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A much needed (for my well-being) gifset of Ami struggling with wine glass challenge

#uh oh #I’m a free agent but amichan is holding a contract #Ayami Sera

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#sure why not how about a KomuMaa gif set on this fine spring day #asami hikaru #maikaze rira

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MIKKII

#tenju mitsuki #sera myu #idk these new girls but usagi is a cutie!! #Instagram

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Takarazuka news roundup 2024.4.13

Star Troupe top musumeyaku Maisora Hitomi has announced that she will be retiring at the end of Hit Me Anyone One More Time/Tiara Azul, which ends in Tokyo on December 1.

And Cosmos Troupe led by Serika Toa and Haruno Sakura will be back on stage for the first time since the death of one of its members back in September. They will start with a special, revue-only performance called Le Grande Escalier, running only ten days in Takarazuka (June 20-30), and July 20-August 25 in Tokyo. Tickets are half their usual cost, due to the short runtime of the show.

#takarazuka #announcements

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O no I fucked up 10 years 10 top stars so bad lol

#11 year tumblrversary #tumblr milestone

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I can’t believe Japan is going to attempt to capture the essence of Dolly Parton or that I’d be asking myself is Sora going to be Lily Tomlin or Jane Fonda?

#asumi rio #kazuki sora #hirano aya #9 to 5

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Hi!💓 I have a few questions, apologies if they are a lil vague, it's just something that has been on my mind lately as a fairly new fan:

1. Was it ever clear that Chinatsu is the next top? Was it the reason for Ari's transfer, or was it a need for ninbante in star and that's why Chinatsu became the next in moon?

2. Also, how did you predict back then that Coto will have a long run as top star? Based on what in particular?

3. Why did Tamaki became top star comparably so early?

4. And I know that lgbt+ culture is practically nonexistent in Japan, but i still wonder if any of the actress ever talked abt it or addressed it in any way? Has anything regarding lgbt happened around taka that you know of?

Thanks a lot for your blog!! I am writing a wiki page in my mother tongue for taka rn, since it doesn't exist yet, and ur explanations clarified a few things for me, so thanks a ton again! 💕

Hello! Not vague at all :)

It was NOT personally clear to me that Chinatsu was going to be top (usually these things are obvious, occasionally we get a surprise). I don't think it was the reason for Ari's transfer though; it's impossible to know for sure, but my guess is more because of Oda (they don't want her to wait for Ari to finish) and some need to balance Hoshi. With Chinatsu as an older top, she can stay for a shorter time (similar examples would be Sou Kazuho and Hokusho Kairi, also older tops who stayed for three Grand Theater shows) and Oda can become top sooner.

I had a feeling Coto would be a long top for a number of reasons... 1) she's extremely popular and puts a lot of butts in seats, 2) she has a reputation for being a "mini Yuzuki Reon," who also stayed for a really long time, 3) the Hoshigumi producer has a bit of a reputation for putting a lot of stock in high-powered top stars and somewhat neglecting the nurturing of his track, and 4) until Ari came over there was no clear successor, which made me think they were going to ride Coto until they figured it out.

I've only heard rumors about this... one that Miya Rurika didn't want to be top star, one that Manaki Reika was so popular they designed the troupe around her and the producers didn't like her and Miya/Kacha together as much as they liked her and Tamaki together... but again, there is no way to know for sure.

Firstly, LGBT+ culture is NOT practically nonexistent in Japan—not saying this to correct you, but it's an impression a lot of people get and it makes them sad! So I want to share the reality of it! LGBT+ activism is way less prevalent than in other cultures (and as a result, legal protections are definitely behind), but this is true of pretty much all types of activism (I had an interesting conversation about this with a group of Japanese climate activists). There is a rich LGBT+ nightlife scene, and over the years Japan has been fairly ahead of the curve when it comes to queerness in media and fan culture. There is, however, a very "we pretend we do not see it" energy despite the prevalence. That said, Takarazuka actresses are almost definitely forbidden from talking about this while active, and discouraged while retired (especially if they stay in entertainment). Even if they are not actively discouraged, because there is no culture around being open about it on a real and personal level, they certainly wouldn't out other people and likely wouldn't out themselves. There are OGs both in and out of entertainment who are not shy about living as their honest selves and you can pretty much tell, but it still doesn't tend to be something they openly talk about (Nanami Hiroki and Miya Rurika have discussed breaking gender norms in interviews, but have skirted around saying anything definitive about themselves). The one exception I can immediately think of is Misuzu Aki retired and blogged about moving to Europe with her female partner.

#takarazuka #q&a

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Loved your thoughts on influencial otokoyaku for the last question! I was wondering if you could do the same for musumeyaku?

The Takarazuka musumeyaku is a very unique and interesting entity, I've been mulling this over for ages and there is no definitive way to answer it so I'm just going to list some random musings:

Ok for one, queen of musumeyaku Hanafusa Mari. She had five husbands, and was top for 8 1/2 years (she is hella old old old old money but still). No one is ever going to do that again.

Hatsukaze Jun, the musumeyaku of the BeruBara Boom.

After that, there are a lot of musumeyaku who went on to successful careers in TV and movies. Decades ago, there was actually a very intentional Takarazuka-to-silver-screen pipeline. Off the top of my head, Yachigusa Kaoru was one of those, but there were so so many and I'm doing this while slacking off a Zoom meeting so I can't look them up right now lol.

More modern examples of the above: Kuroki Hitomi, Dan Rei, Konno Mahiru, Emi Kurara, Haida Shoko, among others...

Even more recent, Sakihi Miyu, Manaki Reika, and Maaya Kiho have been killing it with lead stage roles since retirement, something that in the past only former top otokoyaku were able to achieve with any kind of consistency.

#takarazuka #q&a

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Regardless of your personal favorites, who would you say were some of the most impactful otokoyaku in takarazuka's history? for example, I'd say I'm a fairly new fan, but i hear a lot about miki maya, yuki amami, yoka wao even nowadays. Maybe as a long time fan, you can give us some insight on who you think were some of the most significant otokoyaky? Thank you

Sure! This is like, me judging on vibes/stories basically... others may feel differently!

The first generation of top otokoyaku: Anna Jun (Flower), Haruna Yuri (Moon), Migiwa Natsuko (Snow), and Ootori Ran (Star). These were the prime participants in the "Berubara Boom," skyrocketing Takarazuka's mainstream popularity, and leading to the establishment of an official top star system.

Ooura Mizuki, considered one of the best dancers in Takarazuka history, went on to become an internationally renowned tango dancer. It's impossible to attribute this definitively to one person, but I also think she started a steady incline in the difficulty of Takarazuka choreography over the years.

Amami Yuuki, who you mentioned, was famed for her natural acting style, unusual for the stage at the time. She became the youngest top star ever largely due to her popularity, and the fear that she would be offered better opportunities on and off stage outside of Takarazuka. She has also had a successful career in movies and dramas, and is probably the biggest household name amongst OGs.

In my admittedly biased opinion, I think Mori Keaki and Ichiro Maki set the standard for top stars and nihonmono

Maya Miki was noted for actively studying everyday men and somewhat revolutionizing otokoyaku style (think charmingly disheveled suit vs. the traditional buttoned up tailcoat look). She has also had a successful TV/movie career post-Takarazuka and is a household name in Japan.

Wao Youka is the longest running top otokoyaku, and had extremely notable chemistry with Hanafusa Mari (whose record of 8.5 years and 5 husbands will likely never be unseated)

Yuzuki Reon was 2 months shy of Wao's record, similarly had notable chemistry with Yumesaki Nene, and was wildly popular. She and Maya Miki are the only two otokoyaku to perform in Nippon Budokan, which is 7x the typical Takarazuka venue seating capacity.

I also have to mention Nanami Hiroki for a different reason. While those above were IMO very influential otokoyaku in Takarazuka, Nanami Hiroki's graduation marked a notable turning point in the opportunities available in the entertainment industry to OGs who didn't make top. Prior to her graduation, it was fairly rare even for a top musumeyaku to get regular leading roles post-Takarazuka, never mind actresses who were not top stars. Nowadays we see a lot more of this. Miya Rurika has gone on record in print saying the breadth and success of Kai's OG activities have hugely influenced her and paved the way to "be herself" in her career, and we've seen a large number of 2 and 3-ranked former otokoyaku follow similar steps since.

#takarazuka #q&a

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My stint in purgatory was blessedly short 🥹

[KAZUKISORA.JP]

#kazuki sora #announcements #Youtube

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Moon Troupe new top combi announcement

We have a record breaker on our hands!!

Congrats to Hozuki An, who at ken-19 will set the record formerly held by Oozora Yuuhi for longest tenured in Takarazuka before becoming top; and Amashi Juri, who will be the first top of the 101st class.

Their debut performance will be a national tour of In the Amber-Hued Rain / Grande TAKARAZUKA 110! beginning August 22.

Simultaneously, Kazama Yuno will lead a restaging of Bluff, based on the movie The Sting and first performed by Kuze Seika in 1990, at Tokyo Geijutsu Gekijou and Bow Hall.

#takarazuka #announcements #hozuki an #amashi juri

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OH NO I MISSED Ohara Mayuko (Takarazuka stage name Hinata Haruki) as Jadeite, hiding under her real name 🥺

Three Takarazuka OGs will be joining the newest cast of Sera Myu:

Tenju Mitsuki as Tuxedo Mask

Rui Makise as Nephrite

Hiryu Tsukasa as Kunzite

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Three Takarazuka OGs will be joining the newest cast of Sera Myu:

Tenju Mitsuki as Tuxedo Mask

Rui Makise as Nephrite

Hiryu Tsukasa as Kunzite

#sera myu #tenju mitsuki #rui makise #hiryu tsukasa

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Kazuki Sora taidan diary 〜 2024.2.11

(also kind of a Boiled Doyle on the Toil Trail / Frozen Holiday write up)

I've now woken up eight times in a world where Kazuka Sora is an OG (changing that number daily, as I've been trying to write this for six days), and the sense of having somehow slipped into a severely incorrect timeline is getting progressively stronger. Coupled bizarrely with that is deep, deep gratitude that, despite everything that's happened in the last four years, and especially in the last five months, she got a gut-wrenchingly, absolutely devastatingly beautiful taidan. I can't say perfect, because perfect would have been after a well deserved top star run. But barring that, I never dreamed it would get this close.

Long post incoming.

I have to set the stage...

Once upon a time in 2013, Asaka Manato, then nibante in Ouki Kaname's Soragumi, got her turn starring in Brilliant Dreams +NEXT, a multi-part Sky Stage series where you got to like, do some stuff of your choice with other people in your troupe. She decided to recreate some of her favorite revue choreography, and a friend alerted me that one episode was dedicated to the infamous Rosso scene from Takarazuka's Dream Kingdom (which, as you can see in the linked post, completely short circuited noob me from a decade ago). Maasama was still a good 2+ years from winning me over at the time, and I think I reluctantly watched it with some level of offense that she touched a Komu thing. As I'm sitting in front of my computer rolling my eyes, out comes this tiny thing in capri pants, mismatched socks, suspenders, and thick glasses: ken-4 Kazuki Sora, here to report on the situation in the rehearsal room.

She spent her airtime cracking jokes, tripping on her tongue, riding on Susshi's shoulders, and generally acting like Soragumi's annoying kid brother. I thought she was funny.

Another friend told me she thought she was tracked. I absolutely did not believe her.

Then, against a fair amount of adversity, she got the 100th anniversary Rose of Versailles shinko lead, and my eyes widened a bit. The next time I found myself in Japan, I was gifted a 9th row seat to what coincidentally happened to be her first ginkyou crossing in PHOENIX Takarazuka! I'd been spending the show curiously scanning the stage for her, and when I witnessed the gap between reporter and performer, my jaw hit the floor.

Afterwards, my kangeki companion asked if I was interested in anyone in the troupe. I said Kazuki Sora. She recoiled and said "but she's so short."

***

Something that I noticed during this taidan trip is that covid-era fans met a wildly different Sora than I know. Growing up in 2010s Soragumi was uniquely rough. I'm not even talking about ::hand waves:: the present circumstances and what may or may not have lead up to them; I mean they persisted with a level of star saturation through the dawn of the pandemic that had kinda crazy consequences for the otokoyaku track. Not only was the track itself overcrowded, but the troupe also held onto a number of non-tracked upperclassmen to whom they seemed unwaveringly committed to casting in juicy roles. I remember when things seemed so untenable that Soragumi fans were universally on pins and needles waiting for what felt like an inevitable big transfer out, and I remember freezing in shock on the side of the road when instead they transferred Serika Toa in.

Here's some analysis for perspective:

Kiki is the third oldest top of all time, and spent more time as nibante alone than Tamaki Ryou took to get from debut to top.

Lord knows how long Soragumi will be in this state of flux, but if they come out of it and Kiki gets a normal number of shows, AND Sakuragi Minato is next, Zun could immediately overtake Kiki for third place

Speaking of Zun, her first two-city lead was in 2020. Looking at her top star douki, Rei Makoto's and Yuzuka Rei's were in 2017, and Tsukishiro Kanato's was in 2018.

Rukaze Hikaru's first bow lead was in 2019, two years later than her other tracked douki, Akatsuki Chisei (four if you count A-EN).

Slightly more invisible but just as devastating, the lessened exposure on stage between leads has likely resulted in lower fan club numbers and less overall popularity.

...and back to Sora. Hundreds of us filled Hibiya Park this past weekend, but Sora spent her early Takarazuka career so buried that, despite being a triple threat on stage and an utter delight off, her fan base was small enough that at ken-7 they let me, not yet even a club member, accompany my friend to demachi where I became the third attendee. For years, Sora was, frustratingly, an in-person only watch. I'd go to Japan, memorize her positions, miss the rest of the show for following her with my opera glasses, and pop in the DVD at home only to find her always just off screen. A Motion was one of the most fun times I've had in a Takarazuka theater, and on the DVD during my favorite Sora SOLO, the camera is on Sorahane Riku wordlessly dancing.

I was floored when she got Anita. I was livid that she could give THAT PERFORMANCE and immediately afterwards be cast as an ensemble soldier in Red River (although she was so good in Citrus Breeze that after 5 years of deluding myself that I "couldn't betray my beloved Yukigumi like that" ((ironic, right?)) I finally caved and joined club). I stress dreamed multiple times about the impending bow announcement before she got Hustle Mates. I cried when she finally came down the stairs between two musumeyaku in Ocean's Eleven at ken-10, in which she played Linus, a role that felt like a big break even though it had previously always gone to ken-6s. FINALLY, the massive Ocean's taidan relieved a little pressure, and I felt a tangible thrill when suddenly she was all over the Aqua Vitae shonichi digest, something that had never happened before.

That's where we left off in February 2020, when the Diamond Princess docked in Yokohama, and my therapist didn't know what I was talking about when I said I was giving myself a stomachache watching live case numbers ahead of my scheduled trip, and I canceled my flight, and I put my freshly printed pack of homemade Suleiman postcards under my bed, and I didn't see her for 4 years 4 months and 3 days.

***

It's hard to talk about Sora's taidan announcement and not come off as biased and overly dramatic, given that she's my girl. But in 11 years of countless taidan announcements, I've never come close to being as blindsided by one as I was with hers. The vibe I've gotten is that fans, siennes, and patrons alike were all properly shocked.

I'd spent the better part of a decade internally screaming for Takarazuka to act like they recognize her undeniable talent. Frustratingly, it finally started happening during covid. While I was living under the impression that Hustle Mates was a genuine miracle, she got an unimaginable second lead... then, thanks to the breathing room in her new Yukigumi home, a third... and then a fourth. Having been burned for so long, I've always firmly been team I-don't-think-Sora-is-going-to-make-top, but despite that, I was actually starting to believe it could—dare I say would—happen. I wasn't even certain the people murmuring on twitter that she might leapfrog Aasa were completely delusional. I went into Hyperbolic Chart, my looooong awaited reunion, excited to assess Kasumi Sana as her potential future partner. I enthusiastically bought all her postcards for future writing, because the last time I'd seen her, she, at ken-10, didn't have postcards.

Two days after that I found myself again frozen in shock on the side of the road.

Two days after that.... yeah.

***

Somehow, despite 11 years of knowing how this works, of weathering various taidans with friends, of crying in bathrooms until they started cleaning the theater at taidans that weren't even technically mine, I was also completely blindsided by the taidan experience itself.

Part of it was definitely the time skip, from years of intimate Sora fandom to nothing to a couple of A-seki (she's the it girl now!) for a lead I wouldn't have chosen with a troupe I barely recognize anymore to bye, she's gone. Part of it was being thrown back into this after 4+ years of pandemic-dulled emotions, followed by the exhaustion of Takarazuka's crisis era. Part of it was lowered expectations from the largely uninspired and under funded lineup of forgettable shows churned out by tired directors of dubious morality. Part of it was the disaster-shortened Mura run, the self-preserving dissociation fueled by the pain and disbelief that there was a dinner show and I wasn't at it, followed by a month and a half stretch of work so busy it was still going while I sat at the ANA gate for my 1am flight.

But I got here and squeezed into one of those red seats and then all at once I was an unsealed vacuum, cracked wide open, and Doyle and Frozen Holiday rushed in and filled the airless void till it burst.

Boiled Doyle on the Toil Trail

I've been down on Yukigumi.

Yukigumi has been my home troupe for the vast majority of my fandom. I had the fancy Swarovski crystal Yukigumi bag charms, the whole Yukigumi getup from Sports Day '14, Yukigumi albums, Yukigumi chopsticks, etc etc etc. I literally didn't join Sora club for years because I couldn't imagine being pulled out of Yukigumi. But while I was locked out of the country, the march of time took my favorite top star and the vast majority of my emotional support upperclassmen. The pandemic spit Yukigumi out in a state that just made me reeeeeeeeally sad. So I stopped watching them. That's the exact moment they picked to put Sora there.

I hate to admit it, but I still haven't totally caught up on her Yukigumi time.

Which is probably the main reason this show caught me SO off guard... even having watched AND enjoyed the Mura livestream. Sora is best watched in person, after all.

Doyle—a silly take on Arthur Conan Doyle's life, and how he used a magic pen to write Sherlock Holmes by accident, thus setting into motion a runaway series of events—is not only a fun and joyful show, it's a masterpiece of casting. The top 4 were at their absolute peak, and it was a thrill to watch.

I've been watching Ayakaze Sakina since her shinjin kouen days, and my write-ups over the years probably betray my rollercoaster hot and cold journey through her career. I really liked Doyle as a lead for her though. She essentially plays a big idiot wifeguy with a dream, an imaginary best friend, and little conviction; she was very funny and charming. If you were one of the lucky few who managed to see On the 20th Century, think that guy but earnestly the main character vs. dude with main character syndrome. The older I get, the more I have a soft spot for shows where the top combi has "ecstatically celebrating at least their tenth wedding anniversary" energy, and this was one of those.

...Thanks in large part to Yumeshiro Aya, who is absolutely everything. She may be boosted by consistently reminding me of Shirahane Yuri since her partial lead in the 103s Bunkasai, but she also has a very particular type of girlboss energy that I don't feel like I've seen in quite a while. It isn't wearing the proverbial pants energy (a la early TamaChapi), but it is overwhelming I got this energy. I find her to be the absolute embodiment of a top musumeyaku, in that she understands the assignment (making the top star better), while perching on the edge of the backseat just enough that she doesn't overpower Saki, but she's still a knockout in her own right. She probably exudes an extra dose of this energy as Louisa Doyle, who plays a very similar role in her husband's life and writing career. I could not be more thrilled that Aya isn't retiring yet.

Asami Jun plays the aforementioned imaginary friend/magic pen-generated apparition, who happens to be Sherlock Holmes. Some people I've talked to seem a little disappointed in her stage time, but I really felt like this was also peak Aasa. She seems to have broken through a layer of ceiling and gotten really comfortable leaning into her c***y unique energy, which, though I can picture it being polarizing, really does it for me. I sure as hell have never seen an interpretation of Sherlock Holmes REMOTELY like Aasa's, but I was enjoying the Aasa of it all so much that I really didn't care.

When I saw that Sora was playing the editor of Strand Magazine, I was somewhat disappointedly imagining a role like Lestrade (not to invoke another Sherlock), the sort of there-but-not character that has dominated her Takarazuka career since she started getting named roles. My first surprise was how good of a role this was in general, and then how well suited it was to her. She gets to be aloof and handsome, but also incredibly upbeat and funny at times. Her little coworkers at her utterly failing magazine are obsessed with her (which is the mood of the century), and there is a cute little meta moment where Doyle threatens to stop writing Sherlock and Sora tries to quit her job, only to be restrained physically by said coworkers (which is the mood of the moment). Everything from the set of her off-gray permed wig to her 4 or so different plaid suits to her opening solo number was absolutely perfect (not as perfect as it was gonna be later!!!!!).

FROZEN HOLIDAY

It's weird watching a Christmas show in February

I rapidly stopped caring

Speaking of rollercoasters of hot and cold, Noguchi used to be my most hated revue director, hands down. Circa 2017-18, after being deeply personally burned by Super Voyager (and deeply personally confused by Beautiful Garden), the tension I felt while awaiting show announcements hoping I wouldn't have to watch another Noguchi was intense. Noguchi revues being something people covet nowadays still feels unfamiliar, but I count myself among people.

He turned it around for me with the Takarazuka equivalent of winning the grocery store ingredients episode of Project Runway: Delicieux, a covid-budget masterpiece of public domain music and foam macarons (incidentally, also a goodbye to Sora of sorts, as it was her last Soragumi revue). I officially owe him my life after what he did for her in Frozen Holiday.

Firstly, going into my 11th year of watching live Yukigumi, I've never seen Saki shine brighter. While ostensibly a Christmas spectacular, Frozen Holiday was also meant to celebrate Yukigumi's 100th anniversary. Despite the aforementioned rollercoaster, I'm so glad that the top star for the anniversary was someone who has not spent a day outside of Yukigumi in her sienne life, who I've been watching since before my first trip to Japan. And I think the joy of it really showed on her. Aya was an angel, so visually perfect in her snow queen dress that I believed she was destined to be top musumeyaku of Yukigumi from birth. Aasa continued to out-Aasa herself; the wave of feral energy she set off during the first livestream was well earned.

But... remember the disembodied arm just off the TV screen? The utter SHOCK I experienced when they treated her like a friggin' nibante...

Nanami Hiroki, who pulled top star numbers and probably had double our last day crowd at her average Hoshigumi ochakai, and Miya Rurika, who needed a simulcast for her last ochakai, didn't even get the final revue treatment that Sora did.

The disbelief that they did so good by her, the disbelief that I missed the transition, the disbelief that she was really leaving, shattered me.

In addition to general prominence throughout the revue, she gets a whole white-clad taidan number, complete with lyrics designed to blind her fans with saltwater, and one of the best bits of dancing I've seen out of her. After a seemingly impossible quick change, she rejoins the troupe for a very chuuzume-esque anniversary number (assuming the Christmas kyakusekiori is the real chuuzume), and that might actually be my favorite bit of dancing in the whole show. She co-leads the Noguchi-signature boyband number with Aasa, which I forgive because it's them and it's also T.M. REVOLUTION. She even gets a spotlight moment alone with Saki during the kuroenbi. And through all of it, she was so, so good. Good does not even begin to describe Kazuki Sora.

I felt like I cried for 48 hours straight.

***

I didn't manage to get myself actually into the theater for senshuuraku, but I did end up with two Hibiya cinema tickets. When I tried to pass one off onto one of the fellow jilted Sora Club members trying her luck outside of Chanter, I got pounced on by an old lady while those in their white wear were moaning about the cinema not being good enough. I was too tired and nervous to tell her I'd prefer to sit next to someone in club, so she got it. She and I ended up crying the hardest of everyone in the cinema by far. Thanks, old lady <3.

***

One thing that struck me was how desperately, frightfully grateful I was that Sora retired from Yukigumi. Sure, if she hadn't, her taidan would have probably just been canceled... but I don't even mean that. The anniversary aspect of Frozen Holiday was beautiful, and filled me with a joy and nostalgia I wasn't prepared for. It was my first kyakusekiori since 2019, and after Sora ran by me, I was blessed to find myself next to Kujou Asu, someone I adore enough to be in her club in an alternate universe. It was my first iride since 2019, and I had the privilege of seeing off one of my favorite musumeyaku, Sara Anna, as well. The way the troupe members talked about Sora, and what she gave them, and how thrilled they were that she joined them, made my heart swell. As genuinely mad as I was when they broke up KikiSora, I could see that Yukigumi gave her the space to blossom.

The farewell dinner was even entirely gluten free by complete accident, down to the fancy manju omiyage with mountain yam flour dough.

***

Five onsen dips, a massive weeb shopping spree a lifetime in the making, and one extremely bizarre Komu show later, I'm on the plane home, finally not crying on command.

But not having a runaway fave for the first time in ten years feels really desolate. I miss her so much.

#takarazuka #reviews #Boiled Doyle on the toil trail #Kazuki Sora #taidan 24

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Flower Troupe Top Announcement

It's been a somewhat dry spell news-wise what with all the goings on in Takarazuka, but we finally have our next generation of Hanagumi top stars. Congrats Towaki Sea and Hoshizora Misaki!

#takarazuka #announcements #towaki sea #hoshizora misaki #I saw Hitoko's first ginkyou solo at ken-3 from the 7th row #I feel old

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Takarazuka news roundup 2023.12.19

Additional cancellation announcements from the official site:

① Cosmos Troupe's upcoming small theater shows, Excalibur (Serika Toa/Haruno Sakura, scheduled for Hakataza -> Umeda Arts) and My Blue Heaven (Bow Hall, scheduled to be Kazeiro Hyuuga's first Bow lead), have both been preemptively canceled. All future appearances of Cosmos Troupe actresses TBD.

② The company previously announced that they would reduce the number of performances per week and the number of shows per year, in order to reduce the actresses' workload. This initiative will start from shows that have already been announced, and in some cases, tickets that have already been sold. The following performances are canceled:

Star troupe RRR/Violetopia: Takarazuka performances from 1/1-1/5 (opening day becomes 1/5 at 3:30pm); The 3:30pm shows on 1/11, 1/18, and 1/30 (2-show days become 1-show days); Shinjin Kouen is canceled. Tokyo performances at 6pm on 2/29, 3/5, 3/18, and 3/28; at 1:30pm on 3/12 (2-show days become 1-show days).

Flower Troupe Arc-en-Ciel: Takarazuka performances 2/9-2/10 (opening day becomes 2/10 at 3:30pm); 2/18 11am, 2/20 3:30pm, 3/5 3:30pm; Shinjin Koen. Tokyo performances 4/13, 4/14 (goes from two shows to one, 1:30pm becomes opening day); 6pm shows on 4/18, 5/2, 5/7, 5/14; 1:30pm shows on 4/25 and 5/24.

Snow Troupe Boiled Doyle on the Toil Trail/Frozen Holiday: Tokyo performances at 6pm on 1/9, 1/16, 1/23, 1/30; the 1:30pm performance on 2/6.

③ All 110th anniversary festivities for 2024 have been canceled. This includes:

The 110th anniversary ceremony scheduled for July

The 2024 Takarazuka Special

Sports Day

Rescinding publication of the 3rd-party investigation report

Translated from the official site:

Regarding the sudden death of a Takarazuka actress of Cosmos Troupe, we continue to extend our sincerest condolences to all of her surviving relatives. As announced on December 7 in relation to this incident, based upon written notice received from the family’s legal team on 12/6, along with the contents of the press conference held by said legal team, we made the decision to conduct a second investigation that will examine the facts of the case more closely. We are still taking the problems outlined in the investigation report that we released on 11/14 very seriously. However, as the issues present are not limited to those outlined in said report, after taking into account the information shared by the family’s legal team via the aforementioned documentation and press conference, and with the deepest consideration for the bereaved family’s thoughts and feelings, out of sincere desire to continue our earnest consultation with the family, we have made the decision to rescind publication of our report at their request. Additionally, we will continue to work toward achieving a formal compensation agreement with the family.

Threats demanding Takarazuka performance cancelation

Tiny blurb translated from 47News

In the aftermath of the sudden death of an actress from the Takarazuka Revue in Takarazuka City, Hyogo Prefecture, we've learned today, December 19, from an inside source, that the company has received numerous messages with threatening contents via post and email, demanding that the reopening of performances be suspended.

#takarazuka #announcements #cw death #cw suicide