First, by reviewing Takarazuka's position as part of prewar shōjo culture and through content analysis of The Rose of Versailles, I evaluate the effect the play's staging has had on the Revue. Since its establishment in 1914 Takarazuka has often been considered as part of shōjo culture but was its representation the same throughout its history? This paper examines how Takarazuka's representation has evolved after the staging of The Rose of Versailles in 1974 and attempts to localize its position in contemporary Japanese pop-culture.
The Takarazuka Revue is a popular Japanese theatrical company consisting solely of female performers.
