Plié Tendu
Experiencing “The Flames of Paris” from backstage at the Royal Opera House was an exhilarating blend of art and organized chaos. The atmosphere buzzed with nervous energy and intense focus. Dancers, in their stunning costumes, moved with a mixture of grace and urgency, ensuring every detail was perfect before stepping onto the stage. Meanwhile, stagehands, who seemed to possess ninja-like stealth, executed set changes and managed props with a quiet efficiency. The most unexpected element was the realization that the backstage area had its own form of choreography, one that was just as mesmerizing as the performance itself.
One of the most entertaining parts of being backstage was witnessing the quick costume changes. It was like a scene out of a high-stakes heist movie, where every second counted. Dancers had mere minutes to morph from peasants to aristocrats, and the transformation was a marvel of speed and coordination. Dressers and makeup artists worked at lightning speed, their hands moving in a blur to ensure every dancer was stage-ready in record time. At one point, I swear I saw a dancer put on an entire costume while still spinning from their previous exit. It was a hilarious reminder that, behind the elegance and grace on stage, there’s a frantic hustle that keeps everything running smoothly.
Watching the performers offstage provided a unique peek into their emotional journey. Between scenes, dancers could be seen psyching themselves up for their next act, embodying their characters even in the wings. This dedication was both inspiring and, at times, amusing. One particularly dramatic moment involved a dancer practicing their intense ‘revolutionary glare’ in a mirror, only to break character and laugh when a fellow dancer pulled a silly face behind them. It was a delightful reminder that, even amidst the high stakes and grandeur of a major performance, there’s always room for a bit of humor and humanity.
