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wlwcatalogue · 1 month ago

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A Gay Girl's Guide to Takarazuka

L to R: Sagiri Seina, Ouki Kaname, Amami Yuuki, Asumi Rio, Wao Youka, Asaji Saki, Shiraki Ayaka

If you’re queer and into theatre or Japanese media, chances are that you will have heard of all-female theatre company Takarazuka Revue… but it’s also equally likely that you won’t have checked out anything of theirs. For those who are curious but were intimidated by its over 100 years of history, or who just want a quick primer to ease in, click below!

1. Why get into Takarazuka?

L to R: Rei Makoto in Tiara Azul (2024), Yuzuka Rei

For those into androgynous women

As you probably already know, Takarazuka's big selling point is that it's an all-female theatre company where the male characters are played by women. The actresses are expected to continue presenting that way off-stage, which in practice means a lot of handsome women with short hair in binders and men's clothing... Why that might appeal to people who are into androgynous women (or GNC/enby folks) is pretty obvious.

Reality Check:

Sadly, after "graduation" (i.e. leaving Takarazuka), nearly all such actresses will transition into feminine presentation and take on female roles. It's similar to the "lesbian glasshouse" idea in Class S yuri, but for gender non-conformity. That said, there are some notable counter-examples: Shion Yuu and Nanami Hiroki have basically refused to change their presentation after graduating (the latter still frequently plays male characters in both anime and stage productions), and things are more relaxed lower down the rungs too.

L to R: Wao Youka & Hanafusa Mari, Sagiri Seina & Sakihi Miyu

For those into butch/femme pairs

Just as roughly half of Takarazuka's actresses specialise in male roles (otokoyaku/男役), there is another half specialising in female roles (musumeyaku/娘役). On top of that, Takarazuka is split into five different troupes, and for any given production, the male lead and female lead are automatically assigned to that troupe's "top star" (leading otokoyaku) and "top musumeyaku" (leading musumeyaku) - the "top combi".

Unlike leading pairs in other theatrical traditions, the "top combi" concept extends to them being marketed as a pair in interviews, magazine features, TV programmes, etc. Just watch the mini TV special where Sagiri Seina and Sakihi Miyu visit Tokyo Skytree and Sumida Aquarium-- it's basically a date, and is described as such by the commentating TV announcer. Likewise, Wao Youka and Hanafusa Mari were interviewed about being a "golden combi" by women's magazine Fujin Kouron (though to be fair this was after they had, improbably, managed to win a Kikuta Kazuo Theatre Award - an award for individuals - jointly, for their "splendid performance as a combi" in 2004's Boxman).

Taken to its extreme, there have been cases where the Japanese public have been convinced that a top combi was dating, as with the immensely popular 1980's pair Daichi Mao and Kuroki Hitomi... It's no wonder that the actresses themselves frequently describe it as being like an arranged marriage.

Separately, due to certain reasons, it's practically part of the job description for top musumeyaku to adore their top star partners. This, in theory, inadvertently creates a safe space for any top musumeyaku who could be gay for their stage partners... Just to illustrate, during her graduation speech, Hinami Fuu repeatedly referred to her feelings for her top star partner Hokushou Kairi as koi (恋), a word specifically denoting romantic love, and nobody blinked an eye.

Reality Check:

Due to conservative attitudes in both Japan and Takarazuka itself, most actresses go on to marry men, including many of those named above. Vanishingly few are publically out, though former otokoyaku Higashi Koyuki (stage name Aura Maki) is a queer activist and was one half of the first same-sex couple to be married in Japan, and another former otokoyaku, Misuzu Aki, has been living with her female partner in Europe for years. Just, well, don't forget that being married to a man isn't necessarily evidence of heterosexuality.

L to R: Asumi Rio in The Poe Clan (2018), Sagiri Seina in Rurouni Kenshin (2016)

For lovers of anime and manga

Takarazuka is probably best-known as the inspiration behind Revolutionary Girl Utena, Revue Starlight, Kageki Shoujo, and Sailor Moon’s Haruka and Michiru, but did you know that it also inspired seminal works featuring androgynous female leads such as Princess Knight? If you enjoy “prince-type” characters in yuri, you’ve got them to thank

Apart from inspiring anime and manga, Takarazuka also does quite a few animanga adaptations itself! Most famous are their Rose of Versailles musicals, but other popular adaptations include Ace Attorney, Rurouni Kenshin, Lupin III, Boys Over Flowers, and Hagio Moto’s bishounen vampire vehicle The Poe Clan. They’re also doing a Castlevania musical this year!

Wao Youka & Hanafusa Mari in Phantom (2004)

For the theatre nerds

Female Phantom of the Opera, duh

Jokes aside, Takarazuka’s unique position in the theatre world can't be overstated. As a rule, all-female productions are either smaller-scale, one-offs dependent on the work, or part of a theatrical tradition completely separate to Western-style plays or musicals (hello, Chinese Yue opera). Takarazuka is the exception: it offers productions comparable in size and scale (and budget) to the largest West End and Broadway musicals - it just so happens that it's all-female.

If the all-female aspect doesn’t excite you then why are you here, then let me emphasise again: Takarazuka is totally worth checking out as a production company in its own right. It is very much a part of the broader Japanese musical industry, and one of its powerhouses at that. Just take a look at some of these clips from past productions (all around 5 mins or less):

(a) Maeda Keiji - a musical loosely inspired by real-life samurai Maeda Keiji; features an uncannily convincing horse performed by two people in costume which needs to be seen to be believed (b) Ephemeral Love - a period piece about the doomed love between Prince Rudolph of the Hapsburgs and his lover Marie Vetsera (c) The Man Who Never Sleeps - a biographical musical about Napoleon Bonaparte (d) Casino Royale - an adaptation of the 2006 James Bond movie of the same name (e) BADDY - an off-the-wall sci-fi comedy featuring loads of velvet suits, silly shellfish outfits, and queerness.

Wao Youka and Hanafusa Mari in Dracula (2011)

2. Random Queer-ish Trivia

It's pretty common for former otokoyaku to be cast in WLW roles: Sena Jun headlined the 2018 Japanese production of Fun Home, Otozuki Kei cameoed as a lesbian escort in 2022 LGBTQ-themed J-drama Kojinsa Arimasu, and Seto Kazuya played the owner of a lesbian bar in 2024 yuri J-drama Ayaka is in Love with Hiroko. (Incidentally, Sal Jiang, the original creator of Ayaka is in Love with Hiroko, has mentioned being a fan of Sena Jun when she was younger)

Otokoyaku are sometimes mistaken for men, with amusing results: Yuzuka Rei was thought to be a “host” by a passer-by while talking to her fans, and Houshou Dai has mentioned being hit on by a woman before. But the prize goes to Todoroki Yuu, who like many women once had to rebuff unwanted advances from a man—except in her case, he thought that she was a guy

Before entering Takarazuka, Sou Kazuho – eventual Snow Troupe top star – went to a co-ed school and had long hair. To her confusion, this didn’t stop her classmates from asking her to play a male character (possibly the male lead, IIRC) in the school play. They saw her as an otokoyaku even before she did!

Continuing with the high school theme, former Cosmos Troupe top star Wao Youka has boasted about how in her high school days, she received more Valentine’s chocolates than her brother, and in fact second-most out of her year. Important note: she went to a girls’ school

Speaking of Wao Youka, her 2011 Dracula (see photo above) - from @cryoverkiltmilk's “Cunt Dykecula” post - wasn't actually a Takarazuka production! Since Wao was acquainted with and later married its composer Frank Wildhorn, some assume he was the one to cast her, and that Hanafusa Mari was brought in due to being her old stage partner. But Wildhorn had wanted Wao to play the female lead. It was she who insisted on Dracula. And Hanafusa wasn't just a third party... she had been Wao's manager since 2007, having retired from the stage after graduating and only just returned with 2010's Dietrich. (She played Edith Piaf, legendary chanson singer and “very good friend” of bisexual icon Marlene Dietrich, played by Wao.) Dracula was the swan song for their partnership, with Hanafusa going on to conquer the Japanese musical industry as she had Takarazuka-- but it marked the first, and so far only, time a top combi performed as romantic partners after graduating.

On a separate note, renowned queer photographer Leslie Kee has been responsible for taking the cover portraits for Takarazuka's offical monthly publication Kageki (歌劇) since 2010. You should definitely check out his ongoing "Out in Asia" project – he's taken literally thousands of photos of out queer people in Japan, Singapore, and Taiwan in a bid to raise visibility

Lastly, in November 2015, Takarazuka City became the first Japanese city outside of Tokyo to announce its support for same-sex partnerships… though this may of course be a total coincidence.

Flower Troupe in Takarazuka Fantasia (2015 Taiwan tour)

3. Where to Start?

Nearly all Takarazuka shows since the 1990's are available on DVD (earlier ones are on VHS), and these recordings are very well done - they have great video and audio quality, are well-edited, and use a large number of camera angles

They do livestreams and live broadcasts of performances as well! You can watch a livestream from your mobile or PC by spoofing your location. For a more communal experience, if you're in Japan, Taiwan, or Hong Kong, you can catch live broadcasts of Grand Theatre performances at a local cinema

VODs of selected productions are available on various platforms, including Amazon Japan, though this still requires location spoofing. If you're actually living in Japan, you can also consider subscribing to Takarazuka's official TV channel (yes, that's a thing) Sky Stage - they do a lot of reruns of past performances

With that done, here are several recommendations if none of the productions mentioned throughout the post caught your eye!

(a) Elisabeth - Michael Kunze and Sylvester Levay's musical about Empress Elisabeth ("Sisi") of Austria and the fall of the Hapsburg Empire, featuring an (inevitably very sexy) personification of Death and fantastic music. Takarazuka has done many, many productions of this, so just search them and pick whichever looks most appealing - but you won't go wrong with the 2014 Flower Troupe production, which has a very strong cast and a more refined version of the staging

(b) Phantom - Arthur Kopit and Maury Yeston's adaptation of Phantom of the Opera. Though obviously not the ALW version, the music is actually pretty great and Takarazuka goes all-out on the costumes and stage magic. All the productions are wonderful, but my favourite is the original 2004 version (which is also the one which went viral on Tumblr before - thanks, @wheel-of-fish!)

(c) Rose of Versailles - no list would be complete without Takarazuka's representative work, buuut I wouldn't necessarily recommend starting here if you're looking for a typical musical experience. There are loads of productions to choose from - note that these are split between a version focused on protagonist Oscar, and another focused on Marie Antoinette and her lover Fersen - but the 1991 Moon Troupe production is my personal pick

(d) Casanova - a light-hearted romp in which Casanova is reimagined as a charming playboy who falls for the feminist-minded daughter of Venice's mayor... only, she doesn't know his real identity. The very catchy music was commissioned from Dove Attia, the producer behind French musicals Mozart, l'opera Rock and 1789: Les Amants de la Bastille. Check out the performance digest here!

(e) Shinjuu: Koi no Yamatoji - Takarazuka puts Chikamatsu Monzaemon's tale of the doomed love between a commoner and a courtesan to a classic rock score (see this clip!). An Edo-era work that doesn't just focus on samurai and nobility, this romantic tragedy offers a grounded look at the social pressures of the time. (Though if you do want to watch something focusing on Japanese nobility, I highly recommend Takarazuka original and guaranteed tearjerker Hoshiai Hitoyo.) There are quite a few productions of this, but I've only watched the 2014 Snow Troupe one, which was very good.

Thanks so much for reading! Please feel free to DM me or send an ask if you have any questions~ I definitely want to do a follow-up post on musumeyaku, and maybe delve into Wao and Hanafusa's history (it's messy, but fascinating)... but we'll see!

#takarazuka #musicals #theatre #elisabeth das musical #phantom of the opera #rose of versailles #butch #yuri #queer #ayaka is in love with hiroko #wlw recommendations #takarazuka revue #musicaltheatre

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yuzurujenn · 9 months ago

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[2024.05.11] Quardruple Axel May Issue: Tanaka Keiji - On the basis of solid techniques

Tanaka Keiji is expanding his activities by appearing in numerous ice shows, including “Yuzuru Hanyu notte stellata 2024”. As an irreplaceable friend of Hanyu Yuzuru, who inspired each other in the men's single competition during his amateur career, we asked Mr. Tanaka to talk about the evolution of “Professional skater Yuzuru Hanyu” as he sees it.

--The second year of the "Notte Stellata" show has celebrated its opening day. What was it like being on the show?

I am of course happy that we were able to hold the show for the second time, and I'm glad that we were able to make the show even more exciting with the addition of new member Javi (Javier Fernandez).

--Mr. Hanyu created this show with themes of recovery from the Great East Japan Earthquake and hope for the future, but this year a large earthquake occurred on the Noto Peninsula on New Year's Day. I think it left a profound impression in the hearts of both the performers and the viewers.

I think this is a day that we really should not forget, and I think there are people who actually suffered from the disaster, people who know the hard times, and people who may not want to remember, but I feel that this show is performed with a very important concept in order to show hope for the future.

--After the show opens, Mr. Hanyu skated ``Notte Stellata'' by himself, which is also the title of the show. It is unusual to have a solo number before the opening, but this makes the concept of the show clear.

I think it is very important that the chairperson of the show skates first to clearly convey the meaning of the show to everyone before the show begins. By having Yuzu skated at the start, from there subsequently, I think the essence of the show was expressed well. It was a really important time for the show, and it felt like everyone were embodying the chairperson’s thoughts through their skating.

-- Did Mr. Hanyu say anything to his co-star skaters, such as, “Please skate with these thoughts in mind”?

Since it was being held at this time of year, everyone was aware of the atmosphere since last year. Last year, the performance date coincided with 3/11, so we understood the weight of that and the feelings that must be put into the skating. However, I also understand that it is even more difficult for the chairperson than for us. I think the other performers are also accepting of that. Or rather, we all stand by each other and support each other. I think everyone understands that, even if we don't say it in words.

--Did you have any thoughts about Mr. Hanyu that you felt during rehearsals?

Last year, I think there were a lot of times that he wondered, ``Is it okay to do a show at this time of year?'' This year, it may just be my own personal thought, but I felt that he’s spending this day with a slightly softer expression than last year.

--Indeed, last year, he expressed his thoughts very seriously when he greeted the audience.

It was the most difficult time for him, so I think he took the meaning of holding the ice show on that day very seriously. He puts his thoughts and feelings in various places, and although we do not see all of them, I think there are parts that are conveyed through each of his actions.

--This year, the collaboration with Mao Daichi became a hot topic. It was a co-starring performance between top entertainers. What did you think of "Carmina Burana"?

It was a magnificent stage. Both of them were truly divine. I only saw it on the monitor (in the backstage), but the power was conveyed even through the screen. It felt like they were showing something far beyond anything I could have imagined on the skating rink and on stage.

--At the end of the performance, Mr. Hanyu skated “Danny Boy” as a solo. How was your impression of this poignant and graceful program?

After Yuzu’s solo, the flow of the song leading to the finale is very fitting too, and I think it is a performance that is very typical of him. I think he expresses it very beautifully, and the sense of “the show is coming to an end, but there’s still hope from here on” is very much connected to the overall theme of the song.

--Some of the choreography seemed to express the theme of reaching for hope in spite of the hard times.

Yes. I only had one practice time with him, as I watched him perform, even though it was a rather difficult piece, I got the impression that he was taking each note seriously. I felt it was really amazing.

-- This time as well, I was able to once again feel the range of Mr. Hanyu's expressions through his collaborations and solo performances.

I think the fact that he is touring solo is a big factor. He is able to create a show by performing many different things on his own. Depending on the show we perform in, we usually have at most two solo numbers and one or two group numbers, but even that is a lot of work. So, to connect a show by oneself, one really needs to perform different things and learn many things. I think it is because he is exposed to so many opportunities all at once that he is able to create such a variety of expressions.

--Was it a surprise for you that he put together a show like this by himself? Or did you think that Mr. Hanyu would be able to do this much?

I thought it was possible for him to do it. Of course, at first I was like, “All alone!?'', but when I really thought about it, I realised, “It sure looks like he can do it.'' I guess there was something he wanted to do that much. Really, that part of him is amazing.

--How has Mr. Hanyu evolved since becoming a professional?

He already has world-class jumps and skating skills, so I think he has been thinking a lot about how to use them since he became a professional. In competitions, advanced techniques were incorporated into programs within the framework of rules, but now that the framework has been removed, we can use them in a variety of ways and present them in many different ways. In that respect, I think it's amazing that he is further honing his already high-level skills and working on even more advanced things.

--Have you ever been surprised by something that he does?

Of course, his technical prowess is amazing, but I focus on how it fits with the music. It is not so much about him doing something very difficult, but rather that he is using the choreography and program structure in such a way, or presenting it in such a way, that I admire. For example, it could be a part where he moves in sync with each note, or conversely, he might suppress that technique and just dance. He uses them in various ways. Since he already has all the advanced skills, I think the challenge now is how to use them. After all, if he just uses the technical skills, it will end up being something similar to a competition program, so the key is to subtract and add things and how to incorporate the correct elements into a new program. I feel like that is how he is presenting his style now.

--Since Mr. Hanyu has turned professional, what are the things you feel have remained the same or have changed in your opinion?

The part that has not changed is his concentration. The way he concentrates before he starts his performance is always amazing to watch. In fact, I think his ability to concentrate has become stronger than when he was a competing athlete. On the other hand, the things that have changed since he became a professional are, as I mentioned earlier, the range of his performances and the vision for what he wants to do. He has achieved many things through the new productions that he has pioneered in his solo ice shows, and I really feel that he is stepping forward and wanting to do many different things to showcase skating in new ways.

--I think it must be really difficult to have to deal with so much, are there times when Mr. Hanyu is relaxed and back to his true self?

I wonder. I only meet Yuzu during the show, so there is no time for him to relax. But during meals, etc. we see each other, and at those times, I think he takes care of himself.

--What do you mean by that specifically?

I think that for skaters, our body is the only means to express ourselves. Of course, we are here as professionals, so we take care of our bodies, diet, and many other things, but I feel that he takes even more care of his body in places we can't see. What I see is only a small part of him, but I think he is doing a lot more behind the scenes.

--As a professional skater, I think it is really wonderful that one can give courage and convey thoughts through their performances. Keiji-san, do you yourself see any difference between when you compete and when you perform in an ice show?

In an ice show, you have to have a theme and think about what you are going to do, so it is very difficult to choose the songs. In competitions, I think the order is fundamentally reversed, as I think about the theme after the music is decided. In competitions, the premise was to choose a song that could benefit us. However, when it comes to skating professionally, you have to first create a theme and then think about the music, costumes, and choreography, or things will go awry, so I think it's quite interesting but also demanding in that sense.

-- At this show, you performed “HOPE”. Please tell us about the theme and choreography of this performance.

I chose the song. The choreography is by Kohei Yoshino. The title is ``HOPE,'' but it is not about being full of hope from the beginning, but to push forward even though there are many hardships. You may experience a setback once, but you have the strength to get back up from that, and that’s what is being conveyed through the rap music.

--Did you have in mind that it would be performed at the show?

I had been thinking of doing this song for a long time, but the choreography only started after it was decided that I would be skating here, so I thought about what kind of feelings I would have if this song were to be performed here. I was working towards that since it would be performed for the first time in ``Notte Stellata''.

-- Even from the choreography, I could feel the determination to face hardships.

Really, it would be best if you could listen to the lyrics one by one (laughs). Mr. Kohei also carefully looked at the lyrics during practice, so I really felt the meaning of the lyrics and the song itself as I skated.

--Also, the collaboration number ``Saturday Night Fever'' with Mr. Mura was also a big hit.

This was also a pretty good choice of song (laughs). After all, Mura-kun is my senior, so it's interesting to work together with my senior and aim for something that's dorky and cool.

--I thought the collaboration with Mr. Mura was a great fit.

Even in the skating world, I think we are both on the larger side and the power type. It's not like we clash with each other in that aspect, but it's fun to be able to perform together like that.

-- Did you and Mura-san talk about something like, “Let's make it exciting here!”?

No, we were both really nervous, so it wasn't like that at all (laughs). Moreover, after the opening, after my solo number and group number, we skated towards the end of the show, so it's pretty tiring. I was quite tired when it was our turn (laughs).

--I see. So it was like you were giving it your all at the end.

That’s right.

-- Did Mr. Hanyu say anything when he saw it?

No, I’m not sure if he was watching or not. After that, he has his own performance, so I think he was concentrating on warming up. We just warmed up the venue for him (laughs).

--Speaking of warming up, there was a group number “Permission to Dance” at the start of the second part. It was a collaboration with a video of Mr. Hanyu. How was it?

In short, it's a fun time, and we did it with the idea of ``bringing as many smiles as possible'' to energize each and every one. Speaking of dancing, his movements truly have a unique vibe that only Yuzu can bring out. In a way, we were probably lucky because it was a collaboration with a video. Because if we were to dance side by side on the ice, only Yuzu would be in a different dimension… It's hard to dance next to him. I don't want to dance next to him too much, because I can't keep up with him if the music is too lively (laughs). Of course, this is a compliment!

-- Mr. Hanyu is so sharp.

That’s right. My movements are slow, while Yuzu floats around. That's how sharp he is.

-- Thank you for your valuable story. What have you learned from professional skater Hanyu through shows like this?

It's his "figure". I think it's amazing how he keeps coming up with new ways of expressing himself, the ability to tackle all kinds of new things without having restrictions.

--Lastly, please tell us what you expect from Mr. Hanyu in the future, and your own words of determination.

First of all, I would like to go to the venue myself and see the ice show. I am also a professional skater, so I want to see and absorb a lot of things, and I want to go see more solo shows too. I also want to absorb what I can and improve my range of expression. I would like to do my best to grow and develop so that when we perform again together, I can show new and evolved things and be worthy of standing on the same stage as a fellow professional. Also, as friends, I think it would be nice if we could spend some relaxing time together off-ice, outside of shows.

Tanaka Keiji talks about “Yuzuru Hanyu Notte Stellata” 2023 performance

--How did you feel when you received the offer to appear in the first show last year?

I felt very grateful to be invited to the show. Moreover, since the show was held on a very important day, it also meant that I would be skating a program with a concept appropriate for that day, so I strongly felt that I had to carefully select the songs to align with the theme.

--The show is filled with Mr. Hanyu’s message of wanting to deliver a ‘light of hope’.

At this time of year, I think the more you think about it, the more painful it becomes. Therefore, holding an ice show on that day was quite an experience. This cannot be done without determination. We put on a show after thinking carefully about the meaning of what we were doing on this day, so I felt that everyone put a lot of emotion into this show. There weren't that many skaters performing, but I felt the message of ``connecting many things together'' and that we all understood the meaning of doing it at that time and took on that challenge. I got the impression that everyone was skating in an atmosphere different from the usual shows.

--I feel that the experience of this earthquake has had a big impact on Mr. Hanyu’s outlook on life and how he approached competition. Having spent time with him, have you ever felt this way?

I think that at that time of year, he’d remember various things. I imagine that he’d realize again “I guess I’m alive”, and a resolve to “become even stronger”. Although he doesn't directly show us that, everyone around him is working toward recovery, and I get the feeling that he too is becoming stronger as he overcomes that day every year.

--At “Notte Stellata” held last year, he collaborated with gymnast Uchimura Kohei. It was very a groundbreaking attempt for an ice show.

It was really amazing. It was my favourite performance in “Notte Stellata”.

--What did you think of if when you saw it?

When I first saw Mr. Uchimura’s name, I was excited and wondered what kind of collaboration it would be. At the same time, I couldn’t imagine what the program would be like, wondering “What will they prepare?” and thought, “Maybe he’ll put in a horizontal bar or something”. In fact, there was a gymnastics floor next to the rink, and I was surprised, saying “This is really an amazing venue for a competition”. At that time, I couldn’t imagine how Yuzu would collaborate with Mr. Uchimura’s gymnastic routine. However, in the actual performance, the mood of the song and the costumes matched perfectly, and the two performers matched their timing in various ways, which was amazing. I was really overwhelmed.

--I thought the idea of a collaboration between two gold medallists from different sports was amazing, but to able to make it happen was also amazing.

That’s right. I think it must have been really difficult for the two of them to match their timing, since I don't think Mr. Uchimura usually competes in time to the music. However, during the actual performance, it didn’t feel like that at all and I was surprised to see how well it turned out, as if they had been doing it from the beginning. I feel that this is a performance that could only have been done by two people of that calibre.

-- I could sense a pride in both parties, as if they were saying to each other, “I'll match you”.

Yes, it felt that way.

Source: Quadruple Axel 2024 #羽生結弦 SPECIAL pg 56-59 Info: https://x.com/AxelQuadruple/status/1790023081739575501

#hanyu yuzuru #yuzuru hanyu #羽生結弦 #figure skater #figure skating #interview #machine #translation #notte stellata #tanaka keiji

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