"In reality, one heroine fumbles every life decision and ends up in a swamp. Others create an existential dread music video about AI that's directed by Daft Punk. And somewhere, an army of ghostly women have formed a Kill Bill squad to dance their ex-lovers to death. Then comes Raymonda, a 19th-century prima ballerina in a world of men, but now she's holding all the cards: She can marry Harry, mess around with Ike, and be Dr. Quinn, Medicine Woman."
"Our OG heroine is a noblewoman from 1898 and has perfect posture, but minimal personal agency; She twirls for the affection of two men, one a war hero, the other a bad boy. One lives, the other dies - and in between, Raymondadecorates the conflict with flawless footwork. Structurally speaking, Raymonda hasn't strayed too far in Rojo's recent update, which puts a feminist perspective on choreographer Marius Petipa's original work."
Ballet expectations of dainty princesses and ethereal spectacle contrast with contemporary productions that introduce messy, modern narratives. Modern ballets present heroines who fumble life choices, AI-driven existential pieces, and vengeful ghostly ensembles. Tamara Rojo's San Francisco Ballet update centers Raymonda, granting the 19th-century noblewoman greater agency and career ambition while preserving romantic conflict. The revised plot removes fatal outcomes and overlays a Florence Nightingale–style nursing role, creating a love quadrangle rather than a simple triangle. Sasha De Sola's protagonist negotiates both romantic desire and professional purpose, and the production applies a feminist lens to Petipa's choreography.
Read at The Bold Italic
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