When Haruno Sumire appeared as a new performer, I was surprised by how her stage name seemed to symbolize Takarazuka. Now this big-bloomed flower, who carries the weight of Flower Troupe on her shoulders, is charming audiences as is appropriate for her name. What makes me happier than anything is the fact that she has only just begun her career as a top star. I am looking forward to the future! I want to take my time and enjoy her performances to my heart's content.

You have at last begun your career as Flower Troupe's top star. How does it feel to sit in the seat at the top?

I suppose it feels as though I am in a place where I can't quite sit up straight yet (laughs). Each day I realize that I have been placed in a position that carries a lot of responsibility, unlike before. Until now, I thought I had made my way carrying my own self-awareness as a Takarasienne. But I can't even compare that time to where I am now. I steel myself and boldly challenge different things every day (laughs).

I imagine there are many things a top is required to do on stage besides acting.

Yes. There are a variety of opportunities that make me conscious of my standing as top. There was a part of me that didn't really understand the work all the successive generations of tops had done until now. Everything that I have been given came so suddenly. I had never even thought about being allowed to have this kind of position, so I really wasn't mentally prepared for this. By being allowed to fulfill the duties of a top, like speaking to the audience at the end of a production or doing the announcement at the start of a performance, has made me realize that this kind of work also exists, that people do this kind of thing. With that, I feel my self-awareness as a top has blossomed. By which I mean, I've realized just how carefree I was until now (laughs).

Is there a part of you that is glad that "Elisabeth" was your first performance as the top?

Yes, definitely. I was really drawn to the work itself, so I was simply happy when I was given the honor of performing in it. From the rehearsal for the Grand Theater all the way to the end of the Tokyo production, I tackled each day with all my might. I believe it was a very fulfilling period, even when I look back on it now.

On the first day at the Grand Theater, what did it feel like to come down the grand staircase as a top carrying those large feathers on your back?

I was really nervous (laughs). So nervous that I couldn't see what was going on around me. All I knew was that the eyes of the audience were all focused on me. I was more nervous that was really necessary (laughs). I had the experience of being a top once before when I played the lead in a performance at the Hakataza Theater, but the great staircase at the Grand Theater is so high and broad that it can't be compared to anything at Hakataza. I found myself trembling terribly when I stood on it… (laughs). On top of that, the power released by all you viewers was different than before—it was tremendously powerful (laughs). It was like, "Waaaah, everyone's looking right here at me!" (laughs). That's why I think that during the parade on the first day, I was lacking in power to give back to the audience. I was in a state where my hands and feet were shaking, and I had no idea what to do (laughs). On the first day at both the Grand Theater and in Tokyo, I was allowed to play a variety of things more freely, for which I am very grateful. Until then, it was clear to me what I wanted to aim for, what I wanted to do, so every day that I stood on stage doing "Elisabeth", I decided what my own goals were. Because of that, I feel I learned something every day. In the future, too, I don't want to set my direction in stone or be particular about "This is how I am!" I feel it would be good if I keep trying to challenge myself with different ways of doing things. After that, I still want to be myself as a performer. That's the most difficult thing, and the most important, I think. The truth is, in the beginning I sometimes tried to force myself to consciously project the presence typical of a top (laughs). But I think I should stop that (laughs). I want to face myself the way I am now and treasure this moment. I think it's important to believe that even if you cannot do something now, if you study as hard as you can and gain experience, eventually you will become able to do it.

Could you handle the difficulty of singing, dancing, and acting all at the same time in "Elisabeth"?

I really needed a lot of concentration. In the beginning, I was too caught up in striking a perfect balance among song, dance, and acting. But as I went on performing, I came to understand the whole work itself and was able to focus on singing or acting according to the demands of each scene. But then I did the opposite and concentrated too much on where to place the emphasis…(laughs). But once, on stage, there was a moment when my nerves became taut and my senses sharpened without feeling trapped by anything. I realized that when I really concentrated on my role, that sensation naturally unfolds. I gained that feeling because I was allowed to do "Elisabeth". From now on I will encounter different works and perform a variety of roles, but I think having the honor of performing that piece and the role of Tod was a positive experience for me.

What part of playing Der Tod / Death did you find most enjoyable?

Since it's a non-human role, it was enjoyable to experience the sensation of peering down at the world of humans where people are caught up in satisfying their desires. He is amused by observing from on high the various events that humans bring about, and their feelings of joy, sadness, rage, and the like. But that's really fun (laughs). It was very interesting to experience looking at the human world with a different point of view, thinking, "Ah, human hearts are really wretched. Why do they fight over that kind of thing?"

Last year was a terrible ordeal for you, I think. In particular, wasn't there a lot of pressure from playing a different role in "Amber Rain / COCKTAIL"?

That's true. At the time, I didn't think about anything else, all I could do was desperately cope with the things I was assigned. I was strongly aware that the role I studied was a substitute for Takumi Hibiki, the top star of Flower Troupe. Engraving Takumi-san's existence into my heart, I faced the stage with the consciousness that I had to do this job well.

Speaking of substituting roles, how did you feel about Toono Asuka replacing Ootori Rei as Elisabeth when she couldn't appear in the performance?

I don't think it's exaggerating to say that in that piece, the color of Tod's character depends on Elisabeth. If the performer changes, then the flow of emotions inside myself and in the character also change… Because I have to adapt my role to the emotions of my partner, I paid very close attention to Toono's Elisabeth and was careful about observing her objectively. How does she make the role hers? How does she express her feelings? That kind of thing. Since Ootori and I had been together since rehearsal, I stood on stage with an understanding of my partner's way of thinking. But with a substitute you can't do that. I had no idea how Toono was going to appear on stage, so I had to perform while forcing myself to focus completely on her Elisabeth.

Has your view of shinjinkouen changed now that you have become the top?

It has changed. Until now, I was always watching particular underclassmen, such as those who are close to me in years or who play my roles. But now I've finally become able to observe the flow of the entire performance.

What do you feel is Fuzuki Miyo's appeal as a performer, since you are forming a new combi with her?

When Fuzuki was in Flower Troupe before, I was paired with her to dance many times. The soft atmosphere that is her distinctive quality is perfect for a Takarazuka musumeyaku, I think. Offstage, she is the opposite—a firm woman with a strong core. That difference has a certain mysterious charm.

In your next performance, Senka's Todoroki Yuu will be making a special appearance. Is there anything you are looking forward to?

This will be the first time that I perform with Todoroki-san. She has a long career as an otokoyaku in Takarazuka, and she excels at Japanese-style performances, so someone like me can't even begin to compare to her. There are probably tons of things she can teach me. I won't overlook the slightest thing she does, so I think I will be able to learn a lot from her.