Seventy one years age today, a new movie hit theaters: The Red Shoes. For a certain generation of dancers, this was the movie—the one that initially inspired them to step inside the studio.
For others, it was the first film they ever saw that finally "got" them. When Moira Shearer's character Victoria Page answers the question "Why do you want to dance?" with the response "Why do you want to live?" she channeled the inexplicable passion of thousands who dedicate their lives to this art.
Of course, many dance movies have followed in The Red Shoes' footsteps. But not all are created equal. We polled some of the Dance Magazine staff to find out what they rate as the G.O.A.T. of dance movies. It turns out, there was a pretty clear favorite in the office.
No matter how much anti–Valentine's Day sentiment I'm feeling in a given year, there's something about dancer couples that still makes me swoon. Here's a collection of wonderful posts from this year, but be warned: Continued scrolling is likely to give you a severe case of the warm fuzzies.
If you've ever wondered what it's like to be a member of American Ballet Theatre's Studio Company, you're in luck. The latest episode of "No Days Off," a documentary web series profiling young and inspiring athletes, spotlights 17-year-old Joseph Markey, a first-year Studio Company member. The doc not only underscores the physical aspects of Markey's training, but also the artistic refinements he must make on his road to becoming a professional dancer.
17-Year-Old Is The FUTURE of Dance www.youtube.com
I have a confession. Until today, I had never seen the seminal classic Center Stage.
There aren't many dancers who've had as varied a post-stage career as Sascha Radetsky.
Since retiring in 2014, the former American Ballet Theatre soloist and Center Stage star has reprised his role as Charlie in Center Stage: On Pointe; acted in two television programs (Starz network's Flesh and Bone and Hallmark Channel's A Nutcracker Christmas) and choreographed Misty Copeland's famous Under Armour commercial. He's also written articles for Vogue, Playbill and Dance Magazine, and he currently directs the ABT/NYU Master's in Ballet Pedagogy program. Now he has a new title to add to his credentials: artistic director of ABT Studio Company.
-Hey. U up?
-Ya. I'm at the ballet.
-Oh ok. Talk later.
-Nah, it's cool, it's a slow part right now.
Nope, it's not cool. Put your phone away. In the hushed darkness of an auditorium, light explodes from that screen like shrapnel, blasting those around you out of their viewing experience.
You know you've got something going for you when stars from New York City Ballet and American Ballet Theatre—plus our favorite celebrity dance fan, Jennifer Garner—are all fangirling about you on Instagram.
The man of the hour is Nick Palmquist, a choreographer and teacher who can often be found dishing out irresistibly sultry commercial jazz combos at New York City's Steps on Broadway. (You may have also heard of his boyfriend, ABT star Marcelo Gomes.)
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Lurking on dancers' social media pages, among the video clips of superhuman pirouettes and the photos that immortalize them above the stage in grand jeté or crouched on a windowsill wearing lingerie, pointe shoes and a sultry expression, is the occasional political post.
It's hard not to have a political opinion in the age of Trump. And on social media, opinions are easy to express. We might have to thumb the history book all the way back to Abraham Lincoln to find a more polarizing president (alas, the two leaders' similarities decisively end there).
NEW YORK CITY
Endless repetition can drive audiences out of the theater, but a gifted choreographer can make watching the same phrase over and over with subtle changes fascinating. Anne Teresa De Keersmaeker is one of those rare ones. Four of her early works from the 1980s are coming to Lincoln Center Festival for a De Keersmaeker marathon that will make her fans deliriously happy: Fase, Elena’s Aria and Rosas danst Rosas—the work that Beyoncé borrowed from for her “Countdown” music video—and Bartók/Mikrokosmos. As a bonus, the Belgian choreographer herself will perform in the first three of these evening-length works. She dances with a poetic inner focus as though immersed in a rhythmic dream. July 8–16, John Jay College. lincolncenterfestival.org.
Above: De Keersmaeker’s Bartók/Mikrokosmos. Photo by Herman Sorgeloos, Courtesy Lincoln Center Festival.
A Change for Sascha
NEW YORK CITY
He is dashing on the Metropolitan Opera House stage, has written eloquently for Dance Magazine and was charismatic on the silver screen in Center Stage. On July 3, when beloved soloist Sascha Radetsky performs the role of Franz in Coppélia, it will be his last dance as a member of American Ballet Theatre. But the innately likeable dancer will keep busy: He’s currently in production as a main character in the TV show “Flesh and Bone,” to air on Starz in 2015. He and his wife, ABT soloist Stella Abrera, will also serve as répétiteurs for the Antony Tudor Ballet Trust. abt.org.
At right: Radetsky in Fancy Free. Photo by Marty Sohl, Courtesy ABT.
Straight From the Horse’s Mouth
DURHAM, NORTH CAROLINA
When choreographers perform their own work, we’re getting an undiluted product—from mind to body to stage. That’s the reward of the On Their Bodies program, July 22–23, at American Dance Festival. Ronald K. Brown, Stephen Petronio, Doug Varone and Shen Wei, who have each carved out their own unique movement languages, will perform self-choreographed solos. (If only there was a woman in the mix, too!) americandancefestival.org.
At left: Ronald K. Brown. Photo by Kurt H. Leggard, Courtesy Evidence.
It’s a simple but compelling experiment: Commission a piece of music, have two choreographers create their own works to it and present them on the same bill. Audiences will be hearing double during the SKETCH 4 | Music Mirror program at ODC Theater, in which Amy Seiwert and Adam Hougland will offer separate interpretations of Kevin Keller’s score. Seiwert, known for her quirky, angular movement, and Hougland, for his innovative narratives, have been housed at ODC for five weeks to prepare. July 24–27. odcdance.org.
At right: Weston Krukow and Sarah Griffin of Amy Seiwert Imagery. Photo by David DeSilva, Courtesy Amy Seiwert Imagery.
See the Music
Mark Morris is a master of translating a musical score into lush dancing. This summer’s Jacob’s Pillow Dance Festival will offer a full week of events that dive into his obsession with melody. Morris himself will lead music seminars, discussions and open company classes. And there will be plenty of performances, too: The Mark Morris Dance Group Music Ensemble will have its own concert and will accompany MMDG in seven programs of newer Morris works—Festival Dance, A Wooden Tree, Crosswalk and Jenn and Spencer. July 21–27. jacobspillow.org.
At left: Domingo Estrada and Michelle Yard in Festival Dance. Photo by Stephanie Berger, Courtesy MMDG.