Home Global Headlines

5 Reasons Why 'We Call It Ballet' Is The Most Polarizing Dance Show Of The Year

• minute read
Contents

The phrase "We Call It Ballet" has become one of the most talked-about and controversial topics in the dance world today, not for a single performance by a major company, but for a unique, globally touring production of *Sleeping Beauty*. As of late December 2025, this show is actively captivating audiences in cities worldwide, presenting a dazzling, technology-driven spectacle that deliberately challenges the very definition of classical dance. This is not your grandmother's *Sleeping Beauty*—it is a Luminous Dance Show that has been engineered for maximum accessibility and visual impact, leading to a fierce debate between traditionalists and modern entertainment enthusiasts.

The production, often branded as a "Dance & Light Show," is a short, family-friendly experience that trades the elaborate sets and grand orchestras of traditional ballet for a minimalist stage, modern music, and the star attraction: professional dancers performing in glow-in-the-dark costumes interwoven with delicate optical fibers. This commercial phenomenon, orchestrated by the global live entertainment platform Fever Entertainment Group, has become a case study in how modern production models are disrupting high art, making it a must-see for anyone curious about the future of performance.

The Controversial Creative Profile of a Global Dance Experience

Unlike a traditional ballet production, which is defined by a named choreographer and artistic director, the "We Call It Ballet" show is a scalable touring product whose creative team is intentionally opaque. This lack of a single, named artistic visionary is perhaps the most unique and controversial aspect of the entire production.

  • Production Organizer: Fever Entertainment Group (Fever)
  • Show Concept: A modern, technology-focused reinterpretation of the classic ballet *Sleeping Beauty*.
  • Key Visual Element: Glow-in-the-dark costumes, often featuring intricate optical fibers, creating a "Ballet of Lights."
  • Choreography Source: Unnamed. Reports from dancers and critics suggest the choreography is standardized and delivered via a repeatable, video-based training model, prioritizing consistency across multiple touring casts over individual artistic interpretation.
  • Duration: Typically an abridged, 60-minute one-act performance.
  • Target Audience: Families, first-time ballet attendees, and devotees of immersive light shows.
  • Touring Status: Actively touring multiple cities globally, including Porto, Cincinnati, Cleveland, San Diego, and more, as of the current date.

The entire structure of "We Call It Ballet" suggests a deliberate shift from the repertory company model to a commercial, experience-driven model. The title itself is a provocative statement, daring critics to argue against its legitimacy while simultaneously welcoming a new, broader audience who might be intimidated by the formality of traditional classical ballet.

The Blurring Lines: Technology vs. Tradition in the Luminous Dance Show

The core innovation of "We Call It Ballet" lies in its spectacular use of light and technology. The show is a masterclass in visual engineering, transforming the familiar narrative of *Sleeping Beauty* into a vibrant, neon-lit landscape. This technological focus, however, is the central point of contention in the dance community.

The costumes are the true stars. Professional dancers wear elaborate outfits embedded with optical fibers and LED lights, which are programmed to shift and pulse in synchronization with the music and movement. This creates a mesmerizing, otherworldly effect—a luminous dance show where the dancers appear as ethereal figures floating through darkness. For many, this is a thrilling, accessible gateway to the art form. For purists, it's a distraction.

The argument from traditionalists is that the glow-in-the-dark capes and dazzling light effects often obscure the fundamental technique of the classical ballet dancers. The focus shifts from the precision of the *arabesque* or the height of a *jeté* to the novelty of the light show. Critics argue that by prioritizing the spectacle, the production diminishes the artistry of the choreography and the emotional depth of the original Tchaikovsky score, which is often replaced or supplemented with modern, electronic music.

In contrast, proponents of the show highlight its undeniable success in achieving accessibility. Traditional ballet tickets can be prohibitively expensive and the atmosphere can feel exclusive. "We Call It Ballet" offers a shorter, more affordable, and less formal experience that encourages new audiences, including young children and those unfamiliar with the conventions of the opera house, to engage with the art of dance. The spectacle serves as a necessary bridge, proving that dance entertainment can thrive outside of established cultural institutions.

The Five Key Elements That Define the 'We Call It Ballet' Phenomenon

The success and controversy surrounding this production can be broken down into five distinct, interconnected elements that make it a fascinating study in the commercialization of art.

  1. The Power of the Glow-in-the-Dark Costume: The use of glow-in-the-dark costumes and fluorescent lighting is the primary draw. It’s an immediate, high-impact visual that requires no prior knowledge of dance technique to appreciate. This innovation places the show firmly in the realm of immersive experiences rather than traditional performing arts.
  2. The Fever Entertainment Model: Produced by Fever Entertainment Group, the show is optimized for global scalability. The production is designed to be easily mounted in non-traditional venues like smaller theatres or multi-purpose halls, allowing it to tour far more aggressively and cost-effectively than a major ballet company. This is a model of commercialization of art focused on high-volume, repeatable events.
  3. The Abridged, Accessible Runtime: At approximately 60 minutes, the show is perfectly tailored to the modern attention span and family schedules. It strips away the lengthy, often complex narrative structure of the original three-act *Sleeping Beauty*, focusing instead on the most recognizable moments, making it a perfect gateway ballet experience.
  4. The 'We Call It Ballet' Provocation: The title itself is a masterpiece of marketing. It preemptively addresses the inevitable critical backlash, turning the debate into a core part of the brand. It challenges the audience: "You may not think this is *real* ballet, but we call it that, and you're here." This intentional ambiguity fuels its viral discussion and curiosity-based ticket sales.
  5. The Polarizing Critical Reception: The reviews are famously split. One side praises the show as a "dazzling," "elegant," and "family-friendly experience" that democratizes dance. The other side dismisses it as a "farcical" performance where the light show compensates for a lack of true artistic depth and technical rigor. This constant, high-stakes debate keeps the show perpetually relevant in the cultural conversation.

Beyond the Spectacle: What 'We Call It Ballet' Means for Dance

Whether one views "We Call It Ballet" as a brilliant piece of dance marketing or a shallow imitation of a classic, its existence signals a profound shift in the performing arts landscape. It is a powerful example of how technology and modern production logistics can make classical narratives and high art accessible to the masses. The show is not attempting to replace the great companies of the world, but rather to exist in a new, parallel category: Dance-as-Experience.

The production’s success demonstrates a massive, untapped market for dance that is eager for innovation and less concerned with traditionalism and historical context. As the performing arts continue to grapple with post-pandemic attendance and the need to attract younger audiences, the model pioneered by "We Call It Ballet" and Fever Entertainment—a fusion of familiar stories, modern technology, and high accessibility—will undoubtedly be studied and replicated. It forces the entire industry to ask a critical question: If a show uses professional dancers, classical music, and the core movements of the art form, but prioritizes spectacle and light over pure technique, what exactly are we allowed to call it? In the end, the millions who buy tickets have already answered: We Call It Ballet.

5 Reasons Why 'We Call It Ballet' is the Most Polarizing Dance Show of the Year
we call it ballet
we call it ballet

Detail Author:

  • Name : Sigrid Skiles
  • Username : myrl70
  • Email : zhansen@oconnell.com
  • Birthdate : 1997-08-15
  • Address : 6021 Imogene Manor South Mohammed, AK 22487
  • Phone : 279-725-1325
  • Company : McClure, Gislason and Nicolas
  • Job : Coaches and Scout
  • Bio : Id veritatis quis velit facilis. Voluptatem id molestiae dignissimos neque. Excepturi magni dignissimos laboriosam eos ea. Aspernatur non quo quod ut veniam asperiores.

Socials

tiktok:

twitter:

  • url : https://twitter.com/mcdermotte
  • username : mcdermotte
  • bio : Et minus ad quis iste. Debitis velit blanditiis est. Eos cum sed quo. Eos a et accusantium deleniti consequatur dolorem est.
  • followers : 3530
  • following : 2400

instagram:

  • url : https://instagram.com/emmymcdermott
  • username : emmymcdermott
  • bio : Enim ipsam unde repellat at. Voluptatem qui possimus et ex. Et necessitatibus et est fugiat.
  • followers : 1014
  • following : 910

linkedin:

facebook:

Random Posts