Figure 6. Takarazuka uniforms: Wartime and current. Top, Takarasiennes posing in their "national defense color" uniforms introduced in 1939, which served as the prototype for today's military-like uniforms worn by Academy students, bottom. As evident from their haircuts, the students are assigned their secondary genders at the end of their first semester at the Academy. From Hagiwara (1954:21) and Ueda (1986 : cover).
Figure 12. "South Seas Dance." A newspaper photograph published in 1943 of a group of Japanese soldiers in Burma performing, as the sign indicates, the "East Asia Co-Prosperity Sphere South Seas Dance." From Hosokawa Shuhei (1992:146).
Figure 15. Peking finale. The finale of this 1942 production featured the "Dance of the Five-Color Flag," which symbolized the unity of north and central China under Japan. From Takarazuka Kagekidan (1943:15).
Figure 11. "Person of the Southern Region." This cartoon appeared in Osaka Puck in December 1942 as part of a before-and-after sequence depicting Asia under Western domination and after Japanese liberation. From Dower (1986:200).
Figure 1. Takarazuka today: The Snow Troupe in the finale of La Passion (Ra passhon, 1989). The beplumed cast—the leading actors are wearing white—stand in front of and on the Revue's trademark giant, illuminated staircase. From Hashimoto (1994:138).
Figure 14. The "train dance" in Mon Paris. The "train" in the 1927 production of Mon Paris consists of a row of twenty-three actors, legs extended, linked hand on elbow so as to resemble the drivers connecting the wheels of a chugging steam engine (and wheels decorate the legs of their white trousers). Kushida, the protagonist, is clutching a carpet bag and umbrella in his left hand and grasping the right shoulder of the last "wheel" with his right as he leaves Marseilles for Paris. The train reappears in the last scene when Kushida reminds the audience that he has overseen their safe arrival in Paris and bids them good cheer (Waga pari yo 1927:30-31). From Hashimoto (1988:18).
Figure 3. The early Revue with and without whiteface. Right, a scene from Five Daughters (Gonin musume, 1920) with the childlike actors in whiteface. Opposite, in 1930 the application of whiteface was discontinued, and the Revue's cast appeared more adult, as evident in the scene from Rosarita (Rosariita, 1936). From The Takarazuka: Takarazuka kageki 8oshūnen kinen (1994:84) and Hagiwara (1954:13).