Based on more than two decades of on-site fieldwork comprised of extensive phenomenological experiences and detailed empiric inquiries with both producers and consumers of Japanese popular culture and, distinctively, of the Japanese all-female musical theater Takarazuka Revue Company’s performances as well as of comprehensive archival literature research, this paper aims at hermeneutically elucidating the underlying mechanisms within the dramaturgic conglomerate, conveying and inspiring “change”, both textually and contextually, as an inescapable force constantly pushing history forward, by means of critically investigating Takarazuka Revue’s interpretation of Giuseppe Verdi’s opera Aida (1871): while A Song for Kingdoms’s initial version in 2003 emphasized the important of peace on the background of unprecedented public debates on the function of the “self-defense forces”, its re-iteration in 2015 re-calibrated the narrative line by bringing into foreground the role played by individual choices and responsibility and following 2014’s glamorous celebration of 100 years since Takarazuka Revue’s foundation in 1914. The key-element in this endeavor is the redefinition of “war and peace” as solely two further parameters in the flow of historically driven “change” which itself is conceptualized as a self-aware choice, empowering the late-modern individual to dare powerful transformations as part of a greater whole, liberating him-/herself from the constraints of an existence in the shadows of mindless consumerism and “quiet desperation”.