Takarazuka Travel Report (2025-07-06)

As some of you know, I'm studying in Japan for three months. I'm so excited that I spent time updating my blog just to talk about it. I'm sure I'll post more about my experience. But for now, I want to talk about the day trip I took to Takarazuka.

The name will probably be familiar to fans of Revue Starlight, Revolutionary Girl Utena, and Sakura Taisen. It's home to the theater group funded by the Hanshin Corporation (which also happens to own the Hanshin Railway as well as the massive office buildings and department store in Umeda). You can probably guess where I'm going with this.

But Takarazuka itself is a small town that's just an hour away from Osaka. You can take the Hanshin Takarazuka line from Umeda and take a little nap. You're probably going to need it because, man, Japanese summers are kinda brutal, even for someone who has lived in the tropics for most of their life.

A Temple on a Hill

Instead of going straight to Takarazuka, I first stopped at the Kiyoshikoujin Seichou-ji, a temple that blends Shinto and Buddhist traditions. It's located right before the main station. When I arrived at Kiyoshikoujin Station, I had to climb a hill that wasn't too steep but still annoying for about a kilometer to reach the shrine. The shops were barely open and the Tanabata decorations felt lonely without people, but I saw some amusing sights, like a café with a poetic message in English on its window welcoming visitors:

The approach to Kiyoshikojin is not flashy, but it has a charm that attracts people. we are grateful to open a shop in such a place and hope that it will be a place where many people of all ages and gender can interact.

Not many people were climbing up to the temple with me, but the trail seemed popular. There's also a way to get to the temple by car. I assumed the blaring sun would deter many people, but thankfully, my gray hat covered my big head. My only companions were grandpas walking their dogs and the occasional jogger running past me.

I've always enjoyed visiting suburban areas of Japan because, as much as I am used to it, the bustle of the city gets pretty tiring. I find it amusing to walk under highways with cars zooming above me or to watch the river flow to an unknown destination. This part of the city seems trapped between the concerns of the past and the present.

It didn't take long to reach the temple. A series of stalls lined the path to the entrance, and a bored child of one stall owner splashed water on the floor, probably to cool off the area around them.

After finding the Wi-Fi password in the rest area (why is there Wi-Fi in the area???), I washed my hands in the basin before entering the temple. Words scribbled by people asking the deities for help them accomplishing their dreams covered each dipper; the one I used had a simple wish:

早く沖縄に移住したいです I want to move to Okinawa already.

I've been to Okinawa. It's even hotter there than it is now. I guess this person really likes hot weather. The heat there is even worse. I guess this person really likes hot weather.

There are several altars to pray to, with most of these figures being Shingon Buddhists. Small family groups congregated around each altar and prayed for several minutes. I considered joining them, but I remembered how much money I had spent visiting shrines and buying talismans on previous trips, so I opted to pray for free. I hope the deities understand.

There's a route you can follow that basically amounts to going up a hill clockwise to pray at a small altar before going back down. From the small altar, you can overlook the temple entrance.

In the far corner though, there's a small altar by a waterfall. It's called 竜王滝　不動明王 (Ryuuou Taki Hudou Myouou), which means something like Dragon King Waterfall, Acala. A badass name for something this cute.

Real Life Revue Starlight

The walk downhill isn't too bad, but the sun by this point is on full blast. I got a quick meal at the local Lawson's near the Kiyoshikoujin station downhill before heading my way to the next destination: the Sumire♪ Museum.

From where I was, I had to walk through some residential areas. Walking on roads without pathways was fun, and I knew it was legal because others were doing it too.

The Sumire♪ Museum (very important to include the musical note) is located in the old school for the Takarazuka Revue group. This gorgeous building is covered in green vines as if displaced from a jungle. The building is still being used as space where the elderly can learn how to dance, and you can rent the third floor for dancing too.

The museum itself is more like one of those special exhibitions in larger museums. You cannot take any pictures except the one stage costume there. But what you do get is quite interesting if you know Japanese (there's apparently some guides written in other languages, but everything exhibited is in Japanese): you have actual videos of students tearing up that they're accepted into the prestigious school, there's documentary footage of the girls studying ballet, different posters advertising the culture festivals are plastered on the wall, and every single graduation photo is displayed in one area for everyone to marvel at.

It's clear that the Takarazuka Revue is proud of its history, even though it's essentially inaccessible to anyone who doesn't speak the language. Much of it is familiar to me, especially since Revue Starlight is a decent introduction to the school. The museum didn't touch on details like the sacrifices these students would undertake, especially if they wanted to go to university. This meant taking an optional class despite their already long schedules. I thought the museum tried to cover up the exhausting and depressing parts of theater work.

I have to admit, though, that it's pretty good propaganda. Initially, I wasn't sure if I wanted to watch a Takarazuka Revue show. However, I decided to go to the Grand Hall in the middle of Takarazuka to see if I could get a same-day ticket. It could be fun; who knows? I've always wanted to watch a show, but it was never possible when I was with my family.

It's tempting for sure.

Walk On For the Afternoon is Short

I thought about what I wanted to do next until I saw a poster for one of my favorite illustrators who happened to be exhibiting in the city center: Nakamura Yuusuke.

Nakamura is behind some of the most iconic album covers for Asian Kung-Fu Generation and the books of Morimi Tomihiko. I didn't know they were from this very city, so it was by happenstance that I found myself buying a ticket to enter the exhibition.

I got to see not only the full color prints of each cover but I also saw the lineart, the intricate drafting process, and the way Nakamura thought about colors and designs. For example, to read about why they often drew character portraits from the side: 1) Nakamura was embarrassed looking at high school girls, so they could only view them from that angle and 2) in Japanese writing, you read right to left and using this logic it seems like the characters are looking toward the future.

Despite following the illustrator for quite a while, there were many illustrations I didn't even know existed. I was surprised to discover that their art graced a bunch of high school music textbooks, making them the only deserving textbooks with the premium pricing that all textbooks seem to have.

At the end of the gallery is a small area where you can see Nakamura's childhood drawings. In retrospect, everything looks obvious, but it's clear that they were talented even at a young age.

By the time I left the exhibit, I thought my day couldn't get any better. Although the ticket was expensive, the exhibit was far superior to most art galleries I've visited, and that's not just because I'm a fan of the illustrator. There's some really good commentary that won't detract from your own interpretation. There's also so much media that you really feel like you've entered Nakamura Yuusuke's world.

And I honestly thought it was sick that there were basically no restrictions on taking photographs. I took a lot of pictures, but my free Neocities account couldn't handle uploading everything.

Takarazuka Revue: Prologue

With a smile on my face, I temporarily skipped the next location I was planning to visit to see if I could get a ticket for Takarazuka Revue. Since I was entering the location from the side, I kinda got confused where the entrance was. But when I saw the gates and where it led to, I knew I was in the right place: two giant posters of women stared at me as if they wanted my soul.

Entering the building was like entering heaven because the AC blew away my sweat. My footsteps were silenced by the rug as I approached the ticket counter. I wondered if there were same-day tickets for the 15:25 timeslot for 悪魔城ドラキュラ～月下の覚醒～ (Akumajou Dracula ~ Gekka no Kakusei ~), a musical theatrical adaptation of Castlevania: Symphony of the Night.

I knew that the troupe was going to perform Guys and Dolls next month, but as someone who almost participated in that musical for high school, I was never a fan of the performance. But Symphony of the Night? Well, that's like one of my favorite games, so.

The ticket counter attendant smiled at me and said there were standing tickets for 2,500yen. My jaw dropped. I didn't know that Takarazuka Revue was that cheap.

I immediately paid for the tickets and started imagining what's going to happen behind those heavy doors.

Astroboy EVOL

I had a few hours to kill, so I returned to my itinerary: the Osamu Tezuka Manga Museum.

I haven't read any of his works, but I have seen a few of his adaptations. Before I got on the train to Takarazuka, my curiosity got the better of me, and I read part of the first volume of Astroboy. I didn't expect the story to start with space colonists discovering a second Earth—our Earth, in fact—and for the titular character to be introduced 20–30 pages in. I later heard more details of the story from someone in my server, including that Astro Boy goes to Vietnam during the Cold War.

I guess I should read him because he sounds kinda weird.

The museum itself is very much a love letter to his life and work. The floor I entered featured rows of capsules showcasing artifacts from his life, such as the books he studied (he was going to be a doctor) and the manga he wrote. There are even sections dealing with his troubled anime production studio and how he and the animators worked on projects right before they aired live on TV—a precursor to many anime productions to come.

If you climb up to the second floor, you'll reach the special exhibition featuring the 25th anniversary of Sousei no Aquarion. If you're unfamiliar with this series, I recommend watching Aquarion Evol, which offers a (let's just say) unique perspective on gender and love. Akino's Aquarion theme songs are also bangers that you should know in case you're ever invited to a karaoke session. The exhibit displayed drafts of the mechas and characters, which are really nice to see. Unfortunately, you're not allowed to take pictures.

After exiting the special exhibition, I was back in Tezukaland. The area was kinda like a digital entertainment room where kids could use old trackball mice to interact with an old computer screen. There's also a gift shop that sells new copies of Tezuka's manga and even a library to read Tezuka's works.

What really amused me, though, was a framed message about complaints regarding Tezuka's racist depictions of non-Japanese people that's spammed across the ceiling. The museum staff argued that these pictures were taken out of context and that, when read in context, they weren't racist at all. In my opinion, this was the highlight of the entire museum.

Takarazuka Revue: I'm Gay for Alucard

After that fun diversion and a quick konbini lunch, I returned to Takarazuka Revue Grand Hall at the same time just as the morning performance ended. Everyone was coming out of the doors, and they were 99% middle-aged women. The few stragglers (male) were their dutiful husbands and sons, but everyone was talking about how wonderful the story was.

I tried to find a seat where I could read my book, which will probably be featured in an article on Mimidoshima, in the middle of this crowded hall. But I also wanted to take a nap because I was dying from the heat. I gave up and bought the special ice cream themed after the show: There were Romanian doughnut ice creams and sorbet that didn't taste very good. However, I took a picture of it in front of the cardboard cutout for the show.

After my disappointing refreshment, I entered the hall without any problems. A few seconds later, someone fell at the gates and began complaining to the staff about the poor service. Everyone stared at the commotion for a while before going back to taking selfies in the majestic hall.

I took note of the restrooms and bought a slightly overpriced iced coffee to drink before standing in the lower theater, far from the stage. The entire theater was almost full, and I think only three standing tickets remained.

I was quite excited when the curtains were raised. When the live rendition of the iconic Castlevania music kicked in, I got goosebumps. Then, the women appeared and started singing.

It was immediately riveting. Their singing skills were on par with those of Broadway performers, and their acting drew me into the world of Castlevania. Alucard and Maria looked incredible, and the fight choreography was varied and spectacular. I lost track of time watching the present-day Alucard walk through their dreams, wistfully watching their former self pass by. Alucard has always been a mesmerizing character, but the pathos the actor expressed felt genuine.

I could see why people would want to wear binoculars, but I never felt too far from the action. There are so many interesting details that I imagine only repeat viewers would notice. For example, the extras made interesting gestures that brought the setting to life, even if they weren't directly relevant. I also thought the transitions were seamless. The stage hands never appeared on stage, but they were clearly manipulating the mechanical props that changed the setting quickly behind the screen. As a result, very little downtime. The actors would go to bottom left stage to let the mechanical props work their magic. Then, they would wait before the stage "changed" into something else with the other actors already on stage. It felt like the theater stage changed with the snap of a finger, evoking a world that is constantly dynamic and changing.

And there's just something wonderful about hearing "Bloody Tears" sung by a cross-dressing Belmont.

As for the plot, I was honestly impressed by their ability to condense the Castlevania setting into something manageable for people who've probably never played any of the games. While the setting is definitely not elaborate, there are still details that might confuse Takarazuka regulars. Instead, the scenario focused on the most important details from SoTN and Rondo of Blood: the tug-of-war romantic relationship between Alucard and Maria and Richter Belmont reluctantly working for Dracula to save his fiance.

They also supplemented the setting with, curiously enough, the French Revolution -- specifically, Robespierre's Reign of Terror which is actually orchestrated by none other than Shaft (my understanding is that this is actually the plot of the Netflix show?). This part was a bit silly, and it made me think they're trying to channel their Les Mis.

And the play exaggerated the romantic encounters and thrills to the point that the characters only go to Dracula's castle near the end, but I think this was a smart choice: people are watching this play to see Alucard and Maria get gay, and actually adapting SoTN straight might not allow for this relationship to come through.

A few elements from the original games do make an appearance, though, and they're fun references. I snickered when Maria gave Alucard glasses for the upcoming Richter fight. Alucard wore them, but Maria said they didn't need to in order to reap their benefits.

The ending was, of course, predictable for anyone familiar with the Castlevania lore. But I think it's rather effective at showing how Alucard and Dracula are tragic figures fated to fight each other in the name of familial love. The performance by Dracula's actor was pretty moving for me.

I think everyone in the audience would agree. Although I didn't overhear anyone talking about the games during intermission, they clearly resonated with the story and characters, which I thought was incredible. In a way, this is one of the best video game adaptations I've ever seen. It captures much of the magic of the games and introduces them to an audience that may not have heard of the series. In fact, it wouldn't be surprising if the people I watched it with became Castlevania fans after the show. It's one of the best plays I've ever seen. I wish it were more accessible because I imagine Castlevania fans would love it.

It's really edifying to find a video game adaptation I actually liked without irony or hesitation.

Takarazuka Revue: Intermission

After Dracula's reign of terror ended, everyone rushed to the restrooms while the actors prepared for the next musical performance. Everyone, that is, except the penis-havers. For whatever reason, there is an equal number of restrooms for men and women. You would expect more restrooms for women, or even better, gender-neutral ones. Instead, though, every woman I could see was waiting in line for these restrooms, which would take up 5–10 minutes of the 35-minute intermission.

Thank god I have a dick. Just because I want to be feminine doesn't mean I want to lose my access to urinals.

But seriously, I didn't understand why this place didn't have gender-neutral restrooms. It seems pointless to have men's restrooms that are virtually empty for most of the intermission. Just let the women pee there, jeez.

When I was returning to my seats, I saw people queuing up for cocktails themed after the show, so I figured I might as well try one. I figured I might as well try one. Unfortunately, the cocktail didn't taste alcoholic; I thought I was just drinking Coke. I suppose, when you consider the drinking habits of the "typical" woman, this makes some sense. I'm still disappointed though.

Takarazuka Revue: I Love Revue?

The second play seems to be a kind of filler musical, so I don't really have much to say. But the songs are pretty good, and I'm still humming to it as I write this section.

But it's a bit jarring to go from butch Alucard to cabaret ladies dancing. While the lead actor dressed up as a dashing guy who flirts with different women, there are sections that make me think it's intended for cis dudes. The performances are still pretty good, even if they feel unnecessary.

I didn't mind this play, but it's not what I'm here for.

Exit Stage Left

But once the show ended and I had to return to reality, I felt empty.

I understood why people loved coming to Takarazuka Theater.

It's not just a moment of escape. It's a time with the ideal men who never existed because they're women who understand how other women work. You can forget that reality is patriarchal and that queer expression is often invalidated by even well-intentioned people. It's a holiday from the nihilism of everyday life.

I wanted to come back to this space. I had forgotten that I had visited different locations and even found my favorite illustrator's exhibit. All I could think about was how I felt like I belonged there. Reality -- even the fact that I'm traveling in Japan -- isn't everything it's cracked up to be.

On the train home, I sat across from an elderly het couple who had also watched the show. They grinned as they reminisced aloud about how wonderful the performances were. Then, the old man said something that stuck with me since:

I'm glad that they're all women.

The implication was, at least the way I interpreted them, that it would be something dreadful if there were a man or two involved. Having an all-female cast also created the illusion that queerness was fantastical, like some sort of dream. I heard the same thing from my language teacher this morning: a lot of women keep returning to this theater because, man, isn't it wonderful that the ideal men exist for them but only on the stage?

Despite my queer identity, I don't think I viewed the Takarazuka Revue any differently than these folks did. Takarazuka evokes a utopian vision within me that may never be achieved in my lifetime. It's a dream I don't want to wake up from, as the reality is that gender is messy, and being a man is viewed as intrusive, even by that older man. In that Takarazuka world, however, men played by women are appropriately masculine without the violent and toxic baggage that often accompanies it.

I don't know if it's a wonderful dream to have, but it's something I want to return to. It's just an intoxicating worldview that's making me reflect on my life choices till now.

Conclusion

My day trip to Takarazuka was wonderful and surprising in many ways. I thought I would just visit some temples and breathe in the suburban air, but I ended up having one of the most memorable days of my life. I saw and experienced so many different things that it took me forever to write this post — it was supposed to be a warm-up for other writing projects.

I would like to visit more places, though I doubt any will be as exciting as Takarazuka. If people are interested in my travel reports, though, I'll keep writing them. Journaling about my travels is fun, and I want to share my newfound love for a country I've been visiting for a while.