[2023.08.31] Figure Skating Life Extra "Yuzuru Hanyu PROFESSIONAL"

[yuzurujenn]

Info: https://www.amazon.co.jp/フィギュアスケートLife-Extra-「羽生結弦-PROFESSIONAL」-扶桑社ムック/dp/4594621031/

 

 

It has been a year since Yuzuru Hanyu announced his turn as a professional skater on July 19, 2022. He has successfully performed
unprecedented performances, including his solo Tokyo Dome concert "GIFT." We look back on his achievements as a professional athlete over the past year with photos and reports. It is also packed with rare photos from the latest "Fantasy on Ice 2023" B Tour!

 

[Photo & Report]

●Fantasy on Ice 2023 Niigata/Makuhari Performance

●Stars on Ice 2023

●Hanyu Yuzuru notte stellata

●Prologue Yokohama/Hachinohe Performance

●GIFT

 

[Interview]

Tanaka Keiji

Yamamoto Sota

David Wilson

Hara Taketoshi

 

[Special Message] Johnny Weir 

[yuzurujenn]

* Machine translation. Inaccuracies exist*

 

Source: Figure Skating Life Extra 2023, pg 52-55

 

Exclusive Interview: Tanaka Keiji

Makuhari Performance “Filthy / My My My!”

 

Even after turning professional, Keiji Tanaka has continued walking alongside Yuzuru Hanyu as a peer. Here, he talks about what he sees in Hanyu, and about his current professional career.

 

Spoiler

Yuzu's incredible ability is his unwavering focus, just as he did when he was still competing

 

— First of all, how did you end up participating in notte stellata, which was held in Miyagi in March?

 

"I was contacted by the broadcasting company that was organizing the event. I was told about the concept of the show when it was decided that I would participate, and at that time, we also talked about things like music selection."

 

— You performed “Memories” and “Somewhere in Time.” What was the reason you chose those two pieces?

 

"Among the music I’ve skated to before, these two seemed like the perfect fit for notte stellata."

 

— It was a joy to see “Memories” again after a long time.

 

"Honestly, it was pretty tough to bring it back and start practicing again. Since the concept of the show was very clear, I felt I really needed to be able to perform the piece properly, so I practiced with that in mind."

 

— How did you approach the show dedicated to the Great East Japan Earthquake?

 

"It’s something that gradually fades from people’s memory, but I think this day is meant for all of us to remember again, like how much hope we’ve carried through the recovery process, and what this day means for each person. Since the show is deliberately held on this day, I moved forward with the hope that watching it might help someone feel even a little more positive."

 

— For Yuzuru Hanyu, this day and the show hold deep meaning. From your perspective, what was he like as the leader of the show?

 

"During rehearsals, and even on the first day, he seemed like his usual self. But on March 11th, he looked a little different from the moment he entered the venue. Of course, we weren’t without a sense of tension either, but while we were trying to act normally even as we kept the significance of the day in mind, his expression seemed noticeably more serious. I wasn’t actually there at the time of the earthquake, but I clearly remember the situation through the news coverage, and I take it very seriously. We feel that way too, but it made me realize that we can’t completely understand how the people who actually experienced the disaster feel. I think it’s the same for him as well, and even from the perspective of a friend, I could feel that it was a really tough day for him."

 

— On a day like that, having you by his side must have been reassuring for him.

 

"Hmm... I don’t know about that. I can’t say whether he felt that way or not (laughs), and I really don't know. But it's not often that we get to be together on this specific day, so it was one of those times when I really felt glad to be part of the same show."

 

— What was the most memorable thing about the "notte stellata" show for you?

 

"Definitely the amazing collaboration between Kohei Uchimura and Yuzu. I heard that Uchimura-san would be performing when the announcement was made, and I was like, ‘Huh? Where and what is he going to do?’ When I actually got to the venue, there was a big floor set up next to the rink, and I thought, ‘Ah, so that’s how they’re doing it. They really went with this approach,’ (laughs). I watched from the rehearsals, and I thought it was a really interesting attempt, a groundbreaking collaboration. Of course, I watched the actual performance too, and it was a program with the kind of atmosphere that only two people who have reached the pinnacle of their athleticism can truly understand. The music was great, and the costumes and the program were all really cool. It was super exciting."

 

— Did you get to see any of Hanyu’s other performances?

 

"I wasn’t able to see the opening Notte Stellata performance because I was on standby backstage, and I only caught a glimpse of the final Haru yo, Koi. In the first place, I think it's pretty rare for Yuzu to skate in the top slot, outside of his own solo shows. The fans were surprised, and so were we performers. We were like, ‘He's going to skate three times?!’ (laughs). That shock alone was something, but I also thought it was amazing that he skated three pieces with completely different styles to express what he wanted to show through this performance. Also, the Dynamite program that used projection mapping was a real shock too (laughs). I bet he actually wanted to appear in that one himself, not just on video. Probably because of the collaboration segments, he couldn’t be in everything, but on the final day, he was dancing at rinkside. He was dancing so much (laughs). Still, it’s really impressive how he’s done so many different shows, and each one with completely different production and presentation."

 

— Did you also see Prologue or GIFT?

 

"I wasn’t able to see Prologue, but I watched GIFT through the livestream. How should I put it... it's hard to explain. Of course, there was the power of the dancers, the way the visuals spoke to the audience, and the strength of the music, but I watched it thinking that it’s amazing how one person’s performance can connect everything. And the fact that he was able to do that at Tokyo Dome, that was really incredible."

 

The Joy of Collaboration

 

— You wore a blue costume during the Notte Stellata performance. I wondered if you were going to do a new program...

 

"That's a temporary costume. I told them I only wanted a pop blue costume, and they made one for me, so I'd love to wear it again if I get the chance."

 

— You haven’t made a new program based on a costume before, right?

 

“Not really~. I haven’t been looking at fabrics much lately (laughs). I usually just mix and match ready-made clothes to make something, so it’s pretty rare for me to actually make something from scratch... Lately, I've realized that the thinner the better (laughs)."

 

— What do you mean? (laughs)

 

"Fantasy on Ice costumes are basically sheer, aren't they? For the opening and finale. I realized that that kind of look is fine. They're so comfortable to wear (laughs)."

 

— (laughs)

 

"Even Stéphane Lambiel’s costumes are getting thinner and thinner. I think it’s great (laughs)."

 

— But you look good in something extravagant too, so please wear those once in a while. You participated in both the A and B tours of Fantasy on Ice, how was it?

 

“For the A tour, I had the chance to collaborate with ISSA from DA PUMP. At first, since it was a 4-minute ballad (‘All My Love To You’), I thought it might be difficult, but surprisingly, after doing the choreography and skating along with the live singing, it felt really smooth and enjoyable.”

 

— It was very wonderful.

 

“The long cardigan costume was really heavy (laughs). It wasn’t so much the weight itself, but the centrifugal force kept swinging it around. It was a length I’d never worn in my usual costumes, but I pushed through and skated with it anyway (laughs). The band members and artists changed between the A and B tours, so the atmosphere shifted a bit, but since I skated the same solo, I felt myself getting more comfortable with it each time.”

 

— What kind of ice show is Fantasy on Ice to you, Keiji-san?

 

"Everyone else has such impressive titles, so I feel like every time I appear, it's a challenge. In order to be invited again next year, I feel like I have to leave behind some kind of result, even if it's not something tangible."

 

— This year’s collaboration numbers have also been a big hit. Not only the A tour collaboration, but your performance of 'Apple' with Dean Fujioka during the B tour created a lot of buzz too.

 

"The response was amazing, but I felt that Dean-san's ability to attract people is just incredible. Of course, his looks and style are stunning, and just by seeing him, you can tell that he's handsome! But more than that, it was his voice, and also when I listened to his MC, I could really tell that he genuinely wanted to hype up the audience. I was really happy to be able to collaborate with people like ISSA and Dean, who are such great singers and have such great personalities."

 

— How do you approach collaborations, Keiji-san?

 

"I was actually glad that it wasn’t a song I already knew. My stance on choosing songs is that I don’t pick them myself, because if I choose a song, I quickly get tired of it (laughs). It’s something that’s already deep down inside me. Songs that I don’t know well or haven’t heard before, of course, the artists know them, but songs I haven’t encountered yet give me about three times more excitement and surprise when I skate to them. Like, ‘Oh, so this is how this song feels.’ Even while doing choreography, I gradually notice little things like, ‘Oh, this is easier to choreograph than I thought.’ But when I skate live with the singing during the performance, I feel new emotions like, ‘So this is how it feels,’ and that’s really enjoyable.”

 

— What kind of new discoveries did you find this year?

 

“ISSA’s song was a ballad, but I focused quite a bit on choreography that followed each word of the lyrics. As I matched it all together, especially before the steps, I really got immersed. When I got close to ISSA and headed into the final chorus, it felt like an emotion of ‘Thank you for letting me skate to such a wonderful song!’ Actually, at first, the final pose was just raising my hand, but I got a bit particular about it (laughs). ISSA was in Kamen Rider and also sang the theme song. Since I’m a fan of Kamen Rider, I told him, ‘ISSA, you were in Kamen Rider, right? I want to do the pose you used when you transformed.’ So that pose at the end is the one ISSA did when transforming in Kamen Rider. I don’t think many people noticed, but I thought I could sneak it in, so I did (laughs).”

 

"And Dean’s song had a completely different vibe from ISSA’s, which I actually thought was a good thing. I realized I got to skate to such contrasting styles between the A and B tours. When doing the choreography, since there was quite a bit of rap at the start, it was difficult to pick up every single lyric, so the choreography followed more of the flow. But there were key moments where the lyrics really guided the movements, and that happened in several places, which made it really fun. Both pieces were choreographed by Kenji Miyamoto-sensei."

 

Still performing in the same show

— It’s been a year since you and Hanyu became professionals. Do you often watch each other’s professional activities?

 

"Since we do a lot of shows together, I do watch him often. He maintains such sharpness in his body that you’d think he could return to competition at any time. It’s not about his mindset, but his body’s sharpness, and the quality of his jumps and spins hasn’t declined. Even in non-competitive programs, it feels like he still focuses firmly on his jumps."

 

— Is there a difference between performing in shows as an active competitor and performing as a professional?

 

“For me, the nervousness hasn’t changed since my active days, but I think it’s good that it still exists properly now. Being able to stay tense without loosening up and face the challenge is a strength, I think. Yuzu is the same. If anything, it’s become even deeper. The way he focuses, creates his own world during warm-up, and steps onto the ice remains the same. I think it’s amazing that he hasn’t changed in that regard.”

 

— Your career as a pro will continue from here, and I’m sure you and Hanyu, being peers, will keep pushing each other to grow.

 

"I want to continue to perform in the same shows as I do now, maintaining my physical and mental condition so that I can continue to perform each of my routines. As long as I keep performing in shows, I want to keep striving to be able to perform in the big shows he's in, and keep up that level of ability."

 

— Would you like to create a show together?

 

"Not at all, actually. I don’t think we’d be able to decide on a direction at all (laughs)."

 

— What about a collaboration as peers?

 

"A collab!! Hmm… I can’t even picture that (laughs)."

 

— I think it would be interesting, though.

 

"Ehhh… when it comes to the ice… hmm... But it might be fun to daydream about it (laughs)."

 

— I hope we can see it someday.

 

"If it ever happens, that would be great. But even just performing in the same show is a lot of fun."

 

— Is there anything you want to try as a professional moving forward?

 

“I want to keep showing different sides of myself. Discovering things like ‘Oh, I can do this,’ and ‘I can do that,’ and seeing how much of that I can express as a pro until I can no longer skate. That’s the challenge for me right now."

 

— You used to say you’d never skate again after retiring, so it’s wonderful to see you perform so many programs as a professional.

 

“It’s like extra time after the game (laughs).”

 

— Please keep extending that extra time (laughs).

 

“Like, how many overtimes am I going to do? (laughs).”

 

 

PROFILE

Born November 22, 1994, in Okayama Prefecture.
Represented Japan at the 2018 PyeongChang Olympics, and the 2017, 2018, 2019, and 2020 (cancelled) World Championships.

 

Regarding the hand part of the costume he wore for his new Fantasy on Ice program “Filthy / My My My!”, he said: "I used Dai-chan’s ‘Phoenix’ as a reference. Rather than just a reference, I saw it and thought, ‘I want to do this.’"

 

When asked about him saying something to Hanyu, who was crying at Johnny Weir’s retirement ceremony: “I just said something like, ‘Off you go (to change clothes)!’ (laughs).”

[yuzurujenn]

* Machine translation. Inaccuracies exist*

 

Source: Figure Skating Life Extra 2023, pg 56-59

 

Exclusive Interview: Yamamoto Sota 

Fantasy on Ice 2023 Makuhari Performance "Teeth"

 

Yamamoto has accumulated a wealth of advice and inspiration from Yuzuru Hanyu during the tour. His eyes are already set on the next step.

 

Spoiler

The many pieces of advice and inspiration received from Hanyu-senshu

 

—First, could you share some memories or episodes from Stars on Ice and Fantasy on Ice?

 

"First of all, I was really happy to be able to participate in the Stars on Ice tour, and I feel it turned into a very intense and meaningful period. I was also happy to be able to travel the tour with Hanyu-senshu, and I received a lot of inspiration from him. Although I'm still active as a competitive skater, I was able to see performances and jumps even more amazing than those of current competitors up close, and it made me want to aim even higher. I felt that I really need to work hard to achieve performances and jumps like Hanyu-senshu's.

 

As for Fantasy on Ice, I was invited to perform in the first half of the tour for the first time. It’s a show I had always wanted to be part of, and I had a strong sense of admiration for it—it’s one of the most spectacular shows among ice shows. I had never seen it live, but even through videos, I thought it was such an impressive ice show. I thought that only a limited number of skaters would be selected to perform in it, so I was very happy to be invited to the Fantasy I had admired for so long. It's also a show where Hanyu is at the top of his game, so I had a really fun time being invited as a guest there, and I was also very happy to receive so much support from the audience."

 

—Did you have a chance to talk with Hanyu-senshu during practice and such?

 

"During Fantasy, there was a rehearsal before the Makuhari performance, and while the other members were practicing, I had a chance to talk a little with Hanyu-senshu next to me. This off-season, I've been working on new quads. I've landed the quad flip and quad lutz in practice before, but I haven’t been able to land the loop yet. So I went to ask Hanyu-senshu, who jumps an amazing quad loop, about what kind of mindset or awareness he has when he jumps it. He gave me a lot of advice and explained in detail what to pay attention to. I’d like to try incorporating that into my practice and during senior training camps going forward."

 

—What kind of advice did he give you?

 

"Hanyu-senshu enters his loop jump from a mohawk. There are other methods like entering from a back outside three-turn or from a mohawk, and there are various ways to do the mohawk itself. Hanyu-senshu is the type who does a mohawk to the right first and then jumps, whereas I do a mohawk from right foot to left foot and jump straight from that (demonstrates it while standing). There are surprisingly few people who use Hanyu-senshu’s method of jumping. It’s kind of a style that’s unique to him. Generally, most people enter from the right foot and do a mohawk toward the left before jumping."

 

—When you actually try it, it seems like Hanyu-senshu's entry method lets you take off more decisively.

 

"Exactly, it feels like it stops your hips.With the usual entry, I feel like the body gets pulled off balance, but with Hanyu’s entry, you can stop the hips once and go straight in. He said he wants to jump straight, and that method seems to suit him. Jumps vary a lot from person to person, in trajectory and in entry, so I want to find the style that works best for me. Still, I think that learning to stop your hips is the key (to mastering the quadruple loop)."

 

—-A loop is scary if you can't take off properly.

 

"It’s scary if you bail out of it (laughs). Unlike other jumps, you can’t just force 100% rotation into it. I think it’s the kind of jump where you need to guide it smoothly with maybe 70% effort, or else it pops out.”

 

—Was Shoma Uno’s entry an inside three-turn?

 

"Yes, he enters with a back outside edge, transitions to a forward edge, and then does an inside three-turn. For my triple jumps, I use three different entry patterns: the inside three-turn, a standard mohawk, and a mohawk entry starting from the left foot like Hanyu-senshu. As for the quad, I’m still experimenting to see which entry works best for me."

 

—Which one seems the easiest to jump with?

 

"In the end, I’ve been using the standard mohawk I’ve always done since way back, but when I tried it about two years ago, I couldn’t get any rotation at all. That’s why I think that if I try entering like Hanyu-senshu, by stopping the hips once before the takeoff, it might make it easier to really tighten up at the end. As for the inside three-turn, I won’t really know unless I try it. I used to always enter the flip from a forward mohawk as well, but lately, for the quad, it’s become a setup where I first do a three-turn and then finish with a mohawk. So it’s really a matter of trying things out and seeing what works."

 

—Are quads really that different from triples?

 

"I think those kinds of subtle differences really matter."

 

The Power to Give Your All

 

—Since last season until now, you've done many competitions and shows.

 

"Someone like Kazuki, who’s around the same age, has been in a lot more shows, so I think that’s amazing. And honestly, I’m a bit envious. I want to be invited to more shows too. Last year, I was able to get good results, and gradually I started getting invited to more shows, so I’m hoping that if I keep working hard this season, those opportunities will continue to grow. At this latest show, more people were waving my banner than I had expected. I really feel like the number of supporters is slowly increasing, and that makes me really happy. I want to keep doing my best so that even more people will cheer for me."

 

—You're also scheduled to do a collaboration at next year's Fantasy on Ice.

 

"Many people have told me this, but (for that reason) first, I want to work hard this season. Last year, I felt a lot of growth, so I have confidence. But at the same time, I want to reset my mindset and aim to level up as a new version of myself."

 

—You've skated alongside Hanyu-senshu in Stars and other shows before, but is there anything you learned from performing with him this year?

 

"In both Stars and Fantasy, the moment Hanyu steps onto the ice, the entire audience bursts into cheers. I think Hanyu is the only one who can create an atmosphere that feels like a live concert. I really admire his ability to give 120% of his effort every performance, creating such captivating, compelling performances that people want to see. I think that's one of the reasons I'm drawn to him. It’s not like he’s literally risking his life, but there’s an incredible intensity in how he gives his all in his performance, and that kind of performance naturally creates a powerful presence that audiences want to watch. That’s something I learned a lot from in both Stars and Fantasy. Even in group numbers, Hanyu’s movements have a different magnitude. I try to consciously move big and connect with the audience in my own expression, but when I watch videos, I realize I can show even bigger movements. I want to keep working hard so that I can bring joy to even more audience members, so that when people come to see me, they feel glad they did.”

 

—But your performance "Teeth" was a big hit at this year's ice show, so I'm sure you've gained quite a fan base.

 

“Yes, I also enjoyed it a lot, and hearing people say that made me really happy. Of course, at Stars and also at Fantasy, the audience reactions were very positive, and I personally had a lot of fun, so I want to perform again (laughs).”

 

—Were you able to watch Hanyu-senshu’s performances?

 

“Of course. At Stars, he did Ashura-chan, One Summer’s Day, and Phantom of the Opera. Each one was a completely different genre. With Phantom, the layout was the same as his competition program, with elements like a quad–triple and an Axel combination. I was blown away. It made me realize I still need to work harder, and it motivated me to push myself more. And Ashura-chan had a huge impact on me too. I think that was truly a new genre within skating, and it felt like watching Hanyu-senshu in live concert. Just hearing that song and seeing Hanyu-senshu moving to it got me really excited. He has that kind of charisma that just draws you in."

 

Someone Who Can Satisfy the Audience 100%

 

—From your perspective, what kind of presence is Yuzuru Hanyu as a professional athlete now?

 

“Professional, I guess. Since his competitive days, whether in competitions, shows, or even outside of skating life, I’ve always felt it. I think the word ‘professional’ truly suits him. To that extent, he pursues everything thoroughly, and I imagine the pressure he bears alone must be immense. Yet, he meets all those expectations. Even after turning professional and performing in shows, he's able to delight the entire sold-out audience. People buy tickets to ice shows, both live and streamed, and travel to the venue to enjoy them, and I think Hanyu-senshu is one of those skaters who makes them want to go to see him even if it means going through all the trouble. I think Hanyu-senshu is the kind of skater who can satisfy 100% of the people who come to see him."

 

—It's still a long way off, but what kind of pro skater do you want to become?

 

“I really love skating, and ever since I was little, I’ve always thought that after I retire, I’d like to become a skating coach. That hasn’t changed even now. Also, I want to be active as a professional skater, so right now, I'm focused on building up my track record so I can be invited to more shows. I want to become someone that people want to invite."

 

—Is there anything you’d like to do with Hanyu-senshu?

 

"I’d really love to be invited to one of Hanyu-senshu’s shows, like Fantasy on Ice or Notte Stellata, and give it my all as a member of the cast. I'm confident I could do my best if I was invited (laughs), so I really hope I'm invited. I'm going to work hard (at competitions) so that can happen."

 

—Lastly, please share your overall thoughts after participating in so many shows this time, and what you want to work hard on moving forward.

 

"I feel that my attitude toward and approach to ice shows have changed a lot over the past few years, and I've come to really enjoy expressing myself to the audience during the performances. That’s both fun and where I truly feel my growth. With that feeling, I want to learn even more from ice shows so I can perform in a way that reaches many people, even those seated in the higher sections, and also incorporate what I learn into my competitions. I feel there’s still so much to study, so I want to absorb as much as possible, connect it to my own growth, and carry it forward onto the path ahead."

 

 

 

PROFILE

Born January 10, 2000, in Osaka Prefecture.
Bronze medalist at the 2015 World Junior Championships, gold medalist at the 2016 Lillehammer Youth Olympic Games.
Silver medalist at the 2022 Grand Prix de France, NHK Trophy, and Grand Prix Final.
Champion at the 2023 Winter University Games, silver medalist at the Challenge Cup, 15th at the World Championships.
In the story where he received jump advice, he demonstrated the steps before the jump while explaining.
His sincere attitude toward accepting, digesting, and applying the advice he receives may be the secret to his continued growth.

[yuzurujenn]

* Machine translation. Inaccuracies exist*

 

Source: Figure Skating Life Extra 2023, pg 82-87

 

Exclusive Interview: David Wilson

“Yuzu knows exactly who he is. A true professional.”

 

Wilson has been deeply involved in Hanyu's shows since he turned professional. We asked him about how Hanyu has been over the past year and about the concepts behind the programs he choreographed.

 

Spoiler

The Concept of “Ano Natsu e” (“One Summer’s Day”)

— When we met at the 2023 Canadian Championships, you spoke a little about choreographing “Ano Natsu e.” At that time, you said that the concept was something like Hanyu taking on the role of a being from a legendary tale, expressing grief and bringing healing to a land hit by a major natural disaster.

That’s right. According to the explanation I received from Yuzu, he was portraying something like a water spirit, a being who could control rivers, streams, and lakes. But then, a great tsunami came, and despite his powers, he was unable to control that immense flood.

Working with him on this piece was truly an amazing experience. In his mind, the concept was already fully formed, and my role was simply to help bring that fantasy of his to life. We did the choreography over Zoom. Of course, it’s always more enjoyable to work together in person, but Yuzu always comes to our sessions so thoroughly prepared that it’s easy to work with him. At the same time, he’s very open to my suggestions.

— You’re aware that projection mapping by MIKIKO’s team was added to the Tokyo Dome performance, creating a magnificent work, right?

Yuzu told me that projection mapping would be added, and that it would be handled by a wonderful artist who would design it to match with our choreography. I thought to myself that I’d love the chance to work directly with such a top-notch artist. It would be amazing to create a piece or show from scratch together. I’d actually worked with projection mapping a bit before, during Javier Fernández’s tour. It was great, but since it was a traveling show, we didn’t have enough preparation time to scale it up. Even so, that experience really sparked my interest in the potential of this new creative method.

— What did you think about the “one-man show” format?

I was blown away. That’s something only he could do.

 

A special meaning behind notte stellata

— When did you start working on the “notte stellata” show?

I think we quickly put everything together after the New Year. First, I started working on the choreography for “GIFT” with Yuzu over Zoom in early January, and I remember asking him about the structure of “notte stellata” at that time. “notte stellata” was an amazing experience. There were only eight of us, including Yuzu, but the whole team was so united. It was the smallest group I’ve ever choreographed for, which felt really refreshing. Everyone was an excellent skater with a strong professional mindset, both in experience and in spirit. It was a truly high-quality cast.

— This show had an unusual structure, starting with Hanyu's solo followed by a group number. How did that come about?

The initial idea proposed by the production director was to create a group number using the instrumental version of “notte stellata” and incorporate Yuzu's solo into it. But when we began to refine the plan, Yuzu hesitated a bit as he felt it wasn’t quite in line with what he wanted to do. That solo holds a very special meaning for him, something he treasures deeply. So, he likely felt some discomfort with that initial idea.

The next idea was to have his solo first, and then create a number where the other skaters would represent the ‘stars’ he scattered across the sky. To make that work, I was tasked with finding music that would follow naturally after the solo and also change the pace slightly. Fans probably wouldn’t want to hear the same song repeated after his “Swan” performance, and even if we used an instrumental version, it might feel unsatisfying after the vocal one. Personally, I really liked the idea of having Yuzu skate his solo first. That piece was, in a way, the premise of the whole show. It gave the performance a rare and unexpected structure, which I thought worked wonderfully.

Once that structure was set, though, I couldn’t find any existing music that fit the flow in a satisfying way. So, I got permission to commission an original piece. I asked a composer in Montreal, and he’s always open to challenges and does fantastic work. This time, I requested that he create a completely original composition, and he was very enthusiastic about it. The finished piece turned out beautifully, and everyone was thrilled with the result.

— That composer was Karl Hugo, correct?

Yes. And of course, Hugo Chouinard collaborated on the editing. Karl and Hugo always work together, and I regularly ask Hugo to edit the music for my choreographies.

— It must have been difficult working on so many projects at once.

GIFT wasn’t too demanding for me, as I only handled one program. Yuzu and I did three or four choreography sessions over Zoom, and that was it. But for notte stellata’s opening number, I gave Karl very detailed instructions, such as what kind of inspiration I wanted it to convey, and what kind of sounds and progression it should have. For example, I told him, “Make this section more twinkly, more fairy-like,” because Violetta (Afanasyeva) represented the Milky Way. Then for Shae-Lynn’s entrance, the image was that of a comet. I wanted the whole thing to have movement and dynamism, with each star skater embodying their own character. Still, it was a carefully choreographed number, structured so that even without the announcer introducing each skater, it would stand alone as a complete program. I was very happy with how it turned out.

— Karl titled this piece “Twinkling Stars of Hope,” didn’t he?

Yes, that’s right (laughs). That was the title Karl gave it.

— And the finale was also choreographed by you?

The finale song (“Song of Hope”) was one Yuzu chose himself. Ah, I have a really funny memory about that one. The director kindly sent me a line-by-line translation of the lyrics beforehand. Since English and Japanese sentence structures are different, the order of verbs and nouns is often reversed.

While I was choreographing, I couldn’t quite decide how to wrap up the last part. At the end of the song, there was a section where the sound goes, “Da, da, daaa—" and stretches out. So I thought, “Okay, let’s match that to the meaning of ‘Song of Hooo~~pe!’” (he gestures with arms spread wide). Then Akiko (Suzuki Akiko) told me, “No, in Japanese, the order is ‘Hope Song~~~.’”  Everyone burst out laughing! Ever since then, whenever we came to that part, we'd remember it and laugh.

 

— Another highlight was the collaboration between Hanyu and Kohei Uchimura. What was your role in that program?

Basically, the two of them had already decided how to divide their parts, so I helped choreograph Yuzu’s sections. To be honest, I wanted to create many more showcase moments. I suggested that we hold a Zoom meeting with Yuzu on the ice, me in Canada, and Kohei joining us, but it didn’t happen due to time constraints. Still, they did adopt one of my ideas, which made me happy. You know how gymnasts, when performing on the pommel horse, swing their legs around like this? I thought, what if Yuzu did a camel spin while Kohei was doing that? Ideas just kept coming to me. And you know the traveling butterfly move? Yuzu is really good at that, and can do it 10 times in a row. So I thought, I'd like to have him do it. Honestly, my head was full of wild ideas (laughs). But the parts where the two of them synchronized their movements worked out perfectly. The audience was screaming! It truly felt like the performance of two legends united.

— Naturally, you were told that the theme of the collaboration was “A Meeting of Winter and Summer Olympic Champions,” right?

Of course! I was really fired up about it. Actually, maybe I got a little too enthusiastic and scared Kohei a little (laughs). He’d never done a performance like this before, so he might have been thinking, “Whoa, please give me a break. I just want to do it my own way!” (laughs)

— Our editorial staff who saw the performance in person said that Hanyu’s “Swan” was breathtaking, full of emotion and completely immersed in the music.

Yes, it truly was breathtakingly beautiful. I hadn’t seen that program in ages since I choreographed it so long ago, and I was completely blown away. To see how deeply he surrendered himself to the music and how completely he became one with the program was incredible. Both of his solo performances in that show were wonderful. I choreographed not only “Swan,” but the other program as well. I had actually forgotten until Yuzu said to me, “That one’s yours too!” (laughs)

— “Haru yo, Koi” was his exhibition number from 2018, and “Swan” from 2016. Seeing his skating again after all that time, what impression did you get?

What stood out most to me about his growth was actually when we first reunited to work together after I choreographed Romeo and Juliet for him during the Sochi Olympic season. That collaboration was truly special because he had become exactly the kind of person I’d hoped he would grow into by then. Back when we first started working together, Yuzu was an intense, driven boy. Even when I thought he could put more heart into the choreography, at that time, jumps were everything to him. So when it came to choreography, to me it looked like there were parts where he’d skip over details or compromise a little. Of course, after that he studied under other choreographers and created amazing programs, but during those first two years, he simply wasn’t mature enough yet for true collaboration.

That’s why choreographing “Swan” was such a joyful experience. There was only one jump at the end, but to witness Yuzu fully dedicating himself to the choreography and creating his own unique kind of magic was truly heartwarming. After all, he does have magic, doesn’t he? (He says this with a tender expression) Yuzu has magic. Watching him perform that program live in front of an audience this time, it felt even more magical than during rehearsal. I think that shows just how deeply meaningful this show was for him.

 

As I recall from what the director told me, Yuzu had always wanted to hold this show but hadn't been able to make it happen until now. The Great Earthquake happened in March, right before Worlds, so as an amateur skater, he couldn’t organize a show at that time of year. He had waited twelve years to finally express his condolences and realize this long-cherished dream. That’s why this show was so profoundly meaningful for him.

And we all felt that. Everyone involved was inspired by Yuzu. I could hear people all around sharing their impressions after watching his performance, and I was deeply moved at the time. Jason (Brown), for instance, said thoughtfully, “I want to be a skater like that. I want to feel that way when I’m skating, too.” Yuzu truly inspired all of us. That week was simply a magical experience for me as well.

 

“History Maker” and “U.S.A.”

— Regarding the Fantasy on Ice group numbers, do the organizers usually consult you about the show’s concept?

No, I’m not involved in the concept at all. I don’t take part in the creative direction of the show. I’m simply hired to choreograph an opening number to a specified piece of music. I don’t have any say in the overall direction. The music also depends on which guest artists are invited that year.

— I see. Each year, Fantasy on Ice is divided into an A-tour and a B-tour, right?

Yes. The introduction part of the opening, where the skaters are presented, was actually choreographed thirteen years ago by Brian Orser and me. Even after all this time, it’s basically remained unchanged, almost like a template. But this year’s show had a smaller cast than usual, so I was quite conscious of going back to basics. Usually, the first forty seconds or so feature the so-called ensemble skaters, and there are only minor changes from year to year. But this time, I completely redid that section. I actually think the ensemble choreography turned out really well (laughs). We had a great group of skaters, and I really liked working with them.

— You made some changes in the B Tour, didn’t you?

First of all, different star skaters were performing in the second half of the tour, so we had to change the order of the introductions. And the song that comes right after that was also different. Since the artist was different, the whole atmosphere became completely different. In Makuhari, it was more of a pop-style song, a light pop arrangement of “Ain’t No Mountain High Enough.” And the finale was “U.S.A.” … When I first heard that one, I honestly wondered what I should do. It’s the kind of song you’d use for a workout, with the tempo gradually increasing, right? I thought, “This might give me a heart attack!” (laughs). But in the end, it turned out to be a lot of fun. The band members playing it seemed to really enjoy it too, and I think the skaters liked it as well.

To be honest, though, I personally preferred the B Tour. I absolutely love Dean Fujioka’s “History Maker”! When I first heard that song, I was moved to tears. I was trembling and crying. After all, this was Johnny (Weir)’s final performance, right? And it was also the year Yuzuru turned professional, plus it had been a while since I’d done choreography for Fantasy on Ice myself... I actually wanted to use that song for the finale. It really had that “final” feeling to it (laughs).

 

— It’s a grand song, isn’t it?

It really is! But the Japanese song we used for the finale, “STARS,” was also very heartfelt and very gentle. Everyone dug into the meaning of that song together and tried to understand it deeply. In the end, that’s what’s most important, right?

— By the way, since this Fantasy was Johnny’s last tour, whose idea was it to feature him?

(Points to himself modestly) Well, it wasn’t like I wanted to make everything about Johnny. First, I contacted Makabe-san’s team about the idea, and they kindly gave their approval. Then I talked to Yuzu about it. Everyone was enthusiastic. We all love Johnny, and the fans love him too. But I didn’t want to make it too big of a deal, just a small feature, really.

There was a time during the tour when I was watching the performance from behind the set, and Gaby (Papadakis) and Guillaume (Cizeron) were next to me. We were all watching Johnny’s skating together. I was deeply moved by Guillaume’s expression. It was full of love, respect, and admiration. And when I heard “History Maker” again at that moment, I thought, “What a truly beautiful song this is.”

I actually told Dean about it. I said, “It’s such a wonderful song,” and I wanted him to know what my intention was when I choreographed to it. Apparently, he had never seen figure skating live before, and if you’re not paying attention, everything goes by so quickly, doesn’t it? So after I left Makuhari, I got a kind message from Dean. He said, “Because I paid attention, I understood what you did (with the choreography). It even influenced the way I sang.” That made me so happy that he understood, including the part about featuring Johnny.

 

About Self-Choreography

— So, the collaboration number Hanyu performed at Fantasy wasn’t choreographed by you?

I was supposed to be. Yes, that was the plan. When “notte stellata” ended, Yuzu and I talked about doing choreography again over Zoom, for both the Makuhari and Niigata programs. I was really looking forward to it, but with everything going on, we couldn’t find the time, and in the end, it just didn’t happen. So he choreographed everything all by himself.

But what was so cute about him was that when I met him in Makuhari, he looked so apologetic and said, “I'm so nervous to show you my choreography.” I couldn’t catch him right after his performance on opening day, so I could only tell him after the show how amazing it was. Especially the Makuhari program, I was completely blown away. The other one, too, of course, but that kind of dance-music style is so difficult to turn into a figure skating program, right? I was really impressed. So I told him, “You don’t even need me anymore!” Yuzu looked so happy that I liked his choreography.

— The split at the end of “If...” was amazing too.

Yes, yes, he was in top form! I was like, “Hey, I wanna be part of it too,” (pretends to sulk). Honestly, I was watching and thinking, “He really doesn’t need me anymore.” And you know, I have experience with it myself. Self-choreography isn’t easy at all. Of course, it depends on the person, but I've tried it a few times and found it really difficult. Doing it all by yourself, thinking this way and that way, is extremely tough. You have to decide everything yourself and still keep enough distance to see the big picture. I never found that enjoyable. 

So I really respect people who can do it. Stéphane (Lambiel) often does self-choreography, and there are others who are great at it, but I much prefer choreographing for others. That’s why I was really impressed that Yuzu choreographed his own program. The way he integrated with the music was amazing, and his movements were truly innovative. But, you know, it’s also fun to choreograph for Yuzu.

 

About the ‘Professional’ Yuzuru Hanyu

— From your perspective, what kind of characteristics does Hanyu have when it comes to choreography? You’ve created programs for hundreds of skaters, so could you share your thoughts from that experience?

What’s amazing about him is that, before I even explain the piece I’m about to choreograph, he already knows the music inside and out. It’s immediately clear that he’s thoroughly researched it in advance. At the same time, he’s very open to suggestions. But he can also clearly express when something doesn’t feel right to him, always politely, of course. In short, he knows exactly who he is. He’s willing to try different things, but when it comes down to it, he can discern what he doesn’t want to do. That’s a really good quality, isn’t it? If you're always trying to fit in, it means you don't really know who you are, so how can you achieve anything that way? That’s something I respect deeply about Yuzu.

And lately, when I work with him, I really feel like I’m working with a true professional. He knows exactly what he’s capable of and what his strengths are. He's not just confident, he's driven by a strong desire. Yuzu has an incredibly strong will. So, for example, let’s say there’s something he can’t do yet. If it’s something he wants to do, by the next day, by the time you see him again, he’ll already be able to do it. He’s that kind of person. He really enjoys being challenged and tested in that way.

— What are your thoughts on future ice shows? In last year’s interview, you said something about how you'd like to see Hanyu gather a few select skaters and create a grand spectacle, right?

Maybe he'll create a show like that someday. Yuzu will surely have a long, long career ahead of him, so I'm sure he'll continue to challenge himself with new things. Of course, to create that kind of spectacle, the most important prerequisite is for him to find a concept or story that truly resonates with him. But still, it amazes me how many different ice shows are being held in Japan even now. I can’t even keep track of them all!

 

Back in the 1990s, North America had a similar situation, but now there’s hardly anything left of that. That’s why I hope that in Japan, people in the skating world and producers carefully assess the situation. You must never underestimate the fans. If we look back at the heyday of North American skating, there was a time when people would tune in to any TV program just because it was skating. Because of that, the people providing the content became complacent. I really hope that doesn’t happen in Japan. Producers need to stay up to date with the times and keep evolving. They have to make sure to continually surprise people and keep their interest. If you underestimate the audience, they’ll eventually get bored. Of course, as long as Yuzu is in a show, people will come to watch. But in addition, if you put in the effort and deliver a strong concept with great choreography, the rewards will be even greater. That’s what will make it truly last in the long run, and that’s something important everyone should remember.
 

 

 

PROFILE

Born May 25, 1966, in Canada.
After retiring as a men’s singles skater at age 18, he went on to perform as a professional skater. Later, based in Toronto, he became a coach and choreographer, working on programs for Olympic medalists such as Jeffrey Buttle, Kim Yuna, Javier Fernández, Patrick Chan, and Yuzuru Hanyu.

Among Japanese skaters, he has choreographed for Midori Ito, Nobunari Oda, Miki Ando, and Daisuke Takahashi. This season, he has also choreographed Mai Mihara’s “Jupiter” and Sota Yamamoto’s “Chameleon.”

[yuzurujenn]

* Machine translation. Inaccuracies exist*

 

Source: Figure Skating Life Extra 2023, pg 88-91

 

Exclusive Interview: Taketoshi Hara

“While we were feeling our way through, it was Chairman Hanyu who guided the direction of the show.”

 

Hara designed the costumes for Hanyu and Uchimura in “notte stellata.”
We asked him to share his perspective on Chairman Yuzuru Hanyu.

 

Spoiler

“notte stellata”

Costumes for Two Champions

 

—The costumes worn by Yuzuru Hanyu and Kohei Uchimura in “notte stellata” were magnificent and beautiful. The theme was “Return of the Champions,” right?

 

Yes. When I first received the offer, I initially thought it would be a program with a strong sense of requiem for the earthquake. I had heard that Hanyu felt it was important to hold the show at that venue on March 11. However, I was told that the program itself would be more about the two Olympic champions taking on something entirely new and reaching forward to grasp something. So, while the underlying sentiment was one of requiem, I began thinking about the costumes from the perspective of what the two champions would want to show on top of that.

 

When thinking about the two of them, the biggest factor is, of course, the Olympics. So I first looked into the origins of the ancient Olympics and discovered their deep connection to Greek mythology. The ancient Olympics were not only a sport, but they were also religious ceremonies, with a strong ritualistic element dedicated to the gods. Meanwhile, both Uchimura and Hanyu are living legends at the forefront of modern-day Olympic sport. So when I explored the theme for the costumes, I pictured the ancient Olympic Games in Athens, and with that in mind, I envisioned these two modern masters returning to the earthquake-affected venue to perform a ritual, as if offering it to the gods on the day of the disaster. I felt they were truly champions worthy of that image. Even though both have retired from active competition, when they return to the floor or the ice, they bring the same intensity they had as competitors. In other words, the image was that of ‘the return of the champions.’ The concept was for them to come back to this place, which holds so many sad memories, to perform a ritual of requiem.

 

Basically, I start by developing either the concept of the music or the costumes. That piece, Conquest of Paradise, is the music from a film depicting Columbus’s discovery of America. The composer is Vangelis, who is also famous for Chariots of Fire, which embodies the spirit of athleticism at its core. When I looked into it, I found that Vangelis himself has a deep connection to the Olympics. He once performed and conducted at the Sydney Olympic opening ceremony and on top of that, he’s from Athens, Greece. Since Vangelis composes music closely tied to the ideals of Olympism, his work perfectly aligns with the theme of this program. I thought it would almost certainly make for a great program. With that as my anchor, I began designing the costumes around this theme.

 

—How did the design process proceed from there?

 

This time, creating Uchimura’s costume to pair with Hanyu’s was really difficult. I had absolutely no experience making gymnastics costumes, so I didn’t know what would be okay and what wouldn’t. Uchimura had never worn a decorated costume and had only performed in things like the Japan jersey. Moreover, with Hanyu and Uchimura performing at the same time, the difficulty of the production was dizzying.

 

—Did you receive a lot of rejections or corrections?

 

No, regarding the designs this time, both Hanyu and Uchimura approved them on the first try. According to Uchimura, basically he only wears shorts when competing, but he said that long pants would be absolutely fine. He said he could give 100% of his effort without any problem, and that the design was good.

 

I had heard from the show’s producer that “both of them are going all out” and that “they’re both very competitive and won’t hold back, so they will give their all.” Uchimura would likely perform highly technical, twisted somersaults, and Hanyu would definitely execute the triple Axel and quadruple toe loop. This meant I had to push the costume design to the very limit of what would still allow for the 4T and 3A. While slightly longer hems add visual elegance, I needed to confirm with Hanyu exactly how long the costume could be without interfering with those jumps. If I received feedback from Hanyu, I could immediately get comments such as, "If you fasten this part here and tighten this part in this way, I can probably jump, so can you adjust just that part?"

 

What’s truly amazing about Hanyu is that he is completely aware of the limits of his own performance. This time, he was not only doing a triple Axel and a quadruple toe loop, but also a roundoff. The tail of his costume is made of tulle, and I personally wanted to make it a little longer. However, at that length, it might have affected his jumps. So I initially proposed the longer version, with the understanding that we could shorten it if necessary. At the fitting, however, Hanyu said, "I think this length is fine, so let’s just go with it for now." As a result, almost no changes were made, and the visual concept and placement of the details I wanted to express were realized almost exactly as intended.

 

—The styles looked similar, but Hanyu’s had lace material while Uchimura’s appeared more solid.

 

When you look at gymnastics and figure skating side by side, gymnastics tends to feel more masculine, while figure skating has stronger feminine qualities. One of Hanyu’s great charms is that he can express both masculine and feminine sides, but for this project, I thought it would create a stronger contrast if Hanyu leaned more feminine and Uchimura more masculine. At the same time, I wanted the costumes to feel unified, so while the designs look similar at first glance, Uchimura’s comes across as more solid and structured, while Hanyu’s is softer, with a touch of sensuality. Yet both exude a dignified, kingly presence, and even a slightly ascetic, almost religious nuance. That was the balance I ultimately aimed for.

 

—The exposed arms drew attention. Was that because Uchimura was required to perform sleeveless?

 

No, it’s not that Uchimura was specifically required to wear a sleeveless top. It’s just that when I met the two of them, I was struck by how beautiful the muscles from their shoulders to their upper arms are, and by the texture of their arms. They’re almost like sculptures, so perfectly formed. The way their muscles are built, the shape and contour of their arms, really reflects the training and experiences unique to each of their sports. You can clearly see the difference in their disciplines just by looking at that. Hanyu’s muscles are developed in the way needed to control and tighten his arms, and his upper body is actually quite bulky. He looks slender because there’s no excess, but he’s by no means skinny. I feel that the shape of his muscles shows the results of the intense training and discipline he’s gone through over the years. Of course, it’s the same with Uchimura, though his arm muscles are developed for slightly different functions and are used in a more specific way. I wanted to show the contrast in the texture of their arms, so early on I decided their arms should be exposed. Then, thinking about how best to present them, I decided to add sleeves.

 

That said, it was Uchimura who faced more restrictions in terms of decoration. When I spoke with him, he said he’d never worn a costume with various embellishments on the fabric before, but it would probably be okay. After all, rhythmic gymnastics costumes often feature Swarovski crystals. However, he emphasized that any decorations that extend away from the body wouldn’t be possible. Fluttery decorations like those used in figure skating, or effects created through draping, were completely off-limits. This meant I could only work with textures applied directly to the surface of the body, which left very few decorative options. That’s why I thought I wanted to put sleeves on Uchimura. When I met him in person, I thought an arm-band style sleeve would probably suit him. As for Hanyu, I wanted to bring out a certain alluring, feminine aspect of his, so during the fitting I made quite detailed adjustments to the sleeve length and placement. When he finally wore the finished costume, I remember feeling a sense of relief because it had turned out almost exactly as I had imagined.

 

—The way Uchimura seemed to emerge from the darkness in that black and gold costume gave a very regal impression.

 

David (Wilson) choreographed Hanyu's part in the first half, and I think the idea for Uchimura’s entrance may have been his as well. That direction fit perfectly with the program and the costumes, and David even said to me, ‘Did you make that costume? It was amazing!’ (laughs).

 

What I’m especially grateful to Hanyu for is how carefully he coordinated the timing and positioning of the lighting with the lighting team. Without those fine adjustments, I don’t think the performance would have been nearly as moving. After all, costumes and lighting really go hand in hand. The details of a costume can be enhanced many times over by the lighting. Hanyu made detailed adjustments right down to the last minute to create contrasts, such as the timing of the screen rising, the first spotlight cue, and keeping his side completely dark while Uchimura performed. I think those lighting effects made the costumes stand out even more, so of course I’m grateful to the whole team, but I am especially grateful to Hanyu.

 

 

(Additional interview for this publication)

 

—After that, you watched the show again on video. What did you think?

 

This show was Hanyu's first as the leader/chairman (with other skaters also appearing) since turning professional. Everyone, from those making the costumes to the management and staff, was feeling their way through. But Hanyu, as the lead, was at the center, holding everything together and guiding the show in the direction it should go.

 

Also, the collaboration with Uchimura wasn’t, strictly speaking, a figure skating program. Simply put, it was more like an inter-disciplinary battle. With everyone uncertain about how to create something that would truly move and satisfy the audience, we entered the venue, repeated rehearsals, and went through dress fittings, gradually beginning to see things take shape. At that point, I think it was Hanyu who understood better than anyone how the program could come together in the best possible way. Personally, I hoped that the costumes I created for Hanyu and Uchimura could become a kind of symbol of that program. When I later watched the broadcast, I felt it had come close to that ideal.

 

I've had Hanyu wear my costumes before, but they were always for group dances, and were subject to various restrictions. This is the first time I've made a solo costume for Hanyu. Within that, I think I was able to express almost everything I wanted to. It was a show that carried a strong meaning as a requiem for the earthquake, where Hanyu took on the role of lead (Chairman) for the first time, collaborating with Olympic legend Uchimura in a program that, in a sense, had a “interdisciplinary battle” quality unlike anything before, with choreography by David Wilson. It was a very special program, but I think I was able to include almost everything Hanyu needed at that time, and perhaps present something a little different from the image people had of him until now.

 

—Do you feel that since turning professional, Hanyu has shown a willingness to take on new challenges in costume design as well?

 

I think he has a strong openness and a real desire to take on new things. At the same time, there are also things about him that never change. He has a clear sense of what he must protect as an athlete, and in a way, that balance has become even clearer since he became a professional. It feels as though he has both wheels in motion: one side that takes on new challenges, and another that steadfastly protects what must be preserved as Yuzuru Hanyu. I think the way he perceives and understands himself is incredibly sharp and refined.

 

—What do you think are the things that don’t change, the things he wants to protect?

 

I believe it’s in the performance itself. Of course, there are jumps, but since this isn’t a competition, there aren’t strict rules, and he doesn’t have to keep pushing himself. Yet even though he’s no longer a competitor, he still holds on to what he must preserve to maintain Yuzuru Hanyu as an athlete, and he never stops challenging himself. That doesn’t change, and I don’t think it ever will. I feel that too, and it reminds me that we must consider how we can support that through the costumes we create.

 

 

Pics:

Spoiler

“Hanyu during the costume fitting. Checking whether the long tulle at the back would interfere with his performance."

 

 

“I presented three design options for Hanyu and two for Uchimura, each with slight differences in detail, and Hanyu chose Type A. The design sketches included a thin shoulder cape, but we decided to omit it in the actual costume.”

 

 

"Mood board for the costume designs. The top section conveys the overall mood, patterns, and sleeve concepts. The middle section features inspirations from ancient Greek motifs, traditional costumes, and the materials and decorations to be used. (Bottom) Embroidery used on Hanyu’s costume. It was difficult to find the exact shade of antique gold that was desired. The presence of the tulle material attached to the embroidery gives it a distinctive depth. Uchimura’s costume features leaf-patterned embroidery (in the back) using Eastern European materials, including from the Czech Republic."