Elisabeth the Musical

Musical to be held at Tokyu Theatre Orb on October 10, 2025"Elisabeth"has opened.
This smash hit musical has continued to captivate audiences since its Japanese premiere in 1996 by the Takarazuka Revue and its Toho debut in 2000."Elisabeth"This production, brought to you by the superb creative team of Michael Kunze (script/lyrics), Sylvester Levay (music/arrangement), and Koike Shuichiro (direction/lyric translation), has enjoyed long-standing popularity, and this performance, the first in three years, marks the 25th anniversary of the Toho production's premiere.
To commemorate the opening, a press conference was held on October 9th, with Fuuto Nozomi and Rio Asumi, who play the title role of Elisabeth, and Yudai Furukawa (all performance locations) and Yoshio Inoue (Tokyo performance) who play the role of Todt taking to the stage.

The chemical reaction that the new Elisabeth Company will create! ~Pre-opening interview~

Q. Please tell us about your enthusiasm.

Nozomi FUTO: This is the first time for us (Nozomi and Asumi) to perform. We don't really know the reaction of the audience yet, so we're just going to stay calm and take things one step at a time.

Rio Asumi: As Nozomi said, this will be my first time playing the role of Sisi (Elisabeth), so I'm still working hard and overwhelmed. Previous performers have become even more powerful and are getting closer to putting on a passionate performance, so I would like to continue adjusting and taking on new challenges, and grow even more.

Furukawa Yudai: This time I practiced with the two new Elisabeths, and they both played wonderful Elisabeths in their own different ways, which inspired me a lot.
There are many other new cast members, and by the last day of rehearsals, I really felt that a new Elisabeth company had been created. There are very few tickets left, but I hope that as many people as possible will come and see the show and fall in love with Elisabeth.

Yoshio Inoue: I am happy to be able to play Tod again in this memorable year, marking the 25th anniversary of the premiere of Toho's "Elisabeth." It has been about 10 years since I first played Tod in "Elisabeth." Until now, most of the Tokyo performances have been at the Imperial Theatre, but this will be the first time I perform at Tokyu Theatre Orb, and I will be welcoming two new Sissi characters. Although it is a work I have been performing in for many years, I have been practicing with a very fresh feeling.
I am looking forward to seeing the reaction of customers who will likely be wondering, "What will Shibuya's Elisabeth be like?"

Q. What was the atmosphere like during rehearsals with the five of you, including Yamazaki Ikusaburo?

Nozomi: The three of them each had their own image of Thoth, so at first I wondered how we (Nozomi and Asumi) could keep up with them. But everyone was so open-minded and accepting, so it didn't feel like a harsh situation.

Inoue: The atmosphere in the rehearsal room for "Elisabeth" is unique, isn't it? It's not a grim atmosphere, but it's not like, "Yay!" It's always been like this, right?

Furukawa: It's been like that for a long time at the rehearsal studio for "Elisabeth." Now, the cast includes people of a similar age and background, but when I was working with big names, I couldn't wait to go home after rehearsals (laughs).

Inoue: I still want to go home right now (laughs). Furukawa and I can't stand the tension so we go home right away (laughs). Since I'm the first to go home, we always end up in the same elevator on the way home.

Asumi: I was so nervous that I didn't know how to breathe, so I would look out the window from time to time. The atmosphere wasn't particularly strict, but the rehearsal room gave me a sense of the history and weight that is unique to Elisabeth.

Furukawa: I thought the two of them (Nozomi and Asumi) got along well.

Inoue: We're in the same year, after all. It feels like we're helping each other out.

Nozomi and Asumi: We worked together to make it happen.

Nozomi: The Takarazuka Music School dormitories are twin rooms, and Asumi and I shared a room during our time at the school. I think this was the time that most reminded me of the feelings we had as fresh-faced young people who had dreams and enrolled at the school. I found myself tearing up when I saw Sayumi (Asumi) performing Elisabeth, and when I returned after a full rehearsal, Asumi was crying.

Asumi: When I saw her standing there carrying so much on her shoulders and performing, I just couldn't bear it...before I knew it, tears were flowing like a waterfall. (Nozomi and I) talked about what we should do, what we didn't understand, shared our thoughts, supported each other, and taught each other. I really felt so happy spending time together. Now that the performance is about to start and I'll have to become independent as Elisabeth, I suddenly feel lonely.

Furukawa: I was worried about what would happen if Nozomi and Asumi were at odds with each other. So I'm glad they get along.

Inoue: What about the previous Elisabeth roles? Were there any characters like that?

Furukawa: No, no (laughs) there wasn't!

Asumi: Yoshio and Furukawa are also very close friends.

Furukawa: There was talk among our (Furukawa and Inoue) fans that we don't talk much, and we got a lot of requests from fans to get along better this time, so we got along a lot better than we should (laughs).

Inoue: Really?! You were pushing yourself too hard?!

Furukawa: No, no! (laughs)

Inoue: This time, I feel like we were able to talk about a lot of things, not just during rehearsals, but once we started rehearsals for the stage. Ikusaburo (Yamazaki) and I were in the same dressing room during rehearsals, so the three of us were lined up next to each other and we were able to have deep conversations, which was fun. Also, Furukawa-kun gave us all kinds of food.

Furukawa: No one accepts them at all. They always refuse. But I'll keep giving them to them.

Inoue: I would decline (laughs), but I feel like our relationship has deepened.

Q. What is the appeal of this work?

Inoue: Of course, the general framework is decided, but Koike-sensei has been directing the Totos to make the most of each individual's personality, so it's completely different. Furukawa-kun doesn't really act like he's been told to do something (laughs), but I just do what I'm told (laughs).

Furukawa: This time I was able to rely on director Koike-san in many ways, and I proposed something that wasn't a simple gesture, as I wanted to structure what would come out of the tote bag. I was very dependent on him, and Koike-san gave me permission, so I think I was able to create something that was my own style this time, including the choreography.

Asumi: In scenes involving Tod and Sisi, the nuances and movements of each pair are completely different. The cast members cherished what came naturally, and of course the director also tried to make use of it. I think that even those who watch it multiple times will enjoy it.

Nozomi: The interaction with Tod is not something that happens between humans, so I think it's unique. It's interesting to see how different things come out of each cast member's Tod. I had a lot of fun thinking about how Sisi should be there in the rehearsals, and conversely, I felt that Sisi wasn't just someone who was at the mercy of Tod, and that unless my own Sisi was solid, I wouldn't be able to see the relationship with Tod.

Q. Please give a comment to those who will be attending.

Nozomi: I still can't really imagine what it will be like, and I think I'm probably the most nervous, anxious, and excited about it, but I want to cherish each and every performance so that the audience can enjoy it. Thank you very much.

Asumi: I think it's a production filled with unique charm, unlike any other musical. I've always loved it and it's a production that holds many fond memories for me. The chemistry between the wonderful double and triple cast members is unfolding every day at Theatre Orb, so I hope you'll enjoy it. I will also do my best to put my heart and soul into my performance.

Interviewed by Student Newspaper Online on July 9, 2025 by Yurie Watanabe, second-year student at Josai International University

The impact of the masterpiece "Elisabeth" - A student's theater report

I was thrilled to be able to see this world-renowned masterpiece live. The music, direction, and costumes were all delicate and beautiful. The changing colors of Elisabeth's costume were particularly striking, and I felt they visually reflected the changing emotions and destiny of her life.
The contrast between life and death, freedom and restraint, is carefully depicted, and the presence of death is prominent in the story, which was fresh and captivating. Everyone has their own way of loving, and I felt that no one is evil, but that they just don't get along. In particular, in the scene where the characters lose someone important and start blaming themselves, I felt as if the emotions that they had been holding back were honestly overflowing, and tears were streaming down my face.
The power and unity of the live orchestra was amazing, and the performance left me feeling excited for some time after it had ended.
(Yoshimatsu Akina, third-year student at Musashino University)

The musical "Elisabeth" has been performed since before I was born.
Even before the show started, I couldn't contain my excitement at the thought of finally being able to see this work.
The strongest feeling I had after watching the film was a shock that is hard to put into words. It was the feeling that "I had encountered something I had never seen before, and my world had changed."
The singing, dancing, acting, and music are all perfectly beautiful and brilliant, creating an overwhelming sense of immersion that makes you feel as if you are a part of the Habsburg Empire, the setting of the play.
Although I have seen many plays, this was the first time I had ever been so moved.
The Emperor of the Underworld, "Todt (Death)," loves and seduces the freedom-seeking Empress Elisabeth. Her continued pursuit of freedom while resisting Todt's advances makes us ponder the question, "What is love, and what is death?"
(Abe Rurika, second-year student at Showa Women's University)

I had previously seen a performance of "Elisabeth" directed by Koike Shuichiro and starring Asumi Rio in the role of Rudolf, and I was very surprised to see that it was a completely different production despite being directed by the same Koike.
The classic "Elisabeth" has been performed by various companies and theater companies around the world, and it includes the line that Sisi utters before the tree falls, so I felt that it was a work that even people who have seen it performed by other companies and theater companies could enjoy.
I have loved Luigi Luchini ever since I first saw "Elisabeth," and Onoe Matsuya made the role his own, delivering a Luchini that made me think, "Luchini is right here...!" Kuroba Mario's portrayal of the roughness that comes from youth was wonderful, and when he came onstage, I naturally found myself following him with my eyes. Both of them were great in "Kitsch"!!!
"Elisabeth" is a performance that conveys the strength and beauty of conviction, and after the performance I was so moved that I couldn't contain my excitement and quickly exchanged impressions with the person I went to see it with!
I sincerely hope that all the cast members, dancers, and the two swingers will be able to make it to the final performance without a single person missing!
(Yurie Watanabe, second-year student at Josai International University)

■ Performance overview

<Name of performance>
musical"Elisabeth"

<Staff>
Book and lyrics: Michael Kunze
Music and Arrangement: Sylvester Levay
Direction and Lyrics: Koike Shuichiro

<キャスト>
Elisabeth: Fuuto Nozomi / Rio Asumi
Tote: Yudai Furukawa / Yoshio Inoue (Tokyo performance only) / Ikusaburo Yamazaki (Hokkaido, Osaka, Fukuoka performance only)
Franz Joseph: Mariyo Tashiro / Takanori Sato
Rudolph: Asahi Ito / Masaya Nakagiri
Ludovika / Madame Wolf: Mirai Yuki
Sophie: Mayo Suzukaze / Tatsuki Kasu
Luigi Luchini: Matsuya Onoe / Mario Kuroba

Max: Yuichi Tamura
Zepps: Matsui Takumi
Elmer: Takashi Sasaki
Jura: Masaru Kato
Stephan: Yuki Sasaki
Liechtenstein: Eri Fukuda
Windisch: Ayaka Mari

Asakuma Takuro, Abe Seiji, Araki Keisuke, Okuyama Hiroshi, Goto Shinhiko, Suzuki Daina, Tanaka Hideya, Nishio Ikumi, Fukunaga Yuji, Minato Yukiki, Murai Shigehito, Yokozawa Kenji, Watanabe Takato, Amano Tomoko, Saihashi Miyu, Ikeya Yuko, Ishihara Eri, Kirara Umi, Sumikaze Nagi, Hara Hiromi, Makiko Mirei, Yasuoka Chinatsu, Yume Maon

Tote Dancers: Koji Igarashi, Daiki Okazaki, Ryo Sawamura, Ryohei Suzuki, Teruhisa Tokuichi, Ken Nakamura, Akira Matsuhira, Kensuke Watanabe

Swing: Shinnosuke Mitake and Mizuki Denpoya

Young Rudolph: Kato Kanokazu / Tani Yoshito / Furumasa Yukiya

<Dates and venue>
☆Tokyo performance
Friday, October 10th - Saturday, November 29th, 2025 Tokyu Theatre Orb

☆Tour performance
December 9th (Tue) - 18th (Thu), 2025 Sapporo Cultural Arts Theater hitaru
Monday, December 29, 2025 - Saturday, January 10, 2026 Umeda Arts Theater Main Hall
January 19th (Mon) - 31st (Sat), 2026 at Hakataza

Yurie Watanabe, second-year student at Josai International University; Akina Yoshimatsu, third-year student at Musashino University; Rurika Abe, second-year student at Showa Women's University