I missed the first broadcast by accident, but at last I caught the Sky Stage airing of the Takarazuka Revue 111th Anniversary Ceremony today.
I’d planned to rely on my recording and watch on the weekend… then patience evaporated and I ended up tuning in live.
My main target, of course, was the second half: the celebratory dance and the Takarazuka song medley. ♡
“Is the ceremony for OGs, or not?”
Rumor hadn’t exaggerated.
The cheers—no, the joyful uproar—for Star Troupe’s Miki Chigusa, who served as MC, were intense.
It’s great to have fun, but the level of excitement sometimes stepped on the flow of the program.
The three top pairs then delivered greetings on the Ginkyo (the silver bridge), which drew huge applause and shouts.
I wonder if that same mood carried over into Guys & Dolls performances?
Back when this was held, there was a mini-storm on social media over OG (alumnae) manners and comments.
I get why.
Are anniversary ceremonies and related events meant for OGs, or for everyone?
In a typical company, a “founding day” leans inward—an internal event—yet it still sends a message outward.
Takarazuka is an entertainment company that survives because fans support it.
We fans are given dreams by Takarasiennes, but those Takarasiennes don’t exist without fans.
That’s the reality.
Right after the ceremony, I actually read a post from an OG essentially telling lottery-invited fans that since they’d been graciously invited “to our OG ceremony” for free, they had no right to complain.
Speaking as a fan, that stung.
Takarazuka has lasted 111 years because people have loved it and kept showing up.
I wished that person could have heard what Rei Makoto said in her retirement show: no matter how hard performers work, if audiences don’t come, it means nothing. I
t’s a perspective born of carrying Takarazuka through the pandemic years and the subsequent organizational upheavals as a top star—handing the baton to the next generation with clear eyes.
So, my conclusion: an anniversary celebration belongs to everyone who loves Takarazuka.
Because Ichizō Kobayashi created this company, we fans could meet these stages and performers; because fans keep loving and cheering, dreams are passed forward, and new hopefuls step up to become the next Takarasiennes.
Glorious, isn’t it? May I stay healthy enough to enjoy the 120th!
“Hozuki An absolutely stole the show”
The ceremony opened with greetings on the Ginkyo from the three top pairs.
Maybe it was the lighting, but everyone looked surprisingly “makeup-down” on camera.
Everyone except one person who looked flawless: Hozuki An.
She alone looked ridiculously cool, beautifully made up—perhaps thanks to being dead center in the light?
The musumeyaku (actresses in female roles) struggled more; even the usually adorable Uta-chan (Uta Chizuru) looked a touch washed out. Meanwhile, Hozuki An was perfection.
Her greeting carried an impressive calm—seasoned and steady.
Ari-chan (Akatsuki Chisei) and Zun-chan (Sakuragi Minato) seemed a bit nervous by comparison.
Among the musumeyaku, I was reminded how lovely Uta-chan’s voice is—bright, clear, and simply pleasant to hear.
That said, I still wish the entire company could have been present for a ceremony like this, all troupes together.
“A bold, modern celebratory dance”
The program split neatly into three zones—top stars, second leads, and next-gen aces—so there was something to savor at every level.
The celebratory dance choreography?
Fantastic. And Mina-chan (Minami Maito) literally floated in the air. (Yes, really.)
An orchestra paired with Japanese dance is a Takarazuka specialty, but seeing a modernized Nihon-buyō with crested kimono and hakama arranged in a Western-style staging felt brilliantly fresh.
I was hooked. Minami Maito is otherworldly no matter what she dances; every movement is pure “beauty.”
I kept thinking how much I wanted Aga-chin (Agata Sen) to dance that piece too.
He would absolutely “levitate,” no question. Imagine Mina-chan and Aga-chin side by side—what a sight that would’ve been.
“Gokumi Shin was almost unfairly beautiful”
Even from the still photos I’d seen, Gokumi Shin looked jaw-dropping.
In motion, it was almost unfair.
The glitter of stardom was so bright I felt oddly proud on behalf of the entire audience—especially with so many OGs watching.
See?
Gorgeous, right?
Handsome, right?
The future looks solid, doesn’t it?
The opening tableau with Karin-chan (Kiwami Shin) center on the grand staircase gave me chills, and the show that framed Karin-chan as the hub made me genuinely happy.
To see someone who once seemed so tentative now leading younger members and shining at center—it made me teary.
Beside Karin-chan stood Takato Chiaki and Amato Kanon.
If a few years from now a Takarazuka Special features these three lined up as top stars… perfection.
I indulged in a little daydreaming: Karin-chan with a classic, elegant beauty; Takato with that burnished, understated cool; Kanon radiating a sun-bright energy.
A dream sequence brought to life.
And then, perhaps for the very last time, Karin-chan led Star Troupe in “Killer Rouge” from the center—utterly moving.
One small mystery remains, though: the curious good fortune of Aomi Sario.
Singing solo on the Ginkyo, that song, in front of that lineup—Star Troupe’s seven wonders continue!
“In the end…”
The final chorus in hakama got me—no resisting it. Watching each face, I felt how proudly they sang “Takarazuka.”
It tugged tears right out of me.
Thank you, Takarazuka.
Now, Karin-chan is about to debut with Flower Troupe in DEAN.
I couldn’t get tickets, so I’ll be watching the livestream only.
After witnessing that supernova aura today, not being in the theater hurts twice as much.
For the record, I also struck out on today’s first Snow Troupe Tokyo lottery.
Nao-chan, Karin-chan — tickets, please!
The Japanese version of this article is here.↓↓↓
