The Observer
News 09.01.22 5Ta-ta to the tutu?
Prima ballerinas
turn their backs
on an icon of
dance tradition
Leading dancers and
directors say they fi nd
the classic costume
both physically and
artistically restrictive
The ballerina’s tutu remains a tradi-
tional object of desire for many young
girls: an enduring emblem of diapha-
nous femininity, as well as the twirl-
ing centrepiece of many a childhood
music box. But is its longstanding link
with the world of professional dance
now out of date?
Several leading performers
and choreographers think so, and
while the twinkly costume of The
Nutcracker’s Sugar Plum Fairy may
not quite have been consigned to the
wardrobe archives, its days may be
numbered.
Late last year, the Royal Ballet’s for-
mer principal ballerina, Australian-
born Leanne Benjamin , spoke
candidly in public about falling out
of love with the tutu. She would
be happy never to wear one again,
she confi ded to an audience at the
Australian embassy gathered to
mark the British launch of her auto-
biography, Built for Ballet. Traditional
ballerina outfi ts had always felt con-
strictive to her, Benjamin said.
Speaking to the Observer this
weekend, the 57 -year-old dancer and
teacher admitted that the conven-
tional shape does still have many fans
among fellow performers.
“The evolution of the tutu was
designed to show off
the leg,” she said. “In
my book I discuss that
personally I didn’t like
wearing a tutu, but most
of my contemporaries
love wearing them.”
Benjamin, who was at
Covent Garden with Darcey
Bussell , is clear that her views
may not hold sway. “I am not a
director of a company, so I speak
as an onlooker now,” she said.
“And I am not sure if gender dis-
tinctions come into the discussion.
But tutus are a style of costume and
the conversations now taking place
may well affect decisions about what
occurs. I think we all expect and enjoy
evolution and so will welcome what
comes next.”
Back in Benjamin’s native land
the national ballet company has
announced a new season of work
that will steer away from pretty cos-
tumes and orthodox stagings. Artistic
director David Hallberg , who has been
leading the Australian Ballet since last
year, has not programmed any of the
classic “tutu ballets”, such as Swan
Lake, Giselle or The Sleeping Beauty,
and is keen to take a break from
bouncing layers of tulle.
“I believe ballet audiences in
Australia are very open to the new,”
he recently told the Guardian. “There
is an openness.”
Tutus are not banned for good,
Hallberg says, but he recognises his
dancers welcome something differ-
ent. “They’re not bogged down in tra-
dition or by the patina of companies
like the Bolshoi or Royal Ballet. They
can absorb varying styles more easily
than a dancer trained in the French,
Russian or English style.”era when visual androgyny was cele-
brated, but Meredith believes it could
fi t a ballet from any time.
“We have used short classic tutus in
the past, as well as the longer roman-
tic tutus you often see in Giselle, or in
many of Degas’s paintings,” she said.
“But the idea of the ballerina is devel-
oping and, although there will always
be a place for the Sugar Plum Fairy, it’s
very interesting to see what Tamara
is now doing with Raymonda at the
Coliseum. It is a way of keeping bal-
let looking fresh and exciting.”
Benjamin agrees that presenting
historical works without the tutu
from now on “would seem a shame”,
but argues they are not always rele-
vant in a reimagined production.
She is not, she adds, urging that
tutus should suddenly disappear.
“I have seen how beautiful they can
be and how they evolved. However,
the reality is that you assess how the
whole thing works together.
“Look at how Stephen Galloway was
inspired by the tutu to contemporise
his costumes for William Forsythe’s
new Vertiginous Thrill of Exactitude
with Pacifi c Northwest Ballet last year- and how Serena Williams had her
own take on it, wearing a tutu-style
dress on the tennis court.”
Leanne
Benjamin
in 2008.
She says
she
would
be happy
never to
wear a
tutu again.
Tristram
Kenton/the
GuardianVanessa Thorpe
Arts and Media CorrespondentAnd this revolution in
the wardrobe department
is not confined to those of
Australian birth. Tamara Rojo ,
the acclaimed Spanish ballerina
who is artistic director of the English
National Ballet at the Coliseum in
London, is also turning away from the
standard tutu in her fi rst work as both
choreographer and director.
Although Rojo has chosen to pre-
sent an established work – Raymonda
by Alexand er Glazunov and Marius
Petipa – her approach is revisionist,
if not radical. Not only will the cos-
tume conventions of the piece be
laid aside, but the emphasis of
the narrative is being reworked
to reflect modern concerns.
The ballet’s third act, in which
Hungarian infl uences are usu-
ally clear in a grand wedding scene
staged in the court of King Andrew
II of Hungary , who had led the 1217
Crusades , Rojo has done away with
the shimmering tutus and ornate
trappings. Instead she is to show a
chorus of European immigrants help-
ing to pick the harvests for Raymonda
on her land.
And Jo Meredith , creative director
of the UK’s National Youth Ballet , has
also chosen to abandon many of the
traditional stage orthodoxies for her
latest production of Kurt Weill’s The
Seven Deadly Sins.
“Young ballet dancers generally
have a very clear agenda and are very
“on it” when it comes to questions of
gender and stereotyping on stage,”
she said.
“The idea of gender neutral cos-
tumes also works very well with this
show, which is set in the 1930s. We
are going to put everyone in tuxedos.”
It is a decision particularly well
suited to a production from anotherFAR LEFT
Lauren
Cuthbertson
as Odette; left,
Emily Suzuki in
Tamara Rojo’s
Raymonda.BELOW
The Czech
National Ballet
perform Swan
Lake last year.
ANL, Laurent
Liotardo, Gettyow off
id. “In
uss that
n’t like
ut most
poraries
em.”
ho was at
with Darcey
hat her views
way. “I am not a
mpany, so I speak
now,” she said.
ure if gender dis-
nto the discussion.
style of costume and
ns now taking place
decisions about what
e all expect and enjoy y
o will welcome whatamin’s native land
allet company has
ew season of work
way from pretty cos-
dox stagings. Artistic
allberg , who has been
ralian Ballet since last
ogrammed any of the
llets”, such asSwan
The Sleeping Beauty,
take a break from
of tulle.
allet audiences in
ry open to the new,”
the Guardian. “Theret banned for good,
ut he recognises his
me something differ-
bogged down in tra-
patina of companies
or Royal Ballet. Theyy
ng styles more easily y
ained in the French,
ish style.”era when visual androgyny was cele-
brated, but Meredith believes it could
fi t a ballet from any time.
“We have used short classic tutus in
the past, as well as the longer roman-
tic tutus you often see inGiselle, or in
many of Degas’s paintings,” she said.
“But the idea of the ballerina is devel-
oping and, although there will always
be a place for the Sugar Plum Fairy, it’s
very interesting to see what Tamara
is now doing with Raymonda at the
Coliseum. It is a way of keeping bal-
let looking fresh and exciting.”
Benjamin agrees that presenting
historical works without the tutu
from now on “would seem a shame”,
but argues they are not always rele-
vant in a reimagined production.
She is not, she adds, urging that
tutus should suddenly disappear.
“I have seen how beautiful they can
be and how they evolved. However,
the reality is that you assess how the
wwhole thing works together.
“Look at how Stephen Galloway wa
inspired by the tutu to contemporis
his costumes for William Forsythe
new Vertiginous Thrill of Exactitud
w with Pacifi c Northwest Ballet last ye- and how Serena Williams had h
own take on it, wearing a tutu-st
dress on the tennis court.”
Leanne
BBenjamin
in 2008.
She says
she
would
be happy
never to
wear a
tutu again.
Tristram
Kenton/the
GuardianAnd this revolution in
the wardrobe department
is not confined to those off
Australian birth. Tamara Rojo ,
the acclaimed Spanish ballerina
wwho is artistic director of the English
National Ballet at the Coliseum in
London, is also turning away from the
standard tutu in her fi rst work as both
choreographer and director.
Although Rojo has chosen to pre-
sent an established work – Raymonda
by Alexand er Glazunov and Marius
Petipa – her approach is revisionist,
if not radical. Not only will the cos-
tume conventions of the piece be
laid aside, but the emphasis of f
the narrative is being reworked
to reflect modern concerns.
The ballet’s third act, in which
Hungarian infl uences are usu-
ally clear in a grand wedding scene
staged in the court of King Andrew w
II of Hungary , who had led the 1217
Crusades , Rojo has done away with
the shimmering tutus and ornate
trappings. Instead she is to show a
chorus of European immigrants help-
ing to pick the harvests for Raymonda
on her land.
And Jo Meredith , creative directorr
of the UK’s National Youth Ballet , has
also chosen to abandon many of the
traditional stage orthodoxies for her r
latest production of Kurt Weill’sThe
Seven Deadly Sins.
“Young ballet dancers generally y
have a very clear agenda and are very y
“on it” when it comes to questions of f
gender and stereotyping on stage,”
she said.
“The idea of gender neutral cos-
tumes also works very well with this
show, which is set in the 1930s. We
are going to put everyone in tuxedos.”
It is a decision particularly well
suited to a production from another rLauren
Cuthbertson
as Odette; left,
Emily Suzuki in
Tamara Rojo’s
Raymonda.The Czech
National Ballet
perform Swan
Lake last year.
ANL, Laurent
Liotardo, Getty‘The idea of the
ballerina is
developing, although
there will always
be a place for the
Sugar Plum Fairy’
Jo Meredith, NYB