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Mikazuki Munechika on the official website front page
AD 2205.

Historical revisionists, seeking to change the course of history, have begun their offensive in the past.The government at the time has dispatched a saniwa into the past to protect history.The saniwa, being able to sense spiritual energy, was able to bring out the tsukumogami spirits residing within swords.Together with the "Touken Danshi," the saniwa has dedicated themselves to fighting to protect the course of history.

One of two distinct stage continuities, Touken Ranbu Stageplay (or Tousute as it's abbreviated) is a series of Stage Plays adapted from the widely popular Touken Ranbu franchise. There are currently 5 official stage plays with a 6th one in production. Each stage play focuses on a new story, with few recurring characters, namely Mikazuki Munechikanote  and Yamanbagiri Kunihiro being a constant staple in them. It all comes together in the sixth stage play, Hiden Yui no Me no Hototogisu.


A four episode docu-series set around the production of the stage play was released and received a Blu-ray release on December 9th, 2018.

A live action movie featuring returning actors from the stage plays premiered on January 18th, 2019, although it covers a different story. This film also holds the distinction of being the first movie and first live action movie adaptation of the franchise. A manga adaptation of the live action movie was posted up until the movie's release.


  • Hiden Yui no Me no Hototogisu
  • Genesis: Tale of the Three Star Swords
    • Reprieve: The Drinking Spears note 
  • Addendum: These nights at Odowara
  • Canon: Dawn of the One-eyed Dragon
  • Apocrypha: Honnouji Temple Ablaze
    • (Rerun) Apocrypha: Honnouji Temple Ablaze


Tropes spanning the entire stageplay series:

  • Bittersweet Ending: The first play has the Touken Danshi return to the Citadel a little more mature, experienced, and happy for the most part. However, Fudou's still drinking; as the game shows, it means he's not yet over his guilt over Nobunaga, and won't be until he gets his Kiwame training.
  • Canon Foreigner: Similarly to the Musical adaptations, the stage plays introduce characters not previously seen in the original game, based on the historical figures.
  • Continuity Nod: Due to all the stageplays being connected and a meta example where every stage play performance is referenced due to Mikazuki being trapped in a "Groundhog Day" Loop and experiencing the same thing over and over in canon, referencing the constant performances of the stageplays in the real world.
  • Corpsing: When Tsurumaru goes to feed Hasebe, one notices a slight smile on his face and muffled laughter as his mouth is being stuffed.
  • Characterization Marches On: Due to all the stage plays being connected And the stage plays being meta in the repeated performances of the stage play weigh in on Mikazuki Munechika’s mental state as he tries to break out of his "Groundhog Day" Loop.
  • Chromosome Casting: Due to there canonly being no women in Touken Ranbu, as well as no female Touken Danshi, there have only been male canon foreigners introduced in the stage plays thus far. Even the Saniwa is revealed to be male.
  • Downer Ending: The fifth stage play ends with a massive Tear Jerker. Though the director as well as actors give the fandom hope for the future of the stage plays, as well as the characters. Though it was thought to be the end of the stage play franchise, a sixth stage play was announced to be performed in 2019.
  • Driving Question: For Honnouji: Who was Oda Nobunaga truly? Every major player affected by the man has their own take. To Fudou and Ranmaru, he was a beloved master and a treasured person; to Hasebe, a scoundrel who abandoned him; to Souza, the one and only Demon King; to Mitsuhide, someone he didn't want abandoning him.
  • Fanservice: Similarly to the Musicals, but mostly with character interactions and Ascended Fanon.
    • There’s a bit of fanservice for fans of Mikazuki Munechika/Yamanbagiri Kunihiro, Mikazuki Munechika/Tsurumaru Kuninaga and Tsurumaru Kuninaga/Ichigo Hitofuri in the stage plays.
  • The Ghost:
    • The Saniwa in the early musicals. Although the Touken Danshi constantly refer to them, they re either just off screen (and in the audience's general direction) or resting.
    • For all the importance Nobunaga had on the rest of the cast in Honnouji, he never actually shows up until the end, and even then his face is in shadow and he turns his back to the audience without a word. Truly he was of not actual importance to the story; the Nobunaga that drives the plot is the perception he gave to others.
  • How We Got Here: Honnouji opens up with Ranmaru rushing around Honnouji in a vain effort to protect his lord, and encountering Mitsuhide along the way, who asks him who Nobunaga really is both to him and to others. It's only later that we get the how to those turns of events.
  • Killed Off for Real: Yamabushi Kunihiro is among the first swords to permanently break.
  • Last Stand: Ranmaru in Honnouji gives his all to protect Nobunaga to the last, despite being only one person.
  • The Load: While Fudou may say he's a "useless blade", he really exemplifies it here beyond mere talk. His constant drinking and lack of training leave him at disadvantages where numbers are concerned, and he routinely has to be saved by other Touken Danshi. That isn't to say that he doesn't know how to fight; he clearly does, and is able to hold his own, but he's just not a team player.
  • Non-Entity General: Averts this by giving the Saniwa an appearance. He is a man in this continuity, similarly to the Musical.
  • Overcrank: A couple of real time examples in the plays; Souza's nightmare of Honnouji and certain fight scenes are good examples of this.
  • Popular History: Like the musical, the series focuses on popular historical figures but with its own take on how things occurred.
  • Quit Your Whining: Fudou, being new and very attached to Nobunaga, is rather distraught over the idea of having to put his real feelings aside for the sake of the mission. Hasebe tells him rather bluntly that it's part of the job, and to get used to it.
  • Reality Ensues: The stage shows do make a point of having interactions between Touken Danshi of similar circumstances or the same master/smith be not entirely chummy between them. Sure the Awataguchi and Samonji brothers interact fine, but those owned by Nobunaga do not; in fact, some of them barely know each other, their differences in opinion over the man can cause them to argue and draw lines in the sand, and most of them are neutral at best.
  • Trust-Building Blunder: In Honnouji, the Touken Sanshi try to encourage teamwork skills by having a red-versus-white team battle; Oda swords and Tsurumaru going with Yamanbagiri, Awataguchis and Shokudaikiri going with Munechika. The Red Team is generally spot on and in sync, but the White Team's major malfunction lies in Fudou.

Example of: