We’re looking to have a short special about Japanese words and phrases related to the Takarazuka Revue. These can be technical words that are unique to the Revue or its fandom (like “otokoyaku”), or phrases you hear a lot in Takarazuka plays or shows, or something super cute or thoughtful that your favorite has said!
Please share with us a word or phrase that you like or find interesting and tell us a little bit why. You can either drop a note in the comments below, or email us at firstname.lastname@example.org.
We’d especially love it if you sent us a recording that we can incorporate into the show! We’re looking to make this a real fandom effort. If you’d like to send us a short, minute or so clip, please record as a .wav or .mp3 and send it to us at email@example.com.
Sorry this one is so late coming out! We originally recorded it back at the end of November, which is why some time references may seem a little off. But even late, we wanted to share our love! Join Kitty, Lella, and Jen as they discuss Star Troupe news and then share their love of recently retired Moon Troupe top musumeyaku Manaki Reika (and kumichou Touka Yurino).
(Apologies for the rough sound. One of our tracks wasn’t editable so we had to use our combined track in places which means we couldn’t isolate and remove some of the rougher bits and coughs.)
Cafe Break – Takarazuka TV interview show that airs on a Tokyo station
Kageki (歌劇) – Lit. “opera”; name of one of the Takarazuka Revue magazines
kumichou (組長) – Lit. “group leader”; senior-most member of the troupe with special responsibilities over the troupe
mesen (目線) – Lit. “eye line”; making and holding eye contact
NHK – Japanese public TV station
otsukaresama (お疲れ様) – Lit. “you are tired”; a way of thanking/acknowledging someone’s hard work
Ouran Host Club – manga/anime that often references Takarazuka
sotsugyou (卒業) – Lit. “graduation”; because Takarazuka actresses are referred to as “students” during their career in the Takarazuka Revue, a way of referring to their retirement from the Revue is to say that they are graduating
taidan (退団) – Lit. “leaving the troupe”; retiring from the Takarazuka Revue
Hi all! A short episode continuing the history of the Takarazuka Revue, this time focusing on the 1950s. Please enjoy, and don’t forget to join the conversation on the blog, Facebook, or Twitter! Thanks!
Sources for this podcast episode:
「夢を描いて 華やかに」(Painting Dreams Gloriously: Takarazuka Revue’s 80th Anniversary) ISBN 4-924333-11-5
「すみれ花歳月を重ねて」(Gathering Up the Years of the Violets: Takarazuka Revue’s 90th Anniversary) ISBN 4-484-04601-6
「虹の橋 渡りつづけて 舞台編」(Continuing Over the Rainbow Bridge Stage Volume: Takarazuka Revue’s 100th Anniversary) ISBN 978-4484146003
「虹の橋 渡りつづけて 人物編」(Continuing Over the Rainbow Bridge People Volume: Takarazuka Revue’s 100th Anniversary) ISBN 978-4484146010
Songs used in this episode (from 「宝塚歌劇～戦後編～」Takarazuka Revue ~After the War~ album):
“What Is Your Name?” (What Is Your Name?) 1954 – Kasugano Yachiyo, Aratama Michiyo
“Today Is a Happy Sunday” (Swing High, Swing Low) 1951 – Koshiji Fubuki, Minami Yuuko, Utashima Utame, Akashi Teruko
This is from an 80th anniversary video released by Takarazuka in 1994. The short 3 minute clip features Kasugano Yachiyo appearances from 1950s shows, including “Yu the Beautiful” (1951) and an ad for “A Vast Land of Roses” (1953) The link is on a Chinese vid site.
Images of the 1950s
The Grand Theater in the 1950s had two balconies! (From The Story of Takarazuka, published mid-1950s, personal collection.)
They had a really insane schedule of performances and appearances for the 1956 second Hawaiian tour (From the Hawaiian Tour Album, personal collection).
The early 1950s marked the beginning of color GRAPH covers. Takarazuka Graph covers of the 1950s regularly featured musumeyaku stars (personal collection).
Urashima Utame (Jan. 1952)
Yachigusa Kaoru (Aug. 1952)
Tsukushi Mari (Nov. 1953)
They published small pamphlet programs in English for the 1950s Grand Theater performances. Here are the covers of several, as well as some bio blurbs of the stars that were inside them. Funny reading. (personal collection)
Here is a very tired but enthusiastic bunch of fans reporting on the latest “World of Dreams” North American tour.
It was so much fun! Thank you to Sakiko, Aube, J. College, and all of the people who made this show possible. Including, of course, the lovely ladies who came back to perform yet again in North America: Mariho Erina, Shihou Nanami, Ayaka Rei, and Tama Mayura. (Tama-san’s parents even came all the way from Japan to see her perform, which is so cool!)
If you went to Montreal or Vancouver for the show, please let us know about your experiences in the comments!
Apologies for the downtime! Some naughty search engine indexing bots were downloading our larger files and killed our bandwidth, according to our hosting site. We’ve put some new code into place which should stop that from happening again, but if it does, remember that we have a Twitter and Facebook account, and also that our episodes are mirrored on Youtube as well.
This was such a fun episode to put together, and I hope some of our listeners enjoy it! Sorry for the long wait, but hopefully we’ll have some more new episodes for you soon!
In the 1920s, otokoyaku (male-role players) had not yet begun to cut their hair short, and instead bound it up out of the way under hats. Performances often consisted of 3-6 different shows, including chorales, ballets, and Japanese and Western folk tale themes. Note the pre-war Japanese writing from right to left. [left] Otokoyaku star Tatsumi Sumiko (active 1920 – 1926, 1927 – 1935). Postcard, year and production unknown. Personal collection. [right] Ono Shinobu (active 1921 – 1933) as Ostap and Akatsuki Ruriko (active 1924 – 1929) as Ivan. Postcard, Ivan the Clever (Snow Troupe, 1928). Personal collection.
Even as early as 1935, Kobayashi Ichizou must have been thinking of how to use his troupe to help spread Japanese culture, as evidenced by this English-language pamphlet for the 1935 Flower Troupe production of Takara Sambaso / Yakko Dojoji / Hanashishuu at the Kyoto Takarazuka Theater. Amatsu Otome (active 1918 – 1980) pictured. Personal collection.
In the 1930s and 1940s, there were several productions set in China and occupied China. In the 1938 From Manchuria to Northern China, the two main characters travel by rail to see the sights, stopping at many cities that their Japanese audience would have known well. [left]Unforgettable Song / Cherry Blossom Girl / From Manchuria to Northern China program cover. Personal collection. [right] A scene in From Manchuria to Northern China, featuring 1930s stars Sonoi Keiko (active 1930 – 1942) as Beppu and Ashihara Kuniko (active 1929 – 1939) as Arima. Postcard, personal collection. Sonoi Keiko passed away in 1945, a victim of the Hiroshima atomic bombing.
Star Kasugano Yashiyo (active 1929 – 2012) in Pinocchio (1942), the last Western show to slip through the censors, since Pinocchio was from allied Italy. Hankyu publication “The Prince of the White Rose” (2013). For more glimpses of Takarazuka star and treasure Kasugano Yachiyo in action, check out this short 3 minute video on YouTube with footage from the 1950s (including Gubijin).
The Takarazuka Music School uniform changed to its current incarnation during the war, becoming more militaristic and reflecting allied German school influences. [left] A photo of three young Takarasienne along the Muko River in Takarazuka from 1932. Umeka Fumiko (active 1928 – 1941), Yashiro Keiko (active 1930 – 1942), and Kasugano Yachiyo. Hankyu publication “The Prince of the White Rose” (2013). [center] At retirement, a uniform version of the green hakama is often still worn. Seal of Roses final night in Takarazuka. Pictured are Mihara Shiho, Emi Kurara, and Shibuki Jun. From March 2004 GRAPH, personal collection. [right] The current TMS uniforms, as seen in an advertisement for the entrance exams in 2015. Pictured are the 101st graduating class. Personal collection.
It didn’t take long for the otokoyaku to be back in civilian suits and the ladies to be symbolically traveling around the world once more. And no doubt the occupational forces were an incentive to bring a lot of the USA into their shows. Note the floor mics, as this was before wireless mics were introduced in the Revue. Lots of lighting was used in Takarazuka productions even then, as Kobayashi Ichizou had been on a Tokyo electricity board of directors and was interested in its applications. Marriage at Rio / Tokyo ・ New York (Moon Troupe – 1949). From October 1949 GRAPH, personal collection.
Music used in this episode
“Boogie-Woogie Paris” from Boogie-Woogie Paris (1949), sung by Koshiji Fubuki
“Akai Keshi no Hana” from Gubijin (1951), sung by Tsukushi Mari
“Ano Musume wa Suteki” from Chanson du Paris (1952), sung by Sumi Hanayo, Minakaze Youko, and Akashi Teruko
Musicals that may be of interest Love and Youth of Takarazuka, about the Takarazuka actresses during the war years, performed with OGs and available on DVD (Japanese site). Takarazuka Boys, about the young men who joined the Revue in the 1940s. It’s revived every few years and often stars an OG or two (Japanese site).
Websites that may be of interest Takarazuka Wiki, for more information on actresses, directors, and performances mentioned in this episode. Takarazuka Forever, a truly impressive private collection of vintage scanned Takarazuka Revue images. Old Tokyo: Vintage Postcard Museum, which contains pictures and information on the Revue from the 30s and 40s. Vintage Takarazuka, a Japanese website with scanned images from programs and record covers, beginning in the 1950s, as well as a lot of interesting info.
Robertson, J. (1992). Doing and Undoing “Male” and “Female” in Japan: The Takarazuka Revue. In T. S. Lebra (Ed.), Japanese Social Organization (pp. 165-194).
— Takarazuka Kageki 90-nenshi: Sumire Hana Toshi o Kasanete (2004). (ISBN 4-484-04601-6)
— Takarazuka Kageki 100-nenshi: Niji no Hashi Wataritsuzukete (Ningen-hen) (2014). (ISBN 978-4-484-14601-0)
Yamanashi, M. (2012). A History of the Takarazuka Revue Since 1914: Modernity, Girls’ Culture, Japan Pop.