Stream of thought
So just the other day a friend told me she'd given Ueda Keiko-sensei her last lesson at my old English school.
Among other things, they talked about play-writing of course (my friend is interested in script-writing) and Keiko-sensei said she was writing an original play for October.
I was like, what, she's doing Man in the Iron Mask, that's not original.
But now it turns out she's also writing the next Sora show -- which is immediately after Yukigumi o_O;;
I wonder what it's like to be a Takarazuka playwright? More specifically, I wonder what it's like with all of these revivals the company is doing? I assume that, like, the playwrights get paid less when they're just directing a not writing a new script, which is why the company is reviving so many shows...
And I mean, I know that many of them do work outside of Takarazuka too. I never did get to see that show Kodama-sensei gave me a chirashi for :\
But like, Koike-sensei for example seems to be doing big-name stuff on a constant basis... How long will his reign last, I wonder? It does seem like Ueda Shinji has mostly been phased out, thank god... *laughs* Wouldn't it be great if they just stopped doing Berubaras after he retired? (Yeah, right.)
Actually, I keep wondering about the 100th anniversary, too... Will it be a year of revivals, extravagant new shows, both -- some percentage of one more than the other?
Although I'll admit I'm curious as to how exactly Koike is going to pull off Ocean's 11, I'm already tired of stage & film adapting each other endlessly (I mean this in a general sense -- there are tons of movie-based musicals on Broadway as well). I'd much rather playwrights adapt under-appreciated novels than high-profile films.
...That, and I want my Princess Bride musical. >.> *contemplates fantasy cast*
Among other things, they talked about play-writing of course (my friend is interested in script-writing) and Keiko-sensei said she was writing an original play for October.
I was like, what, she's doing Man in the Iron Mask, that's not original.
But now it turns out she's also writing the next Sora show -- which is immediately after Yukigumi o_O;;
I wonder what it's like to be a Takarazuka playwright? More specifically, I wonder what it's like with all of these revivals the company is doing? I assume that, like, the playwrights get paid less when they're just directing a not writing a new script, which is why the company is reviving so many shows...
And I mean, I know that many of them do work outside of Takarazuka too. I never did get to see that show Kodama-sensei gave me a chirashi for :\
But like, Koike-sensei for example seems to be doing big-name stuff on a constant basis... How long will his reign last, I wonder? It does seem like Ueda Shinji has mostly been phased out, thank god... *laughs* Wouldn't it be great if they just stopped doing Berubaras after he retired? (Yeah, right.)
Actually, I keep wondering about the 100th anniversary, too... Will it be a year of revivals, extravagant new shows, both -- some percentage of one more than the other?
Although I'll admit I'm curious as to how exactly Koike is going to pull off Ocean's 11, I'm already tired of stage & film adapting each other endlessly (I mean this in a general sense -- there are tons of movie-based musicals on Broadway as well). I'd much rather playwrights adapt under-appreciated novels than high-profile films.
...That, and I want my Princess Bride musical. >.> *contemplates fantasy cast*