The four stages of balletomania

The initial stage is a state of awestricken delight, when we thrill at everything we see and think it is all too marvellous but are much too humble to let ourselves rip.  We sit in numb delight, and envy those (we think) knowledgeable creatures who throw their weight about in the intervals and lead the cheering.  The next stage comes when we ourselves have consolidated our positions as regulars and have a season or two behind us.  Then it is our turn to make our presence felt, which we do in the most inordinate fashion, to our own intense satisfaction and, no doubt, the contemptuous amusement of the Old Guard.  After a time we develop into the Old Guard ourselves, and then the hoi polloi who are just beginning to find their feet and their lungs, are objects of our deep derision and dislike.  This is a stage when nothing is good enough for us.  We don't know what the Ballet is coming to, but really it was nothing like this in our young days; and where do all these frightful persons come from!  The last stage is finally reached.  We have acquired tolerance.  We no longer expect every member of the corps de ballet to dance like Karsavina or Nijinsky; we don't utter loud moans at any of the mistakes or slips which inevitably occur from time to time; we don't even mind much if a lot of silly people are making themselves ridiculous shouting for a favourite who, in our opinion, has just given a not very noteworthy performance.  In short, we are content to take Ballet as it comes; we know that no one on earth can dance as well as the ideal which we carry in our heads, and we are thankful for the enjoyment we get without expecting perfection all the time.


Vic-Wells; A Ballet Progress by P. W. Manchester. 1947. Page 83.