Backstage Report from "Genroku Baroque Rock/The Fascination!" (Flower Troupe Grand Theatre Performance) 樂屋取材:《元祿巴洛克搖滾》《The Fascination!》 (花組大劇場公演)
Yuzuka Rei
— About the musical as "Chronosuke" Even though the genre of the Chuushingura is quite heavy, I’d say this is a new challenge to present this lighter, relaxed feeling in this production. Even though Chronosuke definitely swears allegiance to Takuminokami, I want to play this role solidly, even though I may have a change in appearances before and after the passing of time. Though Chronosuke has the same aspirations with other samurais, and the samurai-like behaviours rooted in him, it’s quite difficult to present it this time when my costumes are mischievous. Yet, he has the inquisitiveness and curiosity of a clock-master and I want to relate myself to (Chronosuke) who has a positive and forward-looking personality. Even though the first interaction with Kira was bizarre and makes (Chronosuke) feel uncomfortable, it’s really interesting to progress the acting when he starts hearing about the truth and things start to unveil and fall apart. This process is very different from the Chronosuke as a samurai and he who’s been in the gambling house environment, this is a genuine Chronosuke. I also feels like Kira’s guiding him as to how to live as a person. |
— About the show For the troupe, it’s lively and everyone’s training amongst and honing themselves. During the “PROLOGUE”, I felt really happy dancing while flipping the tails of the costume, which looked like blooming petals. The “CARNIVOROUS FLOWER” is a seducing number that I haven’t encountered for long. It’s very interesting to have different vectors and reactions of my prey when they are being caught. The "CHUUZUME" is when we are surrounded by violets and my heart quivers with the wonderful music. Although I felt in my nerves that “PIANO FANTASY” is an intrinsic and difficult scene, my body is in joy when I can dance in the classic choreography every time. “WINGS OF THE HEART” (Kokoro no Tsubasa) is really embraced by the memories of the many seniors and audience, at the same time, I’m filled with emotions and it’s once again an amazing song. In the “FINALE”, I receive the energy from the surrounding musumeyaku, and I really love the passionate core of the gentleman-like choreography in this otokoyaku group dance. In the duet dance, we wore green costumes that represent the flower bud images and I perform this with (Hoshikaze) Madoka-chan as our debut performance. With the expanding gratitude and respect I have in my heart, and the belief that we could absolutely enjoy something similarly wonderful in the future, I hope to deliver a show to the audience in these two aspects. |
Hoshikaze Madoka
— About the musical as "Kira" Looking back I’ve realised some important things and every time those emotions were so anew. As Kira, no matter if it’s for the first time audiences or those who’ve seen it various times, I’ve had in mind of creating this character as someone very friendly. The key is to turn back time, but the stronger the motive, the deeper the feelings. Every day when I discovered something deeper, this task was fun. Because even more than Kira’s will to live, but also for the story, Kira’s great and immeasurable thoughts for Chronosuke are very necessary that I want to cherish them well. Her thoughts for him never changed; her interests and love (for Chronosuke) became deeper. In order not to let the audience be detached as time turns back, no matter if it’s her accumulating thoughts for him and she sometimes suppresses these emotions, I am always conscious how great my base love should be. Even if you can’t see if she’s a bewitching person or someone like a young girl, Kira still has to act that out even if she doesn’t intend to. I want to correctly express how I feel inside my heart. The last scene in the streets of Edo where everyone is breathing is the happiest for Kira. |
— About the show In the “PROLOGUE”, we wore clothes in the Flower Troupe (pink) colour, and delivered (the performance) to the audience like the afloat fragrance of Flowers. It’s very difficult as a person to present like a butterfly in the “CARNIVOROUS FLOWER”. I hope to present a deeper feeling of inviting you into this mysterious world. In the “CHUUZUME”, I sang the Takarazuka-like song of “The Bouquet of Violets”. Wearing a dress in violet colour, it feels blessed in this time to be a Takarazuka seito. The “HOMAGE” scenes always make my heart quiver. It’s like what Yuzuka-san said that we’re being looked over by the amazing upperclassmen. Amidst the nervousness, there is also a sense of warmth. I’m always happy about it and this is a motivating thought. After that, it’s another honour to sing “ELDEWEISS”. It’s like having a conversation with the audience in the silver bridge (ginkyo), and smiling gives me strength. Duet dance feels like interacting to and fro with (Yuzuka-san), every time the budding thought is “wanting to do it more like that”. I will try my best to keep with Yuzuka-san firmly. Also for the Tokyo performances, I will cherish such gratitude, and as a member of Flower Troupe, I’ll remember my responsibility and work hard. |
Takashou Mizuki
— About the musical as "Chuuzaemon" The first point in creating my role is that (Chuuzaemon) is a character that is reliable when Chronosuke seeks for cooperation. Even though his loyalty is strong, he is the only one that lived through the samurais era of being scared as a samurai, so as a lubicrant, he’s a person that could be accepting and understanding the various thoughts of the samurais, and I thought Chronosuke should have some reliance on him. While also having remembrance for the lord (Takuminokami), he also holds a view of leaving the future to everyone. Towards the last part, Takuminokami’s wish could at least be fulfilled, and it really feels “that’s great”. |
— About the show Starting from the “PROLOGUE” this is a revue world, where I am happy every day being in the Flower Troupe colours. It’s fun in the “CHUUZUME” especially the upperclassmen team, everyone’s dancing with high spirits, with our heart thinking towards the end about “100th anniversary!” (laughs). I’m so happy to be the “HOMAGE” MC because I had experience being in both Flower Troupe and Moon Troupe. I’ve listened to so many pieces in my fan times, so standing on stage to sing these songs is really not a joke! It also is deep dancing the kuroenbi (black swallowtail coat) dance as a Flower Troupe seito. Because I’m leaving the troupe in this production, I hope to dance till the end as a Flower Troupe member without shame. |
Mikaze Maira
— About the musical as "Keishouin" Even though Keishouin faced her agonies in life, I hope to capture her good ambition in “turning these to happiness”. I hope to present a woman that won’t be swayed by her stance and lives on strongly. She no longer feels love for Kouzukenosuke, yet she still wants to support him and lend him a helping hand. She has that motherly love to safeguard her son Tsunayoshi, and for the moment when she realised she’s the mother upon seeing Kira, I will wish to act earnestly to embrace the ending of the story. |
— About the show Starting from the “PROLOGUE”, we start to profess our powerful love. In the “CHUUZUME”, I can wear the Takarazuka-styled costumes and dance wonderfully as a Takarasienne. Singing a duet of “My Love” (Boku no Ai) with Takashou-san makes me blessed every day. Holding hands with everyone in “KOKORO NO TSUBASA” is also happy for me. In the scene of “FINALE” when the musuemaykus are with Yuzuka-san, I’ll do my best with every (musumeyaku) to present ourselves as charming, and “PASSIONATE FLOWER” is when we hope the audience could be hyped with us. |
Minami Maito
— About the musical as "Kouzukenosuke" Acting as Kouzukenosuke, I will be thinking of presenting him as the antagonist of this production and also his sides of growing ambitions as a human. Because he has high pride, a strong sense of faith and stubbornness, apart from his growth story, letting go of Keishouin’s hand also hurted him and because that’s how he got his power, he regretted it. This is the important factor for creating this character. The song of Kouzukenosuke reflects his innermost parts the most, I hope to express that with all his thoughts exuding out of it. I think someone so greedy won’t easily give us his ambition, so towards the end Kouzukenosuke was given a great advantage to governing the country and it’s in a sense of taking the next step to the future that it’s a happy ending. |
— About the show “PROLOGUE” is really full of Flower Troupe features, I hope to present a vibe that’s like “Please look forward to this 100th anniversary show”. “DAYS OF WINE AND ROSES” is a more exquisitely fashionable scene. It’s sharp, precise and I hope to present this ease of adult sexiness. Performing the “CHUUZUME” makes me feel how much of a Takarasienne I am. The part with Yuzuka, I hope to create this ambience that only the two of us can deliver, a scene where we exchange our thoughts on stage and leaves a deep impression. The “HOMAGE” scene is full of the upperclassmen’s thoughts to the audience, I will do my best to deliver those thoughts. The kuroenbi is a passionate choreography which I hope to dance passionately in. I hope to show my true colours in the “PASSIONATE FLOWER”. I hope to transform the audience’s strength and the love I received and repay it back on stage. |
Yuunami Kei
— About the musical as "Yoshiyasu" I think Yoshiyasu’s root is directly for his faith towards Tsunayoshi. Especially for the latter half of the musical, I hope to readily convey my words to Tsunayoshi. When he realises he should help Tsunayoshi no matter what, but Tsunayoshi can be independent on his own, this is moving for Yoshiyasu and because of that, it relates to the feelings to stop Kouzukenosuke from dying. My costumes have a great impact, but I also hope to express my thoughts and considerations to the audience. |
— About the show It’s been a long while since I danced the “PROLOGUE” with everyone so it’s really exciting. Even the moment of waiting for “DAYS OF WINE AND ROSES” makes me already feel how awesome this scene is to showcase the otokoyaku spirit. Dancing in the “CHUUZUME” is simply just fun. I’m so blessed in the scene of “PASSIONATE VIOLET” to continue presenting what I’ve learnt in the art of otokoyaku. Being as one of the white key dancers is really the best and most charming performance. In this graduation performance, I hope to wear the kuroenbi for the underclassmen and dance well to show them the current me. I want to engrave these dream-like times in my heart while I’m singing the “PASSIONATE FLOWER” and are warmly applauded by the audience. |
Towaki Sea
— About the musical as "Kuranosuke" This seems like a pop production, but I”ll be more focused on acting the samurai parts. I want to show you clearly that even if some things are outdated, I’ll be persistent in what I wish to pursue. He’s the one leading the revenge, but being above others, I try not to adopt a strange stance. Compared to ability, I think it’s because my emotions for the lord are strong, winning people’s trust. But because those around me are my friends, what I’m doing is quite selfish. Chronosuke must have felt something strong for the lord too. Our difficult relationship is neither friend nor foe, but I realised that he’s an image of going astray too far. But after all, it’s about the deep feelings I have for the lord, Akō-domain (Akō-han) and for myself, that’s why I see this as a “happy ending”. Even though I’m not flexible in thinking, I hope to continue thinking of how to make his way of living stand out. |
— About the show After the "PROLOGUE", the song style turned into a different vibe and it's kind of a gap change in the dark. Now, I'm still looking into how to allow my body to flow with the music. "MIMOSAS" is my first time challenging a Takarazuka-styled scene. It's a really heartwarming scene. In "PIANO FANTASY", I've been enjoying that a lot recently (laughs). It's been a long while since I utilised my full body and it's very happy when I'm dancing. I'm still pursuing the charm of wearing the white swallow tailcoat. Even though it does make me nervous, it's still good. The group dance for the "FINALE" while kuronosuke feels like releasing our energy, and I find it fresh for me to have some front hair down. It's a joy to perform with the musumeyakus together in "PASSIONATE FLOWER" and you can relax and enjoy this scene I love so much. Every performance when I perform, there's always the feeling of the 100th anniversary...I'll do my best in my every effort. |
Hiryuu Tsukasa— About the musical as "Yasubee"
Yasubee and other Akō-han samurais are responsible for the serious scenes in the musical. The more devoted and loyal are the Akō-han lead a living, it reflects the more glamorous and freer life Chronosuke lives, so I value this kind of dynamic. While mixing the substantial elements for the foundation of the role, I feel a key element of Yasubee is his loyalty to Kuranosuke being greater than that of the other Akō-han samurais. When we all stand side by side on the ginkgo and shout in the ambush scene, because this is a team acting, I can feel these new emotions manifested amongst us friends, and I hope to act those parts flexibly.
— About the show
Yasubee and other Akō-han samurais are responsible for the serious scenes in the musical. The more devoted and loyal are the Akō-han lead a living, it reflects the more glamorous and freer life Chronosuke lives, so I value this kind of dynamic. While mixing the substantial elements for the foundation of the role, I feel a key element of Yasubee is his loyalty to Kuranosuke being greater than that of the other Akō-han samurais. When we all stand side by side on the ginkgo and shout in the ambush scene, because this is a team acting, I can feel these new emotions manifested amongst us friends, and I hope to act those parts flexibly.
— About the show
Hozumi Mahiro
— About the musical as "Gengoemon" Contrary to the glamorous ambience in Edo, Gengoemon only lives for the past and has that simple idea of “must fulfil the promise”. Besides as the general of a country, he often feels nervous and lonely. If there’s something he’s in lack of, he’d improve himself, and this mirrors myself. Even though a bit comical, he’s also a role that passes on important information, and I hope to act well to enhance the core of the musical. |
— About the show I’m so happy to directly experience how the audience feel in the “PROLOGUE”. I can feel that “MIMOSAS” feels like a performance with a storyline. The songs in the “CHUUZUME” have a trendy arrangement, I hope to firmly sing these songs. I can feel in the “HOMAGE” scenes that the songs are full of the lives (from our seniors). I’ll do anything I can with my greatest efforts. Kuroenbi is like seeing Flower Troupe expanding into more potentials. I strongly feel that “PASSIONATE FLOWER” is a scene created by everyone, so I really enjoy that scene. |
Oto Kurisu
— About the musical as "Tsunayoshi" Every day I really felt the different reactions from the audience, and like everyone, I myself am also discovering how to create this character and it seems to match young Tsunayoshi, whose heart is also in its prime time of curiosity. Amongst those, you can see how he grew in those 3 important scenes, undetached that he is growing up slowly. Because he’s young so he really had that increasing feeling of “I hate being alone”. But, I need to help build the story without being too emotional so it’s actually quite difficult. Towards the end of the story, it may feel weird as if for Takuminokami, he’s lost the power (to Tsunayoshi). |
— About the show This time in various scenes there are different combinations with the otokoyaku-san, but as the choreographer teacher for “MIMOSAS” AYAKO-sensei said, “you should make the audience hope to be you”. So I will be closer to otokoyaku-san and will continue studying the essence of it as a musumeyaku in Flower Troupe. I cannot relieve my nervousness in “PIANO FANTASY”, but every day I find new things satisfying myself. Any scene looks like a blend of what the seniors have constructed and the current things. We should also cherish this feeling of connecting with the next generation. |
Seino Asuka
— About the musical as "Takuminokami" (Takuminokami) is a person who takes good care of his subjects. Even without words, I want to act my thoughts towards Chronosuke and Kuranosuke and discover as to how I should express my gentleness and goodness for looking over them. In the beginning, I feel the warmth and concentration of the audience. After that as a narrator, because I’m alone without acting opposite to anyone, I can feel everyone’s acting throughout the musical. From historical facts, he was familiar with the lord and he thought his dream was abused and was in indignant anger that he couldn’t help but support Kuranosuke to avenge for him at all costs. At last, Tsunayoshis words opens the future at an instant…it felt like he’s been saved many times. Among the samurais, even though he’s the more knowledgeable, as this musical for someone living, I think I could add more of a sense of passion. I hope to keep the passion, enjoy the changes and let my soul be on fire for that. |
— About the show The scenery I’d see the moment the curtains open, I’d get goosebumps every time because it is so amazing. In the “CARNIVOROUS FLOWER” scene, it’s especially how Yuzuka-san is so beautiful in there, I thought I should also be more bewitching in that sense. The “CHUUZUME” is full of vibrance and is my favourite scene. I’ll do my best for those who have so cherished the scene “PIANO FANTASY”. “KOKORO NO TSUBASA” is especially when everyone’s so concentrated, we are aware to deliver the lyrics firmly. I will treasure the significance of the kuroenbi group dance. “PASSIONATE FLOWER” is truly full of ambition and I’ll try to keep the excitement of it because (the song) hadn’t ended yet. |
Ichinose Kouki
— About the musical as "Souemon" Souemon is someone who acts with great passion. To show his sturdy build, I deliberately hold larger swords than everyone in action scenes and would move my other empty hand. At first, my lines announce the start of the story, so every time I want to feel how fresh it feels. I strongly oppose Chronosuke's suggestion in the latter half of the musical and I hope to show his greater passion than anyone in the Akō-han by walking in greater steps and being speedier. |
— About the show All elements in the “PROLOGUE” are full of the feeling of “THE Takarazuka” so every time makes me joyed. I hope to insist and deepy study more about the manner to wear the suit and put on the hat in “THE DAYS OF WINE AND ROSES”. I’m so glad that I could sing with Awa-chan (Mihane) in the “CHUUZUME” together… In the “HOMAGE” session, I hope I could sing this “KOKORO NO TSUBASA” as a member of current Flower Troupe. Because there were so many kuroenbi group dance in the past, that fervent feeling in heart still remains and I’d be aware of how to do those actions as a smart otokoyaku. |
Tani Takaya – Author/Director of "Genroku Baroque Rock"
— About the performance
When the curtain opens, there's not even once that the acting has been the same and everyone is living in the world view of the production. While enjoying the presence of the stage through conversing lines, every member of the troupe performed glamorously when receiving the vibe from the audience experiencing the flow of the musical.
— About the main performers
Yuzuka-san is a true star that is the brightest in front of the audience after all. She has a kindness and honesty overflowing from the stage, and she receives all of the daily changes in acting she observes from the performers and it's really brilliant of her to enjoy and love acting those at the same time. Hoshikaze-san can also upon receiving her partner's acting and express herself profoundly and dramatically which is amazing. I haven't seen Hoshikaze-san as much before but she's now thriving and with Yuzuka-san's guidance they bring a complementary effect. Yuzuka-san and Hoshikaze-san have a distance like brothers, because they look forward in the same direction and really respect each other. Hoshikaze-san is powerful, then that can also be seen in Yuzuka-san's charms, and they're really the Top Combi of the current age now.
— Aspirations for the Tokyo performance
Flower Troupe members are now glowing and ambitious, I'm glad to create this performance for the otokoyaku and musumeyaku. In this great atmosphere, I hope that they could carry on the idea of "making every moment count" and pursue for what they want.
— About the performance
When the curtain opens, there's not even once that the acting has been the same and everyone is living in the world view of the production. While enjoying the presence of the stage through conversing lines, every member of the troupe performed glamorously when receiving the vibe from the audience experiencing the flow of the musical.
— About the main performers
Yuzuka-san is a true star that is the brightest in front of the audience after all. She has a kindness and honesty overflowing from the stage, and she receives all of the daily changes in acting she observes from the performers and it's really brilliant of her to enjoy and love acting those at the same time. Hoshikaze-san can also upon receiving her partner's acting and express herself profoundly and dramatically which is amazing. I haven't seen Hoshikaze-san as much before but she's now thriving and with Yuzuka-san's guidance they bring a complementary effect. Yuzuka-san and Hoshikaze-san have a distance like brothers, because they look forward in the same direction and really respect each other. Hoshikaze-san is powerful, then that can also be seen in Yuzuka-san's charms, and they're really the Top Combi of the current age now.
— Aspirations for the Tokyo performance
Flower Troupe members are now glowing and ambitious, I'm glad to create this performance for the otokoyaku and musumeyaku. In this great atmosphere, I hope that they could carry on the idea of "making every moment count" and pursue for what they want.
Nakamura Kazunori – Author/Director of "The Fascination"
— About the performance
In the rehearsal room, everyone has their own goals and are doing great, and it feels like they're in unity for this performance. Everyone in the troupe is proud that they're part of this performance for the 100th anniversary of Flower Troupe, that I feel everyone worked their fullest in the "HOMAGE" scene, transcending generations.
— About the main performers
Yuzuka-san once again accurately shows her ability and character. Most importantly, you can see her pursuing higher heights without negotiation and from that you can feel the strength and scale of her emotions. I think when she uses this effort on stage is the reason why she can always show something different to the audience every time, and I can fully rely on her. Hoshikaze-san enhanced in her ability and expressed herself very well. From Yuzuka-san I can feel this extraordinary relationship of trust. Hoshikaze-san accepts Yuzuka-san's ideas and because of their efforts together, they can cooperate well and interact. I look forward whether they can do great in the ookaidan. Even in this time's duet dance, it's possibly because of they mingle well with each other's feelings that they can make this performance even more vivid.
— Aspirations for the Tokyo performance
I feel that everyone in Flower Troupe is very forward-looking, devoting their all to highlighting the performance and showcasing its colours. I hope various of these things can spread the happy and fun feelings to you and (the performers) would create a lively performance.
— About the performance
In the rehearsal room, everyone has their own goals and are doing great, and it feels like they're in unity for this performance. Everyone in the troupe is proud that they're part of this performance for the 100th anniversary of Flower Troupe, that I feel everyone worked their fullest in the "HOMAGE" scene, transcending generations.
— About the main performers
Yuzuka-san once again accurately shows her ability and character. Most importantly, you can see her pursuing higher heights without negotiation and from that you can feel the strength and scale of her emotions. I think when she uses this effort on stage is the reason why she can always show something different to the audience every time, and I can fully rely on her. Hoshikaze-san enhanced in her ability and expressed herself very well. From Yuzuka-san I can feel this extraordinary relationship of trust. Hoshikaze-san accepts Yuzuka-san's ideas and because of their efforts together, they can cooperate well and interact. I look forward whether they can do great in the ookaidan. Even in this time's duet dance, it's possibly because of they mingle well with each other's feelings that they can make this performance even more vivid.
— Aspirations for the Tokyo performance
I feel that everyone in Flower Troupe is very forward-looking, devoting their all to highlighting the performance and showcasing its colours. I hope various of these things can spread the happy and fun feelings to you and (the performers) would create a lively performance.