There actually is a reason I'm asking this

[matataku_hoshi]

Do you think Grand Theater ohirome kouen as a rule tend to particularly good or bad?

I'm thinking about the ohirome kouen for the current crop of top stars.  Any thoughts on top stars going back further than that would be appreciated.

Sakura/Secret Hunter: The latter was pretty silly, but I still really enjoyed both halves.

Jazzy Fairies/Revue of Dreams: Wasn't wild about either one.

Elisabeth (yukigumi 2007): Was awesome.

Valencia/Sora Fantasista: Sora Fantasisa was wonderful, but Valencia wore on me quickly.

Ai to Shi no Arabia/Red Hot Sea: I thought Arabia was pretty mediocre, and I think I would have liked it even less if I saw it more than once.  Red Hot Sea was a lot of fun.

So...things aren't looking too good for the non-revue parts.  Or did a few of this particular generation just have bad luck when it came to ohirome kouen?  For most of the ones I don't like, I would blame their quality on bad writing rather than the new tops themselves...

Comments

[lliri-blanc.livejournal.com]

I don't think ohirome have any particular benefit or drawback over regular shows. Most Takarazuka shows, to be frank, aren't any good. They have to appeal to as broad a possible audience, fit in 85-person casts and provide big roles for a minimum of four characters plus everyone else that needs a mention. There's too much money riding on them to ever take any risks (especially for ohirome shows), so they're largely just going to be mediocre.

[quinquin]

There are a few good debut shows but it seems to be about the same mix as any other grand theatre show. I like Wataru's A Song for Kingdom. From what I've seen of them so far I'd say that Asaji Saki's A map without borders and Maya Miki's East of Eden are better than average too.

In general it takes a lot for a lead performer to be so bad that they will ruin a good play completely. A bad play can ruin it even for good players though.