Original is online here: http://eplus.jp/sys/web/theatrix/special/marguerite.html
(Published early October 2008)
Eagerly Awaited, The Post-Retirement First Stage Role “Marguerite”! Haruno Sumire’s Interview Appears!!
e+ Special Interview Haruno Sumire
Based on the famous opera “La Traviata”, the musical “Marguerite” will now also be performed in Japan. Set in the tumult of change that was World War II France, this play addressing the splitting of society first opened in London’s West End in May. Since then it has been gathering attention worldwide as a show that “raises the standard of modern musicals”. In addition, the show has top-notch staff, including music by Michel Legrand, script by Alain Boubil and Claude-Michel Schonberg, who also created “Les Miserables” and “Miss Saigon”, and direction by the world famous Jonathan Kent. And debuting the title role in Japan will be prior Takarazuka top star, Haruno Sumire. She served six years as Flower Troupe’s top otokoyaku, but to the regret of many, retired on December 24th. This role will be the beginning of a long-awaited comeback for this popular star.
(From the Bottom of her Heart, She Thought, “I Want to Sing”)
---- About six months after your retirement, at last we get the opportunity to hear Haruno-san’s amazing singing voice once more.
I'm also overjoyed to be singing again. Last year's final performance on Christmas Eve was my Sayonara Show. On that day, everything ended, and in my last interview, I said that I was going to have ordinary, carefree days of leisure from then on. But then at the end of January, I was given the opportunity to sing a song. That was for the CD box set “Hearts” released by Takarazuka; I sang “Ave Maria” and it ended up being the only new track added to the album. For this recording, I wasn’t “Otokoyaku Haruno Sumire” but just singing as myself, and for the first time I began to think that I wanted to sing again.
--- Did it feel good to sing again after such as a long time?
Not really, back then it seemed like my sense of self was still incomplete. So instead, it felt more like I wanted to be able to sing properly, and as I was singing “Ave Maria”, a feeling of “I want to sing. I want to be able to sing!” came over me. The seventeen years I was in Takarazuka were busy but they were enriching days that ended on Christmas Eve. From that day forward, there was an empty way before me, and I myself seized on singing as the way forward for me. “I won’t be in front of the public, and I said I’m not planning to perform on stage again,” but from the bottom of my heart, I was thinking that I wanted to sing.
---- And then a flame was lit when the offer for a grand musical arrived.
The truth is, at the time I was thinking of becoming a singer. That’s why I was working on plans for my concert and such. But when this play was first brought to my attention, I looked at the range of the songs and I thought it would be a good experience. The staff are all amazing, world famous creators and I was so happy to have the producer say that for the lead role in this play, “It must be Haruno.”
(Aided by Marguerite’s Bravery)
---- And so you went to the preview of the London version in May, right? What did you think of the performance?
At the end, I was so moved that I couldn’t get up from my seat. It made me think about so many different things. About the pain of living in the midst of such a society, and the immensity of experiencing true love. All sorts of people appear in it, and every one of them has their own problems. For example, even the German soldier Otto, who keeps Marguerite as his mistress, goes through hardships. Within all this, Marguerite loses her life at the end. But, because it was for the sake of her pure love, that emotion cut straight to my heart.
---- The work gets it’s concept of the end of society from the opera “La Traviata”, doesn’t it?
Those times were truly terrible, and once again we’re confronted by them. I feel very grateful that now I am able to live in a peaceful Japan. I think it’s wonderful that I can sing, and express myself. That’s the reaction to the theme of this work and I want to communicate it to the audience. I also was aided by Marguerite’s bravery, and have been able to take this step forward.
----- And you’ll be stepping forward in this show as a new Haruno Sumire>
Yes, I think so. Because Marguerite is truly a fascinating woman. But I think the hurdle is immensely high. The musical pieces aren’t at all awkward; the play just melts into them. The emotion and the melody simply overlap each other. Even when changed to Japanese, I think the delicate nuance can still be communicated, and I want to express it. However, in terms of the actual singing, they’re all difficult pieces.
---- But, Haruno-san, when you’re given something difficult, it just brings out your fighting spirit, right?
I am that type. (laughs) I’m contrarily fired-up (laughs).
----- So Haruno Sumire who was an “Otokoyaku” is now more and more becoming a woman…
Except, I’ve always been a woman (laughs). I never thought it was impossible for me to behave womanly; as a natural extension of myself, I want to be introduced to all sorts of plays and songs, and challenge myself in my own way.
Note: The original Japanese text used on this site is the property of the Takarazuka Revue and Hankyu Corporation. It is used without permission, with the intent of publicizing the revue to a larger audience.
The translations on this site were done by me. I reserve all applicable copyright on them and DO NOT give permission for them to be redistributed, published, retranslated, used as fansub scripts, etc.