- The Latest
- Breaking Stereotypes
- Rant & Rave
- Dance As Activism
- Dancers Trending
- Viral Videos
- The Dancer's Toolkit
- Health & Body
- Dance Training
- Career Advice
- Style & Beauty
- Dance Auditions
- Guides & Resources
- Performance Calendar
- College Guide
- Dance Magazine Awards
- Meet The Editors
- Contact Us
- Advertise/Media Kit
- Buy A Single Issue
- Give A Gift Subscription
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.
It can be hard to focus when Alice Sheppard dances.
Her recent sold-out run of DESCENT at New York Live Arts, for instance, offered a constellation of stimulation. Onstage was a large architectural ramp with an assortment of peaks and planes. There was an intricate lighting and projection design. There was a musical score that unfolded like an epic poem. There was a live score too: the sounds of Sheppard and fellow dancer Laurel Lawson's bodies interacting with the surfaces beneath them.
And there were wheelchairs. But if you think the wheelchairs are the center of this work, you're missing something vital about what Sheppard creates.
So far, the fervor to create diversity in ballet has primarily focused on dancers. Less attention has been paid to the work that they'll encounter once they arrive.
Yet the cultivation of ballet choreographers of color (specifically black choreographers) through traditional pathways of choreographic training grounds remains virtually impossible. No matter how you slice it, we end up at the basic issues that plague the pipeline to the stage: access and privilege.
"I'm sorry, but I just can't possibly give you the amount of money you're asking for."
My heart sinks at my director's final response to my salary proposal. She insists it's not me or my work, there is just no money in the budget. My disappointment grows when handed the calendar for Grand Rapids Ballet's next season with five fewer weeks of work.
"It just...always looks better in my head."
While that might not be something any of us would want to hear from a choreographer, it's a brilliant introduction to "Off Kilter" and the odd, insecure character at its center, Milton Frank. The ballet mockumentary (think "The Office" or "Parks and Recreation," but with pointe shoes) follows Frank (dancer-turned-filmmaker Alejandro Alvarez Cadilla) as he comes back to the studio to try his hand at choreographing for the first time since a plagiarism scandal derailed his fledgling career back in the '90s.
We've been pretty excited about the series for a while, and now the wait is finally over. The first episode of the show, "The Denial," went live earlier today, and it's every bit as awkward, hilarious and relatable as we hoped.
Christopher Wheeldon is going to be giving Michael Jackson some new moves: The Royal Ballet artistic associate is bringing the King of Pop to Broadway.
The unlikely pairing was announced today by Jackson's estate. Wheeldon will serve as both director and choreographer for the new musical inspired by Michael Jackson's life, which is aiming for a 2020 Broadway opening. This will be Wheeldon's second time directing and choreographing, following 2015's Tony Award-winning An American in Paris.
Wheeldon is a surprising choice, to say the least. There are many top choreographers who worked with Jackson directly, like Wade Robson and Brian Friedman, who could have been tapped for the project. Or the production could have even hired someone who actually choreographed on Jackson when he was alive, like Buddha Stretch.
What is the right flooring system for us?
So many choices, companies, claims, endorsements, and recommendations to consider. The more you look, the more confusing it gets. Here is what you need to do. Here is what you need to know to get the flooring system suited to your needs.
Broadway musicals have been on my mind for more than half a century. I discovered them in grade school, not in a theater but electronically. On the radio, every weeknight an otherwise boring local station would play a cast album in its entirety; on television, periodically Ed Sullivan's Sunday night variety show would feature an excerpt from the latest hit—numbers from Bye Bye Birdie, West Side Story, Camelot, Flower Drum Song.
But theater lives in the here and now, and I was in middle school when I attended my first Broadway musical, Gypsy—based, of all things, on the early life of the famed burlesque queen Gypsy Rose Lee. I didn't know who Jerome Robbins was, but I recognized genius when I saw it—kids morphing into adults as a dance number progresses, hilarious stripping routines, a pas de deux giving concrete shape to the romantic yearnings of an ugly duckling. It proved the birth of a lifelong habit, indulged for the last 18 years in the pages of this magazine. But all long runs eventually end, and it's time to say good-bye to the "On Broadway" column. It's not the last of our Broadway coverage—there's too much great work being created and performed, and you can count on hearing from me in print and online.
Let's start with the obvious: Over the weekend, Beyoncé and Jay-Z released a joint album, Everything Is Love. Bey and Jay also dropped a video for the album's lead track, which they filmed inside the actual Louvre museum in Paris (as one does, when one is a member of the Carter family). And the vid features not only thought-provoking commentary on the Western art tradition, but also some really incredible dancing.
So, who choreographed this epic? And who are the dancers bringing it to life in those already-iconic bodystockings?
Travis Wall draws inspiration from dancers Tate McCrae, Timmy Blankenship and more.
One often-overlooked relationship that exists in dance is the relationship between choreographer and muse. Recently two-time Emmy Award Winner Travis Wall opened up about his experience working with dancers he considers to be his muses.
"My muses in choreography have evolved over the years," says Wall. "When I'm creating on Shaping Sound, our company members, my friends, are my muses. But at this current stage of my career, I'm definitely inspired by new, fresh talent."
Wall adds, "I'm so inspired by this new generation of dancers. Their teachers have done such incredible jobs, and I've seen these kids grown up. For many of them, I've had a hand in their exposure to choreography."
This week, New York City's Joyce Theater presents two companies addressing LGBTQ+ issues.
When most people think of dance students, they imagine lithe children and teenagers waltzing around classrooms with their legs lifted to their ears. It doesn't often cross our minds that dance training can involve an older woman trying to build strength in her body to ward off balance issues, or a middle-aged man who didn't have the confidence to take a dance class as a boy for fear of bullying.
Anybody can begin to learn dance at any age. But it takes a particular type of teacher to share our art form with dancers who have few prospects beyond fun and fitness a few nights a week.
New York City–based dancers know Gibney. It's a performance venue, a dance company, a rehearsal space, an internship possibility—a Rubik's Cube of resources bundled into two sites at 280 and 890 Broadway. And in March of this year, Gibney (having officially dropped "Dance" from its name) announced a major expansion of its space and programming; it now operates a total of 52,000 square feet, 23 studios and five performance spaces across the two locations.
Six of those studios and one performance space are brand-new at the 280 Broadway location, along with several programs. EMERGE will commission new works by emerging choreographic voices for the resident Gibney Dance Company each year; Making Space+ is an extension of Gibney's Making Space commissioning and presenting program, focused on early-career artists. For the next three years, the Joyce Theater Foundation's artist residency programs will be run out of one of the new Gibney studios, helping to fill the gap left by the closing of the Joyce's DANY Studios in 2016.
Dancers crossing over into the fitness realm may be increasingly popular, but it was never part of French-born Julie Granger's plan. Though Granger grew up a serious ballet student, taking yoga classes on the side eventually led to a whole new career. Creating her own rules along the way, Granger shares how combining the skills she learned in ballet with certifications in yoga, barre and personal training allowed her to become her own boss (and a rising fitness influencer).