Understanding the “Dream” of TOP STAR in the Present, the Past and the Future
— First, we’d like to ask how the origin point of stage performer Yuzuka Rei came about?
There are two. The first is during the time I was attending the school in the same ballet company and every year I would be a child role in some performance. I was a role sitting at the edge of the stage and watching all the other pro-dancers dancing. I sat straight and reminded myself that I’m a character on stage and so I remember being a little proud. The teacher who saw this said, “You like (the stage)”. Another time was during middle school times, I was in an operetta for children in my ballet class for the Aoyama Round Theatre on every New Year so it was my first experience singing and dancing and it was fun… then the teacher said “You like standing on stage”. At that time, I didn’t realise but I enjoyed both times!
— So were you having a lot of feelings then?
I believe so (laughs). I still vividly remember the lighting on stage when I was this young (pinches fingers) in the Aoyama Round Theatre. I was looking up to what the professionals are doing, and I started having this awareness that I’m a stage performer. That moment of sprouting admiration originated from these two experiences so it was very important to me.
— What kind of dream were you having in that time?
Rather than having wishful, great dreams like “What should I do in the future”, I realised it was merely “I want to become better at ballet”. It was only just because I love the time I danced with the music.
— During this time, you knew about Takarazuka.
I was inspired by all the terms and just feeling “Wow~!!”: from the turning stage in centre stage, the rising stage components, the silver bridge (ginkyou), the live orchestra, the grand staircase, the ever-changing costumes, and the reaction to the lines. There’s never enough words to describe how I felt at that time, but it was just a great shock and inspiration to me.
— Then, you took the exam to get into Takarazuka, but if you didn’t enter what would you be doing?
I’d be a dancer in a musical, or a character in some theme park. I’d be aiming to do something that I could move my body with the music. Also, I would want to be in the music college of my high school with my piano. And I’d definitely do some acting…No but, at that time I wasn’t that confident in standing in front of people yet. Even though I like dancing in front of people.
— Could you say you’ve had a lively childhood?
Even though I was a child that often got hurt (laughs), it was thrilling to be in the spotlight alone. Now that I think about it, when I played the villain in the school arts festival, I was so excited, so it was like having mixed feelings.
— Then you entered (Takarazuka) Music School?
When I entered, I was surprised by everyone being so energetic. I was thankfully admitted into Music School, but I knew nothing about otokoyaku or musumeyaku. Even for the regent hairstyle, I didn’t know how it actually look upon finishing the final form for the first time. I was nervous and strongly felt how I had a different starting line from others, and remembered being very nervous before the curtains.
— As a stage performer, what were your expectations for being an otokoyaku?
I'd describe myself that I'm still an embryo. I was afraid, confused and my largest drive wasn't being "excited" but I'd have that awareness to try and understand what Sensei was talking about. Of course (having expectations as an otokoyaku) are important, but I don't think I was up to challenging myself yet, so all I thought was to do my part well first.
— Then you entered the revue, and was assigned to Flower Troupe. Could you tell us more about your underclassmen days?
I originally had a slimmer body frame, so even though I chose to be otokoyaku, I knew I wasn't ready but I want to get rid of that thought as soon as possible. It's great especially when Flower Troupe otokoyaku are dubbed as "THE Classic". I was shy but everyone gave me a feeling that I should "Take a look at them!" so I wanted to keep up too and thought, "I want to be a good otokoyaku!" This feeling started to grow from when I became a fan but I think the more came from the fear of not catching up.
— Did your perception of "not catching up" change at some point?
When I was in Ken-4 and performing for "Victorian Jazz", I remember telling Senna (Ayase)-san, "It's fun being otokoyaku". Surely, I have stronger of that feeling and I'm slowly more aware of what I want and what I should do.
— So the embryo started to grow, right?
Not at all (laughs). I shouldn’t be saying that I love acting when I’m still so young… But when I was Ken-6 and Ken-7, when I had my first bow hall lead for “NOCTURNE – Memories from a Faraway Summer Day” I already started thinking that “After all, I do love acting”. Even though I’m still afraid to say it out loud.
— After that, as you grew over the years, did you have any change in your thoughts?
How should I put it…I was thinking more that this was a wonderful occupation.
— Did you feel that “I’ve finally grown up”?
I don’t know about that yet (laughs). Since Takarazuka Revue was established for over 100 years, I was aware of the weight of history. It’s essential to improve myself, but there’s also a stronger sense of taking a step back and look at the production objectively and connecting everyone to improve together. And it feels that there’s a limited time in the rehearsals, in the performances, and in how a day goes by. There was an obvious change with how I face the time I have now versus when I was still reckless as underclassmen.
— You’ve also become to have a greater responsibility within (Flower) Troupe.
When you’re the protagonist, it’s always how nervous, how much responsibility, the heart for how much we should improve and how much do I care about all this. When I look closely to all these, I’ve learnt many important things… Every moment and every time is connected to the present.
— Then you became Top. Coronavirus is still happening in these 3 years, how did you get through this time?
If I have to use a word to talk about coronavirus, every tribulation and setback is different. We didn’t show it but everyone cried a lot and we held all of these thoughts together, and I always think of the graduates in my head a lot. The thoughts never leave my mind and my heart aches for them. But when I could be working with these people as we overcome these challenges every time, it feels a blessing to me. I also realised just how warmly the audience supported us and my feelings towards Takarazuka and the stage became stronger too. I’ll never say that it’s great to let go of each other’s hands but because of this situation, when we actually can meet each other, all thoughts became warmer and stronger…I’ll embrace all of these and continue moving forward to tomorrow.
— Could you start saying that you enjoy acting?
Yes. But once I put myself off guard, it won't be good. When I'm acting as human, sometimes it's difficult to understand some people's emotions. When I'm portraying the story as a person's point of view, the story may vary to people so demonstrating this is no easy task because I have to think from how other people feel and consider how do I connect those emotions together, and for that I'll keep on learning to do that.
— Did you have a change of thought about an otokoyaku image?
Rather than what I should be, and because in my case, I only have brothers in my family, I'm quite familiar as to how men pursue romance and what they think, so it's easier for me to connect those parts together. Of course I'd have to create an ideal (male) role for the women's imagination, but sometimes it's also interesting when the directors want me to have a image for the character. "Sure, let's try to create this kind of image" and then we'd accumulate our thoughts together for me to shape the role. And I think as otokoyaku, the most important thing is to cherish those who act along with me and show them the greatest love.
— So what does "Coolness" mean to you?
What is it...Maybe as a stage performer, I think people who keep on learning is cool. Because no matter what kind of feedback they receive around them, they know that they still have a lot of unknown things and they'll continue to hone and study those parts.
— When you say about honing, are you talking about for your self?
No, no! But I love having new discoveries. When you try to achieve things you can't do and when you try to understand something you don't know.
— Apart from Yuzuka Rei-san's "Coolness" on stage, you're so radiant in the photoshoots...
I think having photoshoots is similar to acting. For instance, you have the script for the acting and you try to create the picture many times with the various directions from the senseis, but for photo shoots, the process is the impression of capturing that one moment. With the inspiration of the cameraman, you'll have to make that work in a short time. You could say that it's the preciseness of acting with the body. Also, it feels a joy when you positioned your body correctly (laughs). That is similar to dancing.
— It's not for the "Coolness".
It's because if I was always cool then the audience would probably find it boring...But on stage, it's an acting ability to present that coolness on stage. It's because the senseis have given us some cool scenes to be in, and then it's important to really understand their direction and revive it.
— Please tell us your dream for the future. What kind of Flower Troupe are you aiming for?
My stance hasn't changed from when I first stood on stage that everyone including the underclassmen could become a troupe that knows where their place is. I aim that (Flower) Troupe could have everyone thinking "People need me" "More can be done here"... "I discovered something new" "It's fun to improve". And I hope (Flower) Troupe could be one that continues giving surprises to the audience in a good way. That we could continue to cherish and fully respect the traditions passed on to us and while inheriting them, that in every performance to the next, it'd be great if I could create surprising performances with everyone.
— Lastly, what is the dream of stage performer Yuzuka Rei?
I'd be happy if you think "She's an interesting one" (laughs). After all when you think that ”this person and what she's doing is interesting", "when I watch her performances it's interesting", that's the happiest for me. From there, I still have many challenges to face, in many levels I'm still growing up. Because the stage is something profoundly deep.
There are two. The first is during the time I was attending the school in the same ballet company and every year I would be a child role in some performance. I was a role sitting at the edge of the stage and watching all the other pro-dancers dancing. I sat straight and reminded myself that I’m a character on stage and so I remember being a little proud. The teacher who saw this said, “You like (the stage)”. Another time was during middle school times, I was in an operetta for children in my ballet class for the Aoyama Round Theatre on every New Year so it was my first experience singing and dancing and it was fun… then the teacher said “You like standing on stage”. At that time, I didn’t realise but I enjoyed both times!
— So were you having a lot of feelings then?
I believe so (laughs). I still vividly remember the lighting on stage when I was this young (pinches fingers) in the Aoyama Round Theatre. I was looking up to what the professionals are doing, and I started having this awareness that I’m a stage performer. That moment of sprouting admiration originated from these two experiences so it was very important to me.
— What kind of dream were you having in that time?
Rather than having wishful, great dreams like “What should I do in the future”, I realised it was merely “I want to become better at ballet”. It was only just because I love the time I danced with the music.
— During this time, you knew about Takarazuka.
I was inspired by all the terms and just feeling “Wow~!!”: from the turning stage in centre stage, the rising stage components, the silver bridge (ginkyou), the live orchestra, the grand staircase, the ever-changing costumes, and the reaction to the lines. There’s never enough words to describe how I felt at that time, but it was just a great shock and inspiration to me.
— Then, you took the exam to get into Takarazuka, but if you didn’t enter what would you be doing?
I’d be a dancer in a musical, or a character in some theme park. I’d be aiming to do something that I could move my body with the music. Also, I would want to be in the music college of my high school with my piano. And I’d definitely do some acting…No but, at that time I wasn’t that confident in standing in front of people yet. Even though I like dancing in front of people.
— Could you say you’ve had a lively childhood?
Even though I was a child that often got hurt (laughs), it was thrilling to be in the spotlight alone. Now that I think about it, when I played the villain in the school arts festival, I was so excited, so it was like having mixed feelings.
— Then you entered (Takarazuka) Music School?
When I entered, I was surprised by everyone being so energetic. I was thankfully admitted into Music School, but I knew nothing about otokoyaku or musumeyaku. Even for the regent hairstyle, I didn’t know how it actually look upon finishing the final form for the first time. I was nervous and strongly felt how I had a different starting line from others, and remembered being very nervous before the curtains.
— As a stage performer, what were your expectations for being an otokoyaku?
I'd describe myself that I'm still an embryo. I was afraid, confused and my largest drive wasn't being "excited" but I'd have that awareness to try and understand what Sensei was talking about. Of course (having expectations as an otokoyaku) are important, but I don't think I was up to challenging myself yet, so all I thought was to do my part well first.
— Then you entered the revue, and was assigned to Flower Troupe. Could you tell us more about your underclassmen days?
I originally had a slimmer body frame, so even though I chose to be otokoyaku, I knew I wasn't ready but I want to get rid of that thought as soon as possible. It's great especially when Flower Troupe otokoyaku are dubbed as "THE Classic". I was shy but everyone gave me a feeling that I should "Take a look at them!" so I wanted to keep up too and thought, "I want to be a good otokoyaku!" This feeling started to grow from when I became a fan but I think the more came from the fear of not catching up.
— Did your perception of "not catching up" change at some point?
When I was in Ken-4 and performing for "Victorian Jazz", I remember telling Senna (Ayase)-san, "It's fun being otokoyaku". Surely, I have stronger of that feeling and I'm slowly more aware of what I want and what I should do.
— So the embryo started to grow, right?
Not at all (laughs). I shouldn’t be saying that I love acting when I’m still so young… But when I was Ken-6 and Ken-7, when I had my first bow hall lead for “NOCTURNE – Memories from a Faraway Summer Day” I already started thinking that “After all, I do love acting”. Even though I’m still afraid to say it out loud.
— After that, as you grew over the years, did you have any change in your thoughts?
How should I put it…I was thinking more that this was a wonderful occupation.
— Did you feel that “I’ve finally grown up”?
I don’t know about that yet (laughs). Since Takarazuka Revue was established for over 100 years, I was aware of the weight of history. It’s essential to improve myself, but there’s also a stronger sense of taking a step back and look at the production objectively and connecting everyone to improve together. And it feels that there’s a limited time in the rehearsals, in the performances, and in how a day goes by. There was an obvious change with how I face the time I have now versus when I was still reckless as underclassmen.
— You’ve also become to have a greater responsibility within (Flower) Troupe.
When you’re the protagonist, it’s always how nervous, how much responsibility, the heart for how much we should improve and how much do I care about all this. When I look closely to all these, I’ve learnt many important things… Every moment and every time is connected to the present.
— Then you became Top. Coronavirus is still happening in these 3 years, how did you get through this time?
If I have to use a word to talk about coronavirus, every tribulation and setback is different. We didn’t show it but everyone cried a lot and we held all of these thoughts together, and I always think of the graduates in my head a lot. The thoughts never leave my mind and my heart aches for them. But when I could be working with these people as we overcome these challenges every time, it feels a blessing to me. I also realised just how warmly the audience supported us and my feelings towards Takarazuka and the stage became stronger too. I’ll never say that it’s great to let go of each other’s hands but because of this situation, when we actually can meet each other, all thoughts became warmer and stronger…I’ll embrace all of these and continue moving forward to tomorrow.
— Could you start saying that you enjoy acting?
Yes. But once I put myself off guard, it won't be good. When I'm acting as human, sometimes it's difficult to understand some people's emotions. When I'm portraying the story as a person's point of view, the story may vary to people so demonstrating this is no easy task because I have to think from how other people feel and consider how do I connect those emotions together, and for that I'll keep on learning to do that.
— Did you have a change of thought about an otokoyaku image?
Rather than what I should be, and because in my case, I only have brothers in my family, I'm quite familiar as to how men pursue romance and what they think, so it's easier for me to connect those parts together. Of course I'd have to create an ideal (male) role for the women's imagination, but sometimes it's also interesting when the directors want me to have a image for the character. "Sure, let's try to create this kind of image" and then we'd accumulate our thoughts together for me to shape the role. And I think as otokoyaku, the most important thing is to cherish those who act along with me and show them the greatest love.
— So what does "Coolness" mean to you?
What is it...Maybe as a stage performer, I think people who keep on learning is cool. Because no matter what kind of feedback they receive around them, they know that they still have a lot of unknown things and they'll continue to hone and study those parts.
— When you say about honing, are you talking about for your self?
No, no! But I love having new discoveries. When you try to achieve things you can't do and when you try to understand something you don't know.
— Apart from Yuzuka Rei-san's "Coolness" on stage, you're so radiant in the photoshoots...
I think having photoshoots is similar to acting. For instance, you have the script for the acting and you try to create the picture many times with the various directions from the senseis, but for photo shoots, the process is the impression of capturing that one moment. With the inspiration of the cameraman, you'll have to make that work in a short time. You could say that it's the preciseness of acting with the body. Also, it feels a joy when you positioned your body correctly (laughs). That is similar to dancing.
— It's not for the "Coolness".
It's because if I was always cool then the audience would probably find it boring...But on stage, it's an acting ability to present that coolness on stage. It's because the senseis have given us some cool scenes to be in, and then it's important to really understand their direction and revive it.
— Please tell us your dream for the future. What kind of Flower Troupe are you aiming for?
My stance hasn't changed from when I first stood on stage that everyone including the underclassmen could become a troupe that knows where their place is. I aim that (Flower) Troupe could have everyone thinking "People need me" "More can be done here"... "I discovered something new" "It's fun to improve". And I hope (Flower) Troupe could be one that continues giving surprises to the audience in a good way. That we could continue to cherish and fully respect the traditions passed on to us and while inheriting them, that in every performance to the next, it'd be great if I could create surprising performances with everyone.
— Lastly, what is the dream of stage performer Yuzuka Rei?
I'd be happy if you think "She's an interesting one" (laughs). After all when you think that ”this person and what she's doing is interesting", "when I watch her performances it's interesting", that's the happiest for me. From there, I still have many challenges to face, in many levels I'm still growing up. Because the stage is something profoundly deep.