Anju: While I was an actor, I wasn’t the type to talk to underclassmen on my own initiative. Osa (Haruno) wasn’t someone who would be outgoing and start conversations, either, so we never really talked while I was a performer in the company. We started talking during the Tokyo production of Cocktail when Osa took over the part played by Charlie (Takumi Hibiki).

Haruno: Yes. After the full rehearsal was finished, all I could do was wait in the dressing room for the real performance. Yan-san (Anju Mira), you stayed at my side the whole time and assured me, “You’ll definitely be fine. Because I’ll take care of you!”

Anju: I’m conceited, aren’t I! (laughs)

Haruno: (laughs) The first time you came as choreographer for Cocktail, I was nervous, of course, but so was everyone else.

Anju: I was nervous, too, because it was the first time I got to choreograph a Grand Theater performance.

Haruno: Even though we were being taught the choreography, we were all riveted to the fact that “Yan-san is dancing!” There were even students who cried when they saw you dancing in the rehearsal hall, Yan-san.

Anju: Yeah, there were! (laughs)

Haruno: In such a tense atmosphere, it was unthinkable to approach you and talk to you. The sentiment was like, “I want to go and be by her side, even if I can’t speak to her.”

Anju: Who was like that?

Haruno: I was (laughs).

Anju: Whaaat!! (laughs) But you didn’t come to me.

Haruno: I couldn’t go to you. I had inadvertently created a wall between you and I.

Anju: I understand. That’s the type of person you are. I was the same as an underclassman. I wanted to talk to a certain upperclassman, but then I’d think, “She probably doesn’t even know about someone like me.” There are times when you don’t know what to talk about.

Haruno: There certainly are.

Anju: You made quite an impression on me in the dress rehearsal for the Tokyo production of Cocktail. Rehearsals went on endlessly, but when there was finally a break, you stayed and practiced quietly by yourself. When you practiced the part where you dance alone in the middle of the Grand Staircase at the start of the toast scene (Chapter 9: Wine Celebration), you were so unsteady at first that I really feared you would fall down. Watching you, I asked, “Is it really okay for Osa to go on without a break?” Other members of the staff told me, “Osa is that kind of girl, that’s all.” I realized how serious and hard-working you were, and how much you loved Takarazuka. When you finally took a break and came to the wings of the stage, I asked, “Are you okay? Do you feel like you might fall? Should I change the choreography?” You replied with something like, “It’s fine. I will do my best. Charlie-san and the others made it look easy, but it’s scary.” That’s when I thought I had to take care of you. Of course, everyone on the staff was also worried about Charlie, but it felt as though a sense of solidarity was born when we decided to take care of this one person who was under a lot of pressure yet still trying so hard to fill in for Charlie. From then on, we were very concerned, actually very worried about you, Osa. (laughs)

Haruno: (laughs)

Anju: We have very similar personalities. Like you, I’m short on worldly wisdom, so I really understand you (laughs). So during that Tokyo performance, I talked on the phone with your classmate Happa (Masaoka Nao), who I’m still close to even now. I said, “You’re probably busy, but if it’s not a problem, could you invite Osa to come with you when you come visit me? There might be something she wants to talk about, something I can help her with by listening.” And then...

Haruno: “I’ll go!” was my immediate reply (laughs).

Anju: I though you two would be very tired after the performance so I cooked a lot of food and waited for you.

Haruno: The whole table was covered with food. It was delicious.

Anju: (laughs). That was the first time we had a long conversation. You were talking as fast as a machine gun, Osa (laughs).

Haruno: It was amazing (laughs). I forgot all about the time and kept on chatting forever.

Anju: Well, I did that, too. I guess you really had a lot of things that you couldn’t talk about with other people, so you must have felt I could understand you since I’d been in the same position. I thought you had thrown questions at me without anxiety. We became e-mail pen pals after that (laughs).

Haruno: I send long, long e-mails (laughs).

Anju: They’re really long (laughs). You say you don’t use emoticons, but sometimes they pop up. It balances out in the end (laughs).

Haruno: I want to really put myself into my e-mails and stuff. It seems so cold without emoticons.

Anju: That’s not like you (laughs).

Haruno: You’re right (laughs). But I want to send that kind of e-mail to you, Yan-san.

Anju: (laughs)



~Dream Project~

Haruno: You seemed so out of reach when I was an underclassman, Yan-san...

Anju: But now we’ve ended up this close (laughs).

Haruno: No, no (laughs). I watched you back then, and the image of you and the way Flower Troupe was when you led it has been burned into my mind. I think there’s a part of me that pursues that as the ideal.

Anju: I’m glad. But you’ve followed my example even on things I didn’t want you to pick up from me.

Haruno: (laughs)

Anju: You and I are completely different individuals, but there are parts of us that are very similar. We both do things our own way, we’re too cool and a little brusque (laughs). I’ve reflected on my past behavior since I left the company, though (laughs).

Haruno: It’s not my intention to be like that, though.

Anju: That’s true, but it wasn’t my intention back then, either. I’m not saying I force myself to be amiable, but if you say something with a smile, it energizes the people around you. That’s something I realized after I quit. I lost out, quite a bit (laughs).

Haruno: (laughs).

Anju: But you’re still fine, Osa. When I’m silent, my face is scary (laughs).

Haruno: Not at all! I never thought you were scary or anything when I saw you as an underclassman.

Anju: That’s because I loved the girls in the troupe. I was truly happy that I could be completely natural with the troupe members in places like the rehearsal hall or the dressing room. But it was bad when I took a step outside because I’d immediately stiffen up. No one but the fans could love me like that. You can’t be loved if you don’t love others on your own initiative. The position of top in Takarazuka means that many different people, not just the fans, are paying attention to you. Osa, if you seem unfriendly when you appear on television or do work outside of the revue company, then people end up looking at you and wondering, “This is what someone from Takarazuka is like now?” This is especially true now that Takarazuka is becoming more prominent in different forms of media. More people than ever are interested in Takarazuka.

Haruno: That is true. You really have taught me many things, not just about theatre, but about what a person should be like…

Anju: If you have to learn that from me, you’re done for (laughs).

Haruno: No, that’s not true (laughs).



~Dream Project~

Anju: Ten years ago, I would never even have dreamed that I would be entrusted with the choreography for Applause Takarazuka, the show that will open the chapter of Takarazuka’s 90th anniversary. It’s such an honor that I’m overwhelmed with emotion. Even after we leave, there are OG performances, and if there’s some kind of event, they call us OGs. Takarazuka is really a warm and friendly place.

Haruno: For those of us presently in the company, being allowed to stand on stage together with OG performers is a wonderful opportunity to enjoy the atmosphere of Takarazuka from the past. In January last year you were a guest during Itsuou Day (the celebration on the anniversary of Kobayashi Ichizou’s death).

Anju: Yeah! You and Asako (Sena Jun) were laughing together and being really friendly in the dressing room, but the moment you stepped onstage your attitude turned back into that of the underclassmen. I had hoped you would come out and act the same way as when you were backstage...

Haruno: I was surprised at myself, too (laughs).

Anju: It was a bit of a shock. I wondered, “Why won’t they talk to me?” (laughs)

Haruno: Well, I thought that your fans were in the audience as well, so…

Anju: So what?!

Haruno: …if we seemed overly familiar…

Anju: It’s fine! (laughs)

Haruno: (laughs). On top of that, when I stand on stage together with a great superior of mine, I automatically end up being deferential, no matter what I do. I’m like, “It’s an upperclassman!!” …though you are also an upperclassman backstage (laughs).

Anju: I definitely don’t think so (laughs).

Haruno: I do!! (laughs) Seeing your magnificent dancing was a valuable experience for me. I think that when you came as a choreographer, you taught me a lot of important things about the demeanor of an otokoyaku and how to present myself on stage.

Anju: In the world of baseball or sumo wrestling, many star players or yokozuna (highest rank in sumo) become coaches or oyakata (sumo stable masters) after their retirement and take charge of guiding the current generation of athletes. Even as an active performer in the company, I always found it strange that sort of thing didn’t happen more often in Takarazuka. People join the company just because they idolize it, so in the beginning they don’t know anything. I thought I should share with those underclassmen even a little of what I had learned over the past ten years or so. Now there’s the trend of upperclassmen being kinder to the younger ones, but if there’s no one to get angry at them, there’s some things the underclassmen won’t understand. OGs are upperclassmen, too, but they come in as a third party, which makes it easier for them to get angry or to caution the underclassmen. I do it because I want to uphold the traditions of the company and have Takarazuka continue forever.



~Dream Project~

Anju: Since my time as a performer, I’ve always been inarticulate, so I usually didn’t communicate with underclassmen with words. At any rate, I loved the stage—I still do. I had nothing but the stage, and part of me thought that if I loved theatre so much, the people around me would come to understand that. But of course, you can’t just rely on that, you have to make an effort to communicate. How do you feel about your underclassmen, Osa?

Haruno: I want them to have the energy to take hold of things on their own. If no one tells you anything about your art, you’re left with the impression that you’re doing well, but I think the really great people simply don’t say anything. So that’s why I want the underclassmen to latch on to someone like that and actively study them on their own.

Anju: When I sit in the seats for the staff in the rehearsal hall, it’s incredibly easy to see who’s really motivated to work.

Haruno: I don’t want them to waste the opportunity to learn a lot, like when you come to teach us choreography.

Anju: They’ve deliberately joined this wonderful place called Takarazuka, after all.



~Dream Project~

Anju: Just by coming in as a choreographer, I could feel that the atmosphere in Flower Troupe is really good right now. I want the troupe to stay that way forever. I guess that atmosphere comes from the way you exist within the troupe, Osa. I think you turn your eyes towards each and every person, down to the last underclassman. I mean, I was like that, too, but you really want to talk to many different girls.

Haruno: Yes, I do.

Anju: I bet you would like them to strike up conversations with you, too. So I think you should speak to them as much as possible, even if it’s just “How are you?” or something. Then, praise the people who are doing well.

Haruno: Yes.

Anju: I think they’re happy just to hear one word from you. I want you to play many different roles and enjoy a fulfilling life. I used to think that you were like a white prince, but darker things suit you surprisingly well. I thought Elisabeth and Fumetsu no Toge matched you rather well. Lately I’ve been getting quite a few letters from my fans that say “I support Haruno-san.”

Haruno: That makes me happy.

Anju: I want to tell them, “By all means, support her.” You make me feel that way, Osa.

Haruno: Thank you. I hoped that someday you would choreograph something for me again, Yan-san, so I was truly happy when that wish came true so soon, not to mention during the production that marks the start of Takarazuka’s 90th anniversary. On top of that, Yan-san, you understand the way I am now very well and you teach me so much. I’m overflowing with happiness (laughs).

Anju: What are you saying (laughs). I can tell what you’re thinking and recognize when you’re tired. In addition, I can understand how other otokoyaku are feeling. So if something’s bothering you, you can always come to me if you want (laughs).

Haruno: Yes.

Anju: Let’s have long conversations on the phone again, too.

Haruno: Thank you! I love seeing the stage you create, so I continue to look forward to watching your performances. I want to chase after you by doing that and steal a few things from you. I would like you to be continue to be involved in Takarazuka… and please let me hang out in your house again sometime!! (laughs)

Anju: I’ll be waiting for you with some Thai curry (laughs).

Haruno: It’s really delicious, isn’t it! (laughs) I ask for your continued kind assistance.

Anju: No, I should be the one asking.



Black box on second page:

Anju Mira: Joined the Takarazuka Revue Company in 1980 and debuted in Festa Festa. Sent to Flower Troupe. First independent lead role was Akanemaru in the 1987 Bow Hall performance Akane ni Moyuru Kimi. Made a special appearance in the role of Oscar in 1989 in Star Troupe’s The Rose of Versailles and earned high praise for her gallant appearance and her passionate acting. Became Flower Troupe top star in Hakusen Hanashuu? / Spartacus in 1992. Explored new territory for otokoyaku in the role of Black Jack in Black Jack in 1994. Represented Takarazuka in the following London performance, leading a team of selected performers to success. Her sharp dancing and her delicate yet powerful acting skills charmed many fans, but she left the company in 1995 with Kanashimi no Cordova / Mega Vision as her last performance.

Now, she has proven herself as a choreographer while continuing to be active on stage, primarily in musicals and dance concerts. Flower Troupe’s Applause Takarazuka! will be the third time she is in charge of the choreography of a Grand Theater performance.