To TAKARAZUKA once a month at least - Theater and Memorandum

Musical romance "A Battlefield for Just the Two of Us"

Written and directed by Masatsuka Haruhiko

May 3, 2023, Umeda Arts Theater, 4:30pm performance, 3rd floor, row 1, center seat B

Front row of the 3rd floor seats... There was a cushion on the seat to prevent the handrail from blocking the view. It certainly makes it easier to see the stage... However, for someone like me who is afraid of heights, it may not have been all good... (lol)

○ 〇〇 endangered species?

Kyo Misa (57th class, No. 28 "Icchan", former head of the Yuki-gumi)

Natori Rei (57th class, No. 26 "Yu", former head of the Tsuki-gumi)

Ikki Chihiro (59th class, No. 5 "HIRO", former head of the Hoshi-gumi)

Natsumi You (62nd class, No. 44 "Hacchi", former head of the Hana-gumi and Hoshi-gumi)

Hidema Naoki (68th class, No. 4 "Junko", theater company director, former head of the Hoshi-gumi)

Mari Yuzumi (70th class, No. 15 "Yuzumi", former head of the Hoshi-gumi)

Goho Aki (72nd class, No. 8 "Mayumi")

Miho Keiko (75th class, No. 3 "Keiko")

Takato Mizuki (76th class, No. 14 "Saori", former head of the Hana-gumi)

Yuma Rin (81st class, No. 11 "Marin")

Nagisa Ruumi (89th class, top "Kacha")

Shimon Yuriya (91st class, second place "Yuri")

Rinjo Kira (92nd class, 16th "Reka")

Mizumi Maito (95th class, 3rd "Mighty")

Kagetsuki Yuuma (95th class, 21st "Mayupon")

Seo Yuria (95th class, 40th "Seocchi") *Scheduled to be transferred on August 28, 2023

There are many people who seem to have "extended their retirement age", and at one point I thought they were an "endangered species" (lol), but with the addition of the former boss duo "Yuzumi-sama" and "Saori-sama", it seems that the lineup is fine even if "Mito-sama" transfers to the Moon Group boss. However, to be honest, I wonder how long the six members of the 89th class, Kacha, and below, will stay. I don't think the members of the 57th to 62nd classes will stay forever either... I think the "existence of the Senka-sama" is essential for the Takarazuka Revue stage, which is basically made up of only young women. At least for the Senka-sama, I think they should stop restricting themselves to being single... ○ "The XX!"

"Special Special"

③ Rinjo Kira (92nd class, 18th year of training, "Reka") Colonel Hauser Acting ☆☆☆☆☆

"A more important role than the heroine"

"A beautiful adult female role"

"The Special"

④ Takasho Mizuki (76th class, 32nd year of training, "Saota") Stroszek Acting ☆☆☆☆

"The Boss of the Cosmos Troupe"

○ For a while longer...

⑤ Nagatsuki Sea (97th class, 13th year of training, "Hitoko") Clifford Terrigen Acting ☆☆☆☆

"The second-in-command star as the next top star"

"Rei-chan's time"

"A girl's number one spot is opening up somewhere"

"Flower Troupe" or "Moon Troupe"

○ "The XX"?

"The Tragedy"

"Masatsuka Sensei will not betray you!"

● Work rating ☆☆☆☆ / Performance rating ☆☆☆☆

Some of the main performances, like "Casino Royale," have no special features, but in the case of the outer box, there are almost always some. In fact, all of the outer boxes on the current website have special features. And in this stage, the story was, in a sense, but that's why "Rinkira-kun's skill" shone through. In a good way, his acting gave the impression of "relaxed" ease... . . . Furthermore, his ability to handle roles like "Empress Alexandra" brilliantly. Just like "Mayupon," I hope "Rinkira-kun" will stay in the company for a long time... . . . Oh yeah, the other one still feels like "Hanagumi Boss-san"... . . (laughs). I felt like he didn't quite fit the role, but he was "stable acting" as usual. Maybe next time, around San? (lol) So, I think Hitoko-chan acted well, but to be honest, it wasn't a very prominent role. As mentioned above, I feel that "Rinkira-kun" was a more important role... I guess they don't want us to be conscious of it yet. In other words, it will probably continue for a while. However, what about Madoka-chan? I think it should be by next year at the latest... If it's possible, it's probably. As I wrote in my previous article, the opening "S1" was structured to "strongly hint at tragedy," and the play progressed with a sense of "tension" as to when it would occur. However, among the 10 works by Masatsuka-sensei that I saw, there was not a single work like this, so it was a bit surprising. And my impression after watching it was, as expected (lol).