maya panicking and throwing a tantrum at koharu calling her out 💀
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舞台 少女☆歌劇 レヴュースタァライト
―The LIVE―
#2 Transition
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what I think the Seiran trio's ballet outfits would look like
Hisame with a yellow shirt on top, Suzu with shorts on and Koharu has leg warmers
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It’s absolutely hysterical that Koharu was like I wish I was less awkward and better with people and then her goal was to be like Maya of all people like she could not have picked a worse person to emulate if she tried
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Koharu in movie! Veronicas fits bc she slays and my mutual/gf wanted to commission Kohahisa as Chansaw uwu
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oh i know claudine was fuming that maya got koharu a proper present and not her 💀
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See my issue with thinking about revstar is that I essentially completely ignore logic, because the whole series is incredibly aware of its own existence as a performance and laden with themes about being a performance that if it makes sense thematically and character wise I really don’t consider whether or not it makes logical sense or is likely to be canon. (Thus shenanigans like every revue Nana was in prior to revue of bonds with Karen was revue of solitude)
But like… if I’m trying to be analytical is it too much of a stretch to talk about how Sakura’s pursuit of being a set designer thematically mirrors her reshaping of the stage in defiance of the ‘rules’ of stage girls akin to how she and Karen broke the rules of the revues to rewrite the narrative of sorts and reshape the stage?
Or is that too much of a stretch…. It makes perfect sense to me and I think adds to the themes really well in consideration with why she attended Seisho instead of Seiran with Koharu (see rebirth versus reform metaphor) and ties in with how even though their paths are different they are both still searching for their own ways to resolve their conflicts and loneliness on stage… (and I mean it adds to the whole dynamic with Karen and Hikari as well how RATA had them study a wide variety of disciplines similar to Seiran, while at Seisho they only pursue a focused field and yet the passion that Karen and Sakura both have helps to show Hikari and Koharu that their focus on prestige and perfection is unattainable and ultimately just a form of running away) but at the same time in a sense Sakura is running away from performing because she is scared of conflict with Koharu, and knows that Koharu is scared of being surpassed by her and so that when she runs from Seisho even in hopes of reshaping her own stage she reinforces the conflict driving her and Koharu apart by refusing to face it, just like how Karen pursuing Seisho was for the sake of her dream, but ultimately not addressing the isolation and fear she faced after Hikari left-
All of that to say that even just a tiny detail like that perfectly reflects the parallels and common themes among these characters such that Koharu’s idolization of Karen and desire to improve her technical expertise express her true love and admiration for Sakura even though she is unable to truly voice it. And that Hikari and Karen’s advice towards Sakura in Growth reaffirm the ideal that even if your path is unsure, or if you’ve made a mistake, if a stage girl continues to stand on stage and move forward. They can always grow day by day and reach their goal. Not just alone, but guided by others, and supporting each other in contradiction with the crushing despair of the top star system.
Plus Sakura’s position as a somewhat reminiscent of a past version of Karen in Growth helps to demonstrate-
Whoops I waaaaaay over examined and rambled about a tiny detail again to discuss themes that are incredibly more succinctly presented in the source material again….
Anyways Sakura Yanagi is important, and if you haven’t (or if you have and want to rewatch) go watch the musicals!!! Don’t skip Blue Glitter!!! It’s so good!
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