This paper examines the ways in which the Takarazuka Revue negotiates and reshapes cultural identity in late-modern Japan by reconfiguring the relationship between producers and consumers of popular culture. Drawing on more than two decades of fieldwork – combining phenomenological observation, audience and performer interviews, and archival research –, I analyze the mechanisms through which Takarazuka Revue productions stage and market broader narratives of nationhood, gender, and power. The guiding question addresses Takarazuka Revue’s adaptations of well-known Western stories and their function as cultural mirrors: not simply reproducing imported material, but re-inscribing it with Japanese neo-nationalist and increasingly post-nationalist sensibilities. As case studies, the analysis focuses on three high-profile productions derived from Hollywood cult movies: Ocean’s Eleven (performed by the star, flower, and cosmos troupes in 2011-2012, 2013, and 2019, respectively), Once Upon a Time in America (snow troupe, 2020), and Casino Royale (cosmos troupe, 2023). These performances, while situated within the commercial logics of musical theatre, also reflect shifting socio-political currents. During the 2010s, they projected conservative messages of masculinity, national pride, and hierarchical order, often couched in aesthetics of glamour and romance. In contrast, post-2020 stagings reveal a subtle but significant re-orientation: a move towards envisioning a pluricentric world characterized by cooperation, compassion, and courage – an imaginative response shaped in part by the global pandemic and its cultural aftermath. By situating these productions within Japan’s wider mediascape, this study shows Takarazuka Revue’s strategies of simultaneously preserving, contesting, and re-imagining the cultural scripts through which national identity and collective belonging are performed.