Shibuki Jun, the top star of the Berlin performance, requested that I appear last time, so this time, as the most senior member of that performance, I would like to choose Yuzuki Reon, the sole otokoyaku among the youngest members.

Matsumoto: Shibuki-san requested me last time, but I was wondering who I should choose next. I was the most senior member of the Berlin performance, so I thought, well, I should ask the only otokoyaku from the most junior underclassmen to appear.

Yuzuki: I was really surprised to receive your invitation to this talk.

Matsumoto: I bet it was difficult both onstage and off to be part of an international performance, since you said you hadn’t even been on a national tour before. There is an unbelievable amount of work to do on a trip out of the country, especially for the lowest underclassmen. But you, Mihou Aya, Miwa Asahi, and Sakura Ichika always did your work with a smile. It was very refreshing, and I said that just watching the four of you gave me energy. You also worked desperately hard on stage.

Yuzuki: (laughs)

Matsumoto: When I did the dance of the spirit of the heron, you were also on stage as a snow spirit. You had to pick up my arrow and return to your position. Seeing you dance like that was also very invigorating.

Yuzuki: In Berlin, you were very kind even to us underclassmen, even going so far as to hold a “Thanks For Your Hard Work Party”…

Matsumoto: Yes, kumichou Taki-chan (Izumo Aya) and the rest of us thought we ought to thank you, as all the underclassmen worked so hard for us.

Yuzuki: I was very happy.

Matsumoto: Also, I always go to see the Music School's internal recitals, and during the ballet recital, you were very talented at both classic and modern ballet. There was something a little stout about your form (laughs), and it reminded me of Asaji Saki’s early years. Even though we’ve been together in the Berlin performance, we haven’t actually chatted together on a personal level, so I asked my classmate Hayama Michiko, who is now the vice principal of the Music School, just what kind of person this Yuzuki Reon was. She said that you were an incredibly hard worker and a good, kind girl.

Yuzuki: Eh—! (surprise)

Matsumoto: (laughs). Well, I thought then that I had the same impression of you.

Yuzuki: Even when you came to the Music School, you were like a person high above the clouds to whom I couldn’t even dream of speaking. So when we participated in the Berlin performance, my three classmates and I were very moved by how incredibly kindly this person who had been above the clouds treated us (laughs).

Matsumoto: But it’s due to all you underclassmen and everyone else giving your very best that both the Japanese-style and Western-style pieces in Berlin were so well-received.



Yuzuki: Have you always been so talented at traditional Japanese dance?

Matsumoto: (laughs). Talented? I’ve been learning it since I was a child.

Yuzuki: So practice really is necessary in order to make progress?

Matsumoto: Yes, but I think it depends on how you practice. If you’re dancing incorrectly, that will become a barrier to your development no matter how much you practice. It’s important to find a way of practicing that suits you, and it’s best to master the basics first. Therefore, make sure you attend lessons as much as you can in your free time (laughs).

Yuzuki: Yes. When we are together in the same lesson or someplace, you memorize the choreography right away, Mieko-sensei (Matsumoto). The expressions you make when you dance are very beautiful…

Matsumoto: Oh, really? (laughs) I try very hard. Also, when I have been given a role to dance in a performance (though this applies to lessons as well), I find it more important to ingrain the role into my body than to think about it in my head. I do this to the point that my body begins to move on its own as soon as I hear the music.

Yuzuki: The next performance I am in is also a Japanese-style work, but I’m finding it rather difficult.

Matsumoto: People who are good at Western dance forms should be able to do traditional Japanese dance once they get the hang of it. Of course, that means they have to properly master the basics of traditional dance. But you all have had two years of instruction from the wonderful teachers at the Music School, right?

Yuzuki: Yes.

Matsumoto: I think you will be fine if you keep on faithfully practicing those fundamentals you learned there. To a certain degree, it’s good to have elements of Western dance, since Takarazuka’s traditional Japanese dance is performed to Western music. However, if you perform traditional dance exactly like Western dance, you will lose its elegance, so that’s why it’s important to have those basics.

Yuzuki: I will attend the company lessons and study that.

Matsumoto: As I hear, you are a hard worker with enthusiasm. If there’s something you are bad at, you should just keep practicing as hard as you can.



Matsumoto: Compared to my time, the underclassmen nowadays can do anything. In my day, Music School lasted only one year, and it seemed natural to make mistakes during shinjin kouen. But now people do it perfectly, don’t they? However, sometimes I feel that the power of concentration in rehearsals is a little lacking. Since everyone has the skills, don’t you think everyone would be better if they focused more?

Yuzuki: Yes, that is true.

Matsumoto: Concentration is important. I also think a many-sided sensitivity is absolutely necessary. This is something that applies to me, too, but we performers tend to forget about everything else when we’re engrossed in something. But in a big company that is like a family, it’s bad if you cannot be considerate and look after each other. Your human nature is definitely something that comes out on stage. When I was young, I was taught that if you are thinking mean thoughts, they will be seen in your dancing. I really think that’s true. But if you worry about that too much, only your good side will appear on stage and your charm is lost. It’s difficult.



Matsumoto: This is the first time we’ve spoken like this, but even the way you talk is very similar to Asaji-san. Hasn’t anybody ever told you that before?

Yuzuki: No, no. It’s just that I really liked Asaji-san. One time she came to the Music School and spoke to us. She said, “The future will probably be very difficult, but instead of competing with each other, please compete with yourself and try your best.” I have treasured those words ever since.

Matsumoto: Yes, those are good words, aren’t they.

Yuzuki: Yes.

Matsumoto: I knew Asaji-san well since she was an underclassman. She was really a wonderful young lady. Your solidity, your long arms and legs, even your cute smile are similar to hers, I think.



Matsumoto: I think the essence of the flower is important on stage, so please don’t lose the flowery elegance you were born with. Keep working hard as you have been. Also, never forget the good personality you have. There will be many things you have to deal with in the future, but please do your best and compete only with yourself, as Asaji-san said.

Yuzuki: This was the first time I had the honor of speaking with you like this, but you are a wonderful person, just as I thought. Today has made me truly happy. Thank you very much.

Matsumoto: I’m looking forward to your future performances.

Yuzuki: If I ever get to stand on the stage together with you again someday, I will be very happy…

Matsumoto: Yes, if we have the chance at some time.

Yuzuki: Yes, I would like to be allowed to see you up close again.

Matsumoto: (laughs)