I played male roles in Takarazuka (the Takarazuka Revue) for 14 years. I’ve poured everything I gained from that experience into starting a new chapter here in New York.
“I love dance and fashion, and I see value in investing in various experiences, which is why I decided to move to the U.S. Many dancers choose to study abroad for dance, but I’m here for a language study program. To me, dance is also a form of language, and expanding my vocabulary is directly connected to broadening the ways I can express myself through dance.”
Having performed with Takarazuka for 14 years, graduating from the Revue must have required a lot of courage.
“Indeed, I lived in the unique world of Takarazuka and knew nothing else for those 14 years. Now, being in New York, every day is unpredictable, and I look forward to tomorrow so much that the days fly by. Before I knew it, a year and a half had already passed.
Living here, I do feel that there are more inconveniences compared to Japan.”
©Layla Sazanami
What inconveniences have you experienced in New York?
“The roads are uneven, there are few escalators in the stations, and many of them are often out of service. But because of that, people help each other—like assisting mothers carrying strollers up the stairs or helping someone with heavy luggage.
Watching these moments of mutual aid, I’ve realized that too much convenience isn’t necessarily a beautiful thing. In Japan, things have become overly convenient. For example, at cafés, you might end up talking to a robot instead of interacting with people, which fosters a tendency to avoid human connection. In contrast, I find New York’s lack of convenience quite comforting.”
When did you move to New York?
“It was after the COVID pandemic settled down. By then, people in New York weren’t wearing masks anymore. Some theaters still required proof of vaccination to enter. After moving here, I strangely found myself catching a cold every month. Maybe my body needs to build immunity? In Takarazuka, if even one performer contracts COVID, the entire production is canceled.”
That’s tough! I’ve heard that in New York, theater productions are rarely canceled.
“On Broadway, they have understudies* standing by, but Takarazuka doesn’t have that system. Seeing various productions now, I’ve come to appreciate just how amazing that is. When I first joined Takarazuka, before I even had fans, the sense of responsibility that came from knowing no one could replace me was immense. We performed ten shows a week and continued that pace for a month and a half.”
What kinds of roles did you play in Takarazuka?
“I often had opportunities to perform in dance roles that spanned all ages and genders. For 14 years, I held the position of dance captain. I entered Takarazuka’s training school at the age of 17, studied there for two years, and then spent 14 years performing male roles.
There’s a saying in Takarazuka, like a kind of proverb: ‘It takes 10 years to master the male role.’ It means that it takes 10 years to truly come into your own as a male role performer, and I admired that concept. I wondered if a different world would open up after 10 years.
As I continued performing, I started to think about what my true dreams were. After 10 years, I realized that my dream wasn’t about wanting to play a certain role or sing a specific song—it was about discovering what kind of life I wanted to live.”
What kind of life did you dream of living?
“A life of constant challenge. Coming to New York is one of those challenges. It’s about stepping out of my comfort zone and continually trying new things.
I discovered that this is the kind of life I want to live.
Of course, it’s not like I accomplished everything I wanted to in Takarazuka. I didn’t retire because I had done it all, but because I found my next challenge. I realized that no matter what I faced, I wouldn’t break inside—and that gave me the courage to move on.”
How do you spend your time in New York outside of language school?
“I’ve already seen 97 Broadway musicals and plays. I truly love the theater, to the point where I feel like I’m studying abroad in the theater itself.”
Who do you usually go with? And could you share some of your favorite or most moving shows?
“I mostly go alone. I absolutely love Chicago and have seen it seven or eight times.
When I watched Hamilton, what moved me was how it turned American history into a musical. With its amazing rap and hip-hop performances, it captivated audiences of all ages, from children to adults.
In Japan, there aren’t many opportunities to learn about your own country’s history through the stage, so that really struck a chord with me. It inspired me to want to excite children through dance, which led me to obtain a coaching certification in Japan.”
What does coaching for performers entail?
“In the U.S., it’s common for actors and artists to go to therapy or receive coaching, and some actors even have about three therapists. During my time in Takarazuka, there was no such system.
In Japan, there’s a stigma that not being mentally strong is shameful, so you’re expected to solve things on your own. But in the U.S., it’s normal to rely on various people for mental support in order to deliver a perfect performance.
In Japan, mental care still has a negative image, so I wanted to become a coach myself to help provide that kind of support.”
What motivated you to want to help others?
“While I’ve struggled with studying English and living in New York, I’ve been helped so much by the people around me here.
Through learning coaching, I realized that it’s okay to move forward even if you’re only 50% ready. You don’t have to wait until you’re 100%. Learning as you go is what matters.”
It seems the support you’ve received in New York and the coaching you’ve learned have given you strength.
“Exactly. If I kept thinking, ‘I’m not ready yet, I need more practice,’ I would never have started anything. Now, I’ve finally decided to obtain my artist visa and begin my journey here in New York.
There was another reason I started learning coaching. My grandfather was deaf, but he was so proud and excited when I joined Takarazuka. However, I wondered, ‘How can he enjoy watching the performances if he can’t hear?’ At the time, Takarazuka didn’t have any precedents for addressing this.”
So there was no precedent for enabling deaf audiences to enjoy the theater. Did you find a solution on your own?
“Using tablets to display subtitles was problematic because the screens were too bright, which could disturb other audience members. Initially, the theater was not supportive. Eventually, we developed a system where subtitles could be displayed on a dim screen, synchronized with the stage’s timing.
Now, 14 years later, Takarazuka has introduced a system that allows audiences to enjoy the performances with scripts in hand.
In the U.S., there are, of course, subtitle support systems. Additionally, theaters keep some lights on for people who are afraid of the dark, lower the volume for those sensitive to loud sounds, and have staff to assist audience members who need support. The range of accommodations is broad.
From this, I learned that entertainment should be equal and accessible to everyone, and theaters must create environments where everyone can enjoy it comfortably. I hope Japan will move in that direction, and I wanted to do something to contribute. That’s why I started with learning how to support performers through coaching.”
Will you continue working in theater?
“I’m pursuing an artist visa right now because I feel that if I don’t take on this challenge now, I’ll regret it later. I’ve been asking for letters of recommendation, and the support I’ve received from those around me moves me to tears—it makes me want to work even harder.
One of my favorite quotes is by John Lennon: ‘A dream you dream alone is only a dream. A dream you dream together is reality.’
The reason I’m able to keep challenging myself like this is because of the people cheering me on. That support turns my dream into reality.”
This might seem obvious, but being a male-role performer in Takarazuka means you were a star, right?
“I loved singing and dancing, but I joined Takarazuka specifically because I wanted to perform male roles. After leaving Takarazuka, I didn’t feel like continuing with male roles or anything similar.
But after coming here, I’ve been reflecting on how Kabuki features men playing women, while in Takarazuka, women play men. Takarazuka is celebrating its 110th anniversary this year, and I’ve started to wonder if performing as the opposite gender might actually be a part of Japan’s traditional performing arts.”
Since New York is such an LGBTQ2+ inclusive city, why not challenge yourself to perform male roles on Broadway?
“I sometimes think I could create the best pompadour in all of New York! (laughs)”
You mentioned you’d like to play female roles, but the highlight of Chicago for you was the male roles.
“Yes, when I see Chicago, I feel inspired and think, ‘I’d love to perform in it someday.’ While I was performing in Takarazuka, I played roles where I’d wear a hat tilted at just the right angle and smoke a cigarette. Watching Chicago reminds me of those moments and fuels that desire.”
You’ve clearly done a lot of research to embody male roles.
“I did. For instance, I’d think about how much of my eyes should be hidden under the brim of the hat to look cool, or what the perfect shape of my hand tracing the brim should be. I’ve always paid attention to every little detail to create the essence of a male role. Even now, when I watch the stage, I notice those things—the expressions and gestures convey so much information.”
We’re looking forward to the day when you take the stage again after many auditions.
“Thank you. With the precision and nuanced expression that come from being Japanese, the spirit of perseverance I learned in Takarazuka, and my determination to keep challenging myself, I intend to push forward until I’m truly satisfied with my work.
I do need to be a bit bolder, though.
I want to stay true to my feelings and pursue what I love. No matter how many times I fail or how imperfect I may be, I have a family that loves me unconditionally, and in that sense, I feel invincible.
Living in New York, where small moments of gratitude emerge every day, I’m committed to working hard while never forgetting to be thankful.”
©Layla Sazanami
Profile
Layla Sazanami
- In 2006, Layla entered the Takarazuka Music School as the top student in her class.
- She made her stage debut in 2008 with the Moon Troupe production ME AND MY GIRL and was later assigned to the Star Troupe.
- As a male-role performer, she spent 14 years in Takarazuka, graduating from the Revue in December 2021.
Layla stood out for her dynamic dance performances, which showcased her commanding stage presence and athletic build. She was a versatile asset to the Star Troupe, excelling in unique and memorable roles. She also served as a member of the 8th generation of the Sky Reporters.
In addition to her one-of-a-kind fashion sense, Layla demonstrated a talent for writing. She wrote troupe reports for the Takarazuka magazine Kageki for three years, receiving high praise for her work.
Related Links
Note on “Understudy”
An understudy is an actor who is prepared to substitute for the lead performer in case of an emergency. (Definition cited from Wikipedia)
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