Here lies ballet and opera. 

In a now-infamous interview with Matthew McConaughey at a CNN and Variety town hall event, Timothée Chalamet said, “I don’t want to be working in ballet, or opera, or, things where it’s like, ‘Hey keep this thing alive,’ even though it’s like no one cares about this anymore.” The Academy Award-nominated actor laughed off the comment, joking that he “just lost fourteen cents in viewership.” Nonetheless, his remark sparked outrage from the ballet and opera communities. 

Famed ballerina Misty Copeland rightfully pointed out that Chalamet’s own acting career and many modern art forms would not exist if not for ballet and opera. While this may be true, it does not negate the unfortunate reality of Chalamet’s statement, which serves as a brutal wake-up call. 

In truth, ballet and opera are dying, and we should be concerned about it. 

The Metropolitan Opera in New York reported that it sold only 72% of capacity this season, realizing just 60% of its potential income, even when considering discounts. Its revenues have decreased by over $10 million compared to the pre-COVID era. Many major ballet companies have seen significant declines in attendance and ticket sales. The Dance Data Project found that in the 2024 fiscal year, approximately 52% of the 150 largest ballet and classically based companies in the U.S. finished with a budget deficit. By no means are the industries thriving. 

The loss of such forms of storytelling would be devastating. Amidst an increasingly disconnected society in which audiences undeniably favor at-home and online experiences, ballet and opera performances act as venues for connection, the preservation of cultural and artistic heritage, and of course, displays of vocal and physical prowess deserving of recognition. 

However, the internet uproar in response to Chalamet’s comment represents denial of the truth–an unwillingness to admit that as a society, we have allowed not just ballet and opera, but other art forms to fall by the wayside. 

It is no secret that following the COVID-19 pandemic, attendance at most public displays of the arts has dwindled. Film, Chalamet’s own industry, still combats issues like a decline in production in industry hubs such as Los Angeles, California, and Atlanta, Georgia. Even now, the box office has not experienced a full recovery. An article from The New York Times revealed that approximately 90% of the musicals that opened their doors following the pandemic will end their runs having operated at a financial loss. 

Ballet and opera’s challenges are simply the most pronounced symptoms of a widespread problem. 

At the Oscars on Sunday, host Conan O’Brian joked that it was Netflix CEO Ted Sarandos’ “first time in a theater!” While a humorous declaration, there’s no questioning the impact Netflix and other streaming platforms have had on the viewing experience – and it’s only growing. Just recently, Netflix attempted to acquire Warner Brothers, a decision that would have posed a significant threat to industry competition, thousands of jobs, and film releases.  

Evidently, ballet and opera are not the only arts at a turning point in their existence. 

Chalamet’s remarks and the renewed interest they have brought to ballet and opera as a result of the discourse has presented a rare opportunity, though–and one that dance companies and opera houses are capitalizing on. The Seattle Opera began offering discounts on tickets to its production of Carmen with code “TIMOTHEE,” inspiring the Washington National Opera, the Pittsburgh Opera, and the Hawaii Opera to do the same. Dance companies have shared videos of full theaters online, and Ballet Austin has offered free tickets to anyone named Timothée, Timothee, or Timothy. These marketing tactics have significantly boosted sales already.  

Thanks to Timothée Chalamet, all eyes are on ballet and opera. It remains to be seen if they can keep them there.