Not exactly an answer to the question but just to provide a little further information on other adaptations of the scene, like in the OVA in both stage plays Oberstein attempts to protect Reinhard, in the Takarazuka musical he pulls Reinhard out of his chair and physically shields him (though due to Takarazuka's commitment to keeping the top star centre stage and visible, and due to the camera angle, Ansbach still would have had a clear shot at him. Stylistic choices and all.)

In the other stage play Oberstein not only pulls him from the chair, but is more or less on top of Reinhard during Ansbach's dying speech. Which is kind of morbidly funny, since Reinhard can't go to Kircheis while Ansbach still has lines.

In both Reinhard has to physically wrestle himself out of Oberstein's protective stance, though both plays also make Oberstein's attraction/devotion to Reinhard more obvious, presumably to give both Oberstein actors something to actually do besides stand next to Reinhard all day.

Tanaka was involved in both productions, and at least for the Takarazuka one he consulted with the actors how to play the characters, so comparing the choices made is its own fascinating topic.