many other lessons, I'll also study more as to wearing my coat nicely. |
Minami Maito
— About the musical as "Frederic Chopin" Even though Chopin has burdens in being a Genius, he still very much loves music and the piano. I hope to present him sincerely and present those parts where he's very honest and working hard to fulfil his goals. Liszt is his polar opposite, the person he finds the most difficult to understand. But because Chopin acknowledges, respects and admires Liszt more than anyone, he is worried (for Liszt), so he unravels all his thoughts from the bottom of his heart (to Liszt). I hope to portray delicately the loneliness and humanness parts of Chopin that Liszt cannot see. On the other hand, you could say (George) Sand is someone that seems to speak her mind, but because of that there are some mysterious parts that she may not want others to know. I hope to portray some space of imagination for the audience regarding the two's relationship. Towards the end, when I'm straight out being honest with my opinions and feelings, my expression changes a lot. But it's not just about being kind, it can also be considerate and deep even if nothing is said. I hope to hone more of the acting to leave what's left of a testimony portraying the time when Chopin's alive. |
— About the show I hope you to totally get immersed in this world when the curtains open at the “PROLOGUE”. In the “LABYRINTH”, I’m just going to dance here and there, so as to allow everyone to have various imaginations (for this scene) (LOL). The “CHUUZUME” starts with Chopin (Note: Chopin’s Nocturne No.2), and then it was blissful to dance with Oto in the double duet. There’s quite so many changes in the mingles with the “MISTY” scene with Hozumi, every time I hope to be tempted more deeply and enjoy this scene. The “MOMENT” scene is when everyone is encouraged to live in the moment together, it’s such a joyful one to enjoy this moment with the audience together. The structure of the “FINALE” is really too cool, and quite much of a challenge. Because everyone is honing on their coolness of otokoyaku, this is really a wonderful scene. Before the duet, I want to do my best to perform by feeling the refreshing jazz beat. |
Towaki Sea
— About the musical as "George Sand" George dresses up like a man, but doesn’t want to present herself like one. Her value mindset behind dressing up as a man comes from wanting to present her strength. That is why her actions may be relatively feminine, as so for her attitude towards her love with Liszt and her love with Chopin. But from the depths of it, what she wants isn’t love, but rather her thoughts and understanding towards the arts. During rehearsal, I was struggling with the parts of being an onnayaku and wearing man’s clothing, as well as acting the diverse relationships with different people. But in the grand theatre performances I seem to be seeing more of it. I hope to further deepen her ending and also her impact towards this story. |
— About the show When the curtains open, I was invited to this empire. Rather saying that I wandered to there, I said, “I think I was being called for,” and suddenly that feeling caught up to me. “THE FASHION SHOW” has me holding a stand mic for the first time. It’s very fun to hear all these different ad-libs. It’s very comfortable to be in the silver bridge (ginkyo) at the “CHUUZUME”, and also very fun when Hiryuu-kun and Hozumi-kun and I, the three of us presented a kind of mature adult poise. The “CHUUZUME” ends with a song that we all sing about the theme of the night. I really love that because it has so much flair. The greatest impression the “MOMENT” scene had on me was that my heart feels so warm when we’re all in this together. The “FINALE” has the cool coats and hats aesthetic and the choreography…it’s enjoyable for me every time because it’s so cool. |
Hiryuu Tsukasa
— About the musical as "Count d'Aguolt" I really respect Count d'Agoult's unwavering values, beliefs and strong mentality. I want to act the role like I’m a symbol for why Marie or other Parisian socialites want to leave Paris. After losing Marie, he realized his arrogance for seeing Marie as his possessions, this is the part where he’s foolish and it’s quite unfortunate. It’s my first time acting alongside (Hoshikaze) Madoka-chan. Every time it’s so different to have these refreshing conversations, so I’ve been consciously noticing how interesting the acting gets. |
— About the show I hope to deliver the energy in the lyrics when the curtains open. “FASHION SHOW” scene is really feeling it like a model. Because at the start of “CHUUZUME” I wore a black tails, because it gives me a vibe of “THE TAKARAZUKA” that I have so admired when I was small, I’m really happy wearing it and singing. “CLUB MISTY” has an image of humans acting like reptiles in the club, crawling and luring Minami-san. “FASHIONABLE MOMENT” is such a scene I love, overflowing with warmth. I say without exaggeration that “FINALE” remains my favourite scene. I will dance my best until the end. |
Hozumi Mahiro
— About the musical as "Berlioz Thalberg" Because Thalberg knows that he himself is still far from Liszt’s level, so he feels defeated, but on the other hand, he still has strength playing against (Liszt) in the “Ivory Duel” with fair play and dignity. I really respect his resilience, so if possible, I'd want to act more of his later life based on imagination. At first, relying on Countess Laprunaréde is a means to work his way up. the social ladder. But each other of them do have similar thoughts towards the arts…I hope to reflect the difference of the connection of these two versus Liszt’s and the Countess. |
— About the show I hope to deliver some courage to the audience during the “PROLOGUE”. In the “CHUUZUME”, it’s wonderful to feel the connection of this classical piece with the musical, and it’s also a suave performance for the three of us on the ginkyo. The “MISTY” scene has a very strong lead by Minami-san first. At first I wasn’t so familiar (being onnayaku and tempting others), but I’ve been learning more every day, so it’s also fun to have those ad-lib parts. The “MOMENT” scene includes our wishes for the graduates and delivers our current Flower Troupe spirit. I’m already buzzed when the “FINALE” starts. I hope to enjoy the fun of being otokoyaku and transform in the latter half of the show. |
Oto Kurisu
— About the musical as "Countess Laprunaréde" The countess, who loves the arts, has a complicated relationship with Liszt as her lover, and she is his biggest fan. For the men, when she loves them, and when that love gets too deep, her compulsive power also grows stronger. On one hand, she really likes Thablerg too, so it’s very interesting to see her mixed, complex feelings with all those conflicts in the “Ivory Duel”. I feel a different sense of energy from all actresses every day, so it’s always renewing to feel a confusion in heart. Also, because she has so much pride, her change of emotions is vigorous. It’s a really fun role that shakes the meter off. I hope to present that the manifested connections I have with everyone are so significant. |
— About the show In the “PROLOGUE”, I sing from the emotions I have when seeing the various couples dancing. In the “LABYRINTH”, as one of the singers, I will do my best and concentrate to present that dominating feel in my singing. It’s a really cheerful breeze/vibe in the “CHUUZUME”, the “MOMENT” scene always make my heart flutter a beat…Because everyone’s singing echoes in that space, and they pull me back to them, it’s so blessed to graduate in this atmosphere surrounded by everyone whom I love. In the “FINALE”, I hope that you can see how awesome the Flower Troupe musumeyaku look like. I will do my best in the end to deliver my gratitude. |
Seino Asuka
— About the musical as "Emile de Girardin" Even though the artistes all have different personalities, they all love art, and it's wonderful to see them embracing their various dreams in the same place. That's why the aristocrats won't be able to see the nature of arts. Seeing them being treated as all of the aristocrats' possessions, (the artistes) become even more furious and finally head on to revolution. Even it's cruel that the artists relied on the aristocrats' support (but later chose to revolt), I hope you can see that it's because they love the arts. I deliver my message through rap in that number, but because the music is also important, it's really difficult to get that balance. I will continue thinking of how to present that strong power of revolution. I hope I could also show you the same feelings I have with Hoshizora, who plays as my wife. |
— About the show When the curtains open, I'm really happy to see the audience so excited for this show. At the start of "LABYRINTH", I pique the interest of others as I sing about where I should go to. In the small part of "CHUUZUME", I always find it memorable to dance with Oto in the duet every day. In the "MOMENT" scene, I really felt that with Yuzuka-san, our hearts are aligned as one, and I felt goosebumps from the revering of my heart. I can feel from my skin the overwhelming claps and change that to become my energy. I hope to uphold the pride of otokoyaku and dance well in the "FINALE". |
Ichinose Kouki
— About the musical as "Gioachino Rossini" Rossini loves freedom, and he's an honest person towards what he loves. I think that's why he's surprisingly charming. I hope to highlight more of his free and bright parts. At one point, he's so high, so it's interesting to see him if he's very calm asking objectively, "Are you okay?" He's always the mood maker among in this friends, that's what he thinks, and I don't think he'll deny that. He's the person that could help you out once you say a word. I also hope to show how happy he is as someone who's going to be married. |
— About the show The "PROLOGUE" starts with overflowing passion, and in "THE FASHION SHOW", I hope you could use your opera glasses (LOL) to look closely to all those expressions. I really love the magenta swallowtail coat in the "CHUUZUME", and I also got to cherish my time to sing with Kurisu. The choreographer teacher told us that "MISTY" has the image of a lizard game. I also love how I could dance in my natural smile in this important number of "FASHIONABLE MOMENT". Because I got to dance in the coats during the "FINALE", I want to enjoy my time as an otokoyaku. |
Hoshizora Misaki
— About the musical as "Delphine de Girardin" I think it's important to be as close as Delphine's role as possible. I cherish that I can think and understand people's feelings more than anyone else, and I don't want to lose that part in my heart. For my husband Girardin, we believe and depend on each other, we hold the same beliefs, so even if we don't exchange lines with each other, the warmth still transcends. I hope you can see that (we share) an absolute trust. I will also do my best to present this in my acting with Seino (Asuka)-san that you'd feel that we are looking for the same goals and direction. |
— About the show In the "PROLOGUE", it's not just expressing my thoughts in the dancing, but rather I have to hone my first lift well also. To show that the "MISTY" scene is different every day, I hope by feeling others' performances, I could show my true colours too. “(TO THE) FUTURE" scene is when I input my thoughts for the future in my dancing. Because the "FINALE" is very cool, I'd also be aware to dance in such way with my body. |