What Sergei Polunin Thinks of His New Movie
Love him or hate him, it's hard not to be intrigued by Sergei Polunin. When someone with that much talent quits The Royal Ballet to become part-owner of a tattoo parlor, only to then star in a splashy David LaChapelle-directed viral video and start dating fellow ballet wunderkind Natalia Osipova, you can't help asking, What's going on with this guy?
A new documentary about Polunin's troubled path, Dancer, comes out both in theaters and on demand this Friday, September 16. The sympathetic portrait sheds some light on the forces that led to his conflicted love-hate relationship with ballet. Fresh off his So You Think You Can Dance appearance earlier this week, Polunin sat down with Dance Magazine to talk about the film—and why he keeps dancing today.
What's it like to watch a documentary about yourself?
I didn't want to see it. But I was hanging out with David LaChapelle in LA, and he was like, Oh, we're going to watch it tonight with some other dancers. I had like nine beers. I was sitting next to him, squashing his leg. It was really intense. I wanted to see myself from an outside eye, but you can't really, because it triggers something raw inside of you.
Footage from boyhood
Had you seen all that old dance footage?
No—I didn't even remember that my mom had a camera! It was such a strange thing for her to do.
Does the film feel like an accurate depiction?
It's really real. It's a human story. Rather than digging into one thing, it had many layers. I want dancers to see it. It shows how much a dance career takes for parents, too.
In the film, you say you considered "Take Me To Church" your goodbye to dance. What made you continue?
Well, at that point I did not like dancing; I was upset with the industry. You know, footballers and actors get so much money, have so much exposure and I don't think dancers are less talented, and if anything, they work much, much harder. But you don't get that same reward. So I was really upset. I had to decide if I wanted to stay in L.A. and become an actor.
Filming "Take Me To Church" took nine hours. And to open myself up for this piece, I got very empty, like really emotional. It gave me nine hours of just thinking about what I'm leaving behind. I felt really sad. Then I saw David and how much he loved dance, and I thought, This is strange, maybe I'm missing something.
A rehearsal scene in Dancer
After that shoot, I got strength back to do something. I went back to Russia, and told Igor Zelensky at Stanislavsky Ballet that I don't want to get paid, I just want to do it for the love of dance. I had to understand that I liked doing it for that reason rather than for anything else.
Igor is now director at Bayerisches Staatsballet, and has made you a "permanent guest artist." How much will you be dancing there?
Whenever I'm free. I was lucky to have Igor to come back to when I was traveling to America to try other things, search for things. It's like a cushion.
What inspired you to start Project Polunin?
Talking to David, I realized every other industry has support—agents and managers. You give a small percentage, but you gain protection, knowledge, connection. Most dancers don't have that. And there are sharks who'll use you. So we built a company to support dancers called Project Polnuin. It's so many angels—bankers, lawyers donating their time, we have a board to develop a structure, and we'll connect dancers with other industries like fashion, movies, music. We want every dancer to join it. We're just at the beginning of the journey.
When I left Royal Ballet, I had no one I could ask for an opinion. I didn't know what I was searching for. I wish I had someone who would say, "You should do that audition." "If you want to model, this is the company that will develop that." "What's your ability? How do you see yourself?"
Footage from the wings in Dancer
Do you think this film will change the way you're seen in the dance world?
When I meet people now, they're much warmer. I don't think any human is a bad person, they're just misunderstood.
What if there was a way to get your dancing in front of the likes of Desmond Richardson, d. Sabela grimes and Vincent Paterson all at once? Just in case you needed another excuse to break out your best moves this week, the Dare to Dance in Public Film Festival is back, and Richardson, grimes and Paterson are among this year's judges.
Dancers and non-dancers alike are invited to submit short dance films to the international online festival, with one caveat: The dancing has to take place in a public space.
The dancers file into an audition room. They are given a number and asked to wait for registration to finish before the audition starts. At the end of the room, behind a table and a computer (and probably a number of mobile devices), there I sit, doing audio tests and updating the audition schedule as the room fills up with candidates. The dancers, more nervous than they need to be, see me, typing, perhaps teasing my colleagues, almost certainly with a coffee cup at my side.
When we're talking about the history of black dancers in ballet, three names typically pop up: Raven Wilkinson at Ballet Russe de Monte Carlo, Janet Collins at New York's Metropolitan Opera and Arthur Mitchell at New York City Ballet.
But in the 1930s through 50s, there was a largely overlooked hot spot for black ballet dancers: Philadelphia. What was going on in that city that made it such an incubator? To answer that question, we caught up with Memoirs of Blacks in Ballet founder (and frequent Dance Magazine contributor) Theresa Ruth Howard, who yesterday released her latest project, a video series called And Still They Rose: The Legacy of Black Philadelphians in Ballet.
Janie Taylor didn't know if she'd ever return to the stage. But that's exactly where the former New York City Ballet principal has found herself: Nearly three years after retiring, she is performing again, as a member of L.A. Dance Project.
Taylor officially debuted with the company at its December 2016 gala in Los Angeles, then performed in Boston, via live stream from Marfa, Texas, and at New York's Joyce Theater before heading off on tour dates in France, Singapore, Dubai and beyond.
"She is wildly interesting to watch—and not conventional," says LADP artistic director Benjamin Millepied. "There are films of Suzanne Farrell dancing, where you feel like the music is coming out of her body," he says. "I think Janie has that same kind of quality."
Last night was not your average Thursday at Bay Ridge Ballet in Brooklyn, New York. Studio owner and teacher Patty Foster Grado—a former Parsons Dance Company dancer—was teaching a boys class, when with only five minutes left, she heard commotion in the waiting area and someone yelled, "There's a lady giving birth in the bathroom!"
Where can you watch Giselle, Romeo and Juliet, The Nutcracker, Coppélia and Le Corsaire all in one place? Hint: It also has extra-buttery popcorn.
Yep, it's your local movie theater. Starting this weekend, theaters across the country will be showing Bolshoi Ballet productions of classical and contemporary story ballets.
When commercial dancer Danielle Peazer took on an ambassadorial role with Reebok in early 2016, she didn't realize the gig would also lead to a career shift. But while traveling with and teaching workshops for the brand, the idea for DDM (Danielle's Dance Method) Collective started to take shape.