“Even now, wherever I go in the world, including Korea, I am warmly welcomed simply because I am the original author of “The Rose of Versailles.” I am truly happy each time this happens. It has been over half a century since I started the manga serialization, and though I don’t remember everything clearly, I am thrilled that it is still remembered and loved, and that Korean musicals are even being staged.”
The original manga artist Riyoko Ikeda, 76, expressed her joy as a creator, saying, “Being able to see this stage is a great joy,” during the opening of the Korean musical “La Rose de Versailles” (directed by Wang Yong-beom, music by Lee Seong-jun) at the Chunmu Arts Center in Seoul on July 16. The original manga has sold over 20 million copies in Japan, been viewed by over 5 million people in the Takarazuka Revue’s musical, and was broadcast as a TV anime in Korea, where it gained significant popularity.
“Given that you haven’t particularly followed the anime or Takarazuka performances, what led you to visit Korea and attend the opening performance of the Korean musical?”
“At the age of 47, I entered Tokyo Music University to study classical vocal music and am now performing as well. Through my study of vocal music, I was amazed by the strength of the Korean voice. I have especially admired soprano Jo Su-mi. I came with great expectations because I heard that the musical’s dance and singing are both excellent. Recently, many people in Japan have been admiring K-pop, trying to emulate the dance and singing. I wanted to experience firsthand why Koreans sing and dance so well.”
When Takarazuka first proposed producing the musical in 1974, were you concerned about how it would be represented on stage?
“Since it was the first time Takarazuka attempted a musical based on a girls’ romance manga, there were mixed opinions internally. At that time, the status of girls’ manga was very low, and it was even referred to dismissively as ‘just a girls’ manga.’ The Japanese musical received praise as a ‘happy marriage of Takarazuka and girls’ manga,’ and I believe that assessment is accurate.”
What are your expectations for the Korean musical?
“I mentioned the excellence of Korean voices and dance, but when I went backstage, I was struck by the beautifully crafted costumes displayed, much like those in a grand Italian theater. I was deeply moved by those costumes.”
Why did you initially choose to focus on Marie Antoinette?
“Until then, historical stories were considered inappropriate for the world of girls’ manga. However, I found Marie Antoinette to be very pure, beautiful, and charming. I was fascinated by her life, especially how she realized the meaning of life just before her death and died with dignity. When I first wrote the story, I was convinced that ‘this work would definitely be a huge hit.’”
How did you feel when you found out that your work was a big hit in Korea?
“The anime was broadcast not only in Korea and Taiwan but also in Italy, France, and various other European countries. Particularly, Italy was the first to have a fan club, followed by France. Fans in these two countries still debate over which was the first European fan club. Ha ha. In Europe, it was broadcast under the title ‘Lady Oscar,’ and I am truly happy whenever I am warmly welcomed anywhere in the world, including Korea.”
What inspired you to depict the main character, Oscar, as a woman disguised as a male soldier?
“My maternal grandfather was a professional soldier, and he shared numerous military stories with me throughout my childhood. When I learned that the royal army supported the people during the French Revolution, I felt compelled to tell that story. However, despite my grandfather’s many tales, I found it difficult to fully understand the perspectives and experiences of young male soldiers. This led me to make Oscar a woman (laughing).”
Given your fascination with Marie Antoinette, which initially inspired this project, isn’t it disappointing that her role is smaller in the Korean musical adaptation?
“When I first created ‘The Rose of Versailles,’ it seemed that Oscar’s love for André grew out of her initial love for Fersen. I believe that experiencing failure in her first love was a pivotal moment in her life. However, when I learned that Korea already had a musical about Marie Antoinette and Fersen, I thought, ‘Well, there’s nothing I can do about that.’”
How did you balance the historical context of the French Revolution with the fictional portrayal of Marie Antoinette?
“Before my work was published, most people probably only knew Marie Antoinette from history lessons as the woman who bankrupted France and triggered the French Revolution. When then-French President François Hollande visited Japan, I was invited to the reception. His entourage approached me and said, ‘I studied the French Revolution through your work.’ That made me very happy. Many people have told me that through my depiction of Marie Antoinette and the French Revolution, which were not widely known in Japan, they achieved excellent grades on that section of their history exams. This feedback brings me great satisfaction.”
Recently, the K-pop boom has gained significant momentum in Japan, while interest in Japanese music has surged in Korea, especially after NewJeans’ performance at the Tokyo Dome.
“In Italy, the birthplace of opera, it is rare to see young people attending performances. Most of the audience members are elderly, with the remainder being tourists. Nevertheless, I am confident that opera will eventually experience a resurgence in Italy. Culture is constantly evolving, exchanging influences and blending the best aspects of different traditions. It’s a dynamic process of crossing boundaries, transforming forms, and forging connections.”
In 2007, you serialized the Korean drama “The Legend” into a manga, which was then adapted into a Takarazuka Revue’s musical. What inspired your fascination with Korean culture?
“My journey began with history. When I wrote about Yi Sun-sin, a remarkable figure from the Toyotomi era who is largely unknown to the Japanese, I recognized his extraordinary character. I also chronicled the lives of other great heroes, such as Ahn Jung-geun, in prose rather than manga. These narratives are included in my book, ‘Men of the Shadow of History (1996).’ My father, whose hometown is Nara, once mentioned that the name has Korean origins. Indeed, many ancient Korean words persist in the Japanese language, though today’s younger Japanese generations are unaware of their origins. As I continue to explore the intricate relationship between Korea and Japan, I hope to foster a deeper understanding of the profound historical ties between the two nations.”
