NagaZasshi_Vol_2.1 (dragged)
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The author reluctantly attended the Takarazuka musical "Passionate Barcelona" out of curiosity about the all-female revue theater known for elaborate productions. Though the story began as a cheesy romance set in Spain, it took a bizarre turn in the second half by abandoning the plot and exploding into a psychedelic montage of random scenes involving disco, Rio de Janeiro, and abstract dancing with soldiers and phantoms. By the end of the overstimulating 2.5 hour performance, the author was stunned and grabbed the pamphlet for the next musical out of a sense the theater could be ridiculously addictive despite its brazen tackiness.
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Critical Aesthetics: Race, Class, Gender and Cultural Capital in Art and Design
NagaZasshi_Vol_2.1 (dragged)
- 1. 19 theatre review When I was asked to watch a Takarazuka musical called Passionate Barcelona, I was initially somewhat reluctant (c’mon, Passionate Barcelona? Really!?). Neverthe- less, I wanted to see for myself what the Ta- karazuka rave was all about. You see, Takarazuka Revue is not your regular kind of theatre. It boasts an all- female cast, with women playing both male and female roles, in a theatre extravaganza reminiscent of early Broadway, Ve- gas show girls, Moulin Rouge and yes, Cher. A warning is necessary at this point: to my fellow the- atre buffs, if you look for subtlety you is, you can stop here. Skip this page, forget about Takarazuka and buy a ticket for Noh instead. Ta- karazuka leaves nothing to the imagination. From lavish cos- tumes, elaborate settings and clichéd story plots, Takarazuka celebrates, with much relish and fanfare, an excess of everything. cheesy romance story set in Spain. You know the drill: girl meets boy, boy meets girl, they fall in love despite parental disapproval and blah, blah, blah. As if things could not get any worse, the overused plot was embel- lished with cringe-worthy stage lines and melodramatic acting, accompanied with a sordid combination of horrid stage direc- tions, messy lighting, and tacky costumes (one of which clearly reminded me of a gi- gantic moving wedding cake). But wait: it gets better. The performance took a surprising turn in the second half. The Spanish romance story was abandoned altogether, and exploded instead into a psy- chedelic montage of disco lights, blinding glitter and feathers galore, all set in the backdrop of… Rio de Janeiro! Do not ask me what happened to Barcelona. I don’t know. Then came a rapid suc- cession of random song and dance scenes, none of which had any relation to the main plot or to each other whatsoever. A Mardi Gras dance number rolled swiftly into “Mamma Mia!” before cutting abruptly into an abstract modern dance involving wounded soldiers and mysterious phantom beings. I soccer, a diamond necklace heist and feathers. Yes, lots of feathers. It was like Broadway on LSD. So, after two and a half hours, I staggered out of the theatre, mind reeling from the after- shocks of sensory overload. As I sat, wide- eyed and speechless, my eyes caught sight of the promotional pamphlets for Takarazuka’s upcoming musical, Heat on Beat! I scoffed at it, but grabbed one and made a mental note of the dates. Even with its brazen tackiness, Takarazuka can be so ridiculously addictive. TAKARAZUKA Genevieve Seah