[CH.38] Sumire's Struggles and Filming in Kyoto

I Reincarnated as a Beautiful Girl and Aim to Become a Top Actress! (WN)

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[CH.38] Sumire's Struggles and Filming in Kyoto

**TL Notes: So as not to confuse you all, I made a list of the characters that get mentioned in this chapter that you may have forgotten before.   Sumire Matsuda: MC Yoko Ando (Yoko-san): Sumire's manager. Kotone Mimura (Kotone-sensei): Piano teacher

"I have a favor to ask of you, Kotone-sensei."

Kotone-sensei stood up and began preparing, so I called out to her as she walked away.

"What's the matter, Sumire-chan?"

"Before we start practicing, could you please play this piece for me? If possible, record it so I can listen to it again when I have trouble during practice."

I thought that in order to achieve results quickly with a short preparation time, it's effective not only to memorize with the fingers but also to memorize by ear. I personally believe that it's okay to mimic the teacher for the basic parts; what's important is how to add your own expression to it.

Sensei agreed and went to get a cassette recorder for the recording. She placed the cassette recorder on a slightly taller table, and Yoko-san stood by to press the record button. I couldn't reach the button.

"Do you have any specific requests for how you'd like me to play it?"

"Well, as faithfully as possible to the sheet music's instructions, play it in a straightforward manner without adding any extra expression."

When I said that, without questioning the intention, Sensei turned towards the piano. She raised her right hand toward Yoko-san, and it seemed to be a signal as Yoko-san's index finger clicked the record button.

Sensei's fingers glided over the keys, and the piano started producing soft sounds. As I listened to the music being played, I followed the sheet music with my eyes. It's kind of obvious, but Sensei's piano playing is really smooth.

Hmm, when I listen like this, the challenging parts do seem to be the 32nd notes that pop up in places. I understand the basic musical notations, but I have no idea about the difficult ones, so I'll need her to teach me that as well. I've never seen things like "Poco moto" or "8va" before; what are those?

After Sensei allowed the final eighth note to sustain for a while, she let go of the keys. Yoko-san, who confirmed this, pressed the stop button. I wanted to take a deep breath after confirming that the recording was over, as I didn't want any noise, not even a breath, to interfere with the recording.

"It's like this, but do you think you can do it?"

"I'll do my best!"

In response to Sensei's question, I replied, clutching both of my hands tightly to my chest. There are many difficult parts, but I thought that with effort and practice, it seems achievable. Also, listening to Sensei's performance and strongly desiring to be able to play like that motivated me. I think I can do it; without that belief, I'd want to give up even before practicing.

I sat down in the chair where Sensei had been sitting just a moment ago and began by asking about the terms I didn't understand in the sheet music. 

“Oh, I see, it means I can write that down...”

Sensei allowed me to write down the explanations in the margin, so I started jotting down what she told me.

"It's completely unrelated, but Sumire-chan, you write beautifully, don't you? I've been thinking that for a while."

"I practiced a lot for that, but more importantly, what about this part?"

"Ah, for this part, you should play it with a gradually slowing feeling. For now, it's okay to go slowly, so shall we work on it one measure at a time?"

Encouraged by Sensei, I started playing, but this piece is in 3/8 time, so the rhythm is a bit different from what I've done before. Still, with her guidance, I managed to get through it and finally got the "okay" from Sensei, at least up to the part where suspensions are frequently used. Although "okay" doesn't mean "well done," it's just permission to practice on my own. For the other parts, it seems like we'll move on once I've perfected what we've covered so far, so there's still a long way to go.

After that, it was a daily routine of practicing during free time in the dormitory and having Sensei check my progress during our lessons twice a week, gradually expanding the scope of individual practice. Fortunately, the school that took up most of my time had entered spring break, so I think that freed up more time for practice. I practiced diligently while being careful not to injure my fingers or arms, and by the final week of March, I began to see the turning point. It was in that week that Yoko-san told me something shocking.

"Kyoto, at a crucial time like this?"

"I can't help it. Do you remember the elderly, the leader of the opposition faction at the audition in Osaka? He introduced me to these people. The film hasn't even started shooting, and I don't want to create unnecessary conflicts with them."

"That's true, but it'll be tough not to touch the piano for two days with all the travel and filming."

I've finally started to grasp the rhythm and how to play this piece, and I'm afraid I'll forget it completely. The story began when the owner of a confectionery shop, who offered me the role, approached a local video production company and proposed shooting a local commercial. What's more, the owner wanted to use a video of a cute girl walking under the fully bloomed cherry blossom trees. So, the director, introduced me, and it seems they decided to shoot this weekend because the cherry blossoms will be in full bloom. It's like they have an abundance of energy and just go for it. 

Over here, the cherry blossoms have only just started budding, but in the Kansai region, I remember they were mostly in leaf when it came to the entrance ceremonies every year. Occasionally, it doesn't warm up enough, and they bloom around the time of the entrance ceremony, but for me, cherry blossoms are more a symbol of parting than meeting. They are incredibly beautiful flowers, and I do love them.

Setting that aside, I was originally a middle-aged man. I understand what Yoko-san is saying painfully well as a former working professional. But right now, I want to focus on the piano. I have a pure desire to do my best, and I also have a dark fear of making a mistake and feeling embarrassed in front of a large audience at a recital. In the face of the seemingly insurmountable reality, something surged from the depths of my heart, and I felt my eyes welling up with tears.

Perhaps it's the physical age catching up, but this body is surprisingly prone to tears. It's rather pitiful to imagine a middle-aged man crying, considering the contents of the person, but thankfully, my current appearance resembles that of a young elementary school student. Allowing my tears to flow, I let out sobs, and I felt something warm press against my face.

I realized that I was being gently embraced by Yoko-san as she patted my back. I couldn't help but feel pathetic, remembering the times she comforted me like this before, but now, I allowed myself to lean into her warmth.

"I'm sorry, Sumire. I burden you too much... You see, because you easily tackle the challenges imposed by the adults around you, it's easy to forget that you're still an elementary school student."

It's not as easy as it may seem, but it seems that way to Yoko-san and the other adults around. From my perspective, I have been struggling in my own way to overcome the challenges they give me.

"I've heard that this piano performance is going incredibly smoothly, even Kotone-sensei says so. So, it's okay to go out for a bit. Your hard work up to this point won't go to waste."

The hand that had been patting my back moved to the back of my head and began to gently stroke it. But I've heard that if you skip a day, it takes three days to make up for it. This is probably true for any instrument, sport, or martial art that requires practice.

Thinking about it, I couldn't make up my mind. Well, no matter how much I protest, I still have to go to work. At this rate, it seems like both the piano and the filming are going to suffer, and it's making me feel a bit down.

"The current Sumire is giving it her all to succeed in the piano, right? But it's not good to push yourself too hard. Let's take a break from the piano for just two days and have a change of pace, okay?"

Yoko-san's voice, trying to persuade me, definitely showed concern, and I couldn't afford to cause more trouble with my selfishness. I lifted my face, which had been pressed against Yoko-san's stomach, and gazed into her eyes, nodding. Yoko-san wore a relieved expression and gently wiped away the tears that had gathered at the corners of my eyes with her thumb.

"...The destructive power of teary-eyed Sumire looking up at me is incredible. Even as a woman, I felt like hugging you tightly and petting you all over," Yoko-san said with a smile.

When I tilted my head in response to Yoko-san's mumbled comment, she wrapped her arms around me again and said playfully, "It's nothing."

The unease in my heart wasn't diminishing. In fact, it was growing. But I had decided to go, so I needed to change my mindset and enjoy it. I mentally told my still reluctant self to do so and forcefully switched my focus.

---

In the end, going to Kyoto and taking a break from the piano turned out to be the right decision. While I was there, I could forget about the piano, savor delicious food, and immerse myself in the acting.

Upon arriving in Kyoto, I was immediately taken to the filming location, which was adorned with fully bloomed cherry blossoms. I couldn't take my eyes off the breathtaking sight for a while. Afterward, I had a meeting with the staff from the video production company, as well as everyone involved, including the owner of the confectionery shop, to confirm the content of the commercial.

It was a little late for graduation season, but my outfit was a hakama. They had prepared a hakama with a light pink kimono and a dark red, wine-like background with cherry blossom motifs. The kimono had patterns of lily flowers, giving me the impression of a Taisho-era female student. The hairstyle was also specified as a ponytail, and a ribbon of the same color as the hakama was to be worn, ensuring a consistent look.

That night, the owner treated me to a lavish meal at a traditional Japanese restaurant, which clearly had an exclusive atmosphere, making me feel somewhat out of place. It was my first experience of its kind, including having a maiko (an apprentice geisha) in attendance. The owner was a friendly and down-to-earth person who, despite my childlike appearance, engaged me in conversation and made me feel comfortable. However, once he realized I could hold a conversation with adults, he began to passionately share the story of his life. Older people often want to share their life experiences, and I found it challenging to navigate the conversation, offering nods and comments as if I were a newly hired employee enduring a long-winded work story.

I didn't perform my best during the shoot as a way of repaying them for the various valuable experiences they had provided, but I put my all into it. Walking silently in a hakama beneath the cherry blossom trees, expressing the desired image with gestures and expressions alone was challenging but rewarding.

The direction was only "look like you're having fun," yet I was constantly told it wasn't good, and they didn't tell me what exactly was wrong, so I had to figure it out myself. Ultimately, after trying various approaches, when I performed the image of "a girl meeting someone she likes while blushing," they unanimously approved. The shoot lasted for two hours, and we were able to wrap it up fairly smoothly, despite some trial and error.

After the shoot, I took photos with tourists who asked for them, went to a nice cake shop for a wrap-up celebration, and had a really relaxing time.

As Yoko-san had said, I realized that my tension was too high. I understand that it's inevitable to face unreasonable demands with my limited experience and time, but I thought I should have a bit more emotional flexibility. Practicing the piano frantically without a clear mind isn't efficient, and maybe I had been in that state until the day before yesterday.

I received a gift of assorted Japanese sweets from the owner and left on the evening shinkansen with a send-off from the staff who had taken care of me during the shoot. The Japanese sweets won't keep for long, but they should last until tomorrow, making them a good souvenir for everyone in the dormitory.

As the shinkansen started to move and the send-off crowd disappeared from view, I let out a small sigh and leaned back against the seat. It was fun, but I felt a little tired. While thinking about this, Yoko-san, who was sitting next to me, flashed a small smile.

"It looks like you've had a change of mood, and I'm glad you're back to your usual self," Yoko-san said.

"Yoko-san... I'm sorry for causing you worry. I'm fine now," I replied.

"Don't worry, and don't hesitate to inconvenience me. That's what a manager is here for, to support the talent in various ways. I'd be more troubled if you held back," Yoko-san reassured me as she patted my head. It turns out that in the world of child actors, the manager's role is often handled by parents, but cases like Yoko-san and me, where a production company employee partners with the talent, are quite common. Yoko-san mentioned that other child actors could be demanding or have difficulty with communication, making life tough for their managers, and I was considered an easygoing and low-maintenance talent.

"Well, then, I'll continue to rely on you," I said, feeling a mixture of happiness and embarrassment.

Yoko-san smiled and replied, "Likewise."

Alright, with renewed determination, I'll do my best starting from tomorrow. First, I need to address the points that Kotone-sensei pointed out, and then I'll work on advancing to the next section.

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