Flower Troupe National Tour performance "Love Burns in Firenze" "Fashionable Empire" Mini Interview Yuzuka Rei
— How was "Love Burns in Firenze"?
Since Shibata-sensei's works often weave people's real emotions with beautiful lines, I've always felt the depth of that but for this performance that he created when he's still so young, there wasn't any recording, and no one from the production staff has seen the previous performance before. With a script and limited photos as a resource, I tried interpreting with what I believe Sensei was trying to portray. Among the performances I've done with many lines, you can find many hints among those, but since this is a musical with blank spaces, when wondering what kind of characters there are, it feels like solving a mystery. But, Oono-sensei had a strong trust relationship upon coming close to seeing and understanding Shibata-sensei, so when receiving his direction, I can create my role by absorbing the intention of the sensei.
— Since Antonio didn't have many lines or scenes, it was difficult, right?
That's right (laughs). After reading the script, I was asked by many about "Yuzuka-san...how are you going to play your role?" But on the contrary, why didn't Shibata-sensei let Antonio have much lines? And also, why isn't he in the memorable scenes, like the scene in the end when Leonardo (Minami) is fighting against Othello (Towaki) over Pamela...I often was thinking over why he's "not there". Usually main characters would be in the climax scenes, but the more I think, it usually doesn't end well (laughs). Even though there aren't many ups and downs in the story, that's how you feel that this story is realistic.
— The pure love with Pamela (Hoshikaze) is very different...
It's difficult. For Antonio, the bloodshot eyes of that innocent teenager who later was executed for a death penalty left a scorching impression in his heart. When he sees how the weak are powerless in front of the aristocrats and when he can't do anything, he feels regret and conflicted. When he sees those same eyes like the teenager from Pamela, that feeling that he must do something to help grows in him. Of course he's also attracted to Pamela as a woman with a captivating charm, but it's also possible that his righteousness constitutes a large part in that.
— Having Minami-san playing the daring younger brother Leonardo as a contrast left a great impression too.
Because he was just the daring younger brother, so as the aristocratic elder son, I would have to be firmly modest (LOL). While saying "it's very bad that Brother is with that strange woman! I'll have to separate you from Pamela", he's making Pamela become his (LOL). Even though Leonardo's intention was purely just that, from that admiration he has for his brother, unconsciously he also wanted to have the same thing for himself...there were also times when he wanted that. Even though at first he didn't think of stealing the girl (that his brother) loved (LOL).
— Different from the first performance, could you tell us about wearing a moustache?
As I want to create the image of an Italian aristocrat, since I tried searching for handsome Italian people and (from search results) everyone wore a moustache (LOL), I discussed with Oono-sensei about this and finally did it.
— Next up, how is "Fashionable Empire"?
I'm so happy to have gone around all of the nation to perform this show that I can be playful with. It's so fun to connect with the hearts of the audience through the adlibs, and because the theatres have a smaller size so it feels like we're all like a unit together. I was delighted to truly and acutely feel how fun it was.
— The (pandemic) situation still continues to be serious, but do you have enjoyable memories in various places?
Since I've always been going back and forth from my home, to the hotel to the theatre, it's been a while that I could take a while outside these places! Since it's really been so long, my body feels happy thinking "let's inhale some tasty oxygen~!" (LOL)
— You're finally starting rehearsals on the eternal Takarazuka classic "Mayerling".
Because I was able to take on the challenges and perform in Shibata-sensei's performances, there are many feelings and things to pay attention to, it's a substantial feeling again how I was able to have these valuable experiences. Since Koyanagi-sensei discussed with us one by one what to put our focus on, all of us even from the underclassmen found our challenges to face. Portraying an original performance takes time, but because we're performing an exquisite famous performance, it's quite a novel experience for Flower Troupe to intricately and delicately shape that performance together. Personally for me, I've been Rudolf in "Elisabeth – The Rondo of Love and Death" during the switch cast and he's already been a presence that I've paid attention to (LOL). I've never stopped being interested with (questions like) how he always had a skull and pistol on his desk, and what he is fighting against. They say that in his childhood, he's definitely missed out something essential, even though he's overflowing with literary grace and talent. While digging deeper into understanding that imbalance, I hope to deliver firmly Rudolf's image that Shibata-sensei tried to portray.
— We're excited to see the grand staircase being used in the prologue in the Grand Theatre.
Since it's a famous scene representative of Takarazuka , we hope that this scene could be performed beautiful and will do our best to solidly and delicately create this scene with respect.
— How is the show "ENCHANTEMENT –A Luxurious Perfume" like?
Since we've only been doing just a little of choreography, I already expect myself to really love this show a lot (laughs). We haven't done the "PROLOGUE" yet but it gives a vibe like a fairytale and it possibly gives this exhilirating feeling of being in a theme park. Even though there would be many times that I'd be dancing with the otokoyaku, this time there were also many scenes that I'd be dancing with musumeyaku, so personally I'm glad about it (laughs). The musical and the show both have a glamorous and wonderful prologue, I'd think this is so fitting for a show in the new year. I hope to see the stage set and the costumes on stage soon! that even as a performer, I'm also looking forward to now (laughs). In order to let the curtains open firmly (in 2023), I'll do my best at the end of the year (2022).
Since Shibata-sensei's works often weave people's real emotions with beautiful lines, I've always felt the depth of that but for this performance that he created when he's still so young, there wasn't any recording, and no one from the production staff has seen the previous performance before. With a script and limited photos as a resource, I tried interpreting with what I believe Sensei was trying to portray. Among the performances I've done with many lines, you can find many hints among those, but since this is a musical with blank spaces, when wondering what kind of characters there are, it feels like solving a mystery. But, Oono-sensei had a strong trust relationship upon coming close to seeing and understanding Shibata-sensei, so when receiving his direction, I can create my role by absorbing the intention of the sensei.
— Since Antonio didn't have many lines or scenes, it was difficult, right?
That's right (laughs). After reading the script, I was asked by many about "Yuzuka-san...how are you going to play your role?" But on the contrary, why didn't Shibata-sensei let Antonio have much lines? And also, why isn't he in the memorable scenes, like the scene in the end when Leonardo (Minami) is fighting against Othello (Towaki) over Pamela...I often was thinking over why he's "not there". Usually main characters would be in the climax scenes, but the more I think, it usually doesn't end well (laughs). Even though there aren't many ups and downs in the story, that's how you feel that this story is realistic.
— The pure love with Pamela (Hoshikaze) is very different...
It's difficult. For Antonio, the bloodshot eyes of that innocent teenager who later was executed for a death penalty left a scorching impression in his heart. When he sees how the weak are powerless in front of the aristocrats and when he can't do anything, he feels regret and conflicted. When he sees those same eyes like the teenager from Pamela, that feeling that he must do something to help grows in him. Of course he's also attracted to Pamela as a woman with a captivating charm, but it's also possible that his righteousness constitutes a large part in that.
— Having Minami-san playing the daring younger brother Leonardo as a contrast left a great impression too.
Because he was just the daring younger brother, so as the aristocratic elder son, I would have to be firmly modest (LOL). While saying "it's very bad that Brother is with that strange woman! I'll have to separate you from Pamela", he's making Pamela become his (LOL). Even though Leonardo's intention was purely just that, from that admiration he has for his brother, unconsciously he also wanted to have the same thing for himself...there were also times when he wanted that. Even though at first he didn't think of stealing the girl (that his brother) loved (LOL).
— Different from the first performance, could you tell us about wearing a moustache?
As I want to create the image of an Italian aristocrat, since I tried searching for handsome Italian people and (from search results) everyone wore a moustache (LOL), I discussed with Oono-sensei about this and finally did it.
— Next up, how is "Fashionable Empire"?
I'm so happy to have gone around all of the nation to perform this show that I can be playful with. It's so fun to connect with the hearts of the audience through the adlibs, and because the theatres have a smaller size so it feels like we're all like a unit together. I was delighted to truly and acutely feel how fun it was.
— The (pandemic) situation still continues to be serious, but do you have enjoyable memories in various places?
Since I've always been going back and forth from my home, to the hotel to the theatre, it's been a while that I could take a while outside these places! Since it's really been so long, my body feels happy thinking "let's inhale some tasty oxygen~!" (LOL)
— You're finally starting rehearsals on the eternal Takarazuka classic "Mayerling".
Because I was able to take on the challenges and perform in Shibata-sensei's performances, there are many feelings and things to pay attention to, it's a substantial feeling again how I was able to have these valuable experiences. Since Koyanagi-sensei discussed with us one by one what to put our focus on, all of us even from the underclassmen found our challenges to face. Portraying an original performance takes time, but because we're performing an exquisite famous performance, it's quite a novel experience for Flower Troupe to intricately and delicately shape that performance together. Personally for me, I've been Rudolf in "Elisabeth – The Rondo of Love and Death" during the switch cast and he's already been a presence that I've paid attention to (LOL). I've never stopped being interested with (questions like) how he always had a skull and pistol on his desk, and what he is fighting against. They say that in his childhood, he's definitely missed out something essential, even though he's overflowing with literary grace and talent. While digging deeper into understanding that imbalance, I hope to deliver firmly Rudolf's image that Shibata-sensei tried to portray.
— We're excited to see the grand staircase being used in the prologue in the Grand Theatre.
Since it's a famous scene representative of Takarazuka , we hope that this scene could be performed beautiful and will do our best to solidly and delicately create this scene with respect.
— How is the show "ENCHANTEMENT –A Luxurious Perfume" like?
Since we've only been doing just a little of choreography, I already expect myself to really love this show a lot (laughs). We haven't done the "PROLOGUE" yet but it gives a vibe like a fairytale and it possibly gives this exhilirating feeling of being in a theme park. Even though there would be many times that I'd be dancing with the otokoyaku, this time there were also many scenes that I'd be dancing with musumeyaku, so personally I'm glad about it (laughs). The musical and the show both have a glamorous and wonderful prologue, I'd think this is so fitting for a show in the new year. I hope to see the stage set and the costumes on stage soon! that even as a performer, I'm also looking forward to now (laughs). In order to let the curtains open firmly (in 2023), I'll do my best at the end of the year (2022).