Choreographer Natascha Greenwalt loves the music of Swan Lake, but she has a few problems with the ballet itself. “I don’t see this love story,” Greenwalt says. “I see—there isn’t consent.” To her, Siegfried seems predatory, Odette seems far too apologetic, and the Odette/Odile duality reinforces toxic tropes about women who are either dangerously sexy […]