Don't Miss This Trailer for the New Nureyev Movie, "The White Crow"
It's the moment many of us have been waiting for since early 2017: our first glimpse of The White Crow, a feature film about Rudolf Nureyev's 1961 defection from the Soviet Union while on tour with the Kirov Ballet. Directed by Hollywood A-lister Ralph Fiennes, the movie follows Nureyev from his birth on a train in Siberia to his request for asylum at Paris' Le Bourget Airport. It is based on Julie Kavanaugh's 2007 book, Nureyev: A Life.
THE WHITE CROW - Official Trailer - Directed by Ralph Fiennes www.youtube.com
The trailer shows the incredibly tense atmosphere during the Kirov's Paris tour, with KGB agents following the rebellious Nureyev wherever he goes. Thankfully, the film cast an actual professional dancer, Oleg Ivenko, in the lead role. A principal with the M. Jalil Tatar State Academic Opera and Ballet Theatre, Ivenko, who is Ukrainian, bears a striking resemblance to Nureyev. (Here's hoping the movie will show plenty of dancing. Johann Kobborg serves as the film's dance consultant and choreographer.) Fiennes portrays revered ballet master Alexander Pushkin, who taught Nureyev at the Vaganova Academy and took a special interest in his talent, while French actress Adèle Exarchopoulos plays Clara Saint, the French socialite who helped orchestrate his defection.
If you look closely at the trailer, you'll also catch a glimpse of controversial dance star Sergei Polunin, who plays Yuri Soloviev, Nureyev's roommate during the Kirov's tour. Polunin, a former Royal Ballet principal and a fervent admirer of Russian president Vladimir Putin, has come under fire recently for ranting sexist and anti-gay posts, as well as for calls to slap fat people, on his Instagram page (now shut down after being hacked). His posts caused the Paris Opéra Ballet to cancel his upcoming guest appearance. (In this recent interview with German journalist Tanit Koch, Polunin explains that his posts were not about being "gay or straight," but about "male and female energy," and what he sees as a current lack of male strength. "You have to sometimes provoke people," he says, later adding, "if male and female becomes the same, we are lost.")
Early reviews of The White Crow have been mixed, and while it's supposed to be released in the U.S. sometime this year, no firm date is currently available. (It opens in the U.K. on March 22 and in the Netherlands April 11.) But we can't wait to see it—and we'll be sure to keep you posted when it comes to movie theaters.
Dancers are understandably obsessed with food. In both an aesthetic and athletic profession, you know you're judged on your body shape, but you need proper fuel to perform your best. Meanwhile, you're inundated with questionable diet advice.
"My 'favorite' was the ABC diet," says registered dietitian nutritionist Kristin Koskinen, who trained in dance seriously but was convinced her body type wouldn't allow her to pursue it professionally. "On the first day you eat only foods starting with the letter A, on the second day only B, and so on."
Back in 2011 when Joe Lanteri first approached Katie Langan, chair of Marymount Manhattan College's dance department, about getting involved with New York City Dance Alliance, she was skeptical about the convention/competition world.
"But I was pleasantly surprised by the enormity of talent that was there," she says. "His goal was to start scholarship opportunities, and I said okay, I'm in."
Today, it's fair to say that Lanteri has far surpassed his goal of creating scholarship opportunities. But NYCDA has done so much more, bridging the gap between the convention world and the professional world by forging a wealth of partnerships with dance institutions from Marymount to The Ailey School to Complexions Contemporary Ballet and many more. There's a reason these companies and schools—some of whom otherwise may not see themselves as aligned with the convention/competition world—keep deepening their relationships with NYCDA.
Now, college scholarships are just one of many ways NYCDA has gone beyond the typical weekend-long convention experience and created life-changing opportunities for students. We rounded up some of the most notable ones:
Yvonne Rainer's Parts of Some Sextets (AKA "the mattress dance") hasn't been revived since it premiered in 1965. Nor has Rainer had any wish to do it again, to ask performers to heave 10 mattresses around while carrying out 31 tasks that changed every 30 seconds. It was an unwieldy, difficult dance. (Even the title is unwieldy.) But Emily Coates, who has danced in Rainer's work for 20 years, became curious about this piece and was determined to see it again—and to dance in it. She will get her wish November 15–17, when the mattress dance will be performed as part of the Performa 19 Biennial.
"The show must go on" may be a platitude we use to get through everything from costume malfunctions to stormy moods. But when it came to overcoming a literal hurricane, Houston Ballet was buoyed by this mantra to go from devastated to dancing in a matter of weeks—with the help of Harlequin Floors, Houston Ballet's longstanding partner who sprang into action to build new floors in record time.