Went to the château de Versailles

Photo 1: the Orangery built under Louis XIV to try to grow oranges and lemons. At the time, they were luxury fruits because they were not grown in France. They continue the tradition of keeping them under cover in winter and taking them out in summer. Some trees are over 200 years old!

Photo 2 : Look at the difference size between the golf cart and the trees !!!!

Photo 3, 4, 5 : The Grand Trianon marble colonnade and detail of the curtains.

Photo 6 : The Petit Trianon

Photo 7 : Cedre du Liban over 30 meters high and planted in 1840

Photo 8 : more garden

Photo 9 : Le Hameau de la Reine, Marie Antoinette safe heaven

Photo 10 : Temple de l'Amour / Temple of love 😍

Hameau de la Reine

Versailles, France

Hameau de la reine, Versailles, Paris, France 🇫🇷

Chateau de Clèrisseau: 19 May 1850, 14:45

Duchesse de Clèrisseau: Ernest! Eleanor! The carriage is waiting! We mustn't be late!

Mademoiselle Eleanor: I'm just here, Maman.

Duchesse de Clèrisseau: Oh, Mignonne. You look lovely.

Mademoiselle Eleanor: Merci, Maman.

Marquis de Clèrisseau: Remind me again why we've all been summoned to tea? I can think of at least a dozen other things I'd rather be doing to-

Duchesse de Clèrisseau: Stop huffing about, Ernest. The reasons as to why Madame la Reine chooses to invite us to tea do not concern you. You should be honoured, regardless. Now, if we lounge around for any longer we will be late, and you will have your father to deal with when we arrive. Let us be off.

[Charlotte, Ernest, and Eleanor Start to Leave]

Footmen: Pardonnez-moi, Mademoiselle. A letter has just arrived for you.

Mademoiselle Eleanor: Oh...merci...

"Mlle Valery,

I would hate to have to remind you of the consequences should you make the wrong decisions.

We are always watching, ma chérie."

Marquis de Clèrisseau: Eleanor! I know this tea has something to do with you, and if Maman has to tell us again how-Eleanor?

Marquis de Clèrisseau: Eleanor....what's happened? Who's written-

Mademoiselle Eleanor: [Starts and Puts the Letter Away] Oh...ce n'est rien. We should go. Maman does not like to be kept waiting.

Marquis de Clèrisseau: [Grabs Eleanor] Nellie-

Mademoiselle Eleanor: [Hisses] Unhand me. [Pulls out of his Grip and Leaves]

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What do you think about the Petit Trianon not being fully restored to Marie Antoinette’s time? I personally dislike the times of du Barry, Marie-Louise, etc. being respected.

If we're talking about how the Queen's House at the hameau de la reine was done--with various 19th century interiors put in with the 18th century--then I hate it and NGL, I sometimes think the Chateau de Versailles team regrets it.

They were initially going to restore one of the other Hameau interior building interiors to Empire era because that's all they had concretely for the interior, and then they scrapped it, and just did a general 18th century interior in line with the Queen's House interiors. That's what I think they should have done for the other rooms at the Hameau, personally.

Tuesday 23 July 1833

7 5

11 ¼

dullish finish morning F67 ½° at 7 5 am. sat reading Le Constitutionnel – breakfast at 8 55 – out (took my 2 servants) at 10 – got a billet d’entrée at the tapissiers’ opposite the church – presented it at the Lodge and took a little girl from there as guide thro’ the gardens and to the palace and ecuries – the Jardin Anglais of the last 13 years creation very pretty but all the trees of the fir tribe – l’isle d’amour nothing a mere road to and thro’ a sort of large charpente (wood painted white) covered walk thro’ two straight narrowish canals but full of fish – the grand canal (1/2 lieue long) fine – not much to see in the palace or chateau – handsome gallery, the bottoms of the great condé on each side of it – these were sequestrated in the 1st revolution when the grand chateau was demolished, but picked up again and repurchased by the last duc de Bourbon – the most curious thing and almost incredibly so, is the table standing in the midst of the gallery of vine root (pied de vigne) 45 sur 22 pouces – Madame de Feuchères’ apartment on the rez de chaussée and very very plain and simple, and small rooms – not at all handsome – she is as much hated here as the duc was beloved – In the chateau d’Enghien (called by the late duc poor d’Enghiens’ father chateau neuf because he could not bear to hear it called by his sons’ name) at a little distance above the chateau a good plain range of building, nothing particular to see, so did not go to it – the Ecuries 600ft. long for 180 horses (when the troops were quartered there, there were 400 horse) magnificent – a gallery midway round the great dome in the centre from which a fine coup d’oeil down the 2 fine lofty vaults where the horses stand – over these excellent apartments for the servants which open outside upon a balcony extending the whole length of the building and from which a fine view over the forest – look over Morfontaine – a peep of Ermenonville, and Seuils cathedral (4 petites lieues distant) very conspicuous – the woman who shewed the Ecuries launched out more than the rest – would not faire mal à un oiseau but if she could to anything would to Madame de Feuchères – une méchante femme  - all believe she was the death of the poor duc – pas par sa main but the cause of his death – he had found out how méchante she was – he had latterly been a martyr to her – spent the last fortnight of his life in writing – was going to alter his will – but all his papers that he had lastly written were burnt – the procès not finished – but suspended – Louis de Rohan now in Bohême – only wanted the marriage portion that his mother, the late dukes’ wife, had – so till the procès was finished nobody could buy St. Leu but the king – from the Ecuries’ at 11 40 sent off to the chateau de la reine Blanche – went thro’ the forest and walked it in 1 5 hour at the rate of good 3 miles per hour – at the table ronde turned right aux Etangs at the bottom of which the chateau – very pretty little Gothic building done up by the late duc and furnished in the style of the period of queen Blanche – it was a mill a few years ago – some excellent imitation old chairs capital model for Shibden see again and inquire more about this very well done thing – a gable-ended building each corner finished off in a round tower – one ½ 3 stories and a [?], the other 2 –

SH:7/ML/E/16/0086

- ¼ hour during a smartish shower – home in an hour by particularly another way in an hour at 2 10 – Eugénie heated and very much tired and Thomas tired too – I not at all but a plis (crevice, crease) in my stocking had rather blistered my right foot – however walked about for 10 minutes looking at the hotel Bourbon condé (not so good as our own) etc. and came in at 2 20 – dozed a little and finished Herschells’ [Herschel] discourse on the study of natural philosophy by 4 – then looking over bills – dinner at 6 – afterwards till 9 wrote out today, and had up my hostesse, and arranged all for staying till Thursday – food air here, charming forest to walk – comfortable apartment – can get my accounts a little arranged tomorrow and then be a little at ease in Paris – till 10 reading over the whole of the Constitutionnel of today – the 2nd reading of the Irish church bill carried in the Lords by a majority of 59 in favour of ministers – fine day till 12 ¾ a.m. a little rain between 2 and 3 and very heavy longish shower about 4 – afterwards fine, save a little rain in the evening – F68 ½° at 10 ½ p.m.

The legend of Zelda Breath of the wild : hidden nature Partie 1, Avant le fléau

Suivant

Sommaire

Il était pourtant tard lorsque cela arriva.

Au millieu de la nuit, une silhouette se faufilla jusqu'à la grande porte du chateau, sans bruit, tel un fantome.  La lune était pleine, mais cela ne fesait qu'accentuer les ombres des arbres. Il n'y avait pas un souffle de vent. Tout semblait figé. Les gardes, pourtant éveillés, ne repérerent rien, pas même son ombre dépassant dans l'angle des murs de la citadelle juste avant qu'elle n'atteigne son objectif.  Puis, cinq coups brefs sur la porte.  Les gardes sursautèrent puis regardèrent vers l'entrée.  Mais la silhouette s'était déjà glissée dans un angle, et évanouie dans les ténebres.

《Qui va là ?》 Malgrès son apparente assurance, la voix du garde trahissait une légère crainte.  On disait qu'une ombre avait été apperçue dans le royaume en pleine nuit et que ceux qui la croisaient se réveillaient le lendemain, un peu plus loin, sans se souvenir de ce qui c'était passé entre temps. Mais seul le vent leur répondit. Un vent violent se leva, un vent à déraciner les arbres, un vent apportant la pluie, qui s'abbatit en grosses gouttes et trempait jusqu'aux os ceux qui étaient à découvert. Sous le déluge, soudain, une lumière. Plus ou moins là où se tenait la silhouette quelques secondes auparavant. 《Qui va là ?》 Toujours à son poste, même malgrès la pluie, toujours la même question. Cette fois cependant, après un silence qui parut éternel, une réponce. 《Je... Je ne sais pas.》 La voix était légère, comme les nuages, mais y perçait quelque chose, quelque chose qu'aucun ne comprenait, sans que toute fois cela ne leur paraisse étranger. C'était la voix d'un enfant, d'une très jeune fille, mais pas seulement. 《Comment ça ?》fut tout ce que le garde, désarçonné, put répondre. Un long silence, ponctué par la pluie, illuminé par une sorte de voile tendu au dessus de l'enfant, dont la silhouette laissaient estimer vers les 4-5 ans, malgrès l'impression persistente des soldats qu'elle n'était rien de ce que l'on croyait. 《Je... C'est comme si je venais de me réveiller. Tout est flou dans ma tête. La seule chose qui reste claire est trois triangles brillants, au millieu de l'obscurité. Je ne sais ni qui je suis, ni d'où je viens, ni ce que je fais là. Désolée de ne pouvoir vous répondre.》 Cette fois, ce fut les gardes qui se turent à la fin de sa tirade, désarçonnés. Le deuxieme, qui jusqu'ici n'avait que regardé, partit avertir le château et recevoir des instructions vis à vis du comportement à apporter. Ce fut la reine qui vint en personne, alors sortie prendre l'air, profitant de l'acalmie dans cette tempête qui s'était si soudainement levée. Entourée de ses plus proches gardes, elle fit ouvrir la porte et mena la petite fille jusqu'à une entrée où elle confia à l'un des soldats la mission de récupérer une couverture et un verre d'eau. À la lumière des lampes, on pouvait mieux voir la fillette. Elle avait vers les 4 ans et demi, avec des yeux bleux tirant vers le violet tel le ciel après le crépuscule et des cheveux lachés chatains clairs. Elle portait une tunique bien trop grande pour elle, qui lui faisait comme une robe violette, des sandalettes en cuir et une sacoche attachée à une ceinture elle aussi trop grande, portée en bandoulière. La sacoche était vide et elle n'avait rien d'autre sur elle. Malgré son accoutrement étrange pour une si jeune fille, la reine eu immediatement le sentiment, sans savoir vraiment pourquoi, qu'elle pouvait lui faire confiance. Bien que méfiants au départ, les gardes acceptèrent de préparer une chambre pour la petite, où elle put dormir à poings fermés. Plusieures semaines passèrent, mais les recherches sur ses parents et son passé n'aboutirent à rien. La seule chose qui fut découverte fut son nom, Zehila. La famille royale décida de l'héberger.  Après un an et demi, et malgré la récalcitrante de certains membres de la Cour, ils finirent par l'adopter.  Elle suivit la même vie que la jeune princesse Zelda. Elle aussi rit, pleura, espéra.  Elle aussi étudia, appris le protocole. Cependant, la Cour et les traditions faisant pressions, elle fut écartée du trône et d'autres droits, et le mépris n'était qu'a peine caché pour certains.

The main room in the Queen's Apartment is The Queen's Bedchamber. It was designed for Louis XIV's Queen Marie Thérèse of Austria. Three queens occupied this room at different times: Maria Theresa of Austria, Marie Leszczyńska, and Marie Antoinette. After the death of Maria Theresa in 1683, it was occupied successively by two dauphines, Marie-Christine of Bavaria and Marie-Adélaïde of Savoy.

Chambre de la Reine - Versailles

Photo taken by me @killem-all-if-they-wont-eat-cake

Chateau de la Reine / VIVA! FESTA! ~ Cosmos Troupe 2017

Mixed feelings and spoilers ahead!

The Plot: We’ve been blessed with a full script translation thanks to @makalations​‘s hard work, so I’m going to keep it very brief: Mirion is running a scam by double booking two tour groups in the same famous hotel at the same time so she can scrape up enough money to prevent her tour company from going under. Tour participants include Maakun (a novelist trying to find inspiration for his Louis XIV love story) and a bunch of other weirdos, antics ensue as the tour company tries to keep the two groups apart and they all kind of get to know each other.

Overall impressions: On the plus side, pretty much all the main players in Soragumi down to the kumichous had their own little side story going on (except Rui Makise and Rukaze Hikaru who receded into the background for this one), which I appreciated as someone who loves the whole troupe and whose fave was just a black angel. I followed the story with no problem, and I think I always wind up giving extra points to shows that make me feel like my Japanese doesn’t suck. They definitely put together a style, and I enjoyed the ridiculous costumes. I was, however, left curious to know more about what the overall vision was; the backgrounds were so drab it felt like they splurged on a custom wardrobe and ran out of budget. Even though the aesthetics could not be more different, it kind of reminded me of Count’s Daughter in that they bothered to stay out of the recycle bin to tell a visual story, but Count’s Daughter took that down to the last corner of the stage and Chateau de la Reine fell short (maybe this is a DVD problem, I don’t know).

On the minus side, it was lazy comedy with no real character development. It reminded me of being 15 and dying laughing at a lot of truly terrible anime because I was just so into it that you could shove any tired trope down my throat and I’d swallow it enthusiastically and beg for more. Puns so simple I understood them, half the characters rolling their Rs all the time, Louis XIV’s dramatic entrances (you could taste the freeze frame allowing a gust of flower petals to blow by)… NO JOKE, Maakun literally crashes into a door like this:

BUT, there is most definitely a give and take with these things. The trade-off for  a one-act troupe showcase is relying on stereotypes for character development to keep the show under 5 hours. Looking at a theatrical masterpiece like Hoshiai, 3 people got really meaningful roles. So I guess as long as a star’s run has a balance of both, I’ll take this occasionally. I do wish the comedy had been a little more creative. I think I laughed the hardest when poor miserable Zunchan picked her chin up and agreed to lead her shafted tour group to see the opera house “from the outside!” because it was the middle of the night… that was cute!

People:

Asaka Manato as Kitashirakawa (yeesh) Ukyo, the aforementioned novelist, was not what I’d call brilliant because it was not the most brilliant character… but she got to do some things she is uniquely good at, namely being kind of a jerkface and performing physically improbable feats of weirdness with her lanky limbs. Entertaining within the parameters of everyone here being a caricature.

Misaki Rion was equally the lead and very much boss lady in charge. I heard a lot of complaints that Reiko was not a role worthy of Mirion considering she retired on it, but I’m not sure what more you can expect out of a career spanning 2 partners and iconic leads like Aida and Elisabeth. This was a strange little show and for what it was I liked Reiko; I also liked that she basically orchestrated the whole scam. It was a much more interesting premise than a love story. Despite it being Maakun and Mirion’s last show together I didn’t even mind that it was romance-lite; they finished on equal footing holding hands, and that pretty much sums up their wonderful partnership for me.

Makaze Suzuho as the apparition of Louis XIV, dwelling in the chateau that was formerly his and inspiring Kitashirakawa’s novel, was probably my favorite part of the show if I toss my biases aside. Her Louis exuded an air of being so very done with all of these ridiculous people, while simultaneously being completely unaware that he’s definitely the most ridiculous person present. It was delightful.

Aizuki Hikaru as a tacky old rich real estate magnate with a toupee, and his arm candy/former hostess Hoshikaze Madoka, were the height of caricature; we learn almost nothing about them beyond that bare bones backstory and what’s conveyed through their clothing and their age difference. Nothing against their performances, but on the show level this was one instance where despite a lack of effort put into characterization we’re just supposed to find them funny (he’s old and absurd and she’s young and silly and they’re dating, get it??). I do appreciate Aichan’s willingness to lean all the way into a completely over the top character. This was a layup for Madoka.

Sumiki Sayato plays Makoto, a kind of grumpy cop paired against his will with Sorahane Riku’s Crayon, who is ostensibly a man in drag (we’re not given enough information to nail down Crayon’s gender identity). Crayon takes a shine to Makoto immediately, and this is another trope we’re just supposed to find funny—grouchy dude doesn’t want anything to do with the always-cheerful, flamboyant drag queen who won’t take no for an answer. WORKING WITH WHAT WE’VE GOT, I enjoyed both of their performances. Akkii is too sweet to fully immerse herself in the jerk who’s just a jerk for the sake of being a jerk, which made her eventual softening both foreseeable and convincing. Riku was hamming it up, and the fact that she was a head taller than Akkii in her heels really made the whole dynamic. And they got a kiss!

Sakuragi Minato plays Togawa, another guide in Reiko’s tour company, responsible for the group that paid less and thus constantly struggling to keep them out of the hotel at the choicest hours. This role was a waste of Zunchan, yet I can’t imagine anyone other than Zunchan in this role. She was adorable and pitiful and 110% invested; I just watch her constantly evolving offstage and I’m waiting for that role that makes me go WHO ARE YOU AND WHAT HAVE YOU DONE WITH ZUNCHAN?!

Junya Chitose as the editor was another highlight. She’s both wholly supportive of Kitashirakawa’s eccentricity and a force to be reckoned with herself, and she spends most of her stage time drunk/ hungover/ flirting with Sora. When she’s stumbling, glasses askew, on the silver bridge, you can’t help but pray to the gods she’s not leaving with the next show.

KazukimotherfuckingSora as Pierre, the only one aside from chief bellboy Sao who really has to speak French, was A CHOICE, because she CANNOT DO THAT. There’s a scene where she tells everyone she remembered the name of a place and it sounds like she’s choking. But like everything else she does she took her adorable lavender blazer and ran with it, and I was in stitches, and honestly I don’t know who else she could have played. I miss you, you dumb idiot <3

Mentions: Kumichous were a married couple (<3), Reimi Urara was the memory of Louis’s lover with not a heck of a lot to do, and my not-a-real-character shout out this time goes to club singer Fuuma Kakeru (and Sao finding a way, at great pains I’m sure, to make issuing orders to the other bellboys sexy).

VIVA! FESTA! was not Hot Eyes but nothing will ever be Hot Eyes.

Quick hits:

Catchy theme song, catchier yosakoi chuuzume that had me dancing at work all day today feeling grateful I don’t go to the office

Worth it alone for Night on Bald Mountain featuring Kumichou taking center stage in a very Maleficent getup

I’m not into this boy band trend… but I am also aware that whether or not I am into this boy band trend in the moment depends heavily on who is pointing and winking at me

The festa theme could definitely have been more obvious throughout, but props to Nakamura S. for not falling back on Carnivale for a change. I could honestly watch an entire revue of yosakoi

Can I have a Sora angle? God that kid can dance. I REALLY MISS YOU, YOU DUMB IDIOT <3

Not a set of all-time winners, but I liked everything enough to watch again!

Viva Festa report 29/04

A baby Otokoyaku winked at me twice during Kyakusekyori at Viva Festa today and I died.

My Thoughts on Sora Gumi's “Chateau de la Reine / VIVA! FESTA!”

So this is way overdue as I intended to write it a week before senshuraku after my last show… but because I spent too much time rewatching old Sora Gumi shows to cope with Mirion’s taidan I didn’t have time to write down my thoughts until now…

Overall, I love both the musical and the revue. The musical made me laugh and cry, and the revue was one of the most exciting Takarazuka experiences I’ve ever had. However, while I love this show, I’m a little conflicted about it being Mirion’s taidan (something I’ll mention later).

“Chateau de la Reine” is Tabuchi-sensei’s first Grand Theater show. I’ve really liked some of Tabuchi-sensei’s previous works (“Victorian Jazz” has a special place in my heart, and “Sanctuary” was pretty solid), so I was fairly excited when I heard he’s finally making his Grand Theater debut. One reason I like his works is that they’re not as “romance-centric’ as other Takarazuka shows. The two protagonists still fall in love, but their romance is more of a side plot (the obvious exception is Yuki Gumi’s “Roman Holiday). Although some fans have said that he lacks the sensitivity necessary to write a Takarazuka play, I personally like it when romance isn’t the main focus.

This style is evident in “Chateau de la Reine.” Love wasn’t really ~in the air~ until the very end when Kitashirakawa and Reiko got together (which was adorable, whenever I saw Kitashirakawa held out his hand to Reiko I always squealed a bit). The main focus is the comedy. For a show that actually has a quite serious topic (an old couple attempting to commit suicide), it was hilarious. I LOVED it when Maa-sama waved her long arms and legs around because she was “possessed” by the writing angel, when Mirion pushed Maa-sama behind a sofa, and when Zun-chan tried to run away even though Akki held onto her backpack. Yes, it’s slapstick humor, BUT I COULDN’T GET ENOUGH OF IT. 

Another part of this show that I really appreciated was that a lot members of Sora Gumi got their own little plot. It’s great to see actresses who usually don’t have many lines in a Grand Theater Show to have their little moments. I specifically want to mention Ayaka Mari and Seoto Risa. Ayaka Mari finally got the Grand Theater time she deserved. She looked INCREDIBLE in a suit, and I love how evil she sounded. I was hoping that she would have a duet with Rinjo Kira, but at least she got to sing the Étoile. Seoto Risa was spectacular as the queen. At first I thought she was just a hotel attendant and was sad that she barely appeared (even though she looked adorable dancing to the song). Then BAM she appeared in an all-black dress sounding all authoritative and I was blown away. When she threw the baby off the bridge she sounded insane and evil - it was wonderful. Now I really want to see her as Sophie in “Elisabeth.”

However, the greatest part about this show is that despite all of its ridiculousness, IT MADE ME CRY. The message of “smiling when it’s tough” really got to me and I cried every time I watched it. Tragedies like “Konsaba” and “Hoshi ai Hitoyo” are wonderful and beautiful, but sometimes we just need a good old comedy that reminds us of how amazing life can be. Even though this isn’t a traditional taidan show – with its outrageous outfits (seriously, why?? The colors are blinding) and its hilarity – I think it really fits Mirion’s personality. As someone who’s always so cheerful and bright, I find it appropriate that her last show has a similar message.

“VIVA! FESTA!” was fun, exciting, and powerful – just not exactly what I had in mind for Mirion’s taidan. Don’t get me wrong, I thoroughly enjoyed this revue. My favorite is definitely the soran part, it was simply AMAZING. On my first day I was surprised because people in the audience actually YELLED BACK, which is weird because Takarazuka fans are usually really quiet. There was so much energy that it felt like the floor was shaking. The actresses were all super hyper and the audience was so into it. During my second show Seoto Risa was really close to me, and she was so excited that her haori fell - it was adorable. Just this segment alone captures what Maa-sama and Mirion’s Sora Gumi is all about - happy and full of energy.

Now onto the not-so-good things. To be honest if this were just any other revue I would’ve loved it. And I do really like it. But… it’s Mirion’s taidan, and she barely appeared. She had solo lines but no solo songs (unless you count the parade part), which is baffling because she’s SORA’S QUEEN AND SHE DESERVES A SOLO. She did have a little dance with the other musumeyaku during soran (which further consolidates the soran part as my favorite part of the revue), and she did dance with the other otokoyaku during the finale, yet that’s hardly enough. Maybe I expected too much. Since she had a solo for the opening of “Hot Eyes!” I was hoping that she would have something similar this time… The only part that felt like a taidan was the duet dance, which was breathtaking. From the song (“Greatest Love of All,” I see what you did there) to the dry ice/smoke to the endless lifts, everything was beautiful. I cried when I saw her walk down those stairs because it finally hit me that this is indeed her taidan. So while I love this revue, I would love it even more if Mirion had more stage time. Brief notes on individual actresses… Asaka Manato: After seducing us with her long legs in “Elisabeth” (I will never forget how she slid across that table), in “Chateau de la Reine” Maa-sama put those long arms and legs to good comedic use with all the flailing and running into doors. Comedy is a difficult genre, but I couldn’t ask for more from Maa-sama. Yes, some bits were over the top, though nothing was cringe-worthy and you don’t feel that she’s “trying too hard.” She also somehow made me think that the annoying and arrogant Kitashirakawa is… cute, particularly in the end when she touched the back of her neck because she felt embarrassed for asking Reiko out. The revue really suited her. Now I can totally understand why her fans call her “Sora Gumi’s sun,” she’s just so happy and warm that it’s infectious. Misaki Rion: Do I need to say more except for “Mirion did great”? Her first solo song (もうひとりのエトランジェ) is my favorite song of the entire show, and her version of 笑えたら made me cry. I know a lot of people would prefer her to have something similar to Elisabeth as her taidan. Nevertheless, as I said before, I don’t mind that her last show is about a strong career-minded woman who keeps trying regardless of all the obstacles in her way. I also just want to quickly mention how well she acted during the revue when Maa-sama died. She didn’t speak at all, yet from her actions and expressions you can tell she was devastated, shocked, and confused as to why there was so much hatred. When most people think of Mirion they think of her singing (rightfully so), but her acting never disappoints as well. I’m sad that she’s graduating, though I’m certain that she’ll have a fantastic career in front of her. Makaze Suzuho: Ah, Makaze… constantly wrecking my bias list. She was convincing as the “how dare you annoy me but I’ll still help you” Louis XIV, and her singing was solid. It’s beyond me how she looked so good in the revue. During the “witches’ festival” part, when she ran out in a blue outfit and danced to that electric guitar song, I felt that I needed to reconsider who my favorite sora gumi otokoyaku is. I also love how she acted like she OWNED the place when she sang the solo for soran. Aizuki Hikaru: Ai-chan proved, once again, that she can act as crazy and over the top characters (though at least this time, unlike “Top Hat,” she’s not the only one who’s over the top). Sometimes I still wonder how someone who’s so proper off stage, and whose dream role is Rudolf from “Mayerling,” is Alberto from “Top Hat.” In the revue she covered a K-Pop song with other otokoyakus. While I love Ai-chan and her voice, I personally don’t think she was the right choice for the boyband concept. Her singing is too “musical-like” for a K-Pop song thus it felt a bit unnatural. Nonetheless, I’m not complaining that much because all the winking made up for it. Sumiki Sayato: Akkii’s previous characters were more of the “gentleman” type, so Makoto is quite different for her. It was weird seeing Akkii, who has the reputation of behaving and looking like royalty, acting as a jerk. But she did well as the grumpy and clueless cop. I would love to see her challenge more roles that are different from her usual style. And, is it just me or did her singing improve? I really enjoyed her duet with Zun-chan in the finale. Sorahane Riku: Riku also broke out of her comfort zone for this musical. She was great as the flamboyant and happy Crayon, and you can tell she had a lot of fun walking around in those incredibly high heels. When Crayon and Makoto kissed in the end the whole audience went “aww”  (including me). In the revue, Riku acted as a bull who went up against a matador (Maa-sama). Props to her for making her hair VERTICAL and acting super “bull-like” (especially the way she moved her leg). Sakuragi Minato: Zun-chan was ABSOLUTELY ADORABLE as the timid Togawa. In the Takarazuka run her hairstyle was still normal, but in the Tokyo run she had terrible (or amazing, depends on how you look at it) bed hair in that the back of hair went upwards. It was too cute. She sounded like a kid and looked like an elementary student on a field trip with her backpack. Then the revue began and all of a sudden she became a handsome otokoyaku – it caught me off guard. She had a ginkyo solo after the prologue that she totally nailed. I can already see the beginning of her transformation into a more mature otokoyaku and I can’t wait for her future shows. Junya Chitose: It’s good to have funny Seko back after seeing how seriously scary she can be in “Elisabeth.” I love the way she talks, there’s like a little bounce in her voice. And her “drunken walk” was so good that I was always afraid she’s going to fall off the ginkyo. Sadly she didn’t get to sing much in neither the musical nor the revue. She did sing a bit during the “witches’ festival” part. When she started singing I was like “wow who is this? Oh, it’s Seko, that explains the powerful voice.” Kazuki Sora: Sora was her usual delightful self and the role fitted her perfectly. I found her “broken Japanese” to be very endearing. Also, during one of the shows I was sitting close to the side stage, and she was standing near me for the parade. She looked at me in the eye and that already made me really happy. Then before she left to return to the main stage, SHE WINKED AT THE PERSON IN FRONT OF ME. I freaked out even though it wasn’t meant for me because 1) it was in my general direction 2) it was VERY DESTRUCTIVE. Needless to say, I’ll pay more attention to her now. Tldr: I liked both “Chateau de la Reine and VIVA! FESTA!” Both could have had more Mirion, but both were solid shows that I highly recommend. These two shows also taught me that I should never judge a book by its cover (when I first saw the poster and the trailer I was horrified by how ugly the outfits were). I really like the current Sora Gumi, and am terribly sad that this era is coming to an end. Good luck to Mirion! And good luck to the rest of Sora Gumi! :D

Chateau de Clèrisseau: 13 May 1850, 13:45

Steward: A letter for you, Mademoiselle. 

Mon adorable amie,

I must confess I find myself rather hesitant to pen this letter to you for fear I may overstep your desires. And yet given your willingness to join me at the opera, and our conversation days prior, perhaps I can hope that it is safe to reach out to you?

As always it stirs my heart to know how much your affections match mine. If truth be told I spent the last week in utter agony, not knowing if I would ever be able to make up for the things I had done. What a relief it was then, when you implored with me to never leave you! Your words lifted my spirits in a way I never thought possible. They offered hope. Hope that despite everything that may come to pass, we would find a way.

I know it may not appear I am keeping up with my end of the arrangement, and I do apologise, ma chérie. But it is challenging. To offer every madesmoiselle a kind smile and pleasant conversation when I can feel your presence...you flood my senses day and night, ma dulcinée, and despite my best efforts I fall victim to you every time. There is truly no one else on Earth for me but you and you alone.

Throughout the next week I will focus on our agreement. I do hope, however, regardless of the madesmoiselle who walks or talks beside me, that you know all my thoughts will be of you. Though with the Prix de Thornolie just over a week away, I wonder if it perhaps too bold of me to ask you to accompany me? I hear la Flamme de Minuit is projected a victory and if I were to place any bets I should want my good luck charm by my side. If I have to endure another loss to Gaston I'm certain I would never hear the end of it.

Je vous embrasse, 

Oliver

Marquis de Clèrisseau: Another secret admirer, perhaps? 

Mademoiselle Eleanor: [Huffs] Must you pry? 

Marquis de Clèrisseau: Would I be considered a caring brother if I did not? 

Mademoiselle Eleanor: Hmm...

Marquis de Clèrisseau: Though I do wonder, what has our petit Monseigneur written this time to have you so engaged? 

Mademoiselle Eleanor: And just how do you know this is from Oliver? 

Marquis de Clèrisseau: [Smirks] It’s simple, really. If that were a letter from say...le Vicomte de Vignieu, your cheeks would not be so flushed. 

Mademoiselle Eleanor: You always think yourself so clever. 

Marquis de Clèrisseau: En effet. It’s a matter of pride, if you must know. 

Mademoiselle Eleanor: [Scoffs] Of course it is. 

Marquis de Clèrisseau: Now, what does he say? 

Mademoiselle Eleanor: Not that it is any concern of yours, but he’s asked me to accompany him to the Prix de Thornolie. 

Marquis de Clèrisseau: Hmm...so it appears the two of you have mended your fences once more. He’s certainly...devoted to you. I’ll give him that. 

Mademoiselle Eleanor: [Sighs] If you have something to say, Ernest, get on with it. 

Marquis de Clèrisseau: [Deep Sigh] Very well. I’m worried about you. 

Mademoiselle Eleanor: Quoi? Whatever for? 

Marquis de Clèrisseau: Ma soeur, I know the two of you well enough to know should you make this decision together it’ll make you both very unhappy. 

Mademoiselle Eleanor: How dare-

Marquis de Clèrisseau: Involving yourself with Oliver places you in a postition to secure the most public of roles...our future Madame la Reine. Are you truly ready to adjust to such a life should Oliver ask for you hand? I know you, Nellie, just as I know him. I know you well enough to know that above all else you prefer your privacy, and that watching you struggle with the loss of it because of him will tear Oliver apart. So I ask you: Are you prepared to make that sacrifice? Are you prepared to be the wife of the future Monsieur le Roi? If I were you, I’d think long and hard before responding to his request. The last thing any of us want is for your choice to come with dangerous consequences. 

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Hameau de la Reine - Versailles, France

Built for Marie Antoinette in 1783.

I absolutely love how despite it having been designed for royalty it's actually very quaint and simple. There's a certain rustic charm that I would love to implement into a modern home if I could.

Chateau de la Reine / Viva! Festa!

A postcard with an image of the Dairy that was part of Marie Antoinette’s Hamlet at Versailles.

Source