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.
"I don't cook for just one or two people," says James Whiteside, stirring a pot on his stove. "My mom taught me to cook and she had five kids. So when I do cook, I go in!"
Aside from breakfast (usually bacon, egg and cheese on an English muffin), the American Ballet Theatre principal rarely cooks for himself during ABT's seasons. He prefers to "forage" for his lunch and go out or order in for dinner, saving the real cooking for when he has friends or colleagues to feed. "I like to have a lot of people tell me my food is delicious," he quips.
We're not sure what we did to deserve the livestream generosity the dance world is giving us these days, but this weekend, it's getting even better.
PC Joe Toreno
L.A. Dance Project, Benjamin Milliepied's trendsetting contemporary troupe, has been in residence at The Chinati Foundation for the past few days. This weekend, they're showing us what they've come up with—for three days straight.
To create great work, choreographers need the freedom to tackle difficult subjects and push physical limits. But when your instruments are human beings, is there a limit to how far you should go? Five choreographers open up about where they draw the line.
Restaurants have always been a great source of survival gigs for dancers. But today's top chefs aren't just looking for waiters to carry dishes to the table. They're hiring choreographers to give the staff dance-like skills and compose a sort of choreography for the dining room.
Leslie Scott, artistic director of dance theater company BODYART, is one of those choreographers. After working in more typical food industry jobs for 10 years, she's been tapped by top restaurants in both New York City and Los Angeles to lead workshops that finesse servers' non-verbal communication and navigation of tight spaces.
Back in 2002, dancer and choreographer Jonah Bokaer founded an art space in Brooklyn called Chez Bushwick. As Manhattan and Brooklyn were quickly becoming unaffordable, and many studio spaces were closing, Bokaer seized upon "creative placemaking"—the idea that the arts can play an integral role in community-building—before it became a buzzword. "We have been sustaining and maintaining one of the most affordable dance studios in New York State since the very beginning of my career," he says.
Fifteen years later, the challenges for choreographers in expensive urban centers continue unabated, and Bokaer has found his original mission magnified. While Chez Bushwick remains a haven for the next generation, there is also a growing number of young dancemakers who have been inspired to create their own residencies, communities and, ultimately, opportunities.
The New York City premiere of Alexei Ratmansky's sugary sweet story ballet, Whipped Cream, made for one of the most exciting spring galas at American Ballet Theatre yet. While we're usually in awe of the gowns the dancers sport on the red carpet beforehand, this time around, it was all about Whipped Cream's colorful and over-the-top costumes by Mark Ryden—and, okay, a few major dress moments, too. Ahead, check out what went on behind-the-scenes.