Christopher Isherwood’s *A Single Man* is a quiet storm of a novel—intimate, devastating, and deeply human. Now, it’s taking an unexpected leap into ballet, and honestly? I’m obsessed with the idea.
For those who haven’t read it, the book follows George, a grieving gay professor in 1960s California, through a single day of his life. It’s a story about loss, isolation, and the small moments that keep us going. Not exactly the plot you’d expect for pirouettes and grand jetés—but that’s what makes it brilliant.
### Why Ballet Works for This Story
Ballet thrives on emotion, not dialogue. George’s inner turmoil—his grief, his fleeting connections, the weight of existing in a world that doesn’t fully see him—can be *felt* more than explained. Imagine a solo where every strained movement mirrors his loneliness, or a pas de deux that captures the ache of memory. Dance can externalize what words sometimes can’t.
### Breaking Boundaries
Gay narratives in ballet aren’t new, but they’re still rare enough to feel revolutionary. *A Single Man* isn’t about flamboyance or tragedy; it’s about the quiet reality of a gay man’s life. Translating that to ballet challenges old stereotypes and expands what the art form can say.
### The Risk (& Why It’s Worth It)
Not every literary masterpiece needs a dance adaptation (*looking at you, Moby Dick: The Musical*). But *A Single Man*’s emotional core—raw, subtle, and universal—fits dance’s language perfectly. If done right, this could be a haunting, beautiful bridge between literature and movement.
**Final Thought:** Art evolves when it dares to reinterpret. A ballet of *A Single Man* isn’t just a performance—it’s a statement that queer stories, in all their forms, belong everywhere. Now, bring on the choreography.
*— DanceWami*