From JLaw to Ralph Fiennes, Here Are the Danciest Movies in the Works for 2018
Oh, Hollywood. In any given year, Tinseltown's use of dance in film veers from the woefully disappointing to the surprisingly delightful, but one thing's for certain: It's rarely boring. Here's our not-at-all-comprehensive and completely-subject-to-change list of the new dance-related movies coming soon to a theater (or laptop screen) near you.
Based on Jason Matthews' novel of the same name, the feature film tells the story of an ex-ballerina-turned-Russian-spy (Jennifer Lawrence) and her entanglement with a CIA agent. Crosses, double-crosses and an ill-timed romance ensue, but the real excitement comes from the ballet talent in the cast and crew: Sergei Polunin has a role, Isabella Boylston is Lawrence's dance double and Justin Peck was brought on to choreograph. In theaters March 2.
The Nutcracker and the Four Realms
We aren't sure how much dancing will be in the final cut of this live-action take on the E.T.A. Hoffmann story that inspired the ubiquitous ballet, but amongst the Hollywood A-listers is one very familiar name: Misty Copeland. She'll lead what may well be the only major dance sequence in the movie, with choreography by Liam Scarlett. In theaters Nov. 2.
A remake of the 1977 horror movie of the same name, it follows a young American dancer (Dakota Johnson) who travels to Berlin to study at a prestigious academy where things quickly take a dark turn. Johnson trained in dance in preparation for her role, but we're expecting more emphasis on terror than technique. Tentatively slated for a 2018 release.
The White Crow
Oleg Ivenko stars as Rudolf Nureyev in The White Crow. Photo by Jessica Forde, Courtesy Premier
Based on Julie Kavanagh's Rudolf Nureyev: The Life, the Ralph Fiennes–directed drama focuses on the circumstances surrounding the dance legend's 1961 defection. Gabrielle Tana, who produced the Sergei Polunin documentary DANCER, developed and is co-producing the project. The cast includes Russian dancer Oleg Ivenko (as Nureyev) as well as Polunin, with choreography by Johan Kobborg. Tentatively slated for a 2018 release.
Untitled Tiler Peck documentary
A new documentary on NYCB star Tiler Peck is in production. Photo by Paul Kolnik, Courtesy NYCB
Directed by Steven Cantor (who previously directed DANCER) and with actress Elisabeth Moss as an executive producer, the documentary will follow the New York City Ballet star as she prepares for her curatorial debut with BalletNOW, which took place at The Music Center's Dorothy Chandler Pavilion in Los Angeles last July. The program's cast was ridiculously star-studded, with dancers from NYCB, American Ballet Theatre, Paris Opéra Ballet, The Royal Ballet and Dorrance Dance joining Peck. We can't wait to see the backstage shenanigans. Slated for release on Hulu in 2018.
A dance-centric biopic based on Carlos Acosta's memoir—and starring Acosta and his company—is in production. Photo by Kristie Kahns
Carlos Acosta will star in this biopic, produced by BBC Films and inspired by his memoir No Way Home, charting his rise to the top of the ballet world. The film's script is from Paul Laverty, best known for his searing, socially conscious work with British director Kenneth Loach. Acosta Danza will also appear in dance sequences choreographed by Acosta. Release date TBA.
Benjamin Millepied is making his feature-film directorial debut with a new Carmen. Photo by Agathe Poupeney, Courtesy Paris Opéra Ballet
Benjamin Millepied's directorial debut for a feature-length film will be a contemporary musical drama inspired by the iconic opera. Millepied will once again choreograph for the big screen (having previously done so for Black Swan) and is working with a creative team that includes composer Nicholas Britell (Moonlight). Filming is expected to begin early this year. Release date TBA.
Over the past 15 years, Gesel Mason has asked 11 choreographers—including legends like Donald McKayle, David Roussève, Bebe Miller, Jawole Willa Jo Zollar, Rennie Harris and Kyle Abraham—to teach her a solo. She's performed up to seven of them in one evening for her project No Boundaries: Dancing the Visions of Contemporary Black Choreographers.
Now, Mason is repackaging the essence of this work into a digital archive. This online offering shares the knowledge of a few with many, and considers how dance can live on as those who create it get older.
The way we create and consume dance is changing every day. Now more than ever, the field demands that dancers not only be able to perform at the highest level, but also collaborate with choreographers to bring their artistic visions to life. Dancers who miss out on choreographic training may very well find themselves at a disadvantage as they try to launch their careers.
When a musical prepares to make the transfer from a smaller, lesser-known venue to Broadway (where theaters hold 500-plus seats), often there's a collective intake of breath from all involved. After all, a bigger house means more tickets to sell in order to stay in the black, and sometimes shows with even the most tenacious fan bases can't quite navigate such a jump. But what about the transfer from stage…to screen? Is Broadway ready to be consumed from the comfort of your couch?
Daphne Lee was dancing with Collage Dance Collective in Memphis, Tennessee, when she received two difficult pieces of news: Her mother had been diagnosed with multiple myeloma cancer, and her father had Parkinson's disease, affecting his mobility and mental faculties.
The New Jersey native's reaction: "I really need to move home."
It's not often that a promising choreographer gets to stage work in a world-class theater, on a skillfully-curated program with professional dancers, and with the possibility of winning a substantial cash prize. But at the McCallum Theatre's Palm Desert Choreography Festival, that's been the status quo for over twenty years.
Since Shea New, the festival's artistic director, founded the festival in 1998, she's worked tirelessly with McCallum's director of education and festival producer, Kajsa Thuresson-Frary, and stage manager and festival production manager Joanna Fookes to build a festival that nurtures choreographers, highlights high quality work, powerfully engages the local community and cultivates an audience base for dance in the Coachella Valley. The trio is backed by a strong team of professionals at McCallum and the brilliant volunteers from the local and national level who serve as adjudicators.
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Summer is almost upon us, and whether you're a student about to go on break or a pro counting the days till layoff, don't forget that with warm weather comes a very serious responsibility: To maintain your cross-training routine on your own.
Those of us who've tried to craft our own cross-training routine know it's easier said than done. So we consulted the stars, and rounded up the best options for every zodiac sign. (TBH, you should probably consult an expert, too—we'd recommend a physical therapist, a personal trainer or your teacher.)
It's become second nature in dance studios: The instant anyone gets hurt, our immediate reaction is to run to the freezer to grab some ice (or, more realistically, a package of frozen peas).
But as routine as icing our injuries might be, the benefits are not actually backed up by scientific studies. And some experts now believe icing could even disrupt the healing process.
I'm a contemporary dancer, and I'm nervous about trying to get pregnant since I can't predict if it might happen during the middle of the season. We have a union contract that is supposed to protect us. But I'm scared because several of my colleagues' contracts weren't renewed for no particular reason. Having a big belly could be a big reason to get rid of me!
—Andrea, New York, NY
When the going gets tough, the tough start dancing: That's the premise behind "Dance of Urgency," a recently opened exhibit at MuseumsQuartier Vienna that features photos, video and other documentary material relating to the use of dance as political protest or social uprising.
The groups featured in the show, largely based around clubs and electronic dance music scenes, span the globe and respond to a variety of issues—from inequality and social stratification to racial divides to crackdowns on club culture itself.
Last night, longtime theater legends (including Chita Rivera herself!) as well as rising stars gathered to celebrate one of Broadway's danciest events: the third annual Chita Rivera Awards.
The evening paid tribute to this season's dancer standouts, fabulous ensembles, and jaw-dropping choreography—on- and off-Broadway and on film.
As usual, several of our faves made it into the mix. (With such a fabulous talent pool of nominees to choose from, we're glad that ties were allowed.) Here are the highlights from the winner's list:
When you're a foreign dancer, gaining legal rights to work in the U.S. is a challenging process. It's especially difficult if you're petitioning to work as a freelance dancer without an agent or company sponsorship.
The process requires professional muscle along with plenty of resources and heart. "There's a real misnomer that it's super easy," says Neena Dutta, immigration attorney and president of Dutta Law Firm. "People need to educate themselves and talk to a professional."
Here are four things every foreign dancer who wants to work in the U.S. needs to know to build a freelance dance career here.
What does it take to "make it" in dance? It's no secret that turning this passion into a profession can be a struggle. In such a competitive field, talent alone isn't enough to get you where you want to be.
So what kinds of steps can you take to become successful? Dance Magazine spoke to 33 people from all corners of the industry to get their advice on the lessons that could help us all, no matter where we are in our careers.
On May 18, 1919, Margot "Peggy" Hookham was born. She would grow up to become Dame Margot Fonteyn, England's first homegrown prima ballerina. She joined the Sadler's Wells School in 1934 and was performing principal roles with the precursor to The Royal Ballet the next year. Fonteyn was a company-defining figure, dancing Aurora for the re-opening of the Royal Opera House after World War II, creating numerous roles with Sir Frederick Ashton and forging a legendary partnership with Rudolf Nureyev.