Maya Tendō, a second-year student at Seisho Music Academy, heads the 99th graduating class. Born to a renowned stage actor and a prima donna, her childhood immersed her deeply in theater, forging a drive for excellence. This pursuit led to extensive training spanning classical ballet (since 2005), modern dance, jazz dance, vocal music, flute, violin, and equestrianism. Her professional stage experience includes roles as Little Cosette in *Les Misérables* (2014) and Puck in *A Midsummer Night's Dream* (2016). Reserved yet intensely focused, Maya upholds high standards and refuses to rely solely on innate talent. Peers often address her as "Maya-sama," reflecting her perceived perfection. Beneath her composed exterior lie quirks: a fear of ghosts, a fondness for baumkuchen, and a notable lack of visual arts skill—her drawings described by classmates as "fever dream"-like. Her competitive drive surges during revue auditions, where she wields a rapier, prioritizes victory, and critiques opponents' flaws mid-performance. Her development centers on relationships, particularly with Claudine Saijo. Initially viewing Claudine as a persistent rival, Maya gradually acknowledges her as an equal partner, spurred by Claudine's ambition and "fire." This dynamic evolves from one-sided rivalry to mutual respect, highlighted in duets like *Fly Me To The Star* and collaborative revues such as the *Revue of Resolution, Dogmatism, and Liberation*. Maya's tendency to sing lines like "I had always been looking at you" underscores her longstanding admiration. Interactions with Koharu Yanagi, who sees Maya as a "destined partner," and Hikari Kagura, with whom she shares professional respect despite differing artistic interpretations, illustrate her complex relational dynamics. Maya's character arc explores insecurities beneath her imperious facade. In the film *Revue Starlight*, her revue introduction reflects a darker, solitary philosophy: "Throughout heaven and earth, I alone am the brilliant one," signaling internal conflict about reliance on others. By later stages, including her third-year pursuits for the New National First Theater Troupe, she balances her drive for individual excellence with a deeper appreciation for partnerships, particularly with Claudine.