My dears,
It’s November the 15th, 1996, and the world of ballet is abuzz with excitement! Well, maybe not the *whole* world, but certainly our little corner of it. It's the day, my darlings, that the unthinkable has happened!
That's right!
**Leotards, in all their spandex glory, have risen up and declared their independence from the tyranny of tutus!** It’s been brewing for decades, ever since those naughty little boys in their grey leotards started taking center stage at the Royal Ballet. You see, my darlings, this has all been a ploy! A slow-burn rebellion from the very fabric of our artform.
Now, before you faint with shock and gasp “how could this happen?” (in your very best English ballet voice, of course!), let me fill you in on the details.
Apparently, the leotard revolution began with a simple request – more mobility!
“We’re so constricted by these **hideous tulle contraptions**, the leotards declared, in what can only be described as a dramatic *pa-de-deux* across the hallowed floors of the Royal Opera House. "It's like we're encased in Victorian-era frills. How can we be expected to perform our grand jetés and fouetté with such a load of ruffles weighing us down?”
And you know what? They have a point, my dears! Who hasn’t found themselves grappling with a rogue tutu ruffle during an otherwise spectacular arabesque? It’s a logistical nightmare, a ballet-goer’s worst nightmare, and it would seem, the final straw for the once humble leotard.
Of course, the tutu, that symbol of grace and femininity, has something to say about all of this, my dears. We all know that, as with everything else in this chaotic world, there are **two sides to every story,** even in the ethereal world of ballet.
"We represent the very essence of elegance, a symbol of romanticism and artistic beauty that dates back to centuries ago! We were here before these Spandex pretenders dared to enter the hallowed halls of dance. Why, tutus have graced the steps of Pavlova, Fonteyn, and even the legendary Margot! What audacity!”
Oh, tutus. You are such drama queens! Always the center of attention!
Naturally, as in any revolution, there are factions on both sides. Some of the leotards are all for revolution, pushing for total abandonment of the tutu. They want to move, to *flow*, and to **break free from the restraints of a patriarchal past.**
The others, however, are more nuanced. They believe in **peaceful co-existence.** They see the value of the tutu as a traditional element of ballet, especially for classics like "Swan Lake" or "Giselle.” It would be unthinkable, for example, to imagine an elegant, ethereal swan in anything *but* a white tutu.
Even within the leotard ranks, the divisions run deep. Do you go for the traditional black? Perhaps something more avant-garde with vibrant colour, patterns, or shimmering textures? Some even crave the allure of mesh! What about the scandalous thigh-high slit, the dance world's equivalent of a scandalous miniskirt! I, for one, am totally obsessed with this latest leotard trend. A glimpse of a well-turned leg, just enough to titillate!
The tutu crowd, meanwhile, has divided into camps, from those who staunchly support the **traditional white tutu**, with its layers upon layers of delicate tulle. Think Juliet, Aurora, and all the ethereal princesses. And then you have the faction of the *pink*. Yes, that pink. The hot pink, bubblegum pink, almost neon pink tutu! A bit controversial, dare I say? But they argue for bold colours, striking designs, and the reimagining of classic forms for a modern audience.
As I write, my dears, the fight is far from over. This is just the first act of what promises to be a tumultuous ballet season, where battles are fought not only on stage, but in every single dance studio across the globe.
I, for one, find myself intrigued by this whole leotard movement. I believe there's a space for both: the graceful femininity of a beautifully crafted tutu and the contemporary freedom of a sleek leotard. I'm sure, if we all just listen to our inner ballerinas, we can find the perfect balance between tradition and innovation. And if a **revolutionary new dance** emerges out of all this, I wouldn’t be at all surprised.
Whatever the outcome, my dears, one thing’s for sure. The world of ballet is about to get *a whole lot more interesting.* So, keep your eyes peeled for the new ballet revolution unfolding right before your very own eyes!
Until next time,
Yours in dance,
Penelope Featherstone
(The "Ballet Diva of London")