Japanese Art Analysis - Takarazuka Revue: The All-Female Theatre Troupe
Having wowed the public since 1913, Takarazuka Revue is the all-female Theatre Troupe that has put on brilliant shows, from the troupe's rendition of Rose of Versailles, their rendition of the hit metroidvania Castlevania, and, hilariously enough, a whole show revolving around Ace Attorney (which is played as a romance, even).
With their fame, popularity, and devilishly handsome good looks, you may consider them the drag kings of Japan- but where'd it all start? And how did this group become such an icon in breaking gender roles and truly making a mark in the public eye?
Well, friends, that's what we're here to learn, so sit down and try not to fangirl too hard as we discuss some very handsome women today.
To break things up, we're going to discuss three main things: The History and Founding of Takarazuka Revue, the importance of Established Gender Roles through Otokoyaku and Musumeyaku, and some art analysis of one of their plays. So let's start with our first point.
A Short History of Takarazuka Revue
To truly understand the impact of the Revue, we need to understand its humble beginnings, which were in 1913 when it was founded by Kobayashi Ichizō. The original name of the Revue was actually Takarazuka Paradise. They started out as a tourist gimmick to appeal to foreigners before rebranding as the Takarazuka Revue nearly a year later.
While it always started as an all-female troupe, it didn't gain much popularity until it established the "Otokoyaku" role, or male role, which we'll get into a bit later. But with this establishment of roles, it experienced a great boom, though ironically enough, this was meant to appeal to a male audience, and this was used to push stereotyped gender roles as well.
But one special aspect is that women in particular began to really identify themselves with the Otokoyaku, even to the point of sending fan letters to these female performers. While it definitely wasn't the intention, the troupe introduced lesbianism to an originally not-so-open Japan, and many of the actors themselves became incredibly comfortable with the more masculine roles.
Of course, this led to quite a few scandals, as many of the fan mail received were love letters, and at some point, some of the actors came out, one of which being Higashi Koyuki, a former performer for the Takarazuka Revue who became an LGBTQ+ activist shortly after her departure. This was such a big deal, as not only did she come out with her partner, Masuahara Hiroko, a fellow LGBTQ+ activist, but they were also the first same-sex couple to have a wedding ceremony at the Tokyo Disney Resort.
But one special aspect is that women in particular began to really identify themselves with the Otokoyaku, even to the point of sending fan letters to these female performers. While it definitely wasn't the intention, the troupe introduced lesbianism to an originally not-so-open Japan, and many of the actors themselves became incredibly comfortable with the more masculine roles.
Of course, this led to quite a few scandals, as many of the fan mail received were love letters, and at some point, some of the actors came out, one of which being Higashi Koyuki, a former performer for the Takarazuka Revue who became an LGBTQ+ activist shortly after her departure. This was such a big deal, as not only did she come out with her partner, Masuahara Hiroko, a fellow LGBTQ+ activist, but they were also the first same-sex couple to have a wedding ceremony at the Tokyo Disney Resort.
While it definitely caused some uproar, fans absolutely loved this, and it not only encouraged their admiration of the more masculine women but also encouraged them to explore themselves, making Takarazuka Revue a staple, not only for queer activism but in a way, queer representation.
Otokoyaku vs. Museumyaku
Now, one important aspect of the Takarazuka Revue is, of course, the roles. Which, for the most part, are separated into two major ones: The Otokoyaku, as we discussed earlier, being the "masculine" role, and the Museumyaku, the "feminine" role.
So in the case of a production like Haikara-San: Here Comes Miss Modern,
Shinobu Ijuin, played by Rei Yuzuka, would be the Otokoyaku.
While Benio Hanamura, played by Hana Yuki, would be the Museumyaku.
These roles mattered not only to denote who would play certain characters in productions, but they were meant to be what the actress embodied; as often as not, these roles were also what the actress would be stuck with for the rest of her career. But along with this, the roles were intended to promote stereotypical gender roles and enforce them.
The Otokoyaku, for example, despite being a hit with female fans, was originally intended for men. The idea behind the role was to embody the "ideal" man.
In contrast, the Museumyaku was meant to portray the ideal "wife" or "daughter", someone who was naive, innocent, and had a sense of purity to her.
While the roles were initially sketchy, eventually they turned into something empowering for both roles- especially the women playing more masculine roles, who found themselves much more comfortable. And, as mentioned earlier, the ladies just loved it.
Along with these roles, something I'd also like to note is just how much homoerotism there was involving these shows and the female actresses in question. While of course, we're meant to view it as one character being female, and one character being male, but it's difficult not to view it in that sense- especially when the Otokoyaku's job, as being the "ideal" man, meant seducing or acting generally dominant over the Museumyaku.
Again, using Haikara-San: Here Comes Miss Modern as an example, there's an air of male dominance being expressed, but the slightly feminine qualities of these handsome actresses, in my opinion, make it feel less threatening and lean more homoerotic.
This also might've been a big factor in what made so many female fans swoon, as rather than seeing a threatening man, they saw a handsome woman with the same dominance and confidence, playing into the fantasy of power dynamics without the inherent threat.
So in the case of a production like Haikara-San: Here Comes Miss Modern,
Shinobu Ijuin, played by Rei Yuzuka, would be the Otokoyaku.
The Otokoyaku, for example, despite being a hit with female fans, was originally intended for men. The idea behind the role was to embody the "ideal" man.
While the roles were initially sketchy, eventually they turned into something empowering for both roles- especially the women playing more masculine roles, who found themselves much more comfortable. And, as mentioned earlier, the ladies just loved it.
Along with these roles, something I'd also like to note is just how much homoerotism there was involving these shows and the female actresses in question. While of course, we're meant to view it as one character being female, and one character being male, but it's difficult not to view it in that sense- especially when the Otokoyaku's job, as being the "ideal" man, meant seducing or acting generally dominant over the Museumyaku.
Again, using Haikara-San: Here Comes Miss Modern as an example, there's an air of male dominance being expressed, but the slightly feminine qualities of these handsome actresses, in my opinion, make it feel less threatening and lean more homoerotic.
Elisabeth (1996)
Now, to end this analysis off, I'd love to yap about the performances of Takarazuka Revue, because, genuinely, as someone who loves theatre musicals and her fair share of androgynous women, the Revue and their performances are a dream.
While I could definitely go on about some of their productions- their Castlevania one being a close second for me, I'd love to discuss Elisabeth and the second main actress, Ichiro Maki.
While I could definitely go on about some of their productions- their Castlevania one being a close second for me, I'd love to discuss Elisabeth and the second main actress, Ichiro Maki.
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| Takarazuka Revue: Elisabeth (1996) |
For some context, the story is about Queen Elisabeth of Austro-Hungary, a young woman who, after an experience that ended in her demise, falls in love with Death, who gives her another chance at life. In the 1996 showing, Death, or "Der Tod," is played by the wonderful Ichiro Maki, an actress who is absolutely wonderful to watch on stage.
While she takes on a primarily stoic role throughout the musical, I love how well she plays the role of a looming presence. While it's difficult to get footage of the performances, this clip here, I believe, is a great example of her performance.
An early example is Der Todd's appearance near the end of Elisabeth's song, further showcasing the mystery and intrigue. I really do love how Ichiro just pops into the scene, and the way she sings Elisabeth's name in that deep tone, beckoning to her, really cements it for me. The strong light on Death and the black outfit that has her almost blend into the scene also adds that extra layer of mystery.
Another clip is this duet between Death and Franz Joseph, the husband of Elisabeth, as he expresses his deep love for Elisabeth and the conflict he feels she's slipping away from him.
Ichiro Maki is commanding in her role, and I especially like how, while Death is portrayed by multiple actors in dark clothes, here he is dressed in a stunning white outfit that not only draws attention but also makes the character stand out. And again, I really do love her singing voice.
The white outfit also appears in later scenes with Elisabeth, as seen here, and not only does the fog add to the atmosphere, but the lighting and sheer white clothing add a ghostly nature to it. It's an alluring but peaceful depiction of Death and his fondness for Elisabeth, through the gentle way he holds her, but his posture and stoic attitude establish him to be a pillar or rock for Elisabeth. It not only looks gorgeous, but it's hauntingly striking, too.
The white outfit also appears in later scenes with Elisabeth, as seen here, and not only does the fog add to the atmosphere, but the lighting and sheer white clothing add a ghostly nature to it. It's an alluring but peaceful depiction of Death and his fondness for Elisabeth, through the gentle way he holds her, but his posture and stoic attitude establish him to be a pillar or rock for Elisabeth. It not only looks gorgeous, but it's hauntingly striking, too.
IN CONCLUSION
I really do love Takarazuka Revue, for its theatre production and creative projects adapting various storylines, anime, and even games, but I genuinely appreciate the impact it's had on not just fans, but Japan as a whole in the way it handles gender and gender stereotypes.
While it didn't intend for it, the Revue gave a platform for female performers not only to train and express themselves, but to explore a part of themselves they might not have even considered before. And after this read, you should understand why they're the coolest Drag Kings of Japan.
While it didn't intend for it, the Revue gave a platform for female performers not only to train and express themselves, but to explore a part of themselves they might not have even considered before. And after this read, you should understand why they're the coolest Drag Kings of Japan.
WORKS CITED
A Century of Dreams and Romance: A History of Japan’s All-Female Takarazuka Revue.
Drag King History. (1913, June 9). 1913 – Present Takarazuka Revue. Drag King History. https://www.dragkinghistory.com/1913-present-takarazuka-revue/
HISTORY | TAKARAZUKA REVUE Official Website. (2014). TAKARAZUKA REVUE Official Website. https://kageki.hankyu.co.jp/english/history/index.html
Suzuki, K. (2019, June 4). Takarazuka Revue: From Male Stereotype to Safe Haven. Unseen Japan. https://unseen-japan.com/takarazuka-revue/
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