Thank you for this extremely thoughtful comment!! Yes yes and hell yes!!! I didn't focus much on the aspect of history because I wanted to talk more on how the roles in the culture of Takarazuka Revue force the musical to change its characters and specifically the aspect of personal freedom, mental illnesses, and existentialism. However, as a history nerd myself, I was also endlessly fascinated by the musical weaving the life of Elisabeth into the tableau of late 19th century Europe. You can really get a sense of a society Mario-Karting towards destruction, as violence ran rampant (both committed by authorities and to authorities), nationalism and extremism rose, discrimination became the voice of the populist, all while a class of literate, privileged, educated people sat around and did nothing. And Death watches. I love so many of Lucheni's songs because they present and break apart those different unrests present in contemporary society. And I have such a special adoration for Kitsch. Which is such a multi-layered criticism of the romanticization of a historical figure then use that as a way to romanticize the past while ignoring all of the intricacies and complexities of the time. Because the truth is usually upsetting. Lucheni is basically saying "look y'all, Elisabeth was kind of a bitch, and so was the 19th century, we are NOT living the good old days over here and I'd appreciate if you stop saying that." I was, prior to posting this video, thinking about making a part 2 focusing more on the history but then I realized yeah actually I don't know enough about late 19th century European history to do that XD

Oh wow thank you so much 🤩 your comment means the world to me 💖 I certainly think that the idea of Takarazuka Revue is something that evokes and satisfy queerness. I was also attracted to it by the aesthetic of what is often known as “Girl Culture” in Japanese cultural studies. And Girl Culture came from a relatively arguably queer sentiment that really romanticizes love between women in a sort of fantastical world that girls can hide in together. So I definitely understand that many women were able to explore their queer identity via the aesthetic of Takarazuka Revue. However, what disappointed me was the actual narratives of the shows. Owned, written and directed by mostly men, the productions themselves carry a very heteronormative tone. As I have argued with Elisabeth as the case study. But it certainly applies to … well, the majority of their productions to various degrees of frustrating. So I think you were certainly sharp in noticing the dissonance between what Takarazuka Revue promises and what it delivers. Instead of diving into the psyche of one of the most interesting female characters and more so experiment with queerness in theatre, the company actually peddles heteronormativity wrapped in a glossy queer appearance.

I wish I ignored Zuka Elisabeth … Lmao but thanks for your kind words! I’m glad you enjoyed the video 💖 And yes, totally, if I can be a part of an authentic, unadulterated revival of Elisabeth, I would not miss it for the world. I don’t even care, I can paint sets, I can hand out people’s music sheets, I’ll take singing lessons to play one of the maids 🤣 just PLEASE PLEASE make it make sense once again 🤣

@@masodemic4509 LMAO same ill dust the set for free ill wrangle the kids i dont mind but also whats the chance of being able to shut up and not yell the director up and down about what a horrible job theyre doing (even when they dont kill the music, even basic directions are completely robotic?? they even ruined the children jfc)

​@@masodemic4509 literally! i will translate the lyrics myself if i have to! I'm literally pursuing a minor in German at university right now because of this damn show

OMG THANK YOU SO MUCH I’m glad you liked it 💖 I’m honestly so obsessed with the 2005 Vienna production and relish in every opportunity to praise it 🤣 but it literally has every intense profound emotions you can think of?? Regarding the recent Vienna productions yeah I totally get it, it’s so boring. I know they want us to swoon but I swoon more over dark fairy king and wet panther cat any day. The new Death has zero charisma 😩 And on that note, I would say fitzrove does a better job talking about Death in the old vs new Vienna productions than me. Link in description box

Never mind I forgot to put it in my description. Here it is kzfaq.info/get/bejne/nrt-gsKrpqeugn0.html

@@masodemic4509 Speaking more on the boring factor, it makes me look back on how the production quality has decreased in recent years. I will admit, as it is difficult to find clips/full videos of this musical throughout the years I'm not entirely aware of how it may have changed even from 1992-2005, but from what I have seen... What happened? For example in 2005 we have beautiful stage sets from the broken golden carriage in Wenn Ich Tanzen Will, Die Schatten Werden Langer, or the scene where Elisabeth is rejecting Franz Joseph. You've got the separations of the rooms, the desk, the revolving stage which allows Death to appear so smoothly on the couch... But in 2012 with Mark Seibert he appears... on a sliding feather...? What...? And then again during Die Schatten Werden Langer... All we get is that stupid feather with what seems to be a military cot?? And don't even get me started on the most recent ones, "Elisabeth In Concert" from 2022, like the open air performances? LIKE WHAT? No seriously- did the budget go down? Is the musical losing popularity overall or do they just not care anymore?

@@NoName-rk6em I think you can only watch Edgy Phantom of the Opera so many times before it feels old 🤣 But Elisabeth? The original Elisabeth? We all got darkness in us. We all know it everyday.

Omg thank you very much 🥰 it took a long time and a lot of rewriting to most concisely express my thoughts about this topic (because my initial reaction was just RAGE 🤣) So it’s great to hear that you enjoyed it 💖

Thank you so much for the thoughtful comment! I am so glad you like the video 💖 I think Death as a lover is such an enduring trope because it speaks to humanity’s ability to know that we will eventually die, and thus we developed this obsession with not only how would we die but also what is death? What does it mean to us? It’s a narrative that we tell ourselves, a story we pass around, and an idea we contemplate as both individuals and a collective. Aware of our mortality. And so personally I find the depiction of Death in the original Vienna production so fascinating because of that. He may appear at first glance to be a mere psychopomp figure but it is implied that he holds more influence on certain individuals - or even is a part of them - that think about him much more. And it probes the audience to think about not only what he is but also what he means. Regarding the songs, it’s really a shame how people can treat musical numbers as just exposition they can add or cut to suit their interest. Because like every other medium, musicals have their own language. Just like books are made of words, musicals are made of music. You cut the music, you cut the story. And so the Takarazuka Revue production angers me not just from a characterization and gender standpoint, but from the perspective of a musical lover as well. And I hope that by bringing this to light, more fans will find themselves appreciating the music of musicals much more. (By any chance are you a fan of the 2007 Mononoke anime? Because me too hahahah)

@@masodemic4509 At the time that I left this comment, I'd only watched the 2005 show for Elisabeth. I've since been able to watch two different Takarazuka productions for Elisabeth, the 2007 Snow Troupe and the 2009 Moon Troupe, as well as the original 1992 Vienna production. Having watched both now, I can attest that you really did get every point made in this video _spot-on._ You are SO correct that Zukabeth gets so, so severely defanged, and the change of Death's role from partial antagonist to *the leading man* (literally the co-protagonist) only serves to take SO much away from Elisabeth as a character. It's really a shame. Oh, I LOVE your thoughts on why the "Death as a lover" trope has remained so prevalent. The fascination with death and what it means for us becoming an image of (morbid) intimacy, something - or someone - that we can never be without... I like that a lot! I think Uwe Kröger's interpretation of Death as a character is truly by far my most favorite. He really seems like he understood that his Death was not just a being obsessed with Elisabeth but also a representation of her darkest innermost thoughts. "A character you can't grasp," a figure of mystery - exactly the way death is a mystery, terrifying and unknowable to us. Not just the insertion of "Rondo" bothered me, but small things that the Takarazuka productions do ended up actually bothering me, too. The start of "Der letzte Tanz," for example, where Zukabeth just stands there in wide-eyed wonder instead of reaching out to Death... Or most damnably: "Wenn ich tanzen will," where Zukabeth isn't the one who sings first with Death responding, but rather _Death_ gets the call and so she is the one responding to _him._ So I absolutely see why their version angers you as a musical lover too! The "Rondo" reprise immediately after Zukabeth's grief over Rudolf....sure is a choice, haha. 😅 I admit that the Takarazuka productions are still unbelievably gorgeous to me. Their costuming, the choreography, the incredible aesthetic and atmosphere; I am not immune to Handsome Androgynous Long-Haired Death either, I'll confess! 🤣Still, I really want to say that after watching and rewatching this musical a very healthy number of times (hahaha) I appreciate your video all the more for the excellent points you've made in it! Maybe someday we can get a version that combines the best of both worlds somehow. (Also yes!! I adore Mononoke, so happy to find another fan!

Thank you so much for your comments and questions!! I'll address each of them one by one haha First of all, yes. I totally agree with the interpretation that Death is a reflection of Elisabeth's (and Rudolf's) depression. It's also further emphasized by the fact that most of Death's scenes are extremely intimate. He appears to and directly interacts with only a handful of characters: Lucheni, Elisabeth, Rudolf. And in these scenes they are either alone or other characters cannot see him. Hence, it's very heavily implied that, in the case of Elisabeth and Rudolf, Death is in their heads. And this is where I think some productions didn't really get the memo. I haven't seen the Korean production, but in Japan, the production company Toho also has the rights to Elisabeth, and they put on shows every few years. It is said to be a "compromise" between the ORIGINAL Viennese version and the Takarazuka version, with lyrical translations that are closer to the Viennese, but also Takarazuka elements like Rondo. But specifically, they tend to play Death as this "King of the Underworld, Master of the Dead, and Dark Brooding Magical Prince of the Living" which loses the intimacy the character has with Elisabeth and Rudolf, hence Rudolf becomes a pawn to GET Elisabeth. Which is honestly a really screwed up implication, and if that were the case, then her young daughter Sophie would be a pawn too, and that makes Death not so much of an amoral character, but actually irredeemable. I also burst out laughing every time Toho!Death descends from the sky with gigantic wings XD The clownery is real Regarding the Viennese productions, I find it hard to watch anything from 2012 onwards precisely because of the addition of Kein Kommen and other Zuka-esque elements to characters and plot. My qualm with Kein Kommon isn't just in the lyrics but also in the way it breaks the musical flow (which I argued in my essay to be crucial to story-telling) AND how it fundamentally changes Elisabeth and Death's relationship. From this miserable love affair with one's ego, to this shallow Bad Boy - Good Girl dynamic. The reason I use the 1st Revival is because that's the version that I watch the most XD due to availability, quality of recording, and just a personal preference. I also like the original run with Pia Douwes and Uwe Kroger, but it's mostly due to those 2 being brilliant. The 1st Viennese Revival to me, is a perfect blend. All the cast members are absolutely incredible with their characters, staging and costumes are detailed and intentional, lighting and special effects control atmosphere very well, and the recording of the music is crisp and clear so you can hear all the emotions in the music. So I love it XD

Thank you so much for watching, I’m glad you enjoyed it 💖 The Viennese musical always has a special place in my heart. And while I don’t want to say the Takarazuka Revue version is problematic because it was never meant to be taken seriously anyway, it breaks my heart that it has been slowly eating away at the musical I love … probably the most

It’s even more upsetting when you realized they shunned one of the most powerful and complex female characters in musical theatre to glorify a male character.

Thank you so much for your kind comment! I have not watched the Hungarian production because it was outside the scope of this video's research, and also because I don't understand Hungarian :')

Wow thank you for that info I did not know about this book. Definitely will need to check out

Thank you for your comment! I’m glad you liked it. It did take a bit of time, a few months of writing and rewriting and another month to record and edit 😅 so it was a long project Initially, I had written down more examples of Takarazuka changes that were damaging to the musical, but I decided to be more concise and dive more extensively into the most jarring one - Rondo. I think outside of Rondo, the next most damaging change is Kitsch so maybe I’ll talk about that next time 🧐 From my impression, Elisabeth (the original and 1st revival) is a musical that requires multiple viewing. And even after writing about it, I still find it absolutely intriguing. But there’s a likelihood that people who viewed it and came to the conclusion that “this is a love story” would desire more “Elisabeth x Death content.” That coupled with the politics of Takarazuka, and how they bank on … making kitsch, created a version of Elisabeth that strips it of any sociopolitical and psychological depth. Which misses the point of the original so far they’d have to get there on plane.

@@masodemic4509 Yeah, I listened to KKOG(German Rondo pretty much) the other day(I'd initially checked the 1992 version thanks to Fitzrove's video) and it CRUSHED me, like you said it's the exact opposite of what Viennese death stands for(I REALLY liked Uwe Kroger's almost cold, unfeeling and hitman-like take on the character). Also, THEY RUINED KITSCH TOO😭😭😭😭 Kitsch is definitely in my top 3 songs(I find Lucheni to be an incredible narrator and character(not morally but he is very fascinating and entertaining) and I think I'm probably also gonna call for death to come and take me if I listen to Zuka Kitsch, also Serkan NAILS Lucheni as a whole.

@@detectiveassassin7937 AGREE!! Serkan Kaya as Lucheni feeds my soul, he seems to understand every single word he sings and their implication. It’s also a very intelligent portrayal of Lucheni. The same cannot be said for the writers and directors of Takarazuka Revue, who completely reworked Kitsch into being … kitschy 🤣 And yes Uwe Kroger is the David Bowie King of the Fairies Leader of Psychological Hitman Squad. Máté Kamaras is the Kurt Cobain Growling Panther Sorting Through 100 Different Emotions on Stage Wet Cat. I think both of them work extremely well for the tone of their productions and their chemistry with the Elisabeth actresses Pia Douwes and Maya Hakvoort (both QUEENS). And we don’t talk about 2012 Der Tod here 😭

@@masodemic4509 I think they changed Kitsch because the types of media that the song critiques sound awfully like their own version of the show. You are right about the Tods and Elisbaeths, as for the post-2012 Vienennese version his motif might as well be "🎶He's here the phantom of the afterlife🎶".

@@detectiveassassin7937 yes I think so too 🤣 And people are so enraptured by the melodrama of Phantom (honestly same) that they try to replicate such story onto musicals that actually have much more to say imo

THE LOVE NEVER DIES REFERENCE 🤣🤣🤣 yeah I agree that the Zuka version actually has waaaaaay less chemistry despite trying to make it primarily a love story

Haha for the record that was a sensible comment 🤣 Glad you enjoyed the vid!

As she points out, Mate Kamaras' humanisation works because it aligns so well with Elisabeth's own emotional ideals.

I think fitzrove did a better job talking about Rondo in the Viennese version than I could. Link to their video is in the description box

Never mind I forgot to put it in the description. Here it is kzfaq.info/get/bejne/nrt-gsKrpqeugn0.html