宝塚をゆるーく推すブログ 　I'm a casual fan of Takarazuka (original) (raw)

一つの時代が終わるんだな、そんな思いだ。

武道館でのコンサート、トップ娘役の空席、CD発売、そして先日のカレンダーとフラグは立っていたし、なんとなく覚悟はしていました。

だけど、いざ発表されるとやはりショックを受けるものですね。

誠に勝手ながら、個人的な礼真琴への思いを書かせて欲しい。勝手な妄想や推測も含まれてるので気分悪くさせるかもしれません、ごめんなさい。

私が礼さんを知ったのは2023年の3月。れいこさんに落ちたときに宝塚のことを調べていて、星組トップスターは礼真琴というらしいということを知りました。

目が大きくてクリクリしていてかわいいな、整ったお顔立ちだなというのが第一印象。歌、ダンス、芝居3拍子揃った実力派であること、スターぞろいの95期生のなかで首席入団し、研11という早さでトップに就任したということ、特に歌、ダンスについては特出していて、宝塚史上でも稀にみる逸材らしいということなどを知りました。

さらにはトーク映像などを見ていても、文章構成のきれいさや求められていることを理解する能力の高さ、周囲の状況をよく見て適切なツッコミをいれたり、ボケてみたりと、そつなくこなす。明るくて人懐っこい人だなと感じていました。ただ本心が見えにくいなとは感じてました。多分、相手のしてほしいことや自分の役割を認識する能力が高いので、そこに合わせてしまうんじゃないかなと。いわゆる世渡り上手なタイプ。

そこからしばらくは、「礼真琴ってマジですごいんだな～」くらいの認識でした。ただ、それが変わったのは1789のときです。宝塚ファンなら誰もが衝撃を受けたであろう、トップスターの休演です。Xで見たレポなどによると、どうやら一幕の「革命の兄弟」で礼さんの様子がおかしかったらしく、そして、その後の二幕は突如中止になったとのこと。

それまで私は礼真琴は最強、スーパーマン、天才だと盲目的に信じていたのだけれども、あれ、この人も普通の人間かもしれないと思ったのです。逆にそこからでしょうかね、私が礼真琴をもっと知りたいと思うようになったのは。

雑誌でのインタビューなんかは彼女の本音が語られているのかなーと思うことが多いのですが、かなり繊細でナイーブなタイプなんだろうなって思います。推測でしかないですけど、周りの目をめっちゃ気にするし、その期待に応えなければと苦しくなるタイプな気がする。しかも、周囲に対するセンサーの感度がいいから、必要ないことまで気づいちゃうんだろうなと。コミュ力は高いけど、いつも気を使っていて、疲れてしまうタイプに見えるんですよね。

根っからの陽キャというよりは、実は心の扉が分厚くて、真の心の内は閉じ込めてしまいがちなのではないかと感じます。ただ、全方向への気配りが得意で求められてる役割を演じられるから、表面を取り繕うのは上手で内側だけボロボロになっていくんじゃないかと、、、

そしていつか、どこかで溜まった歪みでポキっと折れてしまうのではないかと儚さを感じる。

実は陰属性がかなり強いような気がします。

ちなみに、私はあーさにも礼さんと同じような繊細さや真面目さを感じます。ただ、あーさが礼さんと違うところは、私がいうのも失礼な話ですけど、あーさはどちらかというと不器用なタイプだということなんですよね。本人も言っていますが。

だから、本人がもつ繊細さが秘められることっていうのはなくて、割とダイレクトに感情が伝わってくる。

だから、彼女に対してはあんまり、消えてしまいそうな儚さとかは感じないんですよね。むしろ泥臭くもがきながら着実に何かを掴んでいくタイプに見えるし、彼女の周りには彼女を助けてくれる人が自然とやってくるんじゃないかなぁって感じる。

反対に礼さんはなんでも効率よくこなせるタイプ。だから、他の人から見たら、元からなんでも完璧にできる人に見えるし、"優等生"と感じるんだろうなと。おそらく、一人でできることが非常に多い人だと思うので、放っておくと知らないうちに全部一人でこなしてしまいそう。

あと、全ての能力が高すぎるので孤高の存在になりやすいのかなと。周囲から一目置かれた存在であることは確かだろうし、本人も相談することが苦手とおっしゃっていたので。星組が礼真琴組と言われることもあったし、2番手時代は介護なんて言われていたのも見ました。

礼さん自身も、礼真琴と言えば「歌！ダンス！」みたいに、何よりも先に技術の話が出てきてしまうのが嫌なんだろうなって感じられる時が沢山あったし、「さゆみさんの持っているものが私にはない」と悩んでいたのも見た。

私からすれば、そんなことない！って感じですけど笑

例えば、東大生がいう数学苦手は普通の物差しで測ったらそんなことないみたいな感じですね。

そんな礼さんにとって瀬央さんの存在は我々が想像するよりももっと大きなものだったんだろうなー。

礼さんの「もはや自分」発言や、スカステの「集まれ95期」での2人の送り合ってる言葉なんかを見ると、瀬央さんは礼さんの理解者でありたいと思ってるんだろうなーってわかるし、礼さんが瀬央さんに心開いてるんだろうなっていうのがすごーく伝わってきた。お互いがお互いの表面だけで判断しないで心の内まで理解し合ってるんだろうなって感じ。

瀬央さん曰く、礼さんは自分の持ってるものを惜しみなく人にあげられる人。だからこそ、95期全体のレベルが底上げされたんだろうな。番組内でみんなが「こっちゃんがいたから」と口をそろえて言っていたのを見て、彼女が誰一人として置いていくことなく、リーダーシップを発揮できる人であることがひしひしと伝わってきました。

本当に、星組だけでなく宝塚全体のレベルの底上げをしてくれたと思います。

元から才能溢れた人であることは確かだけれども、本人は決してそこに満足せずに、更なる高みを目指していた姿も印象的。礼真琴ならこれくらいできるだろーと求められるレベルが高いので、それに毎回応えるのは相当なプレッシャーだったと思う。本人が自分だってみんなと同じように我武者羅にもがきながら頑張っていることをわかってほしいと思っているんだろうなと感じるときもありました。

和希そらとのリクエストトークDXかな？（確か）で礼さんが和希そらに「私たち、楽譜をもらったら、ある程度ぱっと歌えてしまうじゃない？」と相談していたのを見て、ああ、やっぱり高い技術をもった者同士にしか分からない苦しみがあるんだろうなと思ったんですよね。同時に、そらぴのことをすごく信頼しているんだなとも感じました。

正直1789前後の時期は礼さん本当に大変な時期だったんじゃないかなって思うんです。なんかすごく体調不良に見えたんですよね。あと、何かと別箱発表が遅かったり、ちょっとなんでだろうって思う発表もあったり。なにかが内部で起きているんじゃないかなと感じずにはいられなかったんですよね。

トップ就任直後からコロナに見舞われ、お披露目公演の中断。誰もが経験したことのない未曽有の状況の中で、それでも私たちに夢を届けてくれた礼さん。

前代未聞のトップの休養、コロナが明けてきたときに昨年秋の事件と、波乱万丈のトップ期間だったと思います。

なんとなーく思うようにいかないな、と思う期間のほうが長かったんじゃないかな。

トップ時代に見送った人数は何人になるんだろう。それくらい送り人だったと思う。退団していく人より、送る側のほうが辛いことって結構多いと思うんですよね。

ギリギリのところでそれでも宝塚のためにずっと頑張ってくれていなんじゃないかなと思う。だから礼さんが退団を迎えるその日には、みんなから暖かな愛に包まれて見送られてほしいな、と心から思います。

運動会、タカスぺ、新作一本物など、見たかったものはいっぱいあるけど、トップオブトップとしてここまで走り抜けてくれた彼女にはまず「お疲れ様でした」と言いたい。彼女が劇団に残した功績の大きさは計り知れないし、彼女がいたからこそ上演できた公演が沢山あると思います。

これからは少しわがままになって、自分のやりたいことをしてほしいなと願ってやみません。短い間だったけれど、礼真琴という比類なき才能がトップの時代に宝塚に出会えて本当に良かった。長い間本当にありがとう。

zukapp.hatenablog.com

I'm sorry I'm late, but the retimeremet of Serika Toa was announced.

She became a top star of the Cosmos Troupe on July 12th, 2023.

It means she's going to retire after staring as short as just in 3 performances in the main theater.

I'm sure that her term would be short beforehand considering she became a top star in her 17th. But, I don't know 3 performances were planned originally or she just shortened her term.

She said that the student's suicide had nothing to do with her retirement, but there was no chance but to say so. Because the company said it had all responsibility.

Personally, I think the perpetrators should have take some responsibility because the company admitted that there was power harassment.

I felt it weird that nothing about her death came up at the time of the resumption of performances or during the press conference about her retirement, and I felt like she was struggling about that conversely.

I even couldn't watch the report of rehearsal.

I kind of feel like the apology or mourning in public might be wrong, and I can't fully know how the bereaved family thinks. So, maybe we shouldn't say anything about it.

I don't think all of the articles in Bunsyun are facts, but I also don't think all of them are fault.

There had probably been power harassment since before. So, I think only the students who were point out are villains. The fact that nobody couldn't change that situation was wrong.

Takarazuka is a unipue company, which outside oponions barely come into. Usual order will be kept in other company because they have various kinds of people, but Takarazuka world is fully closed.

I'm sure there are a lot of bad rules that evolved in such a closed world.

I just think if you spended there from your 10s, you would't know the common sense.

The fact that only 15-18 years old girls can apply to Takarazuka have made this company so special, but I feel like it might have good effect if it accepts wider range of girls with the times.

but with that being said, I couldn't say that the perpetrators have no responsibilities.

I can't even imagine the breaved family's thought, and I also feel like that even me saying something about it would be rude.

But, even as someone who's not a fan of Serika, it was painful to remember she finally got her giant fethers after spending 8 years as a second star(is it the longest for recent years?), and had a good look on her face filled with delight.

I feel like a life is really full of "what if I did that?" or "what if I didn't that?", and even a little tiny select or a little thing can change everything. I imagine the student who killed herself chose the selection in the infuence of not one thing, but many things.

I think there should be countless opinions about that according to individual. There is no clear right or wrong.

But, we could never chage the past.

We have to do what we can do from now on. I hope that the company's going to change to the healthy one with the times, facing her death.

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I read the interview of Nozomi-san by Sunday Sport.

"I think that it was so good that the company changed the environment and the schedule of performances with the time. I wanted it to change, and it was so hard to pull off. I was thinking that it was never the beautiful story to pull it off while struggling with it." she talked about her real thought. But, she also said, "It was a fact that there were things exactly caused by hard work.", and she was getting serious.

She looked back on the past and said "In the stage world, we are told at the beginning to be shame in the rehearsal. I was scolded, practiced so hard, and finally got on stage. For some reason, I was so glad and even shed tears when I got applaused by the audiences. But from now they can't do these things, so it's going to be important they refine theirselves."

That's right, I think. A tough thing is just a tough thing at that time, but when you look back, you might feel like that that was valuable time.

Of course, there should never be denial of personalities or any insulting words.

But, the stage world has a feature that there is no goal, so originally it has bad relationship with today's thought that strict practice isn't good. I imagine drawing a line would be difficult, but they should try not to make the rehearsal room loose.

I wish there's going to be moderate tension and hierarchical relationship without too strict relationship between the young and senior.

zukapp.hatenablog.com

I know it’s a bit late, but Towa Serika’s retirement announcement has been made.

She became the top star of the Cosmos Troupe (宙組) on June 12, 2023, but is retiring after only three productions in the Grand Theater—a short stint indeed.

Since she assumed the role at the rank of 17th year (研17), it was almost certainly intended to be a short-term position, but we don’t know if the plan was always for just three shows, or if her retirement was brought forward.

She mentioned that her decision was unrelated to the student's sudden death, but what else could she say? The Takarazuka Revue has stated that the responsibility lies entirely with them, so of course, she had to say that.

In my opinion, since the revue acknowledged that there was harassment, the responsible student should have been held accountable in some way.

When the performances resumed, and even at the retirement press conference, the incident wasn’t mentioned at all, which felt unnatural. In fact, I started to think that this silence might be making things even harder for Serika.

I found it difficult to watch the Cosmos Troupe’s rehearsal reports after that.

Perhaps public apologies or tributes wouldn't have been appropriate, and we can never truly understand how the bereaved family feels. It may not be our place to comment on it.

I don’t believe everything that was reported by Bunshun, but I also don’t think it was entirely false either.

There was probably harassment even before this. That’s why it’s not just the students whose names were mentioned who are at fault—the bigger issue is the environment that allowed this behavior to persist.

Takarazuka is a very closed-off world. In other companies, there are people from all kinds of backgrounds, which helps maintain a sense of order. But Takarazuka is completely sealed off from the outside world.

I think part of the problem is that within this isolated world, certain rules evolved unchecked.

When you’ve spent your teenage years there, it’s easy to lose touch with what’s considered common sense in the outside world.

The fact that only 15- to 18-year-olds are allowed to audition has created this kind of sacred aura around it. But maybe it’s time to open up the admissions to a broader age range in order to keep up with the times.

I've said a lot, but I still can’t say that the student responsible has no accountability.

I can’t even begin to imagine what the grieving family must be going through, and I feel like even making a comment about this might come across as disrespectful.

Still, when I remember Serika spending eight long years as the second lead (the longest in recent years, right?), and finally standing on stage with that large feather plume as the top star, her face full of joy—it’s hard not to feel a pang in my heart, even though I’m not particularly her fan.

Life really is unpredictable—just one small decision or a fleeting moment can change everything. I believe that the student who took her own life didn’t make that choice because of one thing, but because multiple factors built up, and something tipped her over the edge.

Everyone will have their own opinion on this matter. If there are 100 people, there will be 100 different ways of thinking, and I don’t think there’s a right or wrong answer.

But the past can’t be changed.

All we can do now is face her death head-on and hope that the Takarazuka Revue evolves into a healthier organization that keeps up with the times. That’s what I want.

I read Nozomi Futo's (Sankei Sports) interview.

“I think it’s really good that Takarazuka has adapted its environment and performance schedules to better match the times. I always hoped for these changes, but it was really tough to make it happen. I never thought of it as some kind of beautiful struggle,” she said candidly. “But there were also things I could only achieve because I was pushed to my limits,” she added, with a sudden intensity in her voice.

“When it comes to performing, we’re often told to 'make a fool of yourself in the rehearsal room.' We’re scolded, and we go through this harsh process of trial and error until, somehow, when we step in front of the audience, receiving applause moves us to tears,” she recalled nostalgically. “But from now on, that can’t be done. So, we have to push ourselves to see how far we can go on our own. I think that’s going to be tough in its own way,” she shared her thoughts.

That really resonates. When you’re going through something tough or painful, it feels like pure suffering at the time, but after you’ve overcome it, sometimes you look back and realize it was a meaningful experience.

Of course, personal attacks or insults that have no purpose in rehearsal are completely unacceptable.

But when it comes to creating something as open-ended as a stage performance, there’s an inherent conflict with the current trend of rejecting strict instruction. Striking that delicate balance is difficult, but we need to make sure the rehearsal room doesn’t become too lenient.

There should still be a sense of discipline and hierarchy, but it’s important to ensure that this doesn’t turn into a rigid “senior must always be obeyed” mindset.

今更で申し訳ないのですが、芹香斗亜さんの退団が発表されましたね。

2023年6月12日付で宙組トップスターに就任した彼女。

大劇場3作という短さでの退団となりました。

研17での就任ということもあり、もともと短期の予定であったことはほぼ間違いないと思いますが、最初から3作の予定だったのか、予定を早めての退団となったのかはわかりません。

生徒の急死と直接的な関係ないとおっしゃっていましたが、そう言うしかないですからね。劇団としては歌劇団側にすべての責任があると言っていますから。

私としては、パワハラはあったと認めた以上は、やはり加害生徒にも何かしらの責任を与えたほうが良かったのではないかと思ってしまいます。

公演再開のときも、退団会見でも一切事件のことを口にしないのは不自然と言いますか、逆にそれで芹香さんはさらに苦しんでいるのではないかとも思いました。

宙組の稽古場リポートなんか見るに堪えなかったですよ。

公の場での謝罪や追悼も違うのかもしれませんし、遺族がどう思われているかを完全に知ることは不可能なので、我々が口を出すことではないのかもしれませんが。

文春の内容がすべて本当だとは思いませんが、全て嘘でもないと思います。

きっと、以前からパワハラはあったのでしょう。だから、名前の出た生徒だけが悪いわけではないし、誰もそれを変えられない空気感があったことがおかしいことだと思います。

宝塚というのは特殊で、外の空気が入ることが極めて少ないです。ほかの企業ならもっと様々な種類の人間がいて、常識的な秩序が保たれると思いますが、宝塚は完全に閉ざされた世界です。

閉ざされた世界の中で独自に進化したルールが独走してしまったという側面はあると思います。

やっぱり10代の頃からそこで過ごしていたら世の中の常識ってわからなくなりますよ。

15歳から18歳までしか受験できないことである意味神聖化されている節はあると思いますが、時代に即してもっと幅広い年齢から受け入れてもいいのではないかと。

いろいろ言いましたが、それでも私は加害生徒に責任がないとは言えません。

ご遺族の心情は察するに余りありますし、なにか私がこのことに関して発言をするだけでも失礼なのではないかとも感じてしまいます。

ただ、彼女が2番手を8年も務め（近年では最長では？）、ついにトップとしての大羽根を背負った姿、喜びに満ち溢れた表情を思い出すと特にファンでない私であっても胸が苦しくはなります。

本当に人生ってタラレバである些細な選択や一瞬の出来事ですべてが変わってしまうこともあると思うんです。自死した彼女も何か一つではなくいろいろなことが重なり、何かがきっかけとなってこういう選択をしたのだと思います。

この件に関してどう思うかは、人それぞれ。100人いれば100通りの考え方があっていいと思います。何が正解ということもないと思います。

でももう過去は変えられないんです。

これからできることをするしかないんです。彼女の死としっかり向き合い、これからの歌劇団が時代に即した健全な劇団に生まれ変わってほしい。そう思います。

------------------------------

望海さんのサンスポのインタビュー記事を読みました。

「時代に寄り添って宝塚の環境、公演スケジュールが変わっていったのはすごくいいことだなと思う。変えてほしかったし、やっていてすごく大変なことだった。それを苦しみながらやるというのが決して美談ではないと思っていた」と本音を吐露。しかし「追い込まれていたから出せたものもあったんですよ」と切り出すと、言葉に熱が帯びる。

「舞台って、まず稽古場で恥をかきなさいってすごく言われるんです。怒られて、これでもかと当たって砕けろを繰り返す厳しい稽古をして、最後にお客さまの前に出た時によくわからないけど、拍手をもらったときに泣くほどうれしかった」と懐古。「でも、これからはそれができないから、自分でどこまで高めて持っていくか。これはこれで大変だと思います」と私見を述べた。

確かにそうですよね。辛いこと苦しいことってその時は苦痛でしかないけれど、乗り越えた後振り返ると、あの時はあの時で有意義な時間だったって思うこともある。

もちろん、人格否定や稽古に意味のない侮辱などは決してあってはなりません。

ただ、舞台というゴールがないものを作る以上、そもそも、厳しい指導がだめだという現在の風潮とは相性が悪い。そこの絶妙な線引きは難しいとは思いますが、生ぬるい稽古場にはならないようにしなければならないですよね。

節度をもった緊張感や上下関係はありつつも、それが上級生絶対主義とならないようにしていってほしいと思います。

zukapp.hatenablog.com

After a night of reflecting on the performance, I still find myself immersed in its lingering aftereffects. For some reason, Asami Oscar has stuck even more firmly in my mind than yesterday.

In the past, I usually watched shows with a more laid-back attitude, thinking it was enough to just enjoy them casually. But this time, I really paid attention to the characters’ emotions and expressions throughout the performance.

And now, I can’t seem to get Oscar out of my head.

I never realized how heartbreaking The Rose of Versailles actually is.

What is love, kindness, and justice?

The Rose of Versailles is a story centered on the theme of “love.”

And all of the characters’ actions are driven by love, justice, and kindness, which pushes the story forward.

After seeing just a glimpse of the cruel lives of these men and women who lived through such turbulent times, I find myself going in circles, wondering what love, justice, and kindness really mean, even though there are no clear answers.

André’s love is “self-sacrificing love.”

Because he loves Oscar, I think he always puts her happiness first.

In fact, you could say that every single thing André does is for Oscar.

He worries about the differences in their social standing and thinks he isn’t worthy to be with her. He even asks Fersen to say a few words to Oscar before he returns to Sweden. Even when he goes blind, he follows Oscar to Paris out of concern for her safety. His last words, too, were for Oscar.

His entire mindset is built around putting Oscar’s needs before his own.

On the other hand, Fersen’s love is “single-minded love.”

After falling for Marie at first sight during the ball, he becomes her lover without considering her position as a queen.

Even when Oscar tells him to return to Sweden, he refuses, saying it’s impossible.

Even during Marie’s execution, despite her firm resolve, Fersen still tries to help her escape the country.

Every action he takes is driven by his own emotions.

Even though their approaches to love are completely different, I can understand both, and there’s no clear right or wrong. I’m sure both Oscar and Marie were happy in their own ways.

Love can take on so many forms and meanings. That’s probably why Fersen says, “You can believe in love because it has no form.” If love had a solid shape, once that shape changed, it wouldn’t be the same anymore.

The phrase “because there is love” really rings true. The energy that love generates is far beyond what we can imagine, and maybe it controls every thought and action we take.

Oscar reflects on her role as a noble and requests a transfer from the Royal Guards to the Regiment of Guards. While she serves as Marie Antoinette's aide, at her core, she has a strong sense of duty to protect the France she loves.

That’s why, despite knowing the risks, she marches into Paris.

At the Bastille, she throws away her noble status and fights alongside the people for the sake of her country. This is her version of "justice."

And in the end, she dies for that justice.

Isn’t it unfair that she had to die just for sticking to her sense of justice?

But if Oscar had chosen not to join the Regiment of Guards, not to side with the people, and instead remained loyal as a Royal Guard to the queen, that would have been justice too.

So when General Bouillé ordered his troops to fire on the people, I think he was acting according to his sense of justice as well.

Justice can change depending on the situation.

What’s considered justice to one person might not be the same for someone else.

Is justice just an illusion?

King Louis XVI never got mad at Marie for her affair, and in the end, he even asked Fersen to stay in France.

At first glance, he seems like a weak person, right? But actually, this is really impressive, and it's this gentle heart of his that made Marie change.

It’s like the fable of the North Wind and the Sun—kindness is what ultimately moves people’s hearts.

But honestly, what even is kindness? It’s complicated.

Count Mercy took Marie’s Stefan doll away when she left Austria for France.

In a way, I think this was an act of “kindness.”

He did it so Marie could grow up and become a proper queen.

In the end, when Marie says, "That doll was me, and I was the doll," it means that when the doll was taken from her, her personal dignity was taken away as well, and she herself became a "doll."

In the end, when Count Mercy returns the doll, that scene is an absolute tear-jerker.

You can really feel his deep regret and the pain of seeing such a tragic outcome.

Sometimes, the kindness we show out of love ends up backfiring. There’s no clear answer to what kindness really is for someone.

That’s why humans suffer, I think.

Japan may be peaceful now, but this peace was built on many sacrifices, and I never want to forget that behind it all, there were individual lives that shaped this reality.

The Beautiful Takarazuka Life of Sakina Ayakaze

A young girl who dreamed of Takarazuka after falling in love with The Rose of Versailles, played Fersen in the Shinjin Kouen (Newcomer Performance), and now, in the end, plays Fersen once again as she retires.

Is there any story more beautiful than this?

On Saki-san's Takarazuka Music School poster, it says, "You will become someone’s dream." Isn't that just too emotional?

Right now, I feel like Saki-san has probably become someone’s dream.

Chasing after a dream is such a powerful thing. I have a dream myself, and I’ve finally just made it to the starting line, but when you’re working toward a dream, you really can give it your all.

Seeing someone work so hard is truly inspiring, and I think there’s so much you can gain from pushing toward your goals.

That’s why I think a job that inspires dreams is amazing, and I want to be someone who can give others that same inspiration.

I think those dreams and hopes, passed from one person to another, are what build the future.

I pray that Takarazuka will continue to be a place that inspires dreams for years to come.

zukapp.hatenablog.com

One night has passed since I saw the performance. I am still basking in the afterglow of it, and for some reason, I couldn't stop thinking of Oscar by Asami.

Until recently, I was like "It's ok if I can kind of enjoy the performance.", but this time I saw the performance imagining character's emotion or thinking of their facial expressions.

Then, for some reason, Oscar ended up being always in my mind, and she wouldn't get out.

I didn't know that Berubara(The Rose of Versailles) was such a painful story.

What do "love","kindness", and "justice" truly mean?

Berubara's story unfolds around "love".

All of character's actions are caused by "love", "kindness", and "justice", and which push the story forward.

I touched a little bit of the lives of men and women who had lived in turbulent time, and since then I keep thinking about these questions, which never have correct answers.

Andre's love is "the love of sacrifice".

I'm sure he puts first priority on Oscar's hapiness exactly because he really loves her.

I can even say that all of Andre's actions are for Oscar.

Like he thinks he doesn't match her because of the difference of their status, asks Felsen to speak to Oscar before he goes back to Sweden, follows Oscar to Pris despite his poor vision, being worried about her, and thinks only of her until his final breath.

His actions are based on "do whatever for Oscar, not for me".

On the flip side, Felsen's love is "straight love".

He falls in love with Marie at the first sight, and becomes a lover of her, not caring about Marie's position.

He wouldn't go back to Sweden even though Oscar asks him to do so.

At the time of Marie's execution, he tries to make Marie escape to abroad despite her solid determination.

all of his actions are based on his emotion.

These two forms of love can't be further apart, but I can understand both, and I don't think either is correct. I'm sure that both of Oscar and Marie was happy.

Love's meaning and value can become any shape. I think that's way Felsen said "I can trust it exactly because it has no shape". What has shape is no longer it if it changes it's shape.

I want to tell one thing. "exactly because there is love" is the amazing words, and the enegy from love is more huge than we imagine it is, which might take control of our way of thinking or all of our actions.

Oscar rethinks about her behaivor as a noble, and decides to turn from a guard that protect the royal to a guard that protect the whole France. She is close to Marie, but she is sure that the most important mission is protect loved France.

That's exactly why she march to Paris even risking her life.

At Bastille, she throws away her status as a noble, and fights with the commoners for France. This is her justice.

Then finally, she dies for the cause of her justice.

It is unreasonable for her to die to protect her justice, right?

But, let's say she didn't get on commoners' side, not becoming a guard that protect the whole France, and keeps on the royal's side. I can say this is also justice.

So,I think it was besause general Bouille had his own justice that he gave order to shoot commoners.

Justice might change even if it is slightly that your position change.

Justice for someone isn't the same for someone else.

Is justice fiction?

Louis XVI never get mad at Marie for having an affair, and on top of that, he asks Felsen to stay in France.

You might think he is just a timid, but actually this action means more. Marie changes her mind after touched by his heart.

This is just like north wind and the sun, and I think it might be "kindness" that finally move other's mind.

That being said, what is "kindness" in the first place.

Mercy took away the doll named Stefan from Marie when she went from Austria to France.

I feel like it is kindness in a sense with his hope of her becoming a good adlut as a queen.

But exactly when the doll was taken away, her indivisual value also disappeared. she ended up being just like "a doll" like she said "This doll is me and I am this doll."

In the last, Mercy comes to return the doll, which makes me feel like crying.

This scene well shows how deeply he regrets what he did and his heartache toward the ending of her life.

Kindness can turn to be bad exactly because you love someone. And, there is no clear answer to the question: what is love?

That's probably why humans struggle.

Current Japan is peace, but this peace was built on a lot of sacrefice, and I don't want to forget behind it is each person's life.

The beautiful life of Ayakaze Sakina as a Takarazuka actress

A girl who decided to apply for Takarazuka after seeing Berubara, played the role of Felsen in the performance by young actresses, and in the end, plays the same role in her final performance.

Is there a more beautiful story than this?

The poster of the school of Takarazuka, in which Saki-san is, reads "You will become someone's dream", which is so touching.

I think that right now, she is being someone's dream.

I'm sure pursuing your own dream is wonderful. As for me myself, I have a dream and just standed a starting line, but I can really make massive efforts for it.

I find it really cool that someone does their best, and I think you can get a lot of things by pursuing your dream.

That's why the jobs that give dreams is wonderful, and I myself want to be such a person.

I think it is the thought passed down in such a way that will create the next Takarazuka.

I wish Takarazuka continues to be the place that gives dreams forever.

zukapp.hatenablog.com

I went to see the Snow Troupe's performance of The Rose of Versailles.

When you think of Takarazuka, you think of Berubara (The Rose of Versailles)!!

That's the general vibe, but honestly, this was my first time seeing it.

That’s because I’ve often come across negative comments like “the dialogue and direction feel outdated,” “it gets worse with every revival,” or “they leave out important parts from the original!”—so I wasn’t exactly rushing to watch it.

But anyway, enough with the intro—on to the review!

Overall Impressions

Wait, it was actually really good!!

I went in with low expectations, but it was a hundred times more interesting than I imagined.

Sure, I can see why people call it "Takarazuka Kabuki" at times, and there were some moments where I was like, "Wait, what’s happening here?" But overall, I found myself completely swept up in this story of love between men and women caught in the turmoil of the French Revolution. It was both heartbreaking and overwhelming.

It also made me reflect on what love, justice, and kindness truly mean.

The Lavish Costumes and Stage Set

I think with Takarazuka shows, you can tell which ones have a big budget and which ones don’t. This one was definitely the former.

And it makes sense—after all, it’s the 50th anniversary of The Rose of Versailles this year!

The Rose of Versailles first debuted in 1974 and caused a massive social phenomenon called the “Berubara Boom,” reviving the troupe, which had been losing ground to television at the time (thanks, Wikipedia).

So yeah, of course this production was going to be extravagant.

Even from the poster, they were leaning heavily into pink! From the moment the curtain rose—no, even before that—the stage was just bursting with pink everywhere.

The prologue was dazzling, with electric lights and a mirror ball adding to the glitz and glamor.

But the real standout had to be the ladies’ dresses.

In the masquerade ball scene, the actresses twirled around in these wide, fluffy gowns. Even from the second floor, you could feel the opulence of their colorful, ornate costumes.

I definitely want to see them up close!

Those dresses immediately pull you into the world of the 18th and 19th centuries, and you get this unspoken sense of the divide between the nobility and commoners.

Personally, I think costumes and sets are super important.

For example, I recently saw Moulin Rouge at the Imperial Theater, and the set, sound, and costumes were just mind-blowing.

That was the first time I felt what true immersion in a show is like.

Of course, it’s all down to budget, which makes it tough, though.

The Beauty of the Trident

This! This was amazing!!

First, let’s talk about Saki-san.

What even are her proportions? It’s unreal.

It’s not just that she has a small face and long legs—her whole bone structure is flawless. Her slim waist, graceful neck, long limbs, and shoulders that are just the right width—all of it.

She was stunning in this performance. Her calves in white tights were perfect, and she looked so cool raising her leg in the carriage scene.

Watching her character grow from a naïve teenager, blindly in love, to a more mature person was really touching.

Then there's Aya-chan.

She was absolutely stunning—there’s no other way to put it.

I think she leans more towards the “beautiful” type rather than the “cute” type, and she was on another level here.

When Marie decides to embrace her role as Queen of France, you can hear the change in her voice.

The way she portrayed this girl who realizes her position and embraces her responsibilities was brilliant.

From her dignified decision to face her death to even just taking a sip of soup—it was all breathtaking.

And then there’s Asami Jun.

That visual. Did she step straight out of a 2D world??

The moment she came running in shouting “You insolent fool!” my heart skipped a beat—she was that beautiful.

Also, her voice was just a little higher than her usual male roles, which added to the excitement.

Her sharp features, jawline, and long golden hair—it was all perfect. Thank you, Asami Jun’s mom, for bringing her into this world.

Personally, I found her portrayal of Oscar the most moving in this show. The way she conveyed Oscar’s internal conflict—her struggles with her identity as both a noble and a member of the military—was so delicate.

The tension during the scene where Oscar defies the general’s orders and fights alongside the citizens at the Bastille was absolutely gripping.

And when she died shouting “Long live France,” you could feel how deeply Oscar was willing to sacrifice her status to protect what mattered.

As for Oscar as a woman, that was also portrayed with such subtlety.

In the Tonight Only scene, just before they march into Paris, you can feel Oscar’s fear. She knows that going to Paris might mean she’ll lose her life.

For once, she sets aside her commanding role and fully entrusts herself to André.

The beauty and sadness of the scene foreshadow their tragic fate.

Asami’s sharp features really conveyed every emotion.

Her portrayal of Oscar was spot on.

The image I have of Asami Jun is that she’s always giving it her all—brave, cool, and kind of cute, yet sensitive and a bit of a crybaby who makes you want to protect her.

Sorry if that sounds weird.

But that’s exactly why she was perfect for Oscar.

The Final Moments of Oscar and André

On the eve of their march into Paris, Oscar and André finally come together.

But their end was so tragic and heartbreaking.

At the Bastille, the uprising is in full swing.

André tells Oscar, “Once this is over, we’ll have our wedding.”

I later found out that Oscar was suffering from tuberculosis at this point.

André, who was blind, and Oscar, who was terminally ill—the more I think about it, the more heartbreaking that line becomes.

Then, André gets shot while trying to warn Oscar of the danger.

Held back by Bernard, Oscar cries out, “Let me go!”—not as a soldier, but as a woman who has lost the person she loves.

When André, lying there, shouts “Where is Oscar?” Oscar realizes that he’s blind and had followed her to Paris despite that.

“You couldn’t see… why did you come!?” Oscar’s anguished screams were almost too painful to bear.

André, thinking only of Oscar until his final breath, was deeply moving.

Asami’s performance in the scene after André’s death was mind-blowing.

Gone was the grieving Oscar, and in her place stood someone fiercely determined to protect France, even if it cost her life.

The contrast between the two moments made Oscar’s strength all the more heartbreaking.

Sorry, this turned into mostly an Oscar/André rant even though it’s technically Fersen’s story.

This is getting long, so I’ll continue in the next post!