"A dainty princess twirls in a stiff tutu while a prince solemnly assists, and the whole performance would serve up a tax-free inheritance in pointe shoes - polished, rarefied, and untouched by mortal concerns like gravity or sweat. 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. At least, that's Creative Director Tamara Rojo's take for San Francisco Ballet. 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."
Traditional expectations of ballet as delicate fairy-tale narratives contrast with contemporary productions that present varied, modern themes including existential, comedic, and vengeful motifs. Raymonda, a 19th-century noblewoman, is reframed as a woman with multiple choices: marriage, affair, and a professional role akin to Florence Nightingale. The updated production preserves the original love triangle but removes fatal consequences and adds career ambition and nursing as priorities. The central dancer navigates heart and vocation, shifting the plot toward autonomy and survival rather than sacrifice. The choreography retains classical technique while redirecting the heroine’s goals and outcomes.
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