I've been working on translating this book lately since the historical information is so interesting! It's by a member of Takarazuka staff who was there from early Showa Era through the Berubara Boom.
It's complicated to translate since I have to research the footnotes so much, so I might not update consistently, but I love retro Takarazuka so I am doing my best.
The first chapter talks about some background lore like the story behind When the Violet Flowers Bloom, and some of the early history of the Revue. (It wasn't inspired by Kabuki, for one thing!)
This is a slightly revised and updated version of my 2022 post, because with Castlevania it seems we might be seeing a lot of new takarazuka fans, which I remember as being kind of overwhelming.
This post will share a lot with my previous one, except that it is up to date ^_^ So first of all: Hi! Welcome! Hope you enjoy the musicals and like the glitter!
Second of all, I know this fandom can be very different, a little bit (sometimes a lot) confusing, and definitely overwhelming, so I thought it might be helpful to make a bit of an introduction post, for if you’ve mostly seen memes or clips. So with that, here we are!
So You’re New to Takarazuka, what do you need to know?
(images: posters for Castlevania and Rose of Versailles)
Takarazuka in a Nutshell
Takarazuka is a musical theatre company in Japan which only has female performers. It’s kind of like a reverse kabuki that way. It’s located in the city of Takarazuka (hence the name) and is over 100 years old! Which is awesome!
Takarazuka’s actresses are generally known as Takarasiennes (sienne or jenne for short), and are divided into women who play men, and women who play women. This division is made when they first enter the company based on the performers preference as well as their height (there is a minimum height for male-players). Many siennes come from ballet or theatre backgrounds and they audition for the company quite young, and can stay there for a long time.
The siennes who play guys are called otokoyaku (male role players) and ones who play women are known as musumeyaku (daughter role players, yes we know it sounds uncomfortable) and sometimes within the fandom and by other siennes onnayaku (female role players).
The company is divided into 5 troupes - hanagumi (flower troupe), tsukigumi (moon troupe), yukigumi (snow troupe), hoshigumi (star troupe) and soragumi (cosmos troupe) that perform to a schedule you can see on this page on the company’s website. They each have a speciality and character, and generally consist of anywhere between 60-80 members. There is also senka (or senior members), which is a group of some 20 older siennes who no longer perform in a troupe or in every show, but are specialists that are sent along to the other troupes as needed. You can find profiles for all of the current (and many, many past performers) on the fan-made website takawiki.
The Topstar System
Each of the five troupes have a Top Star and a Top Musumeyaku, who perform the lead roles in most of the plays their troupe puts on. This couple is the ‘main’ couple of that troupe, and they tend to stay anywhere between 1-5 years depending on a variety of factors, before they retire and are replaced by the people “next in line” – this is a very hierarchical system in which performers climb up the ranks starting from their time in the Takarazuka Music School. Siennes can climb up the ranks by being given important roles, given leads in smaller theatres, or otherwise gaining prominence and popularity through stuff like fan engagement, merch sales, etc. This means also that casting is not generally done by audition and that there is a very limited pool of performers available for each play; you stay in your troupe (unless you're transferred) and you perform with them. Roles are assigned primarily by rank, as well, so you will not soon see a very new performer have a bigger role than someone who has been there for a long time (this is oversimplified, but that what it's an intro for).
Last and current top combis (topstar and topmusumeyaku) & troupe vibes:
Hanagumi
Current Topcombi: Towaki Sea and Hoshizora Misaki
Previous: Yuzuka Rei and Hoshikaze Madoka
Hanagumi is the oldest troupe of the company (established in 1921), and often considered it’s most traditional because of that. They are specifically known for the coolness of their otokoyaku, and their general aesthetic. Under Yuzuka Rei a lot of focus was placed on dance, and now with Towaki Sea we see a focus on darker stories.
Tsukigumi
Current Topcombi: Houzuki An and Amashi Juri
Previous: Tsukishiro Kanato and Umino Mitsuki Tsukigumi
is just about almost as old as Hana (also 1921), and known for their comedic and western musicals, as well as their strong vocals. They were also the first troupe to perform ‘The Rose of Versailles’, which is one of Takarazuka’s flagship shows. Tsukigumi has multiple topmusumeyaku that started out as otokoyaku and switched later in their career (including current topmusume Amashi Juri, and previous topmusume Manaki Reika)
(Top: Houzuki An's 'Golden Liberty', bottom: Tsukishiro Kanato's 'Great Gatsby')
Yukigumi
Current topcombi: Asami Jun and Yumeshiro Aya
Previous: Ayakaze Sakina and Yumeshiro Aya/Asazuki Kiwa*
Yukigumi is the troupe that focusses most on acting, and that is known for their performances of more traditional Japanese shows (nihonmono). In the modern era, they are also most often the troupe that does Manga adaptions (such as Lupin III, City Hunter and recently Berubara).
*Ayakaze had two different topmusumeyaku partners, each for 3 shows, and Yumeshiro Aya stayed on with the next topstar after Ayakaze retired.
(Top: Asami Jun's 'Robin the Hero', bottom: Ayakaze Sakina's 'Bonnie and Clyde')
Hoshigumi
Future: Akatsuki Chisei and Uta Chizuru
Current Topstar: Rei Makoto
Previous Topmusumeyaku: Maisora Hitomi**
Hoshigumi is known for their strong drama and stars with a lot of personality, as well as their focus on aesthetic and costuming. They do a lot of dramatic big-budget musicals and are currently very much the French Musical troupe.
**Hoshigumi is currently in the middle of Rei Makoto's retirement (she just finished her final run in the Takarazuka Grand Theatre and will still perform in Tokyo), but her topmusumeyaku Maisora Hitomi left before her. The next topcombi has been announced, but they have not yet performed a show togeter, and because there is currently no Topmusumeyaku, Akatsuki Chisei is playing a female role in Rei Makoto's final show.
(Top: Rei Makoto and Akatsuki Chisei in 'Ashura', bottom: Rei Makoto and Maisora Hitomi)
Soragumi
Current topcombi: Sakuragi Minato and Haruno Sakura
Previous: Serika Toa and Haruno Sakura***
Soragumi, the youngest troupe by far, is also the most experimental. They have the tallest siennes and also often the most non-traditional shows. Their musumeyaku are often considered slightly less traditionally feminine.
*** Haruno Sakura is staying on as topmusumeyaku. They have only just switched topcombi, so Sakuragi Minato's first show has not yet started.
(top and bottom: pictures from Serika Toa's 'Razzle Dazzle/Takarazuka Love Songs')
The Sumire Code
Something which you will run into fairly quickly when you get into the Takarazuka Fandom is the Sumire Code, which is an unwritten set of rules or guidelines for both siennes and fans regarding how to interact with one another. I have a longer explainer of this here.
The basic gist of it really is about respect, specifically for the performers, and also regarding their safety. There are a lot of differing opinions on certain aspects the Sumire code that I won’t get into now, but in general the foreign Takarazuka fandom does try to keep it in mind with regards to their online behaviour. One of what I personally think is one of the most positive aspects of the Sumire code (regardless of any of my other opinions) is the fact that it is intended to protect the privacy of the siennes, and that we as fans are not supposed to bother them or dive into their real lives. Those are their own, and we have no rights to them.
One important aspect of the Sumire Code that is relevant to online fandom, is that the Hankyu Company is extremely diligent in controlling and protecting their copyright. The blurays are very expensive to buy and if material is posted in public places online, fans can get into a lot of trouble if stuff gets shared around. This can include takedowns on video platforms and other ways in which fans are locked out of being able to engage with the company. This doesn’t only go for video material, but also for the various types of print items the company produces. This results in all of us being careful with what we share, where we share it, and with whom. I know that to some, that can feel a little gatekeepy, but it’s important to understand that it’s really not that we want to keep new fans out, on the contrary, a lot of people here on tumblr and other platforms are doing their best to reach out, it’s just that the way this works limits the easily publically available material for new fans.
That’s all Real Fun Info, but I Want to Watch Some Shows!
Right, so you’re really here to watch some shows, fair enough! Where do you go? I know this in particular can be quite confusing, and sometimes a little difficult.
DVD/BLURAY First of all, you can buy a lot of the discs (dvds or blurays) of musicals that you like, which is imo kind of amazing since we’ve all been collectivel begging broadway/west end to do that for YEARS, so that’s cool. Of course, you don’t just wanna drop a ton of money - but in order to get an idea of whether or not you might like them, you can go to the Takarazuka YouTube channel (see link below) and watch their trailers, info videos, and clips. However, of course you might not have the money to spend on an expensive Bluray or DVD, not everyone has that kind of disposable income, so what else can you do?
If you want more detailed info on where to purchase blurays or dvds, there is another explainer for that on @eralkfang's page right here.
SKYSTAGE Takarazuka also has its own TV channel called ‘SkyStage’. Here, they broadcast shows from their vast library of content, and produce a number of behind the scenes features which can be very fun, but unless you live in Japan this is pretty hard to access. Luckily there is, nowadays, a pretty good solution for this! If you ARE however in Japan, I can sincerely reccomend it.
TKZ ON DEMAND You can use Takarazuka On Demand, an online service through which you can rent shows quite cheaply and easily. You do need a credit card and probably a VPN, which I know can sound a little scary, but it doesn’t have to be. The process is relatively simple, and if this is something you want to set up there’s tons of people around that are happy to help you (but don’t ask me, I am technologically challenged and a friend had to do it for me). Takarazuka On Demand also has a good deal of SkyStage stuff, which means you can find behind the scenes material here too!
FAN STREAMS Finally, if you don’t want to do any of these things, there are a number of us here on Tumblr who are happy to answer your questions, or if you want to see something that you don’t have access to - stream our shows for you. This is generally done in private locked stream rooms, for our own safety, as the company is specifically very strict on content sharing and we would rather not get in trouble. However, if you dm someone politely they will almost certainly be happy to help and to try and arrange a stream in your timezone if at all possible. I know dming strangers can be scary, but I promise we don’t bite.
However, when you do talk to us, please do so respectfully, and please respect the space you are in. As much as we would love to shower you in glitter, we are not slot machines that can give you content, and we are careful because the company has nuked accounts in the past.
Peoples files and their translations have also been stolen in the past, and when things get spread across the internet nilly willy that can have seirous reprecussions for us.
TL;DR Welcome! Here’s a whole bunch of Takarazuka resources that I bundled so you can find them in one place, please have fun. Please do know that everyone is welcome here! We want people to come hang out, join us, watch things. That’s why we like to stream, we just ask that you treat us with kindness.
Takarazuka is a really fun hobby to have, even if it seems a little complicated. You’ll get the hang of it, and there’s lots of options to watch things in various ways!
All that to say: Welcome, and enjoy the glitter
Resources https://www.takawiki.com/tiki-index.php Takawiki is an absolutely fantastic resource where you can find information on shows, performers, terms, and a variety of translations!
https://www.takawiki.com/tiki-index.php?page=Glossary+of+Terms Takawiki’s glossary of terms where you can look up a lot of really helpful info to help you wade through all the random Japanese people toss into their posts here.
https://www.takawiki.com/tiki-index.php?page=Sumire+Code The summary post for the Sumire code.
https://www.youtube.com/user/TRCofficialchannel Takarazuka’s official youtube channel, send them some love!
https://kageki.hankyu.co.jp/ Takarazuka’s official website! Here they post news, you can buy tickets if you’re in Japan, ad find out a variety of other pieces of information. They have an English version of the webpage, but the information is a little more limited on there.
https://kageki.hankyu.co.jp/schedule/index.html The yearly performance schedule.
https://www.tca-pictures.net/ This is the Takarazuka merch store online, you can buy merch for shows, programs, magazines, photos and other stuff here.
https://www.tca-pictures.net/skystage/ This is the website of Skystage, you can look around here a bit to kind of see how it works.
https://www.tca-pictures.net/vod/ This link will send you to Takarazuka On Demand, where if you make an account you can legally watch shows for as much as 5 dollars if you want to.
https://www.tumblr.com/eralkfang/785974587264548864/how-to-buy-takarazuka-castlevania-on-bddvd And again Eralks how to buy a show explainer!
Other Fun Stuff
Here is again the link to my Sumire Code Explainer.
History Post about Takarazuka's past.
Propeganda about my favourite performers.
Show Reccomendations for beginners.
I’ve seen a lot of Castlevania fans express interest in the currently running Takarazuka Castlevania musical and wondering whether or not it would get a pro shot, so I thought I’d jump in and write up a little guide on how to get your hands on the upcoming home video release of Takarazuka Castlevania.
Now, Takarazuka is unusual in that its parent company, Hankyu, is extremely aggressive about piracy and protecting its copyright. The company regularly trawls through YouTube and other social media websites to take down content, and they have deliberately made their livestreams increasingly harder to access in response. This can make it feel like getting your hands on Takarazuka is really difficult and, if you’re used to Japanese companies that are friendlier, it’s definitely a bit of a fan culture shock!
However, it’s actually not difficult at all. Purchasing a Takarazuka Blu-ray or DVD from outside of Japan is a straightforward process. You just have to know what, when, and where.
What to Buy
Takarazuka releases the vast majority of their shows on physical media. All of their shows staged in the Takarazuka Grand Theater and the Tokyo Takarazuka Theater (hereafter “a GT show”) receive a physical media release on both Blu-ray and DVD.*
The main distinction between the two is the video quality, price, and special features:
A GT Blu-ray costs 11,000 yen and includes rehearsal footage as well as Star Angles, which are special cuts of scenes focused on certain performers. In the case of Castlevania, the Star Angles will focus on the performers playing Alucard, Maria, and Richter.†
A GT DVD costs 8,800 yen and contains no special features.‡
Both are region-free but neither includes subtitles of any kind, not even Japanese.
The physical media release will include Castlevania, the one-act musical, as well as Ai, Love Revue!, a separate musical revue with no connection to Castlevania. While Takarazuka does stage two-act musicals, the combination of a ninety-minute one act play with an hour long musical revue is classically Takarazuka. This particular revue repeats some classic numbers from Takarazuka’s past, so it’s a good introduction to what Takarazuka is all about!
When to Buy
Takarazuka physical media releases try to drop fast. A GT show is usually filmed during its run in the Takarazuka Grand Theater (before it moves to the Tokyo Takarazuka Theater) and released during the Tokyo Takarazuka Theater run. Usually is the key word here; I’ve received at least one Takarazuka Blu-ray before the final performance in Tokyo, but others can get delayed, likely due to copyright negotiations.§ Given that Konami is directly involved with the production, I don’t have any concerns about copyright or delays.
Based on recent GT show announcements and releases, I would expect to hear the release schedule announcement during the break between runs (7/21 to 8/15) and the Blu-ray/DVD to release late in the Tokyo run (8/16 to 9/28). So I’d estimate finding out in August that it’s releasing sometime in September.
Where to Buy
Once the Blu-ray/DVD has been announced, you’ll find it available for international purchase on the following websites:
cdjapan.jp
CDJapan always carries new Takarazuka products, offers multiple shipping options, often has coupons, and allows you to pre-order items. This is predominantly what I use and I can personally recommend it.
Yesasia.com
Yesasia carries new Takarazuka products, offers coupons, and offers free shipping. Takarazuka Blu-ray/DVDs will be noted as “Japan version,” but remember, they’re region-free. I have no experience with this website, so I can’t vouch for it personally.
TakaAn
TakaAn is a shop focusing on Takarazuka (but also other theatrical troupes) in Japan that offers overseas orders via email.
Amazon.co.jp
Amazon.co.jp used to regularly stock new Takarazuka products, but less so lately. Still, worth checking.
Secondhand Stores
Secondhand copies of Takarazuka Blu-ray/DVDs crop up on websites like Suruga-ya and Mercari from time to time. Suruga-ya is easy to use, has a wide selection of items, and often offers coupons, while Mercari has a proxy service (Buyee) built in to help you purchase items from overseas. Both are dependent on availability, but are a great way to save some money! (Just make sure the shipping and proxy fees aren’t wiping out the money you save!)
Where to Find Out More
I hope this helps out some Castlevania fans in their quest, since I know Takarazuka can be a little opaque. If the new musical has gotten you interested in Takarazuka, feel free to check out this So You’re New to Takarazuka post and this primer on the Sumire Code. Takarazuka's got a bit of a learning curve, but it’s a wonderful (and very sparkly) hobby!
* In Takarazuka, the distinction is between GT shows and small theater shows. One of the five Takarazuka troupes performs a GT show (with the full troupe) and then will split for the small theater shows, with half of the troupe in one show and the other half in another, performing in venues outside of the Takarazuka Grand Theater and Tokyo Takarazuka Theater. This allows people who are not the Top Star of their troupe to get leads. These smaller scale shows often receive home video release on Blu-ray, but whether or not it does is based on the internal ranking of the star within Takarazuka (Top Stars always do, but baby’s first lead, not so much). So while not every Takarazuka show gets a home video release, the vast majority do.
† Flower Troupe/Hanagumi’s Top Star Towaki Sea, the Top Musumeyaku Hoshizora Misaki, and the nibante, Seino Asuka, respectively.
‡ In the pre-Blu-ray era, DVDs not only included the Blu-ray special features, but additional features (like digests for any switch cast roles, documentary features), and came on two discs.
§ There are some shows that are never released on home video for copyright reasons, usually imported musicals with very complicated licensing agreements (like Big Fish). This hasn’t happened to a GT show in decades and is usually kept to small theater shows, if at all.
Your wife changes her hair color every season and her personality adjusts slightly. You’re secretly only in love with Autumn wife. She just came home sporting her Winter color.
it’s my fault. it’s just that when we met it was autumn; her red-orange hair and crackling laughter. there’s a little spooky in her, a lot of play. and what a better time for falling?
i didn’t realize it for the first few years - something shifting, something so subtle. the winter makes us all cold, the summer makes us all a little out of our minds. i just loved her, because she was incredible, and i was the luckiest person alive.
it’s just that i realized that spring came with sudden bursts of cold. it’s just that summer frequently raged in with fire sprouting from her lips. it’s just that winter was the worst of all, her eyes dead. it’s just that autumn loves me different; throws herself into it without the clingy sweat of summer. i used to love that summer girl, you know? i loved how wild she was, the way in summer she took every risk she could. but i carried her home drunk one too many times, cleaned up one too many of the messes she made for no reason than to enjoy the sensation of burning. and winter was worse; the shutdown, the isolation. how she became distant, a blizzard, caught up in her own head, unable to tell me what was wrong and unable to think i actually wanted to listen.
she comes home, her hair bleached white. a dark smile on her lips. the shadowy parts of her are back. they loom like icicles overhead. she kisses me with her body held at a distance, a peck on my cheek that feels like an iceberg. she makes polite conversation and we go to bed early, our bodies untouching.
it is a lonely season, i think on the ninth day of this. winter is cold. winter is known for the death of things. when i look at her, i see the girl i fell for, inhabited by an alien. she was the first women i loved so much i felt it would kill me. i can’t leave. when i wake her up with my crying, she tells me to shush and go back to sleep. she’s different like this, quiet, doesn’t eat.
three days later i stare at myself in the mirror. i wonder if it’s me. if the fat on my body or something in my face or the wrinkles and she doesn’t love me. i try prettier lingerie, lean cuisine, i try different hair, more makeup, try harder. it doesn’t work. she looks at me the same; that empty gaze that neither loves nor condemns my actions.
somewhere in februrary i lose it. we’re fighting again, from car to restaurant to car to home again. we fight about stupid things, small things; i tell her i feel she doesn’t love me, she says i’m not listening. the circle goes around and around, old pain peeling back, new pain unhealing. i sleep on the couch.
i wake up when i hear her crying, white hair around her all messed up. the kind of sobbing that only comes at two in the morning, heavy and thick and hurting. my winter girl. my heart is breaking. she looks up at me like i’m her anchor. “i’m sorry i’m like this,” she says. and i start saying, it’s okay i’m here we’re married, but she just shakes her head and says, “I know this isn’t the real me.”
i hold her cold hand. she stares at the blankets. “i am different in winter,” she whispers, “i know i am and i’m sorry.” she looks at me. “why do you think i dye my hair? cut it off? get rid of the old me?”
i tell her it’s okay. we’re together and it’s okay, and then she whispers, “i’m sorry you married four of me.”
we lay there like that, her head on my chest. she falls asleep. i stare at the ceiling, thinking of the way she sounded when she was crying. how i helped put her in that pain. how i promised in sickness and in health and everything in between.
the next day i spend at the library. there aren’t enough books on how to love someone with seasonal affective disorder so i make my own, notes and pages and little ideas on post-its. and i take a deep breath and make myself a promise.
she comes home to her favorite dinner and we kiss and she’s uneasy but that’s okay. the next day i bring home flowers and the next day she finds little love notes in her pockets. i love her quiet, the way winter demands, understand her sex drive is faltering; spend more time just cuddling. we drink wine and we kiss and some part of her starts relaxing.
the truth is there is no loving someone out of their mental illness. the truth is that you can love someone in despite of it; love them loud enough to give them an excuse to believe they can make their way out of it.
and i learn. i remember the rebirth of spring, when she starts thawing. we kiss and have picnics in pretty dresses. i remember her joy at little birds and her rain dancing. i fall in love with the flowers in her cheeks and the little bursts of cleaning. i fall in love with summer’s slow walks and milkshakes and shouting to music playing too loud on the speakers. i fall in love with her dancing, with the sunfire energy. and when winter comes; i am ready. i remember that snow used to look pretty. i fall in love with the hearth of her, with the holiday, with the slow smile that spreads across her face so shyly. i fall in love with how she looks in boots and mittens and every day i find another reason to love her the way she deserves - they way i always should have.
she comes home with her white hair and dark smile and a package in her hands. i ask to see what it is and that small shy grin comes creeping out. it’s a sunlamp packed in with medication. she looks at me with those wide eyes and that beautiful winter blush. “i’m trying to get better,” she whispers, “i promise.”
recovery doesn’t look immediate. sometimes it isn’t neat. i can’t say we never fight or that we’re suddenly complete. but each day, that tiny girl’s strength gives me another reason. i love her. i love her while she tames the roller coaster of spring; i love her for reigning in the summer storms; i love her for taking her winter and trying to be warm. it is hard, because everything worth it is hard. she spreads out her autumn leaves; mixes the best parts of her into everything. learns to take winter’s silence for a moment before yelling in summer. learns to take autumn’s spice and give it to spring. we are both learning.
one day she comes home and her hair is different, but it’s a style i don’t know. i kiss it and tell her that she’s beautiful and the inside of me swells like a flood. i’m so glad that she’s mine. every part of her. the whole. i am the luckiest person on earth. and i always have been. but she’s hugging me and saying, “thank you for helping me,” and i can’t explain why i’m crying.
this is what love is; not always an emotion but rather your actions. the choices we make when we realize our lives would be empty if the other was absent. this is what love is: letting them grow, helping them find their way in out of the cold. this is what love is: sometimes it takes work to see how the thing you planted together actually grows.
this is what love looks like in an autumn girl: it is winter and she glows.
This post is an explainer on the Sumire Code, a mostly unwritten but at times, very definitive set of rules and guidelines regarding both fan conduct and the behaviour of the Takarazuka performers (Takarasiennes, often shortened to ‘siennes’ or ‘jennes’ in English). I’m posting this because I’ve been seeing a lot of new fans around on tumblr lately, and I know this is a complicated part of Takarazuka fandom culture to understand. So, hopefully this helps. This is a long post, but the TL;DR of it is that the Sumire Code is a set of rules that exists to maintain the company’s motto of ‘pure, proper, beautiful’ and, to a certain extent, also to protect the performers by formalising some of the ways in which Takarasiennes and fans interact. There are parts of the Sumire Code that are definitely there for a corporate (PR) function, but there are also those that are purely there for practical reasons and actively protect sienne's health and safety.
This post's intention is only to explain the Sumire Code, not to tell you whether or not to follow it, although I can recommend keeping it in mind when interacting with this fandom in a public sphere, as a lot of these rules have a huge effect on how the fandom functions and interacts with other fans, performers, and the company at large.
I understand it’s gonna read like a lot, but that’s what explainers are for. ^_^" I’ve added historical context where I thought it relevant. This post is based on a combination of my and other longtime fans' personal recollections, as well as the takawiki page discussing the Sumire Code.
Sumire Code for Takarasiennes
The Sumire Code for Takarasiennes (hereafter referred to as ‘siennes’) is a combination of unwritten rules of conduct and contractual agreements between them and the Hanshin Hankyu Corporation (from here in this post ‘the company’). It has to do both with their public image and the way they interact with fans. A number of these rules are not actually Takarazuka exclusive but are widely used within idol fan culture in not only Japan but also China and Korea (you’ll probably recognise those if you’re in those fandoms).
While these rules do not apply to us as fans, it is important to understand what they are so that, when we as fans do interact with siennes, we do not accidentally make them break their side of the rules or get them in trouble by saying things we shouldn’t:
Siennes must maintain the appearance of their onstage gender offstage. This means musumeyaku must dress in a more feminine style and otokoyaku cannot just show up to work in a dress, or even be seen in public in anything that would be considered unsuitable for an otokoyaku in their private time – with the exception of when they are playing a female role. This is part of preserving the ‘dreamworld’ that Takarazuka aims to create. This is a rule that developed in more recent times.
Up to the ‘40s, many otokoyaku actually had long hair they were hiding under wigs or hats (it was a very big deal when the first otokoyaku actually cut hers or her own volition, reportedly not supported by the company at the time), but this changed in the subsequent years. This has now developed into otokoyaku not really being ‘allowed’ to have long hair unless it is for a specific role. In the 90’s, Maya Miki (influenced by long hair for men being in fashion) pioneered the long haired topstar, and was seen as a revolutionary for doing so. You would still see them in women’s shoes and hats up to the ‘90s, but this is the situation at present.
Siennes must remain unmarried and (at least officially) are not allowed to date. This means that they cannot be seen in public with a romantic partner, once again so as not to break the ‘dreamworld’.
Siennes are expected to maintain a ‘pure’ public image—so no scandals or other such things from their personal lives should ever come forward.
Siennes use a stage name to separate their private life from their life as a Takarasienne and are not allowed to give out their personal information (age, name, etc). At times, this extends beyond their tenure within Takarazuka, with a number of siennes wanting to keep their real names off public record websites and only listing their stage names.
Siennes are not allowed to use any social media as themselves or their stage persona during their tenure within Takarazuka; their interaction with the public all runs through the company or other official channels and interviews.
This is also why they do not appear in insta or other social media posts when they occasionally participate in outside productions (except official posters and press shoots). It is also expected of collaborators and OGs to cut siennes out of their pictures if they are in them, you may see this occasionally when an OG posts a picture of a meeting with other OGs and siennes and there are faces blurred out.
Sumire Code for Fans
The Sumire Code for fans concerns the ways in which we interact with Takarasiennes at any point. This is a (non-exhaustive) list of guidelines, separated in two parts, the social conduct and copyright related things:
Social Conduct:
Fans are to respect siennes’ privacy. This means do not look up or discuss their real names, real ages, family life, or personal relationships. Their personal lives are theirs and are separate from their persona as a Takarasienne, and that must be respected.
Fans are expected not to speak to, interact with, or otherwise bother siennes when they see them outside the theater. Many siennes live in and around Takarazuka and it is not uncommon to encounter them outside of the theater or in the surrounding towns. If this does happen, you are expected to pretend they are not there. Do not interact with them, don’t talk to them, don't ask them for an autograph, don’t take photographs, and, in general, just treat them as though they were any other stranger you do not know. When they are going about their day outside the theater, they are not there for your entertainment and just want to go about their daily lives. This rule exists because there have been multiple stalking incidents in the past.
The only times it is acceptable to take pictures of Takarasiennes is during iri- or demachi when siennes are either entering or leaving the theater for rehearsals or a show, and then only from the designated gallery area.
Non-club fans are expected to stick to the gallery area during iri- or demachi times while club members form the guard, interacting more directly with siennes. This rule stems from Takarazuka’s berubara boom, during which various siennes were mobbed by overzealous fans. Since then, there has been a very strict way of interacting during iri- and demachi, which allows the siennes more safety and security and formalises the process. Club members essentially ‘guard’ their Takarasienne from anyone that would bother them. If you are not in a club, you are expected not to approach, talk to, or give something to a sienne. You are also expected not to loiter or approach or bother siennes if you see them arriving further away from the theater.
Up until the early 90s, the currently mostly symbolic guard was very much literal, as club members would form a literal barrier between siennes and mobs, like a full on bodyguard team.
If you want to give a sienne a gift and you are not in their club, you can either mail it or leave it at the stage door at the theater, but you cannot hand it to them. This is part of the very formalised set of rules that mean you cannot interact with siennes directly unless under very specific circumstances. The mailing address of the theater can be found on takawiki. If you are in Japan and want to leave a letter or a gift at the theater, please only do so outside of irimachi or demachi times, or any other time siennes might be walking in or out, as you are expected to stay away during those times. This includes just before or after performances.
While there are many acceptable gifts, flowers are actively not allowed due to them having had a role in marking popularity of siennes that run extremely out of hand, leading them to be banned as a gift by the theater (this is not even unwritten, it's actually official). Aside from this, unsealed, unpackaged, or homemade food is heavily discouraged.
Fans are expected not to spread rumours about siennes, not to degrade or bully siennes, and not to publicly post lewd or objectifying comments. This rule often gets ignored (especially in the online sphere). However, spreading rumours can reflect badly on the siennes involved, especially if it gets back to the troupe or the company, and can get siennes in trouble. Bullying has also been a serious problem on SNS, and the company has publicly stated that they will crack down on this sort of conduct on SNS.
Club members are not allowed to share any club information (either online in public or with non-members in general). Any information, pictures, or merchandise received from clubs is not to be shared with non-club members. This information is considered private and therefore falls under the privacy rules already outlined above. Moreover, club merch is produced by the club themselves. Posting it for free online is considered not only a breach of trust, but also taking money directly away from the sienne who's club you are presumably in to financially support.
Club merchandise is not to be resold. This rule is often not adhered to in online spaces. But if your club finds out you are selling club merch to others, you will be kicked out of the club.
Copyright Related Rules:
Fans are expected not to do anything that actively harms the company’s profits. This rule is very broad, but tends to include the following: not sharing full shows or links to full shows publicly online, not scanning and posting complete magazines (or even larger parts of it), not sharing music publicly, etc. This means that there is a lot of discussion about how much one can reasonably post and where one should draw the line, but the company has shown extreme willingness to crack down on anyone they consider to be crossing the line, from nuking youtube channels uploading shows to going after people using siennes as their pfp on social media, so it is good to keep that in mind when interacting with Takarazuka in online spaces.
According to the takawiki page on the Sumire Code, Japanese copyright law protects people posting small amounts of images from a personal collection. That is actually not what the law says, as Japanese copyright law does not have a feature like ‘fair use’ under which such images would fall. However, people have been posting single images from private collections for years without this causing an issue. This also means that all of these rules are actually quite widespread in Japan anyway, but not every company is as exceptionally diligent as this one in pursuing them.
The company does not want fans to post photos of the safety curtains displayed before the show and during the act-break, or the posters they post around the city. The exception to this is if you post something else as the focus of the image, leading to people now often photographing a plushie in front of a poster or a curtain.
References/Further Reading
1. Takawiki on the Sumire Code
For those wondering, the dance is based on a soul-switching scene from the movie Painted Skin II: The Resurrection and the music is Su Yunying’s Moment.
This isn’t realistic for adults. I’m sorry it’s just not.
Don’t fall into believing that, “if they’re a true friend they’ll drop everything and run to be by your side!” crap.
As a responsible adult there will be times that your friends are hurting and you won’t be able to go to them.
There are times that you will have to go to work, or take your sick kid to the doctor, or do many other things that will prevent you from being there for your friend.
When your friend calls you and they’re falling apart and it’s ten minutes until you have to leave for work, you’re not a bad friend for saying, “Look, I love you. I’m sorry this is happening, but I have to go. I’ll call you back tonight when the kids are asleep.” Or “I’m so sorry this is happening. I love you and I want to be here for you but I’ve got to get to work. I’ll call and check on you during my lunch.”
Adult life is hectic and busy with important things all the time and unfortunately it’s also full of shitty things happening to people we love.
Do your best to be there for the people you love and ask for support when you need it but be understanding when being a responsible adult comes before helping you.
The idea that people need to be there any time you need them is really damaging and unhealthy, too. You can’t place value on a person or a relationship based solely on whether or not they’re available, no questions asked, whenever you need them.
In addition to the above: sometimes, someone simply does not have the energy to help. Maybe they’re coming out of a rough patch themself, maybe they have been busy all day,maybe a chronic illness is flaring up. There are a myriad of reasons someone may not be able to be there.
Obviously, if someone is taking you for granted, and never seems to care how you’re doing, that’s an issue. But to write someone off because their life and your life didn’t line up quite right at a given point in time, or maybe even on more than one occasion, is not a healthy way to handle things.
Thomas Benjamin Wild Esq. - I’ve No More Fucks To Give
I’ve tried, tried, tried and I’ve tried even more
I’ve cried, cried, cried and I can’t recall what for
I’ve pressed, I’ve pushed, I’ve yelled and begged in hope of some success
But the inevitable fact is that it never will impress
I’ve no more fucks to give, my fucks have runneth dry,
I’ve tried to go fuck shopping but there’s no fucks left to buy
I’ve no more fucks to give, though more fucks I’ve tried to get,
I’m over my fuck budget and I’m now in fucking debt
I strive, strive, strive to get everything done
I’ve played by all the rules but I’ve very rarely won,
I’ve smiled, I’ve charmed, I’ve wooed, I’ve laughed, alas to no avail
I’ve run ‘round like a moron to unequivocally fail
I’ve no more fucks to give, my fuck fuse has just blown,
I’ve been hunting for my fucks all day, but they’ve upped and fucked off home,
I’ve no more fucks to give, my fuck rations are depleted,
I’ve rallied my fuck army but it’s been fucking defeated!
The effort has just not been worth the time or the expense
I’ve exhausted all my energy for minimal recompense
The complete lack of acknowledgement has now begun to gall
And I’ve come to realise that I don’t give a fuck at all!
I’ve no more fucks to give, my fucks have flown away,
My fucks are now so fucked off, they’ve refused to fucking stay!
I’ve no more fucks to give, my fucks have gone insane
They’ve come back ‘round and passed me while they’re fucking off again!
I’ve no more fucks to give, my fucks have all dissolved,
I’ve planned many projects but my fucks won’t be involved!
I’ve no more fucks to give, my fucks have all been spent,
They’ve fucked off from the building and I don’t know where they went!
I’ve no more fucks to give, I’ve no more fucks to give,
I’ve no more fucks, I’ve no more fucks, I’ve no more fucks to give!
