From May 2nd to 5th, "The MELT -Cross of Roots-" will be held at the KOSE Shin-Yokohama Skating Center. This is a new kind of ice show that beautifully fuses figure skaters such as Daisuke Takahashi, Shizuka Arakawa, and Kana Muramoto with performers from various genres such as Ayaka Hirahara and Takahisa Masuda. The composition, direction, and choreography of the performance are handled by Kikunojo Onoe. This special edition of "Kikunojo's Diary - Hearing Good Things -" features a conversation between Kikunojo and Kana Muramoto, who is assisting with composition and choreography for this performance. One week before the opening night, after finishing rehearsals at the skating rink and before heading to a meeting, the two shared their thoughts on "The MELT." Please also enjoy the off-stage photos, including scenes of the cast practicing.

The "universal beauty" inherent in both traditional performing arts and figure skating.

--Last year, you worked together on the choreography for "Hyoen 2025 -Kagami-mon no Yasha-," but this time you're also in charge of composition and assisting with that. What are your impressions of each other?

Kikunojo Onoe (hereinafter, Kikunojo)　I believe the first time we met was in "Hyōen - Like the Moonlight -" (2019, with Kikunojō as choreographer and movement instructor), in which Kana appeared as a skater. Seven years have passed since then, and I've felt Kana's stage presence constantly evolving, but each time we work together, she shows me a new side of herself, which is always inspiring.

Yachu Muramoto (hereinafter referred to as Muramoto)　I had many opportunities to talk with Kikunojo-san one-on-one while working on the choreography for "Kagami-mon no Yasha," and how should I put it, Kikunojo-san is simply beautiful. His use of words, his teaching style, his movements—everything is beautiful, and I always think he's a truly wonderful person. Whether he's on the ice or off the ice, every movement of his is beautiful. I've learned so much from him. Kikunojo-san reminds me of a flower.

Kikunojo　When you say things like that, I don't know where to put myself (laughs).

Muramoto　I've been involved in this project from the planning stage, and I'm impressed by the beautiful way they approach things.

Kikunojo　Kana-san has a different side to her when she's expressing herself as a skater compared to when she's creating a work of art. I really felt that this time. As an expressive artist, she's very elegant, and truly beautiful. But when she's choreographing, she's quite meticulous, calculating in a good way, and ambitious. I'm the same way about that ambitiousness (laughs). I feel like our choreography styles are similar too.

—You both use the word "beautiful," but is there a difference between the beauty of skating and the beauty of Japanese dance?

Kikunojo　Skaters are constantly battling themselves and striving for greater heights. Their dedication is truly refreshing and beautiful. This is possible because they have lived in the world of sports where every performance counts, which may be a little different from our world of entertainment. However, I believe that the essence of beauty remains the same in both skating and traditional performing arts. It's a universal feeling that anyone can appreciate, regardless of their knowledge or experience. Since becoming involved in ice skating projects, I've come to realize that there are more similarities between the world of traditional performing arts and the world of skating than I had imagined.

Muramoto　This time, Shizuka Arakawa will be performing to Ayaka Hirahara's latest song, "Inori ni Michite," and Kikunojo-san provided guidance on how to use eye movements in the choreography. It's true that even just the way you look can enhance the beauty or change how the story is perceived. This is similar to ice dancing, where the direction the pair is looking and even the angle of a single finger are meticulously considered. I was reminded that there is a beauty in this that is similar to that of Japanese traditional dance.

—At the first "Hyōen" performance, "Basara," in 2017, I remember one of the figure skaters saying, "I had never thought of acting as a role in a play, so it was interesting to think about the character's emotions."

Kikunojo　Skaters are people who have pursued showcasing a single program through their technique and expressiveness, and they basically didn't have the idea of ​​acting. When you think about it, that's only natural. So, initially, many skaters said, "We don't need a script."

Muramoto　That's right!

Kikunojo　Of course, we also learned a lot from the skaters' way of presenting themselves. At the same time, I think the skaters, as they performed more shows, came to feel the joy of creating a single work as a play and the joy of playing a role. Unlike "Hyōen," this "The MELT" is not structured as a play, but when I said at today's rehearsal, "If anyone wants a copy of the script," everyone took one.

Muramoto　I first joined "Hyōen" in 2019, and the experience of portraying every scene as a "role," down to each individual in the ensemble, was a huge learning experience. I formed the pair "Kanadai" with Daisuke Takahashi shortly after that. Unlike single figure skaters, ice dancing has the concept of "playing a role," and when Kanadai used music from "The Phantom of the Opera," I played the character of Christine. I believe that my experience in "Hyōen" was useful in that kind of ice dancing expression.

The moment when everyone's feelings melt together on the ice.

—Are there any memorable moments from your training?

Kikunojo　There are so many memorable things I could mention, but I especially enjoyed the time I spent creating the choreography with Kana-san. When I conveyed my vision for the choreography, Kana-san would break it down, incorporate her own ideas, and then hand over the steps to the performers. Kana-san's ideas are very meticulous, and each step is carefully put together to bring the scene to life. It's so enjoyable to watch that process. For the performers, the real show begins after the opening night, but for us, every single moment we're choreographing is the real show. I feel fortunate to be able to share those moments with them.

Muramoto　I find everything exciting, but when we were brainstorming ideas for the "Interactive Corner," Kikunojo came up with the idea of ​​a "Lyric Skate Battle," essentially a rap battle. It was an idea beyond anything I could have imagined, and I was so impressed! What's more, he stayed up late last night thinking up lyrics for each of us and created them all for us. When those lyrics are put to music, they have a powerful punch and are really cool!

Kikunojo　That was thanks to our music director, Hideki Mogi, who made it look so cool.

Muramoto　The music and lyrics blend together perfectly; it's truly "MELT." Everyone, please look forward to this segment!

—This performance is titled "MELT." What do you think is important when various genres of expression blend together?

Muramoto　I think what's important is how much "passion" and "love" you have for your roots and your expression. For skaters, it's skating; for artists, it's singing; how much do you love what you do? When you genuinely pour out your strong feelings and blend them together as one, I think that will definitely be conveyed to the audience.

Kikunojo　I often have opportunities to bring together different genres, and the most important thing for me is "respect." For example, even if I don't understand the technical aspects of figure skating, I try my best to understand what the other person values ​​and to value those same things myself. And only when that becomes truly important to me do I feel like the barriers between genres begin to dissolve.

Muramoto　I would love for everyone to experience the moment when each of our roots blends together in "The MELT." It's also a time for us to connect with the audience. I believe a new kind of ice show will be born, where the entire skating rink becomes one. The content will change slightly depending on the guest performers, so I hope you'll come and see it every day (laughs). And I think it will be an emotional performance, with some nostalgic songs playing for fans of "Hyōen."

Kikunojo　There will be an anthology-like program starting from the very first "Hyōen," and I think the feelings of the skaters and performers from the past 10 years will blend into the ice. More than that, I want to create a wonderful show where the stories of each and every audience member will blend in as well.

◆ TheMELT -Cross of Roots-

日時：2026年5月2日(土)～5日(火・祝)　開場10:00 / 開演11:00、開場13:30 / 開演14:30、開場17:00 / 開演18:00
Location: KOSÉ Shin-Yokohama Skating Center
Composition, Direction, and Choreography: Kikunojo Onoe; Composition Assistant and Choreography: Kana Muramoto; Choreography: Kenji Miyamoto, Kohei Yoshino, avecco; Costumes: Yoko Miura (Atelier 88%); Music Director: Hideki Mogi; Art Direction: RAM

<Cast>

Skaters: Daisuke Takahashi, Shizuka Arakawa, Kana Muramoto, Nobunari Oda, Keiji Tanaka, Kazuki Tomono, Riji Nakata, Seiya Hashimoto, Yuta Onuma, Kohei Yoshino, Yoji Nakano, Kosho Oshima, Yuki Sato, Miwa Nishida, Juki Nakanishi, Miku Mochizuki, Ayumi Urabe

アーティスト：増田貴久5月2日(土)・3日(日)、平原綾香5月4日(月)・5日(火)、福士誠治5月4日(月)、大野拓朗5月2日(土)～5日(火)、エリアンナ5月2日(土)～5日(火)、財木琢磨5月2日(土)～5日(火)、長谷川開5月3日(日)～5日(火)、青山凌大5月2日(土)～5日(火)

Super Arena seats: 26,000 yen, Arena seats: 19,000 yen, SS seats: 17,000 yen, S seats: 13,000 yen, A seats: 8,000 yen

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The MELT -Cross of Roots-