[2025.04.03] KISS & CRY -THE STAGE4-

[yuzurujenn]

KISS & CRY special edition Yuzuru Hanyu-THE STAGE4-

 

Info: 

https://zasshi.tv/products/50578/ 

https://www.amazon.co.jp/KISS-CRY特別編集-羽生結弦―-STAGE４―-TOKYO-NEWS/dp/4867019739/

 

 

An exclusive interview with Yuzuru Hanyu!
"Echoes of Life", "notte stellata 2025"...

What will he have to say in his third season as a professional figure skater? The gorgeous photo shoot comes with powerful B4 and B3 pinups! In addition to reports on the opening and closing performances of "Yuzuru Hanyu ICE STORY 3rd "Echoes of Life" TOUR", which Hanyu held following "GIFT" and "RE_PRAY" , there are also plenty of reports on Hanyu's performances, such as "notte stellata 2025", "Noto Peninsula Reconstruction Charity Performance", and "Fantasy on Ice 2024" . Enjoy the increased pages and the powerful appearance of Hanyu. (Content is subject to change)

[yuzurujenn]

*machine translation, inaccuracies exist*

 

Source: https://weibo.com/6473801248/Plx2mfQ9e

https://weibo.com/6473801248/PlxLTnE4T

 

 

Interview with Jeffrey Buttle on the 'Piano Collection' choreography

 

Spoiler

— I heard that you were responsible for choreographing the Piano Collection in Echoes. How did you get involved with this project?

Yuzu contacted me directly and said, "I would like you to choreograph a medley of short piano pieces." He provided me with a list of selected pieces, some of which reminded me of the Ballade No.1 I had choreographed before. He also specified certain elements he wanted to include, such as "I want to add a 4T here," but beyond that, he gave me full creative freedom. Unlike competitive programs, which come with many rules and restrictions, I was able to fully explore my creativity. Moreover, it had been a long time since he last commissioned me for a program, so I felt incredibly happy and honored.

 

— Did he give you any specific direction for the concept of the performance?

I heard that the theme revolves around the past, present, and future. Yuzu also explained that he wanted to express one person’s timeline through this performance.

 

— Was the idea of using a medley of piano pieces something Hanyu suggested?

Yes, the concept of weaving together multiple short piano pieces was his idea. When I first received the request, I asked him at which part of the show and in what way he planned to use these pieces. This was because I knew the choreography I would create wouldn’t be simple and would require a lot of physical effort, so I wanted to confirm where in the overall show this program would be placed. Of course, I was well aware of his extraordinary stamina…

 

— What was the choreography process like?

Since I couldn’t go to Japan, we worked together remotely via video communication. I first sent him a video of myself skating, and then Yuzu sent me back a video with much higher quality than mine (laughs). We completed the choreography through this back-and-forth exchange. Most of our communication was done through emails, along with a combination of calls and video sharing. We had worked this way a few times before, so there were no issues.

 

— What was the most important aspect you focused on while choreographing?

My main focus was on how to express the emotions conveyed by each piece of music. I paid particular attention to the fundamental aspect of skating—connecting steps. This is an extremely crucial element in figure skating, and working on it was a fascinating process. Since I couldn’t skate and film myself at the same time, I asked Yohnatan Elizarov, a Canadian skater who had been part of the Junior Worlds pairs team, to help demonstrate the movements. When I showed him the video Yuzu had sent back to me, he was amazed by the high quality. It was an interesting experience to let a future champion involved in this process as well.

 

— Ballade No.1, which you choreographed, was also performed in the show.
I saw that part! That’s not an easy piece at all, and performing it at the very end of the Piano medley is just unbelievable. I can’t even imagine the level of stamina he has…

 

— Hanyu continues to perform competitive-era programs you choreographed in his ice shows after his career transition. What do you think about the evolution of his performances?

It’s such an honor that he’s still performing programs I choreographed. What’s amazing about Yuzu is that he continues to evolve mentally and artistically. It’s similar to when Joni Mitchell sings her older songs. It carries a different flavor than when she was younger. Yuzu is the same. When he performs past programs, you can clearly see how much he’s evolved, both as a skater and as a person. The way he expresses subtle nuances in the music, the way he handles every note—it all keeps changing, and it’s mesmerizing to watch.

 

— Hanyu has been producing solo ice shows since his transition. What are your thoughts on this?

It’s unheard of for someone to perform an entire ice show solo from beginning to end, but I know Yuzu well, so I’m not too surprised. He has a unique ability to hold the audience’s attention for two and a half hours. I hope people realize how special it is to witness his performances. Honestly, I don’t think we’ll see another show like this again anytime soon. Performing for two continuous hours on ice is on a completely different level from a concert. It’s a rare talent, a gift. Usually, including myself, athletes stop training at a competitive level after retiring. But Yuzu has kept at it, and that’s why he’s capable of something like this.

 

— If you could freely choose, what pieces would you like to choreograph for Yuzu?

Actually, I already have a few pieces in mind. One is Alexander Scriabin’s Symphony No. 4, Poem of Ecstasy. Some pieces immediately bring to mind a skater performing them, and certain pieces make me think, "Only this skater could bring this music to life." This was a piece I came across when I was searching for my own competitive programs, but even back then, I knew I wouldn't be able to do it justice. I've kept it close to my heart ever since. Later, I thought, if it were Yuzu, he would be able to embody it perfectly. Another piece is the final movement of The Pines of Rome by Ottorino Respighi. The music builds and builds, layer upon layer, pushing toward an overwhelming climax. Without extraordinary stamina, it would be impossible to skate to this. But I believe Yuzu has that strength. If I ever get the opportunity, I would love to choreograph these pieces for him.

 

— Hanyu recently celebrated his 30th birthday. What does the age 30 mean for a figure skater?

Personally, turning 30 wasn’t an issue for me. It was turning 20 that scared me the most. Like gymnastics, figure skating is often seen as a sport where youth is an advantage. If you have talent, people say, Wow, they can jump so well at such a young age! and you get a lot of attention. But when I was 20, I hadn’t achieved much as a competitor yet, so I was afraid. But later I understood that every athlete develops at their own pace. Yuzu has countless achievements to be proud of, but more than that, he should take pride in how much he has contributed to the sport as a whole. He has accomplished so much, and yet, he’s still only 30—that actually amazes me.

 

— You became a world champion at 25, right?

Yes. Then I retired at 26. By 30, I was doing what I loved and living a very fulfilling life. I’ve always loved skating, but I never really liked competing. So being able to focus on ice shows and tours in my 30s was a truly happy time for me.

 

— Thank you. Lastly, do you have a message for Hanyu?

Everything Yuzu has achieved is the result of his own effort and passion. Even now, he continues to share that passion with the world, and that makes me incredibly proud of him. He could have chosen to retire and live a more relaxed life, but instead, he keeps pushing himself forward, constantly working hard, and continuing to grow. He is a true icon.

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

Source: https://weibo.com/2919885090/PlxpshwNw

 

Interview with Taketoshi Hara on the Behind-the-Scenes of the CM Shoot 

 

Spoiler

— Could you share some behind-the-scenes stories from the CM shoot?

Normally, Hanyu’s position for his quad jumps is fairly fixed, but this time, due to the special effects and green screen compositing, he had to perform the jumps right in the center of the rink. It wasn’t easy to control the timing for this, and Hanyu said, “Let me adjust!” and kept trying repeatedly. The costumes were adorned with real rhinestones, so they were a bit heavy. He had to perform a quad jump in an unfamiliar spot, wearing a brand-new outfit. Even so, he completed all the shots within the allotted time. His professionalism deeply moved me. Additionally, the sleeves of the white outfit used a special sheer fabric with a natural drape. The way it was fixed was also unique, and when Hanyu saw it, he became very interested, saying, “This is quite rare.” He specifically checked the air resistance while jumping, saying, “Maybe I should grip the sleeves a bit while jumping, it might work better.” Every time, I’m amazed at how well Hanyu really "masters his costume."

 

— Hanyu hasn’t showcased his skating in a CM for a while. How did it feel seeing him perform on ice again?

Yes, he is a versatile artist and he can excel at anything he does. Personally, I was most impressed by his performance on the ice. This time, his ice performance was presented in the form of a CM, which has become a top-tier content even for those who aren’t necessarily interested in figure skating. To see the costumes I designed appear in it was such a joy. We were granted special permission to adjust the costumes during the shoot, which allowed the staff to step onto the ice. In the ten years or so I’ve worked in figure skating, the chances to actually step onto the ice are few and far between. I deeply understand the sacredness of this place, and standing on the ice made me extremely nervous. To watch Hanyu skate from such a close distance almost brought me to tears. Standing in the center of the rink felt even colder and more expansive than it appeared from the outside. At that moment, I couldn’t help but think, "This is where a figure skater stands alone…" It’s an experience that’s beyond words.

 

— What does "designing costumes for Yuzuru Hanyu" mean to you as a designer?

The costumes this time come in blue and white. Every time he wears them, he becomes “Yuzuru Hanyu in that costume,” transforming into a completely different person. He "converses" with the designs I create, and together they bring to life a whole new "world." This was also true during this shoot. The only person who can give me this feeling is Hanyu. Of course, this job comes with immense pressure and challenges, but when I see my work, which I’ve poured so much effort into, surpassing my expectations and reaching a higher level under his performance, the feeling is indescribable. Every collaboration with Hanyu becomes one of my most cherished memories. If I can continue designing costumes for him in the future, it will be my honor.

 

 

And other snippets from Hara's interview:

 

Spoiler

Source: https://weibo.com/2919885090/PlxWl7YL4

Hara was contacted last autumn, but initially, it wasn’t a request to design the costumes, but rather to style the outfits. During the communication process, it was eventually decided not to use existing costumes but to create entirely new ones.

 

“At first, I was thinking, ‘It’s been so long since I’ve seen Hanyu skate up close~’ I was excited and looking forward to it, preparing leisurely. But then, the decision was made to create two new costumes in a short period of time, which had me running around in a panic (laughs).”
 

 

Source: https://weibo.com/2919885090/PlzcepShw
"Strictly speaking, Aqua is not pure white but a very light blue. White is a color that is difficult to control. If you use white completely, it will appear empty and lack a sense of hierarchy. In addition, the ice rink itself is also white, so there is a lack of contrast and it is easy to blend in with the background. So I added a little blue to enhance the sense of transparency and the awe-inspiring atmosphere. When you look at the static images, you should be able to see the slight blue tint."

 

 

Source: https://weibo.com/6473801248/PlBFyALxi
I read the interview with Hara about designing the Aqua and Haier ad outfits, and my takeaway is that the guy dropped a bunch of theories like a tiger, but in the end the final product still had to rely on Yuzu to hold it together. It turns out that the blue outfit was based on the concept of a foreign luxury car? No wonder the fabric has that car paint-like feel.

 

 

Source: https://weibo.com/6473801248/PlyPYozQI 
Aqua's CSO and Chief of Strategic Headquarters, Kajiyama Kazuaki, actually went to the scene to watch 2024 Fantasy
 

 

[yuzurujenn]

*machine translation, inaccuracies exist*

 

Source: https://weibo.com/6473801248/PlxYI41f2

 

Interview with Yuzuru Hanyu about portraying "NOVA"

 

Spoiler

— In Echoes, one of the most striking highlights is the creation of the protagonist named Nova, whose journey forms the core of the story. How did you shape this character? Also, by performing as a character you created yourself, did you discover anything new?

In the previous ICE STORY series, there were two works: GIFT and RE_PRAY. If you ask whether the protagonist of RE_PRAY is "Yuzuru Hanyu," it’s actually a slightly different existence. It’s more like the protagonist in a video game, or a story that unfolds based on the character's data. This time, for the first time, I introduced a character with an actual name. To further emphasize that this is not Yuzuru Hanyu, I deliberately gave him a name and built his identity.

 

In my past performances, such as SEIMEI, the character Abe no Seimei already existed beforehand. In performing it, I had to project that legendary figure, one that has been adapted and reinterpreted by various works, into my program. However, through performing the program over and over again, not only did the character of Seimei emerge, but even 'Yuzuru Hanyu' himself gradually began to surface. In a program where I can skate to my satisfaction, there will be a feeling that the character and 'Yuzuru Hanyu' are almost one. 

 

— So, were there any changes or developments while portraying Nova?

When I performed in Saitama, I initially thought of this child as Nova and tried to portray him that way. But gradually, including with the new program, 'Yuzuru Hanyu' started to gradually seep through, and as 'Yuzuru Hanyu’s presence grew, Nova’s personality also became more distinct... This process kept repeating. The emotions, the settings, and all the elements I gave to the character of Nova became richer and fuller. Although saying it’s like a "possession" may not be entirely accurate, I feel that Nova's story has become more complete. If 'Yuzuru Hanyu' didn’t gradually integrate into the character, Nova wouldn’t have been able to grow. Nova absorbs the feelings of 'Yuzuru Hanyu', this living human being, and absorbs the atmosphere of every ICE STORY performance, allowing him to continue growing.

 

As for the story itself, since it comes from within me and is expressed in a language I am already familiar with, I didn’t experience a moment where I thought, "Meeting Nova changed me in this way". However, through performing as Nova, I did learn many things, and I started to feel, "Maybe this is what Nova truly thinks". "Maybe, even though I created his personality, there are still more possibilities within him that I haven’t yet uncovered." With each performance, my attachment to Nova has grown deeper, and at the same time, he seems to have become more and more like a real person.