Maestro, at first listen, it's easy to associate with the stereotype of "elite," but it's actually a "strange person." This is the initial introduction of Asahi Tokiwa by the "Reversal Orchestra." Looking back, this "displacement" that is different from the "preconceived notion" is the interesting characteristic of this entire play.
This is a story that looks very "orthodox" and "traditional," reversing "deviation" and returning to "order," as if there is a set template. The story seems to follow a corresponding structure at the beginning, with each episode being like a small unit, breaking down each "problem."
But soon, it will be discovered that the seemingly familiar process is not using the same conveyor belt, but taking a different path.
Asahi Tokiwa is very representative.
He is indeed "strange." He has a strong presence but does not become the proactive problem-solving character. He stays in the background, taking on a supportive role, but actually guiding the development of the situation.
Just like his identity as a conductor, he is not the performer responsible for making sound, but a leader who knows the condition of every sound, guiding all voices to achieve harmony.
I think this is a very interesting character portrayal. It is a different imagination of a hero, not necessarily a hands-on savior, but a slightly awkward guardian.
I really like Asahi, and Kei-san interprets this "atypical elite" perfectly. However, instead of saying that Kei-san is suitable for this role, it should be said that Kei-san shaped Asahi in this way. It is not dazzling and radiant, but contains a soft power that inspires people, which is Kei-san's own characteristic, creating a stable and resilient Asahi Tokiwa, like evergreen plants and the rising sun.
This "sense of life" is precisely what this play tries to draw from within the framework of "yaoi." It is often said that Japanese dramas are romantic, which may indeed be unrealistic, but why not embrace such hopes for the world? The tone of this play is ultimately a passionate comedy, but it is not purely formulaic: the impact of each small unit's problem on the overall story is more distinct. It should be said that the reason for exploring each small unit one by one is out of "considering the overall situation" and "crisis management," sincerely embodying the difficulties of maintaining a local team. Each member will face their own life issues and pressures, even affecting the operation of the entire team.
Therefore, each episode is not just about "removing obstacles," but more like counseling, understanding the difficulties encountered by members, assisting them in self-dialogue, and confirming their own responses. Everyday and delicate, it is the trivial and immense worries that everyone may experience and empathize with in life.
I feel that there is a fundamental issue of deliberation in it - "escape." Each character is learning to embrace and soothe the part of themselves that wants to hide. The play mentions several important concepts, and I think the most crucial one is: living in the present.
Even the main conflict of the story is partly like a playful joke, and partly a magical realism. The troubles and difficulties caused by political maneuvering on cultural venues and public administration are "truthfully" "reproduced" in this play. Within the main storyline, there is not only a romantic atmosphere, but more of a natural interaction in the mundane aspects of life.
The occasional "fireworks" atmosphere adds a touch of "human touch" to this play, carrying a care for people and life. While pursuing beauty, it does not forget to seek genuine tenderness.
This play blends the tendency of blending ideal situations with real-life situations, which is also reflected in its marketing and promotion. It adopts a blurry dimensional boundary approach, making the characters and things in the play seem to exist synchronously with this side of the world. Personally, I have always liked this kind of pattern, regardless of reality or illusion, it is just a state of mind. If the heart can believe, there is hope.
I think this is also the core meaning conveyed by this play.
This is a quite serious work that faithfully follows its title, depicting the process of a symphony orchestra's rise and establishment. The performance itself is particularly highlighted, sincerely portraying a group of colleagues who sharpen each other in adversity, coming together as true musical partners, achieving the true meaning of a "symphony orchestra" - a group that stands firm by allowing individuals to find their place and purpose within it.