Ballet and Opera: The Question of Relevance

By: Tessa Reiner Edited by: Savannah Stewart

In a late-February town hall interview with actor Matthew McConaughey for Variety, “Marty Supreme” star Timothée Chalamet stated, “I don’t want to be working in ballet, or opera, or things where it’s like, ‘Hey, keep this thing alive, even though no one cares about this anymore.’’’ His remarks quickly sparked waves of criticism across social media, from professionals in the arts to the industry’s advocates. The conversation even engaged backlash from some of the world’s largest name brands. While there was mixed public response, many social media users addressed Chalamet’s background in theater to underpin their disagreements with his comments. However, others sided with Chalamet, sharing that he said what no one else wanted to, or could, say. 

Timothée Chalamet’s comments highlight a lack of appreciation some people may have for ballet and opera’s shifting cultural value in the modern world. While these art forms are not as dominant in today’s entertainment, they are nevertheless relevant and transformative. The backlash toward Chalamet proves that people still care to defend the necessity of sustaining artistic and cultural spaces. The actor’s controversial moment articulates that the success of ballet and opera depends not solely on popularity, but on a kind of adaptability that stays true to their rich histories. 

Social media users flooded timelines and comment sections in defense of the art forms, but London’s Royal Ballet and Opera stood out among the digital discourse. In a March 6 Instagram post, the theatre’s account posted a Reel of its artists and crew in action with a caption reading “Every night at the Royal Opera House, thousands of people gather for ballet and opera. If you’d like to reconsider, @tchalamet, our doors are open.” New York City’s Metropolitan Opera chimed in, posting montages to Instagram and TikTok of the intense work that goes on behind the scenes of a performance with the caption “This one’s for you, @tchalamet…” 

Prominent figures, such as American prima ballerina Misty Copeland, didn’t hold back in contributing their thoughts. Copeland said that she was taken aback by his comments, especially since she had helped him promote “Marty Supreme.” "It's important that we acknowledge that, yes, this is an art form that's not 'popular' and a part of pop culture as movies are, but that doesn't mean it doesn't have ‘enduring relevance in culture.’" Even the head of Chalamet’s former high school reminded him that he comes from a world born from the backstage of the New York City Ballet.

While many of the public agreed that Chalamet’s comments were insensitive and unprofessional, some believed he was somewhat correct, pointing out that the ballet and opera communities were only quick to defend themselves because they knew his comments were true, otherwise they wouldn’t have responded so extremely. There are very few public sources of financial support available to these major institutions, so funding predominantly comes from ticket sales and private boards. This, in turn, forces theaters and companies to increase their show prices, ultimately appearing as an economically exclusive art form.

Opera and ballet are fading as predominant parts of mainstream culture, as the stories they depict are considered outdated. Many popular ballets, such as The Nutcracker and Swan Lake, along with operas, like Carmen and La Bohème, have been running since the 19th century, but are still perceived as static shows. A controversy, such as Chalamet’s, is one of the few times ballet and opera make headlines. 

Still, this stir of opinions does not discredit those who cherish the arts. Many ballet and opera shows continue to sell out. These creative expressions have lasted hundreds of years, and cast and crew members still labor everyday to put on exquisite experiences. 

While modernization has remained a key issue, many professionals are working to adapt ballet and opera practices to the social atmosphere of the 21st century. Ballet has a prejudiced background, and many companies continue to work on highlighting minorities in the industry. In 2022 Theresa Ruth Howard, founder of Memoirs of Blacks in Ballet, curated an evening of dancing at the John F. Kennedy Center for the Performing Arts that united Black dancers and choreographers. Final Bow for Yellowface, an initiative co-founded in 2017 by arts educator Phil Chan and NYC Ballet soloist Georgina Pazcoguin, works to end the practice of circulating stereotypes targeting Asian cultures and, instead, uplift authentic, informed depictions on stage. 

As for opera, the art form has been focusing on expanding its digital presence. Many companies are using projection mapping to create dynamic backdrops, turning static surfaces into interactive displays, allowing for greater storytelling and emotional impact. The COVID-19 pandemic propelled the  practice of broadcasting performances on social media, which have also allowed accounts to reach broader audiences and break through barriers like financial constraints and inabilities to travel. This innovation also brings forward interactive elements such as chat platforms, where viewers can engage more closely with productions.

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