Takarazuka Revue - Takarazuka's Audience

Takarazuka's Audience

Women make up the primary audience of Takarazuka; in fact, some estimates say the audience is 90 percent female. There exist two primary theories as to what draws these women to Takarazuka. One is that the women are drawn to its inherent lesbian overtones. One author states, “It was not masculine sexuality which attracted the Japanese girl audience but it was feminine eroticism”. The competing theory is that the girls are not drawn to the implicit sexuality of Takarazuka, but instead are fascinated by the otokoyaku (the women who play male roles) “getting away with a male performance of power and freedom”.

Favoring the first theory, American Jennifer Robertson observes that lesbian themes occur in every Takarazuka performance, simply by virtue of the fact that women play every role. The audience clearly picks up on it and responds. Within the first ten years of Takarazuka's founding, the audience was vocally responding to the apparent lesbianism. Female fans wrote love letters to the otokoyaku. In 1921 these letters were published and several years later newspapers and the public rallied a cry against Takarazuka, claiming it was quickly becoming a “symbol of abnormal love”. In order to combat this, the producers kept its actresses in strict living conditions; they were no longer allowed to associate with their fans. Robertson mentions a phenomenon of “S” or “Class S” love, a particular style of love wherein women who have been influenced by Takarazuka return to their daily lives feeling free to develop crushes on their female classmates or coworkers. This type of romance is typically fleeting and is seen in Japanese society as more of a phase in growing up rather than "true" homosexuality. Robertson sums up her theory thus: "Many are attracted to the Takarazuka otokoyaku because she represents an exemplary female who can negotiate successfully both genders and their attendant roles and domains.”

The competing theory, supported by Canadian Erica Abbitt, is that the female audience of Takarazuka is drawn not exclusively by lesbian overtones, but rather by the subversion of stereotypical gender roles. Japan is a society notorious for its rigid conception of gender roles. While the original goal of the show may have been to create the ideal good wife and wise mother, off stage, on-stage gender roles are, by necessity, subverted. The otokoyaku must act the way men are supposed to act. Abbitt insists that a large portion of the appeal of Takarazuka comes from something she calls “slippage”, referring to the enjoyment derived from a character portraying something they are not, in this case a woman portraying a man. While not denying the presence of lesbian overtones within Takarazuka, Abbitt proposes the cause for the largely female audience has more to do with this subversion of societal norms than sexual ones.