Ballet at the cinema The Royal Ballet’s “Ballet to Broadway” opens on Friday, September 19th! Akane Takada talks about her thoughts on her 10th year as a principal.

[Ballet at the Cinema] The Royal Ballet’s “Ballet to Broadway” opens on Friday, September 19th! Akane Takada talks about her thoughts in her 10th year as a principal. ​
Toho Towa Co., Ltd. Press release: September 17, 2025 [Ballet at the cinema] The Royal Ballet’s “Ballet to Broadway” opens on Friday, September 19th! Akane Takada talks about her thoughts in her 10th year as a principal. Enjoy the performances of the world’s most prestigious Royal Ballet at the cinema with “Royal Opera Ballet & Opera in Cinema.” Enjoy the ultimate experience of immersing yourself in a top-notch performance on a cinema’s big screen and with powerful acoustics. “Ballet to Broadway” marks the finale of the Royal Ballet & Opera Cinema season. All of the choreography was done by Christopher Wheeldon, one of the greatest choreographers of our time, known for the worldwide hit “Alice in Wonderland” and the Tony Award-winning musical “An American in Paris,” which was performed by the Shiki Theatre Company. The four works – “Fool’s Paradise,” “Two of Us,” “Us,” and “An American in Paris” – will be performed by the ballet company’s star dancers in the season’s finale. The first work, Fool’s Paradise, marked the beginning of Wheeldon’s long-running
collaboration with composer Joby Talbot. Nine dancers, clad in minimalist, flesh-toned costumes designed by fashion designer Narciso Rodriguez, create beautiful, ever-changing forms. The audience is captivated by the awe-inspiring movements of three pairs, including Akane Takada and William Bracewell. Takada Akane, who became a principal dancer in 2015, spoke about the piece and her feelings about her 10th year in the business.
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Akane Takada, William Bracewell, Liam Boswell -Christopher Wheeldon’s works are characterized by their delicacy and drama. What aspects of his work were particularly impressive when you danced in them? Takada Akane: First of all, the music was wonderful. Since there wasn’t a story, it was both challenging and fun to figure out the lines of my body, how to phrase the music, and dance in a way that would create a narrative. –Were there any parts of “Fool’s Paradise” that you found physically or mentally challenging? Takada Akane: There were some acrobatic lifts, and I sometimes fell at first. I practiced lifting with my partner lying on the floor like this (lifting upward), and gradually I got better at it. –It was as if you were looking beyond humanity, as if you were seeing gods, but what was the state of your mind and heart? Takada Akane: It felt like I was dancing practically naked, and to be honest, it was embarrassing. I was wearing thin organdy, and I didn’t want to take it off halfway through (laughs).
–I think this is a piece where chemistry and relationships with your co-stars are important. Is there anything you keep in mind during rehearsals? Takada Akane: I think communication is important. You really have to say it verbally. What’s the timing here? I want them to support me a little lower? I don’t want them to do as much plié here. I think it’s probably a little difficult just to feel things without saying anything. All the dancers are really open and willing to listen, so I think our teamwork was great. We were able to have conversations with the coach about how to present the lines and how to make them work. -Compared to your previous repertoire, what do you think is the unique appeal of “Fool’s Paradise”? Takada Akane: I think this piece uses still and flowing movements very naturally with the music. The formations and the movements and shapes created by the dancers make it feel like watching a moving sculpture or a moving painting. –As a ballet piece, it contains modern elements. How do you think about the differences between working on classical pieces and modern ballet? Takada Akane: With classical ballet, you can’t cheat, and there are certain parts where you have to firmly grasp the established form. Neoclassical music isn’t about cheating, but I think it makes it easier to incorporate emotion and nuance, and allows for deliberate pauses and other expressions. –Tell us how you spend your days off. Takada Akane: Recently, I went to a wedding in Norway, and a friend had a baby, so I went to Paris to visit her. In London, I’m living a normal life: listening to my favorite music, watching my favorite shows, and having tea with friends. Other than that, I’m just lazing around. I’m living the life of a total loser (laughs). –I heard you like Mrs. GREEN APPLE. Akane Takada: Yes, I love them. I heard about them from a dancer in Birmingham, England, and I fell in love with them. –I interviewed you in 2017. Have your feelings changed since then? Takada Akane: I was probably really desperate at the time. I was struggling with the idea of ​​being a principal, wondering if I was fit to be one. I was tormented by it, even though no one was pressuring me. I felt like I couldn’t afford to make any more mistakes, and that I had to perform at the level I’d always achieved. I sometimes look back on those extremely difficult days. Now I’ve learned to accept myself and enjoy myself. If I don’t have peace of mind, I won’t be able to notice my own feelings and I won’t be able to truly enjoy myself on stage. It’s been 10 years since I became a principal, and while my desire to perform my best hasn’t changed, my approach has changed. I’ve come to realize that I need to enjoy myself too. -Finally, please give a message to the audience who will be seeing “Ballet to Broadway” and “Fool’s Paradise.” Takada Akane: “Mixville” is a work that showcases both Wheeldon’s entertainment value and his poetic inner self. I hope many people will enjoy it. “Fool’s Paradise” Starring: Akane Takada, William Bracewell, Marianela Nunez, Lucas B. Brentzrod, Viola Pantuso, Liam Boswell, Théo Dubreuil, Annette Buvoli, Giacomo Rovero Choreography: Christopher Wheeldon Music: Joby Talbott Costumes: Narciso Rodriguez Lighting Design: Penny Jacobus Staging: Jason Fowler Senior Repétiteur for Guest
Choreographers: Deirdre Chapman Two of Us Starring: Lauren
Cuthbertson, Calvin Richardson Vocals: Julia Fordham Choreography: Christopher Wheeldon Music: Joni Mitchell (I Don’t Know Where I Stand, Urge for Going (Urge for Going), Both Sides Now (The Light and Shadow of Youth) You Turn Me on I’m A Radio (Love Radio) Costumes: Harriet Jung, Reid Barthélémy Lighting Design: Natasha Katz Featured Directors: Robbie Fairchild, Zenaida Yanowsky Vocals: Julia Fordham Us Starring: Matthew Ball, Joseph Sisens Choreography: Christopher Wheeldon Music: Keaton Henson Costumes: Katherine Watt Lighting Design: Natasha Katz Rehearsal Director: Christopher Sanders Featured Cast Directors: Stuart Cassidy, Deirdre Chapman, Robbie Fairchild, Michael Nunn, William Trevitt An American in Paris Cast Leeds: Francesca Hayward Jerry: Cesar Corrales Royal Ballet Artists Choreography: Christopher Wheeldon Music: George Gershwin Art Direction: Bob Crowley Lighting Design: Natasha Katz Staging: Dustin Layton Rehearsal Director: Christopher Sanders Featured Actress: Jacqueline Barrett Senior Repétiteur: Samantha Lane Works to be performed on May 22, 2025 Running time: 2 hours 31 minutes Image
URL: https://prcdn.freetls.fastly.net/release_image/16700/107/16700-107-a31a3083a2f2712037d10b37b97ff1dd-2941×1960.jpg Lucas B. Brenzrod, Marianela Nunez (C)2025 Johan Persson 9/19 (Friday) ~ 9/25 (Thursday) TOHO Cinemas Nihonbashi and other locations available for one week only ■Official website:
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