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yuzukahibiscus · 2 years

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Interview with Aizuki Hikaru

(Note: This was taken from the Aizuki Hikaru photobook, as kindly scanned by a mutual. At this time, Aichan was still in Cosmos Troupe.)

— Please tell us what made you want to enter Takarazuka and your memories for the first stage (hatsubutai). I’ve been watching Takarazuka since I was little. Star Troupe was performing their national tour performance “Golden Pharaoh” “Miracat” in the Ichikawa City Cultural Hall. Because this was a place where I’d also perform ballet, I was very touched seeing the people I admire performing there too. I’ve learnt ballet for a long time, so the thought emerged whether I should enter this world and how it would look like. I was already saying “Should I enter?” with my mouth. And then people around me were supporting me from my back and saying “You should try and enter!” When I was admitted to (Takarazuka) Music School and left my family, I was surprisingly not lonely and I didn’t contact much with them that I believe my mother must have been worried (LOL). In the hatsubutai, I remember that we still have other scenes apart from the rockette so we got to be in the rehearsal room for the original performance. I remember just looking from the side to our upperclassmen seniors (joukyuusei). I recall being touched by the audience’s applause in that great space in the theatre for the rockette.

— As a member of Cosmos Troupe, how does standing on stage feel like.

The strongest feeling was I’m an otokoyaku, and I think of things like “I want to do that and I want to do this”. Even when I reflect that I couldn’t have used my skills and do what I aspire, it’s still a kind of courage to wish for something like that. While I was helping Yamato Yuuga-san around, I always felt this prince-like glittering aura, and I actually felt how important it for Takarasiennes to have this “glamorous” vibe. I played as John Menfield (Original role: Houshou Dai) in the newcomers’ performance (shinjin kouen, shinko) of “Paradise Prince” which was a character that could be portrayed on screen. At that time everyone of our classmates (douki) were going active in all sorts so in those continuous days, seeing their activities made me feel increasingly anxious. I cried while seeing the otokoyaku black swallowtail coat (kuroenbi) dance in the rehearsal room. Later on, director Okada-sensei said “I won’t forget those pitiful eyes while looking at the kuroenbi.” That experience became a foundation of me. — After that experience, you became more active with more opportunities in shinkos.

I was really happy to take on the role Henri in “Casablanca”. Coincidently, because my role in my first bow hall lead “SANCTUARY” was also called Henry, when thinking of the name for my dog, I used Henry (LOL). For the shinko, when I played Strasser (original role: Yuumi Hiro), it’s a role that really required me to be a mature adult. When seeing the original role Yuumi-san perform in the rehearsal room, I couldn’t help but be shaking and apprehensive, knowing I’d have to do that. But I knew that I had to do it eventually! I couldn’t miss this opportunity! Which was what made me work hard for it. I took on the role of Josiah in “Trafalgar” and when I read the script, I then knew that I was going to play as Oozora Yuuhi - Nelson’s son. And I was thinking, “Oh so I’m going to be the son” therefore shocked by this big role. There were scenes where (Oozora) Yuuhi-san and I acted alongside each other with some deep acting. For me, this was a role that I loved playing. I played the role Napoleon in the shinko (original role: Ranju Tomu) and that time my feeling and ambition overlapped with those of Napoleon, so I was thinking of how to breakthrough this part without hesitation. — You received your first shinko lead role as Robert Jordan in “For Whom the Bells Toll”. It was a role that was for a mature adult. Later on you also took on some lead roles in the shinkos and other important characters.

Because I was often so busy on stage during the shinko of “For Whom—”, I eventually didn’t have time to be nervous. For such a mature man, I wouldn’t be able to do it if I don’t have confidence in myself…I also felt that I’ve progressed a lot as Ishida Mitsunari in “Utsukushiki Shougai” shinko. The frustration began during my next performance in “Classical Italiano”. At that time I was going to be playing Leonardo DeLuca, a bright American teen (original role: Ouki Kaname). Since I’ve always been playing mature adult roles that were contained with disappointment, this American vibe of a teenager was the challenge for me. Also, I was struggling with how does the presence of my role mean to the protagonist. I got to play Oozora-san’s graduating role in the shinko of “Brilliant Days”. Since I got to be the closest to learn from her to the end, I definitely felt the pressure and challenged this role that was difficult to portray. In the shinko of “Legend of the Galatic Heroes @ TAKARAZUKA”, I played the role Oberstein (original role: Yuumi) which has quite the character. I felt how if I didn’t play my role well, it would affect the overall of the musical so I really felt that responsibility and when I’m working on stage, I thought in more of my position in the musical. — For “Phoenix Wright 3: Public Prosecutor Miles Edgeworth”, your policeman role had a kind of oldie character. You also displayed a sense of youth in the protagonist’s son’s role in “The Count of Monte Cristo". It’s a good impression that your qualities suited these various roles. What’s your memories in these times?

In “Phoenix Wright 3”, I was playing an older role compared to the protagonist Yuumi-san. At first I thought it was impossible, but after trying to wear a beard, looking into the original game, doing some research into it, I successfully presented an oldie policeman. In “Monte Cristo”, I played the role of Albert. There was a final duel scene with my father Dantes, played by Rika-san (Ouki) that I really had deep memories. I was happy to portray this boy that’s embracing those complicated feelings and the growth process of becoming a man. In the shinko, I played Dantes (original role: Ouki) and in this role I couldn’t exude much of those feelings. It’s difficult, but I felt like I’d learnt something from it. In the last duel scene with Mercedes, I forgot about what I knew and what I had, because that’s how Dantes feels and this first-time of a feeling was really a precious experience to me. Continuing next is “Gone with the Wind”, I played on a bright teenage role from the Southern (America) and I felt that I’m bad at playing young teen roles…I really challenged playing that most ever-shining adolescent leading other young people. In my last shinko, when I knew I’d be playing an onnayaku Belle Watling (original role: Ozuki Tooma), I was surprised. I didn’t think I’d be given even more of this opportunity and I was intrigued in playing that. I think no one would do a speech to people as an otokoyaku wearing a dress (LOL). It was a very memorable performance for me.

— Graduating from shinkos, did you have any changes in feelings?

When the shinkos ended and I’d be left with one original performance, the thing about giving up your one role, how difficult is that. That really stayed in my heart for a while. In “People Who Have Wingsx”, I played Franz Liszt, which was a narcissistic role. When my doukis come to see the performance, they were shocked and said that they think I had an image that is good at portraying that he’s proud of himself, and I discovered a new personality of mine in this role (LOL). I was devastated to portray the brute in the guards of the “Rose of Versailles”... Aside from being the guards, in the finale we got to dance the “Tango of Roses”. Since we’re the most joukyuusei among others, I really felt the responsibility and pressure, but performing that was my pleasure.

— How do you feel performing your first Bow hall lead "SANCTUARY"? When I heard about (a Bow Hall lead), I was very happy. Finally I got to do a costume musical and at first when I heard that the character setting is a prince, I was thinking of an image of white (costumes), so I was surprised knowing that it was a wild personality. In this production, I received a new kind of role image of brute and I was thinking I'm probably someone more suited for a manly role. Every time, I got to feel the warmth of the audience and I was really helped by the many performers present. In the next grand theatre performance, "Oath of the Midnight Sun" "Phoenix Takarazuka!!” I also put my heart in this and thought about doing it the best I can.

— Starting from "TOP HAT", Asaka-san was Top, and a new Cosmos Troupe started. The role of Beddini was a role that left great impression. How is your reflection on that?

"TOP HAT" was the first of my comedic roles (三枚目 = comedic relief). When I heard that this production would not be funny without the role of Beddini, thus important, I was really facing great pressure. Looking back, people told me that I may have gone far exaggerated on this (LOL), but I really had fun playing this risky role. At the time of "Song for Kingdoms", I felt that Cosmos Troupe itself was really changing, I also felt sensitively my weaknesses, and I think I was also changing. At that time, I got to perform in the "Takarazuka Buyokai" that I've always dreamt of. Performing in the Buyokai was really a dream come true for me, because I love Japanese dance (LOL). The next national tour “Melancolique Gigolo” was another comedic role for me, so I was feeling like "Here comes!" (LOL). In "SHAKESPEARE ~The Sky Filled with Eternal Words " also, I thought I would get a "handsome" role (二枚目 = handsome/pretty secondary roles) but I was given a role to wear women's clothes (LOL). In "VAMPIRE SUCCESSION", it was Yurika-san's (Makaze) lead and we had an interesting conversation so it was fun to work hard on stage.

— The role of Lucheni in "Elisabeth" was a backbone presence and also seeing your growth. Later in "The Eagle with Two Heads" when you act opposite to the lead role Todoroki-san, you got to play a dominant role. Looking back, can you tell us about your feelings and reflections?

Because I was also changing myself, the role of Lucheni was a really great timing to meet with while entering slightly into Ken-10. This was a role that didn’t really need all of the coolness and goodness of an otokoyaku, which was why I conflicted a lot with this role comparing with the Takarazuka Otokoyaku image I had in mind, and it was really a struggle to find the balance. My personality is very different from Lucheni that I would be playing. Seeing from the many actors whom have done (Lucheni), because I really felt that he's wild but also real, "Oh that's the charm of Lucheni" I thought of suddenly giving it up. After seeing the video of the first Lucheni played by Todoroki-san, I really learnt a lot. During "The Eagle with Two Heads", being able to act alongside her was really a great thing. Since Ishi-san (Todoroki) was always changing vastly in the musical, I was thinking about keeping up with her. Usually I felt Ishi-san's gentleness, acting with Ishi-san allowed me to receive her energy straight through and this was truly something irreplaceable. Looking back, this was such a treasure of time.

— About the current performance "Chateau de la Reine/Viva Festa", can you tell us your aspirations?

In the musical, I'm playing Kanezawa Kanichi, a novuveau riche from Kansai troubled by hair problems. Because he's definitely not the cool type of role, I'd say he's a very warm person. His heart is so great and his inclusivity relates to the inclusivity of what otokoyaku has. In the show, the theme song feels like an impression of "The Takarazuka". It recalls me of the memories of me singing to the theme song after watching the shows and going home (LOL) Then I get to lead some otokoyaku for a Kpop song and it's a scene that's a new challenge for me. There's a lot of scenes that has all members of Cosmos Troupe, so we'll try to deliver a show that has so much power.

— What’s your thoughts and feelings when facing the stage?

It’s very obvious of a thing but to make people be satisfied from watching the performance every time, I always want to do my very best on stage. Takarazuka, is really a place to see your dreams. When I see the audience, I’d deliver the depths of my heart in the lines during the musical and think what would the audience be thinking of now? And for shows, to allow people to be indulged in this sparkly, glittery world, and if they think after watching the show that it was great, I would be the happiest. Now that I’m in Ken-11, I’d think if people can observe something from my back. Also, I’ve never thought about suddenly giving up as a Cosmos Troupe otokoayku. I’ve seen and felt how so many joukyuusei in Cosmos Troupe are so stylish and natural..I think I’m starting to present more of those charms on stage.

— Lastly, what’s the most important as an otokoyaku? Please tell us your ideal otokoyaku image!

From my underclassmen times, the concept of Takarazuka otokoyaku is the most important and I’d think the most important for Takarazuka otokoyaku is to have class, and that thought’s always there for me. In order not to fail what the seniors have constructed those historic and good elements, and taking in the modern components, it’s then very important to cherish these roots of Takarazuka. Now with many roles that I’ve experienced, there were times that I’d think of what are my charms, surprisingly apart from being manly, it’s also being a little wild, a male image that is not so classical as the Takarazuka otokoyaku. At the same time, I’d also want to pursue that realness in being a man.

#cosmos troupe #takarazuka revue #aizuki hikaru #aichan #hibiscustranslation

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