Daisuke Takahashi

synesthesia · Apr 4, 2026

More fan art:

Kassouya - Volume 2

The Melt

synesthesia · Apr 4, 2026

Gendai media published a two part report about Kassouya - Volume 2

:

synesthesia · Apr 6, 2026

Cross posting from the "The MELT" thread:

Very exciting news - apparently Dai will perform a new/updated version of Okuni's dance from "Hyoen - Basara" - however, this time it will be transferred from the floor to the ice :love4:

:

That dance all over again!
Daisuke Takahashi returns
／／　 /　 \　＼＼

That dance, created for the 2017 production ‘Hyoen – Basara’.

Time has passed since then—

This time, Daisuke Takahashi will bring it to life on the ice.

Don’t miss this performance, which he can only deliver now that his skating has evolved

This was the original with choreo by former Tokyo Gegegay members, YUYU, Miku and MARIE (the video is timestamped):

synesthesia · Apr 6, 2026

Daisuke seems to be finding the time for Manmaru updates again

:

Cherry blossom season is here

It feels lovely when the weather’s nice

synesthesia · Apr 13, 2026

An interesting article/interview about the mini cinema, that is located inside a café in Kurashiki's Bikan Historical Quarter and will show "The Tales of Kurashiki" for 70 years, was published not long ago - it sounds and looks like such an amazing place to visit

:

倉敷美観地区の町家喫茶に映画館が誕生。『蔵のある街』だけを70年間上映！｜おか旅｜岡山観光WEB【公式】- 岡山県の観光・旅行情報ならココ！

2025年の暮れに倉敷美観地区に開館した「倉敷映画館」。座席数10席のこの小さな映画館は、全編倉敷で撮影された映画『蔵のある街』（2025年夏全国公開）専用の映画館です。驚くことに上映期間はなんと2095年まで！70年間にわたって『蔵のある街』だけを上映…

www.okayama-kanko.jp

Machine translation:

A cinema has opened in a traditional townhouse café in Kurashiki’s Bikan Historical Quarter. It will screen only *The Tales of Kurashiki* for 70 years!

About the film ‘The Tales of Kurashiki’, shot entirely in Kurashiki

The film ‘The Tales of Kurashiki’, currently screening at the ‘Kurashiki Cinema’, was produced by the ‘Connecting Film “The Tales of Kurashiki” Executive Committee’, led by director Emiko Hiramatsu (a native of Kurashiki) and comprising mainly her former classmates. It emerged from the involvement of local residents and was produced with the support of numerous sponsors, including local businesses.

The story follows a group of high school students in different circumstances whose promises, through various twists and turns, lead them to connect with a variety of people and the town itself. Director Hiramatsu, who also wrote the screenplay, says, “I hope this serves as a catalyst for connecting people, generations and the town,” adding, “Although the setting is Kurashiki, it is a story that applies to any town.”

‘Kurashiki Cinema’, opened on the second floor of Machiya Kissa

‘Kurashiki Cinema’ opened on 22 December 2025 (the winter solstice) on the second floor of the popular café ‘Machiya Kissa Miyake Shoten’ in the Kurashiki Bikan District. With just 10 seats, this small-scale cinema offers a space where visitors can immerse themselves fully in the world of ‘The Tales of Kurashiki’. Originally the seating area of Miyake Shoten, this space has been completely refurbished from scratch to serve as a dedicated screening venue for ‘The Tales of Kurashiki’.

We spoke to Nobuyuki Tsuji, the owner of Miyake Shoten and one of the founders of the ‘The Tales of Kurashiki’ Executive Committee, about the ‘Kurashiki Cinema’.

Screening a single film for 70 years!

When asked about this exceptionally long-running screening spanning 70 years, Mr Tsuji replied, ‘As a member of the executive committee involved in the film’s production, I feel it is our responsibility to continue screening it for as long as the copyright lasts—which is 70 years. ‘And as a “local resident” who continues to do business in this town, I want to convey the message of this film,’ said Mr Tsuji. ‘By “local resident”, I mean someone who, as was common in Kurashiki not so long ago, works in the local community, passes on the traditions to the younger generation, and helps preserve the town for the future.’ ‘As one of those “local people”, when I first started taking action, people around me would say, “Why on earth are you doing something so baffling?”, but I have always practised living in harmony with the local community.’ I realised that ‘Kurashiki Cinema’, imbued with the sentiments of both the executive committee and the local community, is a place with a strong core—existing not only as a venue for watching films, but also as a place for preserving the local community. “By 2095, 70 years from now, neither Director Hiramatsu nor any of the executive committee members will be around, but the two lead actors (Soma Santoki and Runa Nakajima) will probably be around 90,” laughs Mr Tsuji.

The interior is brimming with attention to detail specific to ‘Kurashiki’

There is also a strong focus on ‘Kurashiki’, the setting of the film. The chairs are made by ‘Teori Co., Ltd.’, a company based in Mabi-cho, Kurashiki City, which manufactures and sells interior furnishings and accessories using bamboo. You can relax and enjoy the film in comfort. The walls are made of diatomaceous earth mixed with denim (scrap fabric destined for disposal) produced in Kurashiki and Kojima. Meticulous attention has been paid to the acoustics, and in this intimate space of just 10 seats, the experience may be even more immersive than in a standard cinema.

Denim from second-hand clothing is also used for the edging of the tatami mats in the adjacent ‘Tsunagu Salon’. The salon features photo spots, life-size panels and behind-the-scenes photographs on display, whilst the ‘Tsunagu Notebook’ is steadily filling up with visitors’ impressions after their screenings. True to its name, this salon is a place that connects people through ‘The Tales of Kurashiki’, fostering a sense of community. It is a cinema brimming with a charm quite distinct from that of large multiplexes.

The Fusion of the Cinematic World and the Filming Location

Why is the ‘Kurashiki Cinema’ located here? Mr Tsuji explains, ‘It would be difficult for a stand-alone cinema to survive.’ Indeed, the cinemas that once dotted shopping streets across the country have now almost all disappeared. ‘I didn’t want an isolated cinema; I wanted it to be situated amidst the flow of people, where it catches the eye. By being part of a café, I wanted the cinema to feel naturally integrated into the fabric of everyday life,’ says Mr Tsuji.

Furthermore, this location is intrinsically linked to the world of the film. “The Kurashiki Bikan Historical Quarter, where Miyake Shoten is located, is the main filming location for the film. So, when you step outside the shop after watching the film, whether you look straight ahead, to the right or to the left, you’re already in the world of the film. We even filmed a scene involving the two main characters right in front of Miyake Shoten. Isn’t it brilliant that you can enjoy Kurashiki in both the film and reality immediately after watching it?” he says with a beaming smile.

Machiya Café Miyake Shoten

As the name ‘Machiya Café’ suggests, ‘Miyake Shoten’ was opened in 2004 after renovating a vacant traditional townhouse; it is a pioneering example of a ‘traditional house regeneration’ café in this area. Mr Tsuji believes this café has a deeper purpose. ‘I didn’t want to engage with the area merely as a tourist attraction. I wanted to create a café that operates as a true “local resident”.’ For instance, farmers often cannot sell vegetables and fruit they have worked hard to grow simply because they are misshapen. Driven by this philosophy, the café has, since opening, made a point of purchasing as many of these produce items as possible at fair prices, using them as ingredients or processing them into products to serve to customers. This philosophy is woven into the menu at Miyake Shoten, from the signature ‘Miyake Curry’ and ‘Seasonal Parfaits’ to the ‘Sweets’.

[Machiya Kissa Miyake Shoten]

Address: 3-11 Honmachi, Kurashiki City, Okayama Prefecture

Tel: 086-426-4600 (Please call outside of lunchtime)

Opening Hours: 11:30–17:00 (Sundays only: 8:30–17:00)

Closed: None

Parking: None (Please use nearby paid car parks)

A one-stop shop to satisfy both heart and stomach

Having a café and a cinema in the same location creates a delightful ‘connection’ for visitors. A key feature is that if you order a drink at the café before a screening, it will be delivered to the cinema. Meals before and after the screening are also available all in one place. It’s a welcome environment on rainy days, and a spot that can serve as both the starting point and the finishing point for exploring the film’s locations.

Just as we were conducting our interview, director Emiko Hiramatsu happened to be at ‘Miyake Shoten’! Perhaps it was the effect of a film that ‘connects’ people. The director and Mr Tsuji were happily sharing a parfait; their unpretentious nature is part of their charm. As it was such a serendipitous encounter, we asked the director to appear in our photos.

Films that connect, places that connect

Having conducted this interview, I felt such a strong sense of connection that I began to wonder whether the film *The Tales of Kurashiki* and the ‘Kurashiki Cinema’ might have been created from the outset with the premise that they would be linked. It’s not just about making the film and calling it a day; it’s about continuing to screen it in the town afterwards. And it’s about those who have watched the film stepping straight outside and feeling that the story continues within the town itself. This place exists to make both of these things happen. Seventy years might sound far-fetched at first glance, but as I listened to the story, I began to feel that there are some things that simply cannot be conveyed without such a long-term commitment.

This is less a cinema and more a hub for preserving and passing on the relationship between film and the town. The ‘Kurashiki Cinema’ looks set to become a place that fulfils precisely that role.

[Kurashiki Cinema]

Address: 3-11 Honmachi, Kurashiki City, Okayama Prefecture (2nd floor of Machiya Kissa Miyake Shoten)

Tel: 086-426-4600 (Please avoid calling during lunchtime)

Screening times: 10:30–12:15 / 14:00–15:45 / 16:00–17:45

*Admission is by reservation only; please book via the official website.

(If you have difficulty using a PC or smartphone, please enquire by telephone)

Closed: None

Parking: None (Please use nearby paid car parks)

Official website of the cinema: https://miyakeshouten.com/kurashiki_eigakan/

Photos taken by a visitor/Dai fan:

Dai-chan as Rokuro, sitting right next to the entrance of the screening room

:

__________________

The following talk event appearance has been announced:

ショパールブティック銀座本店で名品ジュエリーウォッチが一堂に会すイベント「L'HEURE DU DIAMANT EXHIBITION」を開催。家庭画報ドットコム特別トークイベントには高橋大輔さんがスペシャルゲストに登場！ | 家庭画報.com｜“素敵な人”のディレクトリ

スイス屈指の老舗メゾン「ショパール」が、スペシャルなイベントを銀座本店で開催します。名品「ルール・ドゥ・ディアマン」の最新作「プレシャスアワーズ」や、メゾンのアーカイブから厳選された稀少なタイムピースが一堂に会するエキシビションです。ウォ...

www.kateigaho.com

Chopard is hosting ‘L’HEURE DU DIAMANT EXHIBITION’ at its Ginza flagship boutique, bringing together its finest jewellery watches under one roof. Daisuke Takahashi will appear as a special guest at the exclusive talk event organised by Katei Gaho.com!

“L’HEURE DU DIAMANT EXHIBITION”

Dates: Monday 27 April – Sunday 31 May 2026, 11:30–19:30 (last admission at 18:00)

Venue: Chopard Boutique Ginza Main Store

Address: 2 Ginza, Chuo-ku, Tokyo

synesthesia · Apr 14, 2026

Leon Tanaka, one of the student skaters that appeared in Kassouya - Volume 2 about Dai-chan, Kazuki and Kassouya (the interview was conducted before the shows took place):

（１）ルーキー特集　第１弾　～田中蓮音編～ – 明大スポーツ新聞部

今年度も頼もしいルーキーたちが紫紺の門をたたいた。今回のルーキー特集でも例年に引き続き、競技の話から普段は見えない選手の意外な一面まで、それぞれの魅力をお届けする。（この取材は３月３日に行われたものです） ――高校は […]

meisupo.net

――Are there any skaters you look up to or take inspiration from?

　“The skater I look up to is Daisuke Takahashi. When I was little, I’d just watch him casually on TV, but when I decided I wanted to take up skating again and resumed training, the image of the figure skater I aspired to be overlapped quite a lot with Daisuke Takahashi. Even when he’s just skating a little, the way he moves his neck and his gaze is enough to get the audience buzzing, isn’t it? I think that’s something truly special, and I hope I can reach that level myself. As for active skaters, I’d say Kazuki Tomono (Daiichi Juken). He’s a brilliant entertainer too; I reckon the audience would go wild even if he didn’t land a single jump. I feel he’s really good at showcasing his unique personality as Kazuki Tomono, so I’ve been taking a few cues from him.”

――Daisuke Takahashi’s name was mentioned earlier, but how did you come to appear in ‘Kassouya’?

　“I’ve always wanted to use ice shows as a platform to show the audience who I am and move their hearts. So when ‘Kassouya’, organised by Daisuke Takahashi, was launched, I was interested and had a vague thought that I’d like to take part. When I saw the announcement for the auditions, I thought I’d like to give it a go. But at first, I hesitated a little. I was so preoccupied with whether or not to take the audition, and with the idea of appearing in ‘Kassouya’ or an ice show, that I worried: ‘What if my mental focus wavers, even though I still want to continue as a competitive skater?’ I also wondered if my performance might suffer in the future, and whether I might end up using that as an excuse for myself. But in the end, thanks to the encouragement of those around me, I decided I wanted to give it a go and applied for the audition.”

――I imagine you’re in the middle of the preparation period now. How has it been taking part in training camps and such?

　“It’s been ongoing since around 8th and 9th March. Having taken part in the training myself, I’ve realised just how incredible active top skaters really are. The top skaters appear in all sorts of ice shows, yet they manage to maintain their position at the top without compromising it, and they’re able to showcase their individuality in those shows as well. I think that’s precisely why they’re at the top.”

――What sort of training are you currently doing?

　“At the moment, we’re at the stage of creating the choreography for each piece. First, we work out the choreography off the ice, then take it onto the ice and refine it so it flows naturally. It’s different from a regular performance in that nuance is crucial—it’s about conveying each individual’s emotions. The atmosphere changes depending on whether I’m performing a section or someone else is, so I’m learning a great deal from watching how others skate and express their emotions.”

――Are there any difficult aspects?

　“The difficult part is drawing out the emotions. With my own programs, I’m the one who decides what’s right, so whatever I do and however I do it, that’s my performance, which is fine. But with ice shows, particularly when performing a role, there’s a story, and I have to channel myself into the character or really get into the part, so I think that’s where it gets a bit tricky.”

________________

A fan compiled all of their uploads of Dai's main Kassouya - Volume 2 parts (+ the Genbu group number and Kana's solo) in a youtube playlist (recording from March 22nd, matinee show):

滑走屋〜第二巻〜2026福岡

Share your videos with friends, family, and the world

www.youtube.com

synesthesia · Apr 15, 2026

We’ve received a comment from Daisuke Takahashi
￣V￣￣￣￣￣￣￣￣￣￣￣￣￣￣￣

He shared his thoughts on ‘The MELT -Cross of Roots-’ and highlighted the key points to look out for!

General ticket sales now open!

The MELT -Cross of Roots-のチケット、舞台・公演、配信情報 - イープラス

The MELT -Cross of Roots-(ザメルトクロスオブルーツ)の舞台・公演情報をご紹介！舞台・公演のチケット情報や関連画像、動画、記事など、The MELT -Cross of Roots-の様々な情報コンテンツをお届けします。

eplus.jp

KOSÉ Shin-Yokohama Skating Centre
2–5 May

____________________

Looks like the photoshoot for the "Bank of Japan's" public relations magazine:

I took photos of Daisuke Takahashi

synesthesia · Apr 20, 2026

The stream of great news shows no sign of letting up. The best news item up first:

The soundtrack of "Hyoen 2025 - Kagamon no Yashā", composed by SUGIZO (Luna Sea, X Japan), will be officially released in June and includes a recording of Dai's duet with Takahisa Masuda. I loved SUGIZO's music for the show so much, so this is unbelievably awesome to me - also, Dai-chan's singing on an official recording!

[INFO] The long-awaited original soundtrack for ‘Hyoen 2025 – Kagamon no Yashā’,

a narrative-driven ice show blending figure skating and Japanese culture,

with music by SUGIZO, is set for release!

[Product Information]

Title: Hyoen 2025 – Kagamon no Yashā - Original Soundtrack

Release Date: 10 June 2026

Format: 2CD

Catalogue Number: UICZ-4706/7

Price: ¥4,400 (incl. tax) / ¥4,000 (excl. tax)

[Comment from SUGIZO]

Progressive rock, psychedelic trance, hardcore jazz, ambient, contemporary classical, world music, and Japanese music.

The Hyoen 2025 soundtrack is a monumental work in which every genre sparks a unique chemistry; it has inadvertently become the culmination of SUGIZO Music. I would be delighted if you could experience it at a cellular level, right down to your very soul.

https://x.com/info__Johnnys/status/2046093502262792542

[Information Released & Pre-orders Now Open]

On sale 10 June

Original Soundtrack

‘Hyoen 2025 – Kagamon no Yashā’

■Co-stars: Daisuke Takahashi × Takahisa Masuda

Features a total of 30 tracks, including the duet ‘Tsukika Shōei’ performed by the two stars.

Rakuten Books

https://a.r10.to/hkgqge

Amazon

Amazon.co.jp: 氷艶 hyoen 2025 -鏡紋の夜叉-(オリジナル・サウンドトラック) (2枚組): Music

Amazon.co.jp: 氷艶 hyoen 2025 -鏡紋の夜叉-(オリジナル・サウンドトラック) (2枚組): Music

amzn.to

https://x.com/UM_STORE_JP/status/2046062678620484038

A narrative-driven ice show blending figure skating with Japanese culture:

‘Hyoen 2025 – Kagamon no Yashā’

The original soundtrack is set for release on Wednesday 10 June!

Featuring 30 tracks in total, including the vocal track ‘Tsukika Shōei’ by the protagonists Ura and Kibitsuhiko, as well as four songs featuring SUGIZO’s close friend Maya (LUNA SEA) on drums!

Click here for details & pre-orders

SUGIZO / 氷艶 hyoen 2025 -鏡紋の夜叉-【オリジナル・サウンドトラック】【CD】

フィギアスケートと日本文化を融合したストーリー仕立てのアイスショー『氷艶 hyoen 2025 -鏡紋の夜叉-』オリジナル・サウンドトラック発売　シリーズ第4弾にして初のサウンドトラック『氷艶 hyoen 2025 -鏡紋の夜叉-』。主人公温羅、吉備津彦の歌唱楽曲『月下双影』や、SUGIZOの盟友真矢（LUNA SEA）がドラムで4曲参加した全30曲を収録！あらゆるジャンルがケミストリーを起こす、SUGIZO...

bit.ly

_____________________

Wonderful news item no. 2:

https://x.com/kuranoarumachi/status/2044900047964496137

[Film Caravan Launch] The next stage of ‘Connecting Through Film’ is now underway!

From 20 April 2026 until 23 December 2026, we will be screening #TheTalesOfKurashiki at 32 schools across Kurashiki City, including municipal junior and senior high schools, compulsory education schools, and special needs schools!

We are delighted to have been given this opportunity to connect with so many young people.

_____________________

Dai at PIW in Ehime last weekend:

synesthesia · May 2, 2026

The MELT, boasting a fantastic cast of Hyoen alumni, who are performing a couple of reworked Hyoen numbers as well as several completely new programs, is currently underway in Yokohama (please refer to the ice show subforum for more info about the show's concept).

I can't wait to watch the show! However, we'll have to be patient for a little while longer, as the first delayed broadcast on Nitteleplus of one of the May 3rd performances won't air until July 25 at 5:00 p.m. (JST), while one of the May 4 performances will be shown sometime in August (date tba):

https://www.nitteleplus.com/program/the-melt/

Mainichi photo gallery:

アイスショー「The MELT」公演始まる［写真特集1/10］ | 毎日新聞

アイスショー「The　MELT」で歌う増田貴久さん（右）と演技する高橋大輔さん＝KOSE新横浜スケートセンターで2026年5月2日午後0時7分、滝川大貴撮影

mainichi.jp

Deep Edge Plus photo gallery:

無料写真特集 - フィギュアスケート専門情報サイトDeep Edge Plus　最新ニュース・充実のコラムをお届け

写真一覧（タップすると全画面表示できます）

deepedgeplus.kyodonews.jp

And a photo report:

高橋大輔さん、増田貴久さんと再びの共演　アイスショー「The MELT -Cross of Roots-」開幕　『氷艶』彩ったプログラムも - フィギュアスケート専門情報サイトDeep Edge Plus　最新ニュース・充実のコラムをお届け

高橋大輔さんが座長を務める新コンセプトのアイスショー「The MELT -Cross of Roots-」が5月2日、横浜市のKOSÉ新横浜スケートセンターで初日を迎えた。アイドルグループ「NEWS」のメンバー増田貴久 […]

deepedgeplus.kyodonews.jp

Quadruple Axel:

synesthesia said:
Cross posting from the "The MELT" thread:

Very exciting news - apparently Dai will perform a new/updated version of Okuni's dance from "Hyoen - Basara" - however, this time it will be transferred from the floor to the ice :

Well, they went all out AGAIN here, treating us to another "gun" revealing costume - I'm not complaining :biggrin:

(even though I have to admit that I liked the original costume for Okuni's dance better):

synesthesia · May 3, 2026

Dai with Takahisa Masuda:

World Figure Skating Web photo report:

高橋大輔、増田貴久ら熱演！「The MELT-Cross of Roots-」開幕 | WFS-Web ワールド・フィギュアスケートWeb

高橋大輔、荒川静香をはじめとするスケーターと増田貴久（NEWS）らアーティストが共演する新たなアイスショー「The MELT-Cross of Roots-」が5月2日、KOSÉ新横浜スケートセンターで開幕しました。2017年に始まった日本

worldfigureskating-web.jp

This interview article with "The MELT" director/choreographer, Kikunojo Onoe, contains some cute rehearsal pictures of Dai-chan

:

尾上菊之丞インタビュー『The MELT -Cross of Roots-』　高橋大輔出演『氷艶』の縁がクロスする新たなアイスショー | SPICE - エンタメ特化型情報メディアスパイス

尾上菊之丞インタビュー『The MELT -Cross of Roots-』　高橋大輔出演『氷艶』の縁がクロスする新たなアイスショー

spice.eplus.jp

_________________

Oh yes, say it louder for the people in the back

:

________________

This hadn't been posted yet - Dai visited a Martin Margiela Exhibition in Tokyo with Kiki (where they met Sandara Park from Korean girlgroup 2NE1 - I remember Dai used to be a huge fan of 2NE1-member CL

):

synesthesia · May 3, 2026

These photos taken by a Japanese fan/photographer for "In the Loop" are amazing

:

Full gallery: https://www.inthelopodcast.com/the-melt-2026

_______________

synesthesia · May 4, 2026

Deep Edge Plus photo report on the third day of "The MELT" (the photos were taken at the dress rehearsal):

【ネタバレ注意】高橋大輔さん座長『The MELT』3日目リポート　平原綾香さんが登場、スケーターとアーティストが生き生きと - フィギュアスケート専門情報サイトDeep Edge Plus　最新ニュース・充実のコラムをお届け

5月2日に始まった高橋大輔さんが座長を務めるアイスショー『The MELT　―Cross of Roots』がKOSÉ新横浜スケートセンターで開催されている（5日まで）。歌手の平原綾香さんらが出演するバージョンの公演が […]

deepedgeplus.kyodonews.jp

Shots of "L'Aigle Noir" ("The Black Eagle") - a reworked duet with Kana from "LUXE", which they performed to Ayaka Hirahara's live vocals

:

A couple more photos can be found in this Nikkansports gallery:

「かなだい」高橋大輔さん＆村元哉中さん、歌手平原綾香や俳優福士誠治らが共演　新アイスショー - フィギュア写真ニュース : 日刊スポーツ

2日に初日公演を迎えたプロフィギュアスケーターの高橋大輔さん（40）が座長を務める新コンセプトアイスショー「The MELT　－Cross of Roots－… - 日刊スポーツ新聞社のニュースサイト、ニッカンスポーツ・コム（nikkansports.com）

www.nikkansports.com

Fan art of Okuni's dance

:

I never imagined I’d end up drawing the NEW Okuni nine years later

I’m completely out of the loop, but perhaps I’ve managed to make a small connection

________________

Daisuke was voted the 2nd most recognised/popular athlete from Okayama behind baseball star Yoshinobu Yamamoto (who plays for the Los Angeles Dodgers) in the annual Prefecture Residents' Sports Honor Award, which is a ranking award from a Japanese TV variety show on NTV. It's a large-scale survey that determines the No. 1 athlete (or sports figure) that residents of each of Japan's 47 prefectures are most proud of — essentially the local hero or "face" of their prefecture in sports.

Survey basis: A poll of about 47,000 people (roughly 1,000 per prefecture) conducted by the Brand Research Institute (the same company behind Japan's famous Prefectural Attractiveness Ranking).
Evaluation criteria:
- Recognition / Awareness
- Favorability / Likability
- Regional contribution
- How much people want to brag about them
- Hero factor
The overall top-ranked person in each prefecture receives the Prefecture Residents' Sports Honor Award.

/／

#PrefecturalSportsHonours Award – Preliminary Results

\＼

【Aichi Prefecture】#IchiroSuzuki

A baseball legend has triumphed in the ‘figure skating powerhouse’

└ 2nd place #MaoAsada／3rd place #RyuichiKihara

【Osaka Prefecture】#YuDarvish

　It’s no surprise that this man stands at the pinnacle of the ‘baseball powerhouse’

　└ 2nd place #Hideo Nomo／3rd place #Keisuke Honda

【Yamaguchi Prefecture】#Kasumi Ishikawa

　The ‘Queen of Table Tennis’ claims the top spot in her home prefecture

　└ 2nd place #Yuki Kawamura／3rd place #Riki Choshu

【Okayama Prefecture】#Yoshinobu Yamamoto

The Dodgers’ right-hander takes a commanding first place

　└ 2nd place #Daisuke Takahashi / 3rd place #Yuko Arimori

Although this is, of course, a lovely recognition for Dai (and he is only about four points behind Yoshinobu Yamamoto, whereas several of the winners in other prefectures have a much clearer lead), I’m not sure how much weight I should attach to such results, especially when I look at some of the rankings in other prefectures, such as Aichi, where Kanako Murakami (4th) finished above Midori Ito (6th) and Shoma Uno (5th) (this isn’t meant as a dig at Kanako, whom I like very much, but this result is certainly surprising).

synesthesia · May 5, 2026

This photo collection by Figure Skating Life features another great shot of Okuni's dance (probably my favourite yet):

The new ice show ‘The MELT – Cross of Roots’, featuring #Daisuke Takahashi, #Shizuka Arakawa and #Kana Muramoto, opened on 2 May at the KOSÉ Shin-Yokohama Skating Centre.

The first half of the show featured #Takahisa Masuda from NEWS, who treated the audience to his beautiful voice. The second half featured #Ayaka Hirahara. The show runs until today, 5 May. #TheMELT

From Takahisa Masuda's (Massu's) The MELT photo dump on ig

:

Source: https://www.instagram.com/p/DX88F5ekfXz/

From actor Takuma Zaiki's twitter account:

There are fan reports that Keiji and Dai performed a throw jump (Keiji threw Dai) - not sure which type of jump it was and if they did it in every show or just one of them - I hope it will be shown in one of the broadcasts

:

https://x.com/purplearashi/status/2051636269625872758

What moved me most was the assisted jump performed by Keiji for Daisuke. Amidst all that speed, it felt as though time had stopped for a moment. The two of them looked so powerful and strong, just like beautiful sculptures. Please post a front-view clip

________________

synesthesia · May 6, 2026

With detective-kun

:

source: https://www.instagram.com/p/DYAAJmvlDIU/

With Rio - young and "old" Yoshitsune

(unfortunately the post can't be embedded):

rionakata on Instagram: "義経！"

1,444 likes, 6 comments - rionakata0908 on May 6, 2026: "義経！".

www.instagram.com

With Ryota Aoyama (who played "Senshu" in Hyoen 2025):

I assume these are Dai's and Massu's headshots from the program brochure? (If you swipe there are also pictures of the Apex and SkyCourt merch stands at the venue - Dai designed several new items for his sponsors that were on sale):

synesthesia · May 7, 2026

With Kiki:

It was Dai-chan who tipped me off about

my sudden Type B behaviour during the lyric battle.

Yes. I do tend to let my Type B side show out of the blue.

Thank you for accepting my Type B side

With Yoji:

https://x.com/yoji_nakano1108/status/2052346923978576037

Cute Okuni fan art

:

And a fan report (there is a huge number of them, including those of Masuda fans, many of which had also attended last year's Hyoen shows and seem to be fully hooked now):

https://x.com/AkiAqui/status/2051696000407060936

I had such a brilliant time over the four days! I was absolutely chuffed to have been treated to so much of Daisuke Takahashi’s skating

Everyone in the Hyoen-artist group has improved their skating even further, and above all, they looked like they were having such a great time—the sheer joy radiating from them was wonderful!

Seeing Tomono-kun, Kosho-kun and all the PIW members skating with such passion, and then Massu and Aya → truly professional performances.

With the beautiful lighting, the stunning costumes, and the performers themselves, the quality of everything was top-notch – ‘The MELT’ was an absolute blast!!

Keiji-kun’s jumps, the cuteness of the bees …

There’s so much I want to say, but I can’t possibly write it all down

______________

Rehearsals and preparations for "Love and Information" began the moment "The MELT" ended

(from the official account of the play):

https://x.com/RPC20230307/status/2052382278672933145

Rehearsal Room Update

Today, the main team gathered for a roundtable discussion to be featured in our official program booklet!

"One might expect them to be agonizing over such an enigmatic production—but is that really the case...?"

"Wow, we get to hear *that* kind of story, too?!"

The session was packed with behind-the-scenes revelations that left the staff absolutely thrilled.

When you attend a performance, be sure to pick up a copy of the booklet and immerse yourself in the profound depths of this production!

An interview with the director (Tomoya Kiriyama), Takuro Ohno (representing the "main team") and Kokoro Yamanaka (representing the "next team") that gives some insight into the background of the play and the director's vision (I'm amazed that Dai is taking on such a difficult challenge for his first appearance in a stage reading :bow:

). Takuro also revealed the nature of his friendship with Dai-chan (he calls him one of his best mates, who he even goes on vacation with!) and praised his remarkable wide range of expression

:

あらすじも役名もない台本から生まれる“愛と情報”　演劇界のピカソ C .チャーチルの衝撃作「お客さんに彼女の言葉を浴びて欲しい」

イギリスの劇作家で、現在87歳ながら今も第一線で活躍するキャリル・チャーチルが、2012年に発表した『Lov…

magazine.confetti-web.com

Machine translation:

‘Love and Information’ Born from a Script Without a Synopsis or Character Names: C. Churchill, the Picasso of the Theatre World, Presents Her Shocking Work ‘I Want the Audience to Be Bathed in Her Words’

7 May 2026 | June 2026 Issue, Takuro Ohno, Kokoro Yamanaka, Tomoya Kiriyama

　Caryl Churchill, the British playwright who, at 87, remains active on the front line, will see the first public performance in Japan of her 2012 play ‘Love and Information’ take place in May and June in Kanagawa and Aichi as a reading performance.

　The play depicts over 50 fragmented scenes dealing with science, religion, memory, loneliness, secrets and technology at a breathtaking pace. Although 100 characters appear in the work, the script contains no character names or genders; the lines are simply written in sequence. The greatest feature of this work is that its style can change dramatically depending on the director’s vision.

　We spoke to the three key figures behind the production—director Tomoya Kiriyama, Takuro Ohno from the main team (comprising professional artists), and Kokoro Yamanaka from the ‘Next Team’ (composed entirely of young actors in their twenties)—about the appeal of the play and their aspirations.

―――As this is the first commercial production of this play in Japan, I imagine most people will be seeing it for the first time. Could you start by explaining what the story is about, Mr Kiriyama?

Kiriyama: “Well, there isn’t really a synopsis. There are nearly 50 scenes, but if you lay an A4 sheet on its side, each scene takes up just half a page, or at most five or six pages. They’re simply listed one after another, with the author’s only instruction being that ‘all characters appearing in each scene are to be different’. There are absolutely no specifications regarding character names, gender, age, location or time, so you don’t even know who is speaking. It just contains the scene title and the dialogue. As the title is *Love and Information*, every scene probably depicts something to do with love and information. But, for example, there are exchanges like, ‘It takes 2.8 million years for that light to reach us,’ ‘So we’re pointing at 2.8 million years ago right now,’ which end in just five or six lines – and that sort of thing continues for nearly 50 scenes. So there’s no overall plot summary.”

―――Isn’t this the first time you’ve been given a script like this?

Kiriyama: “I’ve been directing several of Simon Stephens’ plays recently, and as Simon has also written a number of plays with no character names, just lines of dialogue, I was already familiar with this style. I heard from a British director the other day that this style began with *Love and Information*; apparently, there was a period when everyone said, ‘So this is how it can be done,’ or ‘So this is what’s possible,’ and started imitating it.”

―――What sort of playwright do you think Caryl Churchill is?

Kiriyama: “Caryl Churchill is often described as the ‘eternal avant-garde’. She’s 87 years old, but she’s still writing actively today. Even as she’s grown older, she’s never become bland; she continues to push forward, and the themes she explores in her work seem to evolve with the times, which I find incredibly fascinating. Her major works, such as *Cloud 9* and *Top Girls*, give the impression of portraying oppressed people—typified by women—and their world, so I see her as a playwright who engages deeply with society. Moreover, there’s a theatrical intrigue in the way she conveys this not just through dialogue and narrative, but through the structure itself.”

―――What were your thoughts when you received the offer to direct?

Kiriyama: “I’d seen a few of Churchill’s plays before that I found interesting, but because the message is so clear, I felt that even without a director’s interpretation, the writer’s intent would come across perfectly well. I’d never really considered directing her work. When the producer approached me, I asked Yoko Takada, who’d translated the play, ‘Is this play worth doing?’ She replied straight away, ‘Absolutely! And the translation is already available!’ I got a reply straight away. I gave it a read and, although I didn’t quite understand it, I found it interesting, so I decided to go ahead with it.

　However, as I mentioned earlier, this script doesn’t include character names or stage directions, so we had to start from the very basics—deciding ‘who is speaking this line’—and it was really hard work to sort it all out… In addition to the usual directing tasks, there were lots of specific tasks unique to this play, and every time I meet with Yoko, I find myself constantly asking, ‘What shall we do?’”

―――I’d also like to ask Mr Ohno, who’s appearing in the main cast, and Ms Yamanaka, who’s in the Next Team, about how they felt when they received the offer to appear.

Ohno: “First of all, I looked into Caryl Churchill. I found out she’s been called the ‘Picasso of the theatre world’ and ‘the greatest living playwright’, and that she published this play when she was in her seventies. I felt both moved and delighted to be involved in a work by such an amazing person. Then, when I actually opened the script, it was complete gibberish (laughs). It was so open-ended that I was a bit bewildered and wondered if it could even be called a play.

I thought I’d understand it if I read it a few times, but I still didn’t get it at all (wry smile). I felt there would be a pleasure in discovering, through rehearsals and the actual performances, how the title ‘Love and Information’ represents the work as a whole. I also believe that staging this highly experimental piece in Japan, in Japanese, will breathe new life into the Japanese theatre scene. As a theatre fan myself, I’m really looking forward to Mr Kiriyama’s direction!”

Yamanaka: “When I auditioned, I didn’t realise it was a play by Caryl Churchill; I only found out when I was accepted and received the script. I was naturally delighted to be cast, but when the script arrived, I thought, ‘What on earth am I going to do with this…’ As this is my first time working with a foreign play, I assumed I wouldn’t understand it even if I read the script, but since both of you said you ‘didn’t understand it’ either, I felt a little relieved (laughs). I’m currently full of anxiety about which angle is the right one to interpret it from, and how far I should take my interpretation, but I’m really looking forward to it.”

Ohno: ‘I really don’t know how to approach the role. I feel that if I start devising my own characterisation, it might actually get in the way, so I’d like to go into the first day of rehearsals with as open a mind as possible, without overthinking it.’

―――This production will take the form of a staged reading. Was there a particular reason for choosing this format?

Kiriyama: ‘We’d originally planned to do a reading, so we looked for a play that would suit the format, and settled on *Love and Information*. As it’s a reading, I want to convey to the audience the ‘interesting nature of the text’ written by Caryl Churchill. Although we’ve been instructed that all the characters are different people, I think it’s fine for the audience to let their imaginations run wild whilst listening – wondering things like, ‘Could that person have turned out like this in the future?’ or ‘Are they actually having an affair with so-and-so?’ We’re currently in the process of finalising the cast.”

―――Mr Kiriyama and Mr Ohno worked together on last year’s production of *The Sea and the Parasol*, but is this the first time Mr Kiriyama and Ms Yamanaka are working together?

Ohno: “I was surprised too, but Ms Yamanaka is actually a student in the seminar Mr Kiriyama teaches at university.”

―――Whaaaat!!

Ohno: “But it wasn’t just because she was a seminar student that she got in. There were over 100 applicants for the Next Team, and she was selected after going through a video screening and an in-person interview. Originally, they planned to select eight people, but they couldn’t narrow it down, so it ended up being ten. The producer even said, ‘Yamanaka was amazing.’”

Yamanaka: “Really!? Thank you so much.”

―――What impression do you and Mr Ohno have of Mr Kiriyama?

Ohno: “My impression is that he prioritises respecting the author’s and scriptwriter’s intentions above all else. He carefully deciphers what message the author is trying to convey, but rather than simply explaining it in an easy-to-understand way, he amplifies the world they’ve created. He presents the play to the audience in a state where ‘the depth of the script has been further enhanced’, so in a sense, I think he’s a bit of a sadist (laughs). This production delivers ‘Love and Information’—a play that is already sparse on information—using only the voice. I’m very much looking forward to seeing how Mr Kiriyama’s direction will add depth to it.”

Yamanaka: “He is greatly admired by his students. Rather than providing answers, he teaches in a way that guides us to the answers as we think through things, so I really feel that I’m steadily developing my ability to think for myself. I hope that this time, I can put that ability to the test by thinking things through thoroughly whilst discussing them with Mr Kiriyama and the Next Team members.”

―――At university, the relationship was that of teacher and student, but this time it’s director and performer. Is your approach essentially the same?

Yamanaka: “I don’t think my approach to Mr Kiriyama will change.”

Kiriyama: “I don’t think it needs to change at all. I don’t view actors as students, and that certainly doesn’t apply just to Ms Yamanaka. After all, we’re no longer in the days when directors were called ‘sensei’. I won’t be making any drastic changes, suddenly becoming strict, or throwing ashtrays at anyone.”

(Everyone laughs)

Yamanaka: “I, too, hope to carry on as usual and do my best alongside Mr Kiriyama.”

―――The main cast will feature professional skater Daisuke Takahashi, who previously performed alongside Mr Ohno in the ice show ‘Hyoen’. I’m sure your fans will be absolutely delighted to see you two performing together.

Ohno: “Daisuke and I are very close, both professionally and personally; we’re like ‘best mates’ who even go on vacation together. Ever since I used to watch him on TV back in my student days, I’ve always thought Daisuke has an exceptionally strong sense of expression and a remarkably wide range. He’s someone who reached the pinnacle of the skating world, yet in recent years he’s been challenging himself in forms of expression beyond skating. I’m delighted to be able to see him up close, and I’ve heard that I’ll have quite a few scenes with Daisuke in this production, so I hope the fans will enjoy them too.

　He’s always been very supportive of me, both in skating and in my personal life, but this time, as an actor, I feel a renewed sense of determination to do my best so that I can take the lead, even just a little. Similarly, Eliana, who co-starred with us in ‘Hyoen’, is also a member of our ‘best friends’ group, so I’m really looking forward to the three of us taking on this project together.”

―――As a member of the Next Team, Ms Yamanaka, I imagine you have many opportunities to rehearse with the Main Team. Do you have a specific plan for what you’d like to learn?

Yamanaka: “I’m still very much a novice, and I don’t think I’ll have another opportunity like this in the future. I intend to soak up everything I can from the Main Team and put it into practice as much as possible. Personally, I want to demonstrate my full potential, build up a solid foundation through good rehearsals, and deliver a great production.”

―――Finally, could you share a message for those reading this interview, Yamanaka-san?

Yamanaka: “As this is a staged reading, I intend to speak each word carefully, reflecting deeply both personally and within the Next Team, so that we can deliver a wonderful production that the audience will find enjoyable.”

Ohno: “When I read ‘Love and Information’, I could hardly find any elements of ‘Love’ in it. Where exactly is the element of love in this work? Where on earth is the love in scenes that seem to be nothing more than an exchange of information? I hope to discover that through our rehearsals. But perhaps, as this is a ‘play’ rather than a novel or a collection of poems, it is a work where the audience themselves will discover, ‘Ah, this is love,’ when these words are conveyed through the theatre space via human voices and body heat. I believe it will be a completely new theatre experience for the audience, so I would be delighted if you could come to the theatre looking forward to that.”

Kiriyama: “We’re presenting a reading of a masterpiece by Caryl Churchill, who is said to be the greatest living British playwright. Whilst we must convey the inherent appeal of the work itself, I also hope that, in addition to that, the audience will recognise the potential of what it means to perform in a theatre—not simply presenting a story with a clear beginning, middle and end, but engaging with the audience through the words the writer has penned. I’d be delighted if, after being fully immersed in Churchill’s words, you leave the theatre and find that the world suddenly looks a little different.”

(Interview, text & photography: Hiroyuki Tomioka)

Profile

Tomoya Kiriyama

Born in Gifu Prefecture. Theatre director. Major directing credits include ‘They, Too, Are My Sons’, ‘THE PRICE’, ‘“Encountering Masterpieces” Series Vol. 1: Edogawa Rampo Short Story Collection’, ‘Song from Afar’, ‘The Last Visit’, ‘Pornography/Rage’, ‘The Sea and the Parasol’, ‘The Buried Child’ and ‘The Weir’.

Takuro Ohno

Born 14 November 1988, from Tokyo. Has appeared in numerous television dramas, films and stage productions. In 2023, he appeared in the musical ‘Pacific Overtures’ in London, receiving high praise in numerous reviews for his individual performance. His major recent appearances include the musicals *The Phantom of the Opera*, *Attack on Titan -the musical-*, *Hyōen: The Miracle of the Cross Star*, *The Sea and the Parasol*, *The Man Who Had All the Luck*, and others.

Kokoro Yamanaka

Born 15 August 2004, from Saitama Prefecture. Currently enrolled in the Department of Theatre, Faculty of Arts, Nihon University. Her major performances include ‘19→’, ‘The Station Where You Are’, and ‘Bright, Probably’.

Performance Information

‘Love and Information’

Dates: Saturday 16 May – Sunday 24 May 2026

　　*Performances in Aichi also scheduled

Venue: KAAT Kanagawa Arts Theatre (Large Studio)

Tickets:

[Main Team] S Seats: 8,000 yen, A Seats: 6,500 yen, B Seats: 5,000 yen (All seats reserved, tax included)

[Next Team] 2,500 yen All seats unreserved, tax included)

Website: https://r-plays.com/produce/L_and_I

synesthesia · May 8, 2026

With Kai Hasegawa — those are powerful words that once again underscore just how much Dai is appreciated and respected by those (from a wide variety of artistic fields) who have the opportunity to work with him and get to know him personally (which is also evident in how many of them have formed genuine friendships with him per their own words —as we’ve seen for instance with several Hyoen alumni such as Seiji Fukushi, Takuro Ohno, Eliana, Marie, Yuma Suzuki and Ayaka Hirahara)

:

I truly believe that having had the chance to perform alongside Daisuke has been one of the most significant moments of my life!

I have nothing but respect for everything he does!!

With Kosho (2nd picture):

大島光翔 Kosho Oshima on Instagram: "The MELT ~Cross of Roots~ ⁡ 氷艶が紡いできた繋がりの大きさを実感した4日間でした。あっという間の12公演！ありがとうございました！ #TheMELT #氷艶"

4,358 likes, 26 comments - kosho_oshima on May 6, 2026: "The MELT ~Cross of Roots~ ⁡ 氷艶が紡いできた繋がりの大きさを実感した4日間でした。あっという間の12公演！ありがとうございました！ #TheMELT #氷艶".

www.instagram.com

These four days really brought home just how strong the bonds Hyoen has forged are.

Twelve performances flew by in the blink of an eye! Thank you so much!

Group photo with SUGIZO, Yukihiko Tsutsumi and Takuma Obonro (the composer, director and scriptwriter of Hyoen 2025 respectively), who came to one of the "The MELT" shows :rock:

:

Source (4th picture): https://www.instagram.com/p/DYCa9a0kSFZ/

Aera article about the reworked versions of "Okuni's dance" and "The Black Eagle":

高橋大輔が名プログラムを5年ぶり熱演　唯一無二のエンターテイナーが氷上で証明した“道程” | AERA DIGITAL（アエラデジタル） | AERA DIGITAL（アエラデジタル）

「The MELT -Cross of Roots-」（5月2～5日、KOSE新横浜スケートセンター）には、エンターテイナー・高橋大輔が歩んできた道程が凝縮されていた。

dot.asahi.com

_______________

Kanako Murakami’s Figure Skating Concert is going to take place again and Dai will once again be there as a special guest:

https://hirakata-arts.jp/event/detail_74997.html

Saturday, September 26, 2026

Kanako Murakami's Figure Skating Concert

[Performers]

Kanako Murakami (Host)

Daisuke Takahashi (Special Guest)

Yuko Tanaka (Conductor)

Kazuma Kudo (Tenor)

Kyoto Symphony Orchestra (Orchestra)

[Program]

Puccini: “Nessun Dorma” from the opera “Turandot”

A. Lloyd-Webber: From “The Phantom of the Opera”

Nino Rota: From the film “La Strada”

[Overview]

Date Saturday, September 26, 2026

Time Performance starts at 3:00 PM (Doors open at 2:15 PM)

Venue (Main Building) Kansai Medical University Grand Hall

Ticket Prices

All seats reserved: A Seats: 7,000 yen, B Seats: 5,500 yen, C Seats: 4,000 yen (tax included)

Ticket On-Sale Dates Member Pre-sale (Phone/Web): Saturday, June 13, 2026

General Public (Phone/Web): Thursday, June 25, 2026

General Public (Box Office): Friday, June 26, 2026 *If seats remain available

*Tickets go on sale at 10:00 AM on each date

Ticket Reservations ■ Hirakata City Comprehensive Culture and Arts Center Website: https://hirakata-arts.jp/ticket/

■ Ticket Desk: 0570-008-310 (Navidial) Hours: 10:00 AM – 5:00 PM

■ Ticket Counter: Hirakata City Comprehensive Culture and Arts Center Main Building, 2-1-60 Shinmachi, Hirakata City, Osaka Prefecture (10:00 AM – 8:00 PM)

　*Only if seats remain available

■ Ticket Pia: https://t.pia.jp/

■ e+: https://eplus.jp/

synesthesia · Monday at 5:44 PM

Only 5 days left until the performance!!

Everyone—whether from the Main Team or the Next Team—is rehearsing in a friendly and harmonious atmosphere. We’re analyzing the script and shaping the production together, sharing our ideas as we go.

This play is just so much fun to explore!!!!

It’s exactly the kind of play I love.

Please look forward to the performance!!

#loveandinformation

@RPC20230307

___________________

Nozomu Yoshioka on Dai-chan

:

【吉岡希〈中〉】高橋大輔への憧れ「ガラケーの待ち受けに…」飛躍したジュニア３年目 - フィギュア : 日刊スポーツ・プレミアム

日刊スポーツ・プレミアムでは、毎週月曜日にフィギュアスケーターのルーツや支える人の信念に迫る「氷現者」をお届けしています。シリーズ第64弾は吉岡希（22＝法政大）が登場します。22年全日本ジュニア選手権を制し、23年世界ジュニア選手権では銅メダルを獲得。グランプリ（GP）シリーズにも計3試合に出場しました。近年は故障に苦しむ時期もありましたが、来季以降も競技を続けます。全3回の中編では、高橋大輔に憧れた少年時代と大きく飛躍したジュニア3年目を振り返ります。（敬称略） - 日刊スポーツ新聞社のニュースサイト、ニッカンスポーツ・コム（nikkansports.com）。

www.nikkansports.com

Machine translation:

[...]

In this middle part of a three-part series, we look back on his childhood admiration for Daisuke Takahashi and his third year as a junior, which saw him make a major leap forward.

[...]

Watching the Four Continents Championships in person: “I loved how cool his performance was”

The Four Continents Championships were being held in Japan for the first time in 13 years.

Yoshioka, then 9 years old, stared intently at the ice at the venue, the Osaka City Central Gymnasium.

In the women’s competition, Mao Asada, Akiko Suzuki, and Kanako Murakami took the top three spots on the podium. In the men’s competition, Yuzuru Hanyu claimed his second silver medal. Amidst all this, the skater he cheered for most enthusiastically was Daisuke Takahashi, who finished 7th in the men’s event.

“I loved how cool his performances were. I’ve been cheering for him with all my might ever since. I even had his photos as my phone’s wallpaper.” He went so far as to set his phone’s wallpaper to a rotation of photos from Takahashi’s performances. “Many of his programs left a lasting impression on me, but they all felt like ‘Dai-chan’s performance.’ I really think he’s amazing.” The Four Continents Championships, which I attended in person for the first time, became a guiding light for my competitive career.

[...]

synesthesia · Monday at 6:24 PM

This hasn't been shared in Dai's fan fest yet:

[PERSON | Daisuke Takahashi]

The ice show “Kassouya,” conceived and fully produced by Daisuke Takahashi.

The performances proved once again that this is entertainment

unlike anything else, and did so in an even more spectacular form.

The ice show “Kassouya ~Volume 2~” was held at the Ovision Ice Arena Fukuoka

from March 19 to 22, 2026.

“Kassouya” is an ice show

conceived and fully produced by Daisuke Takahashi,

who led the figure skating world during his active career—

including winning a bronze medal at the Vancouver Olympics—

and has continued to work as a professional figure skater

since his retirement.

The show premiered in Fukuoka in 2024

and returned for its second run in Hiroshima last year.

Both performances drew large audiences

and generated a tremendous response.

And this latest installment, “Kassouya ~Volume 2~,”

was also a huge success, earning high praise as a truly unique ice show.

We take a closer look at why.

Read the full article

via the profile link

on GOETHE WEB.

#DaisukeTakahashi

#Kassouya

#GOETHE

#IfWorkIsFunLifeIsFun

40歳高橋大輔がつくり上げた「滑走屋～第二巻～」が“アイスショーの新時代”を切り開く

プロフィギュアスケーター高橋大輔がフルプロデュースするアイスショー「滑走屋～第二巻～」が行われ、盛況とともに他にないアイスショーとして高い評価を得た。その理由に迫る。

goetheweb.jp

Machine translation:

Daisuke Takahashi, 40, Creates “Kassouya: Volume 2,” Ushering in a “New Era of Ice Shows”

The ice show “Kassouya: Volume 2,” fully produced by professional figure skater Daisuke Takahashi, was held to great acclaim, earning high praise as a truly unique ice show. We take a closer look at why.

“Kassouya,” planned and fully produced by Daisuke Takahashi

The performance proved, in an even more powerful form, that it is an entertainment experience unlike any other. The ice show “Kassouya ~Volume 2~” was held at the Ovision Ice Arena Fukuoka from March 19 to 22, 2026.

“Kassouya” is an ice show conceived and fully produced by Daisuke Takahashi, who led the figure skating world during his active career—including winning a bronze medal at the Vancouver Olympics—and has continued to work as a professional figure skater since his retirement. The show premiered in Fukuoka in 2024, and its second performance was held in Hiroshima last year, in 2025. Both events drew large audiences and generated a tremendous response.

The reason for this success lies in the show’s unique content, which differs from traditional ice shows.

In past ice shows, while there were group skating segments during the opening and finale, the format generally involved each skater performing their routine one after another.

However, “Kassouya” stood apart from the rest.

The show runs for 75 minutes. At the heart of this non-stop performance are group dances that create unique formations, built upon the skaters’ powerful skating. The choreography was by Yuma Suzuki, a dancer and choreographer who, after working with the Shiki Theatre Company, now heads the Tokyo Panorama Theatre. By bringing in talent from outside the skating world, they achieved a unique form of expression in the group dances that was unlike anything seen in figure skating before. The key to their success lies in their pursuit of movements and a sense of speed impossible on land—in other words, in fully exploring the world unique to the ice.

This third installment added a new dimension to the performance.

“While ‘Kassouya’ is a style that aims to deliver something dark and stylish, this time we took on the challenge of expressing a narrative through figure skating. The concept is to weave a story within that stylish framework and express it through figure skating,” said Takahashi.

This involved weaving in a story based on the “Four Symbols” of Chinese mythology: the Azure Dragon, the White Tiger, the Vermilion Bird, and the Black Turtle-Snake.

An innovative attempt to tell a story without dialogue

Since it’s an ice show, there’s no dialogue. How, then, can a story be conveyed?

It’s safe to say this ambitious challenge was a success.

The story is set in a world where the gods select the “Qilin”—the guardian who leads the Four Divine Beasts—from among the Four Divine Beasts themselves. After the Four Divine Beasts and the tribes they lead battle it out, the Qilin is eventually chosen. Although the lack of dialogue meant the meaning wasn’t conveyed directly, the distinct differences in each of the Four Gods’ characters were highlighted, the power dynamics among the four were evident, and the flow of the story was palpable—the narrative had taken on a clear shape. Even without dialogue, they were able to express it.

Takahashi reportedly conveyed the concept to Suzuki in June 2025. From there, they spent considerable time discussing how to shape the story. Even after rehearsals began, they thoroughly refined the structure and direction—selecting music and adding scenes—to determine how best to convey the story without dialogue. Meanwhile, the 29 skaters, including Takahashi, honed their movements and expressions. It is likely these efforts that made the experiment of “unfolding a story without dialogue” a success.

Although the performance time was slightly longer than previous shows at approximately 90 minutes, the appeal of the previous production, “Kassouya”—such as its sense of speed and group choreography—was not lost. Above all, the success was clearly demonstrated by the large audiences that gathered for the nine performances (many of whom reportedly attended multiple times) and the growing enthusiasm with each performance.

To pioneer the future of skating

At the premiere of “Kassouya,” which he launched to pioneer the future of skating, Takahashi shared his aspirations as follows.

“I hope this will mark a new beginning for ice shows,” said Takahashi.

Underlying this was his desire to increase the number of people who enjoy figure skating.

"Skating offers movements and a sense of speed that you don’t find on land, and while there are many forms of entertainment, I want to create something that people can truly enjoy. I want not only those who have watched and supported us all along to come, but also those who have never seen an ice show before.”

This is reflected in the fact that they have set ticket price categories that are more affordable than typical ice shows. Additionally, in a genre where shows exceeding two hours are the norm, shortening the runtime is another new initiative.

Furthermore, there was also the goal of “creating opportunities for skaters to shine.”

"Only a select few skaters are invited to perform in ice shows across the country. For many skaters, once they retire from competition, there is nowhere left for them to continue skating. I had considered launching “Kassouya” as a place to provide that opportunity. That is why Kassouya has featured a wide range of skaters—from those at the international competition level to many who have never performed in an ice show. With such a diverse group of members, we have taken the time—including training camps—to come together as a collective and create our performances."

That unifying force is none other than Takahashi, who has consistently demonstrated an unwavering presence on the ice with his sharp skating and has given his all off the ice as well, including in promotional activities.

Kanako Murakami, who has performed continuously since the very first show and played “Suzaku” (the Vermilion Bird) in this production, had this to say ahead of the performance:

"Daisuke Takahashi—the one facing the greatest challenge of all—pushed himself to the absolute limit, sometimes being tough on us (laughs), and led the entire group without ever uttering a single word of complaint. It is precisely because of his example that I believe we were able to move forward with the shared determination to be of whatever help we could." (Murakami)

Seeking to expand the future of figure skating and deliver original entertainment to the world, he has led “Kassouya” with unwavering dedication.

And in their third performance, they once again presented new possibilities for figure skating. That was “Kassouya: Volume 2.”

Daisuke Takahashi

Born in Okayama Prefecture in 1986. Won the 2002 World Junior Championships, took bronze at the 2010 Vancouver Olympics and won the World Championships, and won the 2012 Grand Prix Final (all firsts for a Japanese male skater). He represented Japan at three consecutive Olympic Games, from Turin in 2006 to Sochi. He competed in both men’s singles and ice dancing at the World Championships and retired in 2023. He is currently active as a professional figure skater and is also venturing into new fields such as renovation projects, bedding development, and acting.

____________________

Dai's main sponsor, SkyCourt, has announced the following talk event:

スカイコート株式会社 on Instagram: "こんにちは！SNS担当です📣 高橋大輔氏　SPECIALトークイベント開催のお知らせ✨ 2026年8月4日(火)に高橋大輔氏　SPECIALトークイベント開催が決定いたしました！詳細は、スカイコート公式Instagramにて順次公開してまいります！公開まで、ぜひ楽しみにお待ちください！ #スカイコート #マンション経営 #高橋大輔氏 #トークイベント #D-color 西田美和"

749 likes, 5 comments - skycourt50 on May 10, 2026: "こんにちは！SNS担当です📣 高橋大輔氏　SPECIALトークイベント開催のお知らせ✨ 2026年8月4日(火)に高橋大輔氏　SPECIALトークイベント開催が決定いたしました！詳細は、スカイコート公式Instagramにて順次公開してまいります！公開まで、ぜひ楽しみにお待ちください！ #スカイコート #マンション経営 #高橋大輔氏 #トークイベント #D-color 西田美和".

www.instagram.com

Hello! This is the Social Media Team

Daisuke Takahashi SPECIAL Talk Event

Announcement

We are pleased to announce that a SPECIAL Talk Event featuring Daisuke Takahashi will be held on Tuesday, August 4, 2026!

Details will be released gradually on the official Sky Court Instagram account!

Please stay tuned for more updates!

#SkyCourt #CondominiumManagement #DaisukeTakahashi #TalkEvent #D-color MiwaNishida

SkyCourt will be sponsoring the 20th edition of Friends on Ice:

スカイコート株式会社 on Instagram: "こんにちはSNS担当です☺ この度、2026年8月28日（金）～ 2026年8月30日（日）にKOSÉ新横浜スケートセンターにて開催されるアイスショー「フレンズオンアイス2026」に協賛させていただくことになりました⛸✨ 記念すべき20回目の公演に、協賛という形で携わることができますことを大変光栄に思っております。本公演では、当社公式アンバサダーである高橋大輔氏、村元哉中氏が出演いたします👏 スカイコートは「フレンズオンアイス2026」

339 likes, 3 comments - skycourt50 on April 23, 2026: "こんにちはSNS担当です☺ この度、2026年8月28日（金）～ 2026年8月30日（日）にKOSÉ新横浜スケートセンターにて開催されるアイスショー「フレンズオンアイス2026」に協賛させていただくことになりました⛸✨ 記念すべき20回目の公演に、協賛という形で携わることができますことを大変光栄に思っております。本公演では、当社公式アンバサダーである高橋大輔氏、村元哉中氏が出演いたします👏 スカイコートは「フレンズオンアイス2026」を応援しています！...

www.instagram.com

Hello, this is the social media team! ☺

We are thrilled to announce that we will be sponsoring the ice show “Friends on Ice 2026,” which will be held at the KOSÉ Shin-Yokohama Skating Center from Friday, August 28, 2026, to Sunday, August 30, 2026. ⛸

We are deeply honored to be involved in this milestone 20th performance as a sponsor.

Our official ambassadors, Daisuke Takahashi and Kana Muramoto, will be performing in this show!

Sky Court is supporting “Friends on Ice 2026”!

Please visit the official website for more details.

synesthesia · Wednesday at 9:38 PM

Cross-post from the "The MELT" thread: A detailed four-part article by journalist Akiko Tanaka has been published on gendai media, which explores the unique features of The MELT (make sure to click on the articles - there are several show photos scattered throughout).

Part 1: https://gendai.media/articles/-/167027

Part 2: https://gendai.media/articles/-/167028

Machine translation of the parts regarding Dai's performances (solo and with Kana and Takahisa):

Daisuke Takahashi’s ‘legendary performance’ from ‘Hyoen’, a fusion of kabuki and figure skating. A display of his finely honed physique

‘The MELT -Cross of Roots-’ Report 1: Part 1

Profile

The ‘Hyoen’ series is a comprehensive ice entertainment production that fuses figure skating with Japanese culture, in which Daisuke Takahashi has starred and served as artistic director. ‘The MELT -Cross of Roots-’, an ice show in which skaters who have performed alongside him, as well as singers, actors and other performers from diverse backgrounds, blend together and resonate on the ice, ran for a total of 12 performances at the Shin-Yokohama Skating Centre from 2 to 5 May. Writer Akiko Tanaka reports on the event in two parts. This first instalment covers the performance on 2 May, featuring Takahisa Masuda, who co-starred in last year’s ‘Hyoen’, and is presented in two parts.

A ‘strange being’ wearing a fox mask

Amidst the silence, as the lights fell, another world appeared. Standing there was a strange being wearing a fox mask. Just as everyone held their breath, captivated by the aura emanating from his entire body, the clap of the wooden clappers signalled the start, and the ‘being of strange form’ began to dance upon the ice. It was impossible to take one’s eyes off his bold gliding movements, set to the sound and rhythm of the shamisen. His bare arms, their muscles undulating like living creatures—almost like a costume in themselves—marked the beat in time with the unique rhythm of ‘chin-ton-shan’. A mysterious creature: though the body is that of a well-trained man, the movements are as alluring as those of a woman. As the music plays, the hand movements grow increasingly intense, captivating the audience; the skating seems to draw them into another realm, as the barrier between the real world and the otherworldly realm begins to dissolve.

[...]

Then, in the darkness, Daisuke Takahashi entered the rink. As he took his starting position amidst thunderous cheers, the atmosphere suddenly fell silent.

A ‘legendary production’ that took on the army of evil led by Koshirō Matsumoto

And so, this is where the ‘Dance of Okuni’ begins, as I mentioned at the start. This performance was a surprise dance by Daisuke Takahashi in ‘Hyoen 2017 – Basa-ra’, the first instalment of the ‘Hyoen’ series, which fused Kabuki with figure skating. Takahashi, who was playing the role of Minamoto no Yoshitsune, infiltrated a den of iniquity led by Niki Danjo, played by Koshiro Matsumoto (then known as Somegoro Ichikawa), disguised as a courtesan. There, without his skates—effectively neutralising his greatest weapon—he performed on a platform set upon the ice. This legendary performance, which fused Japanese classical dance with hip-hop hand movements choreographed by Tokyo Gegegay, sent the Yoyogi National Gymnasium into a frenzy. It had been reported in advance that this time, the dance would be adapted into a skating routine and presented as a new creation.

After taking to the ice, he glides in with a shuffling gait whilst still wearing his fox mask. Skating with ease whilst picking up speed to the accompaniment of the shamisen, Takahashi comes to a dead stop within a square space marked out on the ice by spotlights. There, he performs a hand dance to the Nagauta music. Despite standing on the ice on the blades of his skates, his lower body remains firmly rooted and unshaken, whilst his muscular arms and upper body cut through the rhythm with razor-sharp precision. Just how well-trained must his core be? Furthermore, the power of the hand dance, which follows such a complex rhythm, is amplified, and the muscles in his arms dance with vivid energy.

What is remarkable, as mentioned earlier, is that despite having the physique of a muscular man, his movements—particularly those of his back and shoulder blades—possess a sensual grace reminiscent of a female role. Once the hand-dancing section concludes, the mysterious creature wearing the fox mask turns towards the audience, approaching them with an otherworldly allure—both bewitching and swift—as if beckoning them into a different realm. Amidst a surge of clapping, he glides gracefully and rhythmically across the stage, spinning his head in a full circle to the beat of the drum before the finale. The audience, suddenly snapped back to reality, is once again swept up in a whirlwind of excitement. It was a moment that gave birth to a mature, otherworldly dance—one distinct from the ‘Agu no Mai’ of 2017—made possible precisely because Daisuke Takahashi has accumulated such a wealth of experience.

Looking back from 2017…

Come to think of it, in 2017, following his initial retirement from competitive skating, Takahashi resolved—after experiences including his first ‘Hyoen’ performance—that he wished to live as a performer centred on skating, and he returned to competitive action in 2018. In 2019, he teamed up with Kana Muramoto and switched to ice dancing. In 2017, Takahashi—still a slender young man—danced in drag, but this time he approached the performance with the muscles honed through competitive couple skating, as well as the experience gained from taking on various entertainment challenges—such as singing, delivering lines and appearing in films—in the ‘Hyoen’ series following his retirement from ice dancing.

I suspect that the alluring grace of his movements, reminiscent of a female role in traditional Japanese theatre, stems in large part from his experience performing the ‘Sagi Musume’ (Heron Maiden) dance alongside Chika Nishikawa, the head of the Nishikawa School, in last year’s ‘Nagoya Odori NEO Keikishya’, as well as from observing the movements and dance up close during rehearsals. Furthermore, in the programme for the previous performance, he remarked, “Dancing Tokyo Gegegegay’s choreography on land was a tremendous pressure, but overcoming that has given me a sense of confidence.” Speaking of this performance, he expresses confidence, saying, “I hope this will be something where the audience can sense my own growth through the various experiences I have undergone.”

[...]

Next, Mr Masuda performed ‘Kidoairaku’, the title track of his own live tour, and Daisuke Takahashi and Kana Muramoto took to the stage. Accompanying Masuda’s singing, the two skated, all three wearing wonderful expressions and displaying excellent teamwork. “Unlike on the floor, you can’t brace yourself on the ice, so hip-hop is difficult to balance,” Muramoto notes in the programme, yet Avecoo’s choreography is incredibly fast-paced, and the rap sections in particular look very challenging. However, Takahashi, true to his reputation for dance talent, was really getting into it and dancing with great energy.

[...]

Masuda’s singing and Kanadai’s skating blended seamlessly, and it was clear just how much the three of them were enjoying performing together. In last year’s ‘Hyoen’, Takahashi and Masuda played the roles of Ura and Kibitsuhiko, who were enemies yet drawn to one another, only to part ways tragically in the end. Seeing them here, as if reincarnated in the modern day as close friends, filled me with a sense of happiness.

[To be continued...]

synesthesia · Thursday at 8:10 PM

Part 3: https://gendai.media/articles/-/167097

Part 4:

高橋大輔「氷艶」誕生につながる、松本幸四郎が長く温めていた熱い思い

5月2日から5日まで新横浜スケートセンターにて、全12公演行われたアイスショー「The MELT -Cross of Roots-」。高橋大輔さんが主演、座長を務めてきた、氷上総合エンタテインメント「氷艶」シリーズで共演してきたスケーターと歌手や役者によるもので、演出は氷艶のすべてを知る尾上菊之丞さんがつとめた。ライターの田中亜紀子さんによるレポート第2回後編では後半のショーをレポートしつつ、2027年に10周年を迎える「氷艶」の原点も振り返る。

gendai.media

Ayaka Hirahara’s thoughts on her late father… Daisuke Takahashi showcases the evolution and bonds with his ‘Hyoen’ colleagues

‘The MELT -Cross of Roots-’ Report 2: Part 1

[...]

A black eagle soared silently onto the ice.

Ayaka Hirahara sang the chanson ‘Black Eagle’ on the ice. With her powerful, compassionate voice, the venue was already filled with a sense of bliss. Midway through the performance, just as he did five years ago, Daisuke Takahashi—playing the role of the Black Eagle—appears, fluttering the draped sleeves of his prince-like costume, and glides freely across the ice. His form is truly like an eagle soaring through the vast sky. What beautiful skating it is.

Then, he joins Kana Muramoto—who had been dancing a little ahead, as if she were Hirahara’s alter ego—and, in step with the lyrics, the pair begin to dance together. It seems that their journey as a couple over the past five years is directly reflected in the evolution of this performance.

‘Black Eagle’ is the collaborative programme between ‘Kanadai’ and Ayaka Hirahara, which was first performed at ‘LUXE’, a spin-off ice show from the ‘Hyoen’ series held during the COVID-19 pandemic in 2021. This programme has now been restaged with slightly revised choreography. Kikunojō Onoue, who directed “LUXE”, is also directing this ice show, “The MELT -Cross of Roots-”.

For the second half of the show, which began on the 4th, Ayaka Hirahara is joined by Seiji Fukushi, who rushed to the venue on the 4th—the only day his current stage production was on a break. Combined with the vocals of Kai Hasegawa, who has been participating since the 3rd, the rich harmonies opened the door to a whole new world. As was the case with Takahisa Masuda, who appeared in the performances on 2nd and 3rd May, ‘THE MELT’ strongly conveys the bonds and close camaraderie between the successive generations of performers from ‘Hyoen’.

An evolution I’ve felt over the past five years

Among the programmes performed across all four days, I found the pieces in ‘LUXE’—‘Carnivorous Flower’ and ‘Miroir’, which draws on the Greek myth of Narcissus—particularly captivating. Whilst Shizuka Arakawa performed ‘Carnivorous Flower’ five years ago, this time it was Kana Muramoto who danced like a ballerina amidst the flowers. Accompanied by a group of female skaters forming the ensemble, she portrayed the flower lyrically, as if it were bursting into bloom. During ‘Hyoen 2019 – Like Moonlight’, she was merely one of the extras, but since then she has partnered with Daisuke Takahashi in ice dancing and has taken on roles of increasing prominence within the ‘Hyoen’ series. This time too, she took on a supporting role to director Kikunojō, even handling the choreography herself; Muramoto’s performance, which truly blossomed like a magnificent flower, perfectly mirrored the spirit of this production.

From the middle of the performance, Daisuke Takahashi and Keiji Tanaka burst onto the ice, marking the start of a routine reminiscent of the aforementioned ‘Narcissus’. In ‘LUXE’, dressed in costumes that seemed to have stepped straight out of Greek mythology, the pair performed a duet portraying Narcissus and his reflection on the water’s surface; the piece became a talking point for the sense of dread that arose as the reflection began to move of its own accord. This time, in pale green, flowing costumes reminiscent of water, with Kana Muramoto sandwiched between them, the pair skated across the rink at breakneck speed, performing synchronised movements, sometimes crossing paths, sometimes playfully interacting.

Just as I felt in 2021, one can only imagine the immense pressure Keiji Tanaka must feel in his role—performing as a counterpart to Daisuke Takahashi, in a dynamic where he simply cannot afford to be outshone. In the program booklet, Tanaka himself reflected on that earlier period: while still an active competitor, he would closely observe Takahashi’s movements and practice desperately to mimic them, noting that his goal was "not merely to keep up, but to reach a level where I could practically 'devour' Daichan." Now, having transitioned to the status of a professional skater, he states, "I must place pressure upon myself and compete head-to-head with my great senior colleague." True to these very words, Keiji Tanaka delivered a magnificent performance. He is a truly wonderful skater who continues to grow and evolve, even after turning professional.

[...]

What makes Takahashi, now in his 40s, even more impressive

Following the conclusion of the segments for the third ‘Hyōen’ production, ‘The Miracle of the Cross Star’, and the fourth, ‘Kagamon no Yasha’ (please see the report from the first session for details), the performance moved on to ‘The Black Eagle’, as described at the beginning. Come to think of it, ‘LUXE’, which took place during the COVID-19 pandemic, was a time when various restrictions were still in place, and there were many people who wanted to attend but were unable to do so. Although it could be said that Takahashi and Muramoto had only recently begun performing together as a proper pair at that time, I vividly recall an anecdote from the training camp: whenever practice for ‘Black Eagle’ began, the other performers would gather round to watch.

Five years on, not only had the ‘Kanadai’ couple’s performance evolved further, but I felt that Daisuke Takahashi’s skating itself had become even more refined. Whether dancing as a pair or skating alone, Takahashi glides across the ice with freedom and grandeur. I feel that his experiences performing alongside a wide variety of artists—including in ‘Hyoen’—and his time in the entertainment world have made him an even greater performer now that he is in his forties.

[...]

‘People who savour new colours and live in this world with joy’

Following Koshiro Matsumoto’s words, Shizuka Arakawa—one of the three lead skaters—took to the ice in the same role of the goddess she had played back then [in Basara in 2017], alongside the other lead, Daisuke Takahashi. Nobunari Oda, who had also appeared in the first production, and Rio Nakata, who had performed at the age of eight at the time, also took to the ice, skating with a divine grace as if in harmony with Koshiro Matsumoto’s narration.

Koshirō’s narration continued, conveying the idea that through various interactions, diverse colours are born and expand infinitely. It concluded with the words: “New colours are born. Colours we have never seen before. Let us savour and enjoy them to the full. For that is the very meaning of living in this world.”

Just as my heart was swelling with emotion, the other performers took to the ice, signalling the start of the finale. Both skaters and artists looked proud upon the ice. The people Koshiro spoke of—those who “savour new colours and enjoy living in this world”—were right here.

Next year marks the 10th anniversary of ‘Hyoen’, which was launched in 2017. With four main productions and the spin-off ‘LUXE’, the show has brought together performers from different industries each time, rehearsing tirelessly to create a spectacular entertainment spectacle. One cannot help but reflect on the tremendous efforts of the staff and performers, as well as the dedication of Daisuke Takahashi, who has shouldered the pressure of attracting audiences as the lead in every performance and has led the company as its artistic director since the second production.

Daisuke Takahashi

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