Original Post here.

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Acting Troupe D-BOYS' Direct Hit on Dramatic Dream Life
Dramas, Movies, Theater and the like, they're working on multi-platforms. Watanabe Entertaint's Acting Troupe D-BOYS.
This is the guys' direct hit projects and dramatic dream lives serialisation!
This time; Opening from October 14th is D-Stage's 19th 'As You Like It' which these three will appear in ♪

✰ Tomo-san (Yanagishita) is an  ill-tempered, hot/cold guy usually but that's just a spur of his love *laugh*

--D-Stage 19th 'As You Like It' has a long rehearsal period but, at this current stage what's the reaction been like?

Makita Tetsuya: Maechan (Maeyama) who is performing as Rosalind has a lot of lines and is someone who drives the story forward. However, it's a female role and half way through she dresses as a man which is a complicated role to attempt/challenge, but he was able to unlayer the character, right?
Maeyama Takahisa: You're right. I feel I got it right.
Yanagishita Tomo: *imitating Maeyama's tiny voice* Thanks to who?!
Maeyama: It's all thanks to Tomo-san *laughs*
Yanagishita: What? Me? I didn't really do anything though!?
Makita: You guys are annoying! *laughs*

--You're (Maeyama who plays as Rosalind and Yanagishita who plays Orlando, who play lovers) in perfect sync, aren't you! *laughs*

Maeyama: Even in rehearsals we're like this *laughs*. Surprisingly I was able to remember my own lines quickly but, there are times during rehearsals when I can't remember them. When that happens, Tomo-san says "It's better to not (relay on and) read the script". "Don't get too caught up on the lines, be more focused on what you're partner is doing" he said. I tried this out when I was having trouble, during the run-throughs "Oh! This is what you mean!", and my lines came out naturally. "It's better to think about why your lines aren't coming out when you're having trouble," is what I learnt. Tomo-san is really great.
Yanagishita: Stop it *laughs* Actually, it's because I've experienced it myself. During 'Orphans' I had a lot of lines, it was hard to let go on the script, so I completely understand how Mae-chan feels. Being a pivotal character, worries like 'What'll I do if I forget my line and stop the show!?' occur right? At the time of Orphans, Director Miyata Keiko-san told me 'Don't read the script!'. I just wanted to tell Mae-chan the same thing I was told. At first I too was scared but, you'll find things you didn't notice before if you hadn't. Everyone knows you know the script and your lines, so don't worry.
Maeyama: Instead of relying on the script and thinking about it, I was able to naturally feel the actual conversations in the scenes.

--Was D-Stage a good place for senpais and kohais to consult and give advice?

Makita: Before it felt like everyone in D-Boys was together; during the rehearsals we would have this 'everyone's the same' feeling around us and that everyone's doing their best. But I think that changed. We definitely have a senpai/kohai thing going on.
Yanagishita: On the other hand, you never say anything to me because we we started (at D-Boys) at the same time. It feels like we're on the same page. We don't even give each other advice when don’t ask for it.
Makita: That's true. Mae-chan do you have something similar?
Maeyama: You're right. You two entered at the same time so I don't think it's necessarily a bad thing (that you don’t give advice to each other). Even though you're partner is having trouble, they're probably figuring it out and trying their best. I quite admire it. And when you hit a wall, if you ask someone then they're going to answer you. This time around D-Stage has a lot of senpais so I got a lot of help from everyone.

--Even though there's a lot of 'DEVIEW' readers who's never been to see a play, and reader's who've never seen a Shakespeare play, yet they have an interest in 'As You Like It'.

Yanagishita: Director Aoki Gou-san's work is easy for even first timer's to understand. On top of that, the actors in it are excited to do it. There's often no difficult words in Shakespeare plays*, and because of this, I definitely want people to look forward to this production. There's four couples in this so just like Endo-san said once before 'It has a very GetsuKu** Romantic Drama feel to it'. It captures a romantic comedy perfectly and you can feel the affinity in the emotions. Especially if you focus on the different roles. It's definitely best to (come) watch this!
Maeyama: There's a lot of lines in this production and there's a lot of roundaboutness. There's also times where you'll think half way through that you have no idea what people are saying. But, as far as the conversations and the discussions are concerned, it's very easy to understand and watch. I think you'll get to the end and you'll think 'Loving someone is nice'. I too won't forget Orlando's (played by Yanagishita) declaration of love. Tomo-san is... you know...
Yanagishita: *In a small voice and whispering to Maeyama* So cool!
Maeyama: You really are cool
Yanagishita: Really!? It's not something I'm aware of...
Makita: Seriously, you two are a pain!! *laughs*
Maeyama: Sometimes I noticed you scribbled 'I hate this part of Takahisa's (character)' on the script. There's unkind parts too (from Rosalind) as well as the hot and cold personality. That kind of back and forth breaks down the barrier and spurs on the romance *laughs*
Makita: I don't wanna be in that world...

--Just like the play, you're being loveydovey (with each other) *laughs* Makita-kun, you were in the first Shakespeare D-Stage 'Merchant of Venice', you're playing the clown just like last time.

Makita: This time I'm playing Touchstone who is either an interesting person or, the way he thinks and expresses it is interesting. It's questionable what type of character he is...
Yanagishita: The beginning has a lots of antics and there's a lot of strong, individual characters so you have to have a lot of energy. I haven't really done comedy so sometimes I’d say 'I want to refine this a little more' *laughs* When you take out the limitation (of comedy), then you have a good balanced product, and the childish sides of the three main men increases, and more than that, I thought it'd be nice if Orlando could be charming.
Makita: In the beginning it really looked like Orlando was perfect, but when I saw Tomo do the role, I realised he was a man who's overflowing with flaws. Rosalind also (Maeyama's character) is very laughable; she likes Orlando and has these overflowing emotions.

--Do you think the romantic couple's situations has aspects that still occur today?

Maeyama: Moments like when I meet Orlando who I love and my heart races. Not just in a female/male relationship, but a mutual feelings. I play Rosalind but at first she's only thinking about about her family, it's only after meeting Orlando that she begins to be engrossed in her feelings rather than thinking about her family. Puberty is that kind of thing right. I can relate.
Yanagishita: If you think of it realistically, you wouldn't realise if the girl you liked was dressed up as a man. Even if it was for a dramatic setting, and even if it was a type of captivation, in the beginning I thought Orlando had realised. But if the girl you like tries to hide herself in a forest, and on top of that, as a man, I wondered if he was just pretending not to notice when he met her due to her having a reason behind it all. But, a Shakespeare production is always fun so that's when I realised he really didn't know (about Rosalind cross dressing). In reality, if this happened, I'd be happy and enjoy just being with the girl I like, so I'd just carry on (pretending) even if I knew. The romance that goes on in this production is very pubescent. "My heart'll race if I go past him" type of style. It feels like this doesn't happen these days... *laughs* In the same way, I want people who had forgotten those feelings to remember them again.
Makita: Shakespeare is pretty much all about 'love at first sight'. 'Romeo and Juliet' is the same. However, my character, Touchstone is the complete opposite. 'Thanks for noticing me but it’s what's inside that counts more' kind of feeling. There are hypocritical people, but there's lots of different forms of love here. I want you all to enjoy those parts too.

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NOTES:

*Japanese versions of Shakespeare are often translated into MODERN Japanese and therefore very easy for Japanese audiences to understand --- they clearly have no idea how much a of mine field it can be for English speakers and those who read Shakespeare in English xD this part made me giggle!
**GetsuKu refers to: Getsuyoubi Kuji which means the TV time slot of 'Monday's at 9pm'

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Enjoy! Sorry if some of it is dodgy! I’m still rusty as I slowly get back into translating again.