You say you are against censorship, but you were quite clear in your first post that you thought The Judas Tree should be consigned to history due to the graphic portrayal of its subject - that would be censorship Cassandra. If you can't stomach the piece that's fine, don't watch it.
The fact remains that a vast number of works by Kenneth MacMillan have been consigned to history whereas this meritless piece gets revival after revival; I don’t consider it censorship on my part to question why this might be. By reviving this work time and again the RB management displays an appalling lack of taste and an unacceptable disdain towards the choreographer’s earlier works.
I have to say (and without wishing to get into a protracted debate) I am rather surprised by this whole approach. Is the way to deal with such a dreadful issue as rape to hide it away, pretend it does not exist? Hiding anything under the carpet will not solve it, it just makes it invisible so that we can pretend it is not there. I would have thought if you feel so strongly about the issue you would want its profile raised - and stage works about the subject, especially those that show graphically how horrific it is, surely do the cause of highlighting rape good rather than harm? No social or political issue has ever been solved by hiding it. It might be unpleasant, but that's the point - show people how unpleasant it is and it will become more socially unacceptable....
There is no pretending that this crime is “hidden under the carpet” when the figures for rape are sky high, the convictions for rape are pathetically low and the crime is committed every day of the week, so how you come to the conclusion that it is “invisible” I really don’t know. The Judas Tree is a repetition of much that has gone before as it was far from MacMillan’s first examination of the subject and the chorographic text by the way is very much a rehash of earlier ideas. MacMillan wasn’t by any means unique in tackling social or political issues, but he never really did it well being more at home with a strong story line to illustrate. The ill defined text of The Judas Tree is a strong pointer to its failure as the vague religious references in the piece only add to the viewers’ confusion as to what the hell is actually going on, something several critics are still asking after twenty years.
As to the question of what is and what is not acceptable as a topic for ballet, I would venture that is down to the skill of the choreographer. Christopher Bruce returned to overtly political subjects many times and his ‘Swan Song’, about a man being tortured to death but his soul remaining triumphant and indomitable, is actually inspiring to watch in spite of the grim subject matter. Audiences leave the theatre after Swan Song full of elation at the indestructible nature of the human spirit, but I suggest they leave The Judas Tree with nothing other than a bad taste in their mouths.