Flower Troupe Umeda Arts Theatre Main Hall performance "TOP HAT" Mini Interview Yuzuka Rei
花組梅田藝術劇場主廳公演《TOP HAT》迷你訪談 柚香光
— The classic work starring Fred Astaire “TOP HAT” has been performed twice in Takarazuka. How have you been doing as you embrace the last day (Senshuuraku) successfully?
When I played the role of Fred Astaire in “Forever Gershwin” starring Serika (Toa)-san, I’ve watched various videos to learn about (him) and I was totally in shock. About the way he accompanies women in dancing, the way he dances in his black tails, those felt like a thunderbolt striking on me. I was so surprised to know that “TOP HAT” would be renditioned and after that of course because I’m in joy, the Astaire I have in mind is someone that’s so vibrant. I’m filled with thoughts that I don’t want to make (this image) a disgrace and also not presenting it so simply…Given, that I can’t do it the way he did. Because I’ve seen those videos, how did he dance it like that, I studied those with our performers during the rehearslas and (those videos) are greatly a substance of sources. Until the closing day, even if it’s just a little, that I could pursue Astaire’s shadow in my days on stage, I believe this would be a great source of training and happiness.
When I played the role of Fred Astaire in “Forever Gershwin” starring Serika (Toa)-san, I’ve watched various videos to learn about (him) and I was totally in shock. About the way he accompanies women in dancing, the way he dances in his black tails, those felt like a thunderbolt striking on me. I was so surprised to know that “TOP HAT” would be renditioned and after that of course because I’m in joy, the Astaire I have in mind is someone that’s so vibrant. I’m filled with thoughts that I don’t want to make (this image) a disgrace and also not presenting it so simply…Given, that I can’t do it the way he did. Because I’ve seen those videos, how did he dance it like that, I studied those with our performers during the rehearslas and (those videos) are greatly a substance of sources. Until the closing day, even if it’s just a little, that I could pursue Astaire’s shadow in my days on stage, I believe this would be a great source of training and happiness.
— Your duet dance with Hoshikaze-san, especially “CHEEK TO CHEEK” is a masterpiece (In the movie, it’s “Heaven”).
The leading partner (gentleman) has to make it look easier in dancing for the audience to see it from the women’s line of vision that (the dance) is beautiful. The partner being led (lady) should first and foremost trust in her partner’s lead, and it’s important for them entrust their partners in leading how to move in their body. “It may be easier if you put your whole body weight here in this next dance step.” Both of us confirmed with each other every detail in the choreography and improved step by step, having various conversations and also smoothening the flow of the dance. Since we don’t want to add difficulty to each other as partners, it’s rather that we want to complement each other’s roles. So Madoka-chan and I really try to be precise in detail. Due to my insistence, I asked if the choreographer Miori-sensei could create a dynamic choreography to match the tension of the song, but it was quite hard (LOL). From dawn to dusk, both of us rehearsed so much, that when Senshuuraku came, our body fat was 9% (LLO). But because I went back to the basics, I was able to carefully present (the choreography). This experience would be useful for the future performances.
The leading partner (gentleman) has to make it look easier in dancing for the audience to see it from the women’s line of vision that (the dance) is beautiful. The partner being led (lady) should first and foremost trust in her partner’s lead, and it’s important for them entrust their partners in leading how to move in their body. “It may be easier if you put your whole body weight here in this next dance step.” Both of us confirmed with each other every detail in the choreography and improved step by step, having various conversations and also smoothening the flow of the dance. Since we don’t want to add difficulty to each other as partners, it’s rather that we want to complement each other’s roles. So Madoka-chan and I really try to be precise in detail. Due to my insistence, I asked if the choreographer Miori-sensei could create a dynamic choreography to match the tension of the song, but it was quite hard (LOL). From dawn to dusk, both of us rehearsed so much, that when Senshuuraku came, our body fat was 9% (LLO). But because I went back to the basics, I was able to carefully present (the choreography). This experience would be useful for the future performances.
— The lines that wove their way into the script were also fashionable.
That’s very true! But there were a lot of parts we could be free with, there are still some lines we’d have to understand firmly about and remain those parts that should be preserved. We all tried exploring how to add some free lines in this intricately assembled script. Because the reactions from the audience are different every day, sometimes I may try overdoing the vibe, but I value the importance of the rhythm of the scene. I hope to convey the character’s lines in a renewed and calm matter.
That’s very true! But there were a lot of parts we could be free with, there are still some lines we’d have to understand firmly about and remain those parts that should be preserved. We all tried exploring how to add some free lines in this intricately assembled script. Because the reactions from the audience are different every day, sometimes I may try overdoing the vibe, but I value the importance of the rhythm of the scene. I hope to convey the character’s lines in a renewed and calm matter.
— Bates (Kizuki)'s transformation is a major focus.
— You’re performing together with your classmate, Kizuki Yuuma from Senka since the debut stage.
Since the Music School times, she’s always been so kind and gentle, and I’ve always admired that. From the 13 years since hatsubutai, it’s not to say that she’s changed entirely now from the honest person she used to be… In the rehearsal venue, the words she chose to use when advising and answering people’s questions and the way she conveys it is truly a charm. She’s really careful in producing her performance, and of course she has the ability and the persuasiveness, which is why many of Flower Troupe members have learnt so much from her. Also on stage, after the acting and during the parade, she left an impression on me from the kindness reflected in her eyes when she looked at me. Even it’s been so long since we last performed together, I am joyed by the fact we can stand on stage together. I hope we could have another of such fate quickly again (LOL). I want us to act in more musicals together. I am thinking that I want to learn those!
Since the Music School times, she’s always been so kind and gentle, and I’ve always admired that. From the 13 years since hatsubutai, it’s not to say that she’s changed entirely now from the honest person she used to be… In the rehearsal venue, the words she chose to use when advising and answering people’s questions and the way she conveys it is truly a charm. She’s really careful in producing her performance, and of course she has the ability and the persuasiveness, which is why many of Flower Troupe members have learnt so much from her. Also on stage, after the acting and during the parade, she left an impression on me from the kindness reflected in her eyes when she looked at me. Even it’s been so long since we last performed together, I am joyed by the fact we can stand on stage together. I hope we could have another of such fate quickly again (LOL). I want us to act in more musicals together. I am thinking that I want to learn those!
— The rehearsals for the next Grand Theatre performance “Years of Pilgrimage: The Wandering Soul of Franz Liszt” “Fashionable Empire” has started.
I am playing the role of Franz Liszt in the musical, and I’m happy to be playing as a musician because I grew up learning about music. Till now, I haven’t done roles that have them being popular among women so I think I’ll have to be more confident about my appearance (LOL). Also I haven’t done roles that were frustrated by their problems and were facing setbacks, I’m excited to meet with such a different acting compared to the others before. I have a deep fate Inaba (Daichi)-sensei, the director of the show, the most recent time was 2 years ago during “DANCE OLYMPIA”. Sensei has so much fond love, so I want to rehearse earnestly to show him how I have grown!
I am playing the role of Franz Liszt in the musical, and I’m happy to be playing as a musician because I grew up learning about music. Till now, I haven’t done roles that have them being popular among women so I think I’ll have to be more confident about my appearance (LOL). Also I haven’t done roles that were frustrated by their problems and were facing setbacks, I’m excited to meet with such a different acting compared to the others before. I have a deep fate Inaba (Daichi)-sensei, the director of the show, the most recent time was 2 years ago during “DANCE OLYMPIA”. Sensei has so much fond love, so I want to rehearse earnestly to show him how I have grown!
— From the Flower Troupe Umeda Arts Theatre Main Hall performance Mini Interview"
Minami (left) and Hoshikaze Madoka (right)
— Rei-chan (Yuzuka)'s favourite photo ♡ It's really fun! |
— Torso! Is dangerous!
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