Photo/Illutration Kenshi Koba, left, chairman of Takarazuka Revue Co., bows at a news conference on Nov. 14 regarding the death of a troupe member in Takarazuka, Hyogo Prefecture. (Masaru Komiyaji)

The death of a member of the Takarazuka Revue has cast light on the dark and unknown side of the glitzy and glamorous show business of the richly storied theatrical company.

The tragedy has exposed the grim reality of dismal working conditions at the all-female troupe, which has yet to offer a convincing plan to tackle the tough challenge of abolishing toxic customs and traditions that have been handed down through generations.

Takarazuka Revue Co. on Nov. 14 announced the results of an independent investigation into the death of a 25-year-old member of the company, which is believed to have been a suicide. The investigation was conducted by an external team of lawyers.

The report pointed out the possibility that the victim was under severe psychological strain due to long hours of rehearsals and performance preparations.

The company acknowledged its responsibility for failing to ensure her safety and apologized. Chairman Kenshi Koba announced his resignation to take responsibility.

The company also unveiled measures to deal with the problems behind the tragic death, including revisions to the dense performance schedules and the establishment of an external consultation service.

However, these steps alone may not suffice to fully clarify and address the structural problems within the troupe, known for its lavish costumes, luxurious set designs and melodramatic performances.

The report has cast a critical light on a unique coaching and management system reliant on strict hierarchical relationships. The investigation outcome inevitably raises the suspicion that the safety and rights of the workers have been neglected under the guise of tradition.

The report acknowledges the fact that the young member faced strict guidance and reprimands from senior members.

However, it concludes that these were within socially acceptable limits and does not recognize them as power harassment, a form of bullying in the workplace where a person in a position of authority or power misuses that power to abuse subordinates or colleagues.

It is hardly surprising that the family of the victim feels that the external fact-finding panel uncritically endorsed the organizational culture of the troupe.

At the Nov. 14 news conference, Takarazuka executives emphasized the uniqueness of the Takarazuka Revue and the world of performing arts, indicating their reluctance to accept the involvement of outside experts in the process of reforming the company.

This attitude of treating the company as an entity unto itself that should be insulated from external influences might be why its problematic culture has been left untouched for so long.

To unearth the underlying ills of the troupe that contributed to the member's death, an extensive and exhaustive examination of the tragedy involving experts knowledgeable about labor issues should be conducted.

This scrutiny should encompass a wide range of issues and factors, including the reasonableness of the restrictive outsourcing contract under which the woman was contracted to perform tasks or services for the company.

Other concerns that need to be addressed include the approach to talent development, including the rigorous training program at the Takarazuka Music School, and the closed organizational culture.

Hankyu Hanshin Holdings Inc., which owns the troupe, should play a leading role in the examination.

Though the Takarazuka Revue, as a part of Hankyu Railway's main business, has generated massive profits and the railway group provided executives to the troupe, the holding company has maintained an extremely low profile on this matter.

It is questionable whether the company's management is aware of the gravity of its responsibility.

The troupe has a history of more than 100 years, has a large fanbase and has produced a legion of big-name stars. It needs to be keenly aware of its significant social influence.

--The Asahi Shimbun, Nov. 16

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