8 Movie Stars Who Were Dancers First
It seems like more Hollywood actresses are taking on the physical challenges of action movies. For both Zoe Saldana, starring in Guardians of the Galaxy Vol. 2, and Charlize Theron, the bombshell in The Fate of the Furious, previous dance training has been a plus.
Saldana has said that she felt her ballet background helped her get her breakout role in Avatar. "I thank god for something like ballet, which gave that space for me to be by myself and find peace," she said recently in an interview with The New York Times. "Ballet was my meditation, my therapy, my escape, my answer."
Zoe Saldana as Eva in Center Stage (2000)
For Theron, her high school years were spent training at the Joffrey School in New York until a knee injury made her rethink her career. In her more athletic movie roles, that training kicked in. "As a former ballerina, Charlize brings all that physicality, and a special awareness and discipline and sense of valuation of her character through gestures," said George Miller, director of Mad Max: Fury Road.
That got me to thinking of other movie stars who trained intensively, some of them hoping to dance professionally. They each have a special elegance, an aura that marks them as dancers first. Here's a partial list:
• Neve Campbell, who studied at the National Ballet School of Canada from age 9 to 15, starred in the fictional movie The Company (2004) about the Joffrey Ballet. About her training, she told SF Gate, "It was my life and my introduction to the arts." But with her, too, injury forced her to turn to acting.
• Claire Danes took lessons with master teacher Ellen Robbins in New York from the age of 6 to 14. Robbins' approach is to focus on creativity, which helped build a foundation for Danes' work in Hollywood. In Showtime's Homeland, she plays a bi-polar expert at solving intrigue.
• Sarah Jessica Parker, star of Sex and the City, studied at the School of American Ballet. She is the New York City Ballet board member who came up with the brilliant idea of making NYCB's annual fall gala a hub of collaborations between choreographers and fashion designers.
And of course, there are those stars of Hollywood's Golden Age that we can't get enough of: Audrey Hepburn, Cyd Charisse and Leslie Caron.
• Audrey Hepburn trained with Marie Rambert in London in the late 40s and performed the lead in Gigi on Broadway in 1951. In this 1952 film, Secret People, her youthful, unpolished talent is on full display. And then in 1953, she hit it big in Funny Face as Fred Astaire's gamin model and love interest—the same year she did Roman Holiday, a huge non-dancing hit. Her ballet ability ensured the effervescence of her dance numbers in Funny Face as well as her regal bearing in Roman Holiday.
• Cyd Charisse started lessons at the age of 6 and danced in the Ballet Russe de Monte Carlo. In one of her early films, The Harvey Girls (1946), she played a dreamy ingenue who breaks into a lyrical solo steeped in romantic feeling. Later she played a vixen whose allure for Gene Kelly in An American in Paris (1951) and Fred Astaire in Band Wagon (1953) is legend.
Leslie Caron, MGM
• Leslie Caron danced since childhood in France. Gene Kelly spotted her with Roland Petit's company, Ballet des Champs Elysées, cast her in An American in Paris (1951), and the rest is history.
On May 5, 2016, I was dancing with some of my best friends in rehearsal for The Chase Brock Experience, where I'm a founding company member. I was thrilled to be back doing a show after taking some time off for graduate school.
My next memory is waking up in the hospital with a ventilator tube down my throat. Unable to talk, I saw a semi-circle of people around my bed: Chase Brock, fellow CBE dancers Drew Heflin and Micki Weiner, my husband, Joel, and his parents. Then I saw my mother, who lives in Florida, with her bright blue suitcase. Because these people are not usually all in one place at the same time, I began putting the pieces together that something major had happened to me.
Showing choreography at a major venue in New York City is a goal and milestone for many dance artists. Yet when such an opportunity comes their way, choreographers frequently find themselves scrambling for time and technical resources to give their work that professional shine. What they end up performing may not have the polish they intended. "Far too often artists are arriving at their presenting house and the piece isn't ready," says Adrienne Willis, the executive and artistic director of Lumberyard Contemporary Performing Arts, an organization that helps dance artists develop new work.
Back when Lumberyard was known as the American Dance Institute and operated out of a strip mall in Rockville, Maryland, it pioneered its Incubator program to whip new pieces into shape, kind of like the "out-of-town" tryout model for theater. Several of the artists it supported ultimately brought their shows to the Brooklyn Academy of Music, one of New York City's most prestigious venues, which quickly recognized the positive influence of the Incubator on performances.
Since Thanksgiving is finally here, it's officially time to talk Nutcracker. With countless productions taking place between now and Christmas (and even some through the new year), we've been keeping tabs on Instagram to check in on rehearsals. Whether you're obsessed with all things Sugar Plum Fairy or the snow scene is more your speed, we've got your first look at the holiday classic.
We have a feeling even the Boston Ballet dancing bear couldn't keep up with second soloist Lawrence Rines' tricks in Russian.
Everyone knows that training is the cornerstone of a successful career in dance. But as a dance educator, I also take comfort in the fact that high-quality dance training helps shape students into genuinely good people (in addition to creating future artists, which is a wonderful goal in itself.) These are the lessons dance teaches that help make students into better humans:
Improvement Takes Commitment Over Time
In my tap courses at Cal State University, sometimes students are shocked when they can't learn something quickly. In today's world, we're used to getting fast results. You need an answer—Google it. You need to talk to someone—text them. The cooking channel wants your dinner to be easy, the physical trainer wants your workout to be five minutes, Rosetta Stone can have you speaking Mandarin in an hour.
We always figured that stretching made us more flexible by loosening up our muscles and joints. Some of us, ahem, might have even tried to fall asleep in our middle splits to get our stubbornly stiff inner thighs to let go.
But it turns out that might not actually be how stretching works.
A new review published in the Scandinavian Journal of Science & Medicine in Sports suggests that increased flexibility actually comes from your brain growing more used to the tension.
For the past 3 years, choreographer Stephen Petronio has been reviving groundbreaking works of postmodern dance through his BLOODLINES project. This season, although his company will be performing a work by Merce Cunningham, his own choreography moves in a more luxurious direction. We stepped into the studio with Petronio and his dancers where they were busy creating a new work, Hardness 10, named for the categorization of diamonds.
'Tis the season to have some fun in the kitchen. If you want to get more creative than simply baking another pumpkin pie, try these Nutcracker-themed treats—created by and for dancers. These recipes from former Boston Ballet and Joffrey Ballet dancers were first published in Dance Magazine's December 1990 issue. Today, they're still guaranteed to turn any holiday party or dressing room into a true Land of the Sweets.
It's no secret that affording college is a challenge for many students. And for dancers, there are added complications, like the relative lack of merit scholarships that take artistic talent into consideration and the improbability of a stable salary to pay off loans post-graduation. But no matter your budget, a smart approach to the application process can help you focus less on money and more on your training.
According to Drexel University performing arts department head Miriam Giguere, figuring out the kind of financial assistance a school offers is just as important as navigating what kind of dance program you want. Here's how to incorporate finances into your decision-making process:
When dancers get injured, they often think they should eat less. The thought process goes something like, Since I'm not able to move as much as I usually do, I'm not burning enough calories to justify the portions I'm used to.
But the truth is, scaling back your meals could actually be detrimental to your healing process.