In advance of the 2023 premiere, Dance Magazine writer Emily May spoke with Cunningham about their creative process and working with a seemingly unlikely collaborator in Melanie C. Read May’s full interview with Cunningham about the creation of how did we get here?

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On June 25, his production company, Studio Simkin, unveiled one, a seven-minute dance film produced by (and starring) Simkin and choreographed by David Dawson. Shot during the pandemic in April 2021, one represents both a labor of love and where Simkin would like to see his career go eventually.

Read the full Pointe article 

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The film brings two characters to life from Thomas Hart Benton’s mural The Sources of Country Music, which depicts the diverse musicians who have shaped country music. Nashville Ballet’s Shaiya Donohue and Cassandra Thoms wear costumes similar to two dancers in the painting as they glide through the rotunda. Their pas de deux culminates in a poignant moment facing Atkins’s plaque, surrounded by his 1954 Standel 25L15 amplifier and a prototype of the Gretsch Chet Atkins Hollow Body 6120 model electric guitar.

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The short film, directed by Brian Logvinsky, tells the story of Alex, a self-destructive dance prodigy who faces his own demons and the pain of his mother’s death by being hypnotized by a mysterious psychotherapist Dr. Leechny (Mark Geller) and his assistants Chakra and Harmony (Jemima Kirke). Alex then experiences the catharsis of the film’s title, dancing through New York City as the sun rises.

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Created by Washington, DC–based ad agency Design Army and choreographed by Hong Kong Ballet artistic director Septime Webre, “Tutu Academy” tells the story of a fictional school in which tutus are the uniform and the physics of pointe shoes is part of the curriculum. When a UFO arrives carrying an (entirely green) extraterrestrial, he struggles to communicate with the students in class—until being given a green tutu. When the UFO heads home (with a tutu around its domed cockpit window), the extraterrestrial brings celebratory dance around the galaxy.

Stylish anniversary celebrations are becoming a tradition for the company—Hong Kong Ballet also marked its 40th anniversary with a film, a Wes Anderson-esque romp through the city fusing ballet with pop culture.

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Rambert’s adaptation was filmed for television and aired on the BBC on New Year’s Day 2024 in the UK. The original TV series is also being translated into a film, with newly minted Oscar winner Cillian Murphy returning to the role of Thomas Shelby.

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Chan, co-founder of Final Bow for Yellowface, spoke to Dance Magazine writer Stav Ziv last fall about the creation process of Star on the Rise: La Bayadère … Reimagined! in “Indiana University Removes Offensive Caricatures in New Productions of The Nutcracker and La Bayadère:” “My favorite creative prompt is asking myself the question: ‘What else could it be?’ ” says Chan. “Like when you’re a little kid and you have a pen, but it’s not just a pen. It could be a rocket ship or a lightsaber or magic wand. How can we apply that kind of thinking to a work like Bayadère?”

Instead of reproducing a French-born, St. Petersburg-based ballet master’s imagined India, Chan and Fullington set their love triangle during the golden age of Hollywood. Though they’ve re-created much of Marius Petipa’s choreography based on notations from 1900, the tale is reminiscent of quintessential American musicals like Singin’ in the Rain, Chan says, “if Nikiya was like Debbie Reynolds and Solor was Gene Kelly, and Lina Lamont, the sort-of princess, was this Gamzatti character.” In this telling, Ludwig Minkus’ score is reorchestrated by Larry Moore in the style of a Gershwin musical, the Golden Idol is a dancing Oscar statue, and the iconic Kingdom of the Shades becomes an Art Deco fantasy à la Busby Berkeley.

“With the flip in the storyline, the beauty of the dance remains and the questionable plot dissolves,” says IU senior Ruth Connelly. Fellow senior Aram Hengen adds that the school’s learning environment is the perfect place for this change to begin:­ “It’s a lab, basically.” Both are excited to see ripple effects­ beyond their campus.

Chan, IU ballet department chair Sarah Wroth, and their colleagues are too. “All I’m saying is, ‘Let me show you just one other way to do it,’ ” Chan says. “Everybody benefits if we get more Bayadères. That’s the beauty of this form. It can take reimaginings.” The stories we tell have to reflect us, even when it comes to the classics, Chan says, and the stakes are high: “We’ve got to figure out a new way to do that for this new, more diverse, younger generation—or else we are doomed.”

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The main challenge in creating a trailer for a world premiere ballet is that often the sets haven’t been built when the trailer is created. Paul Michael Bloodgood, associate director of film and video production at Ballet Austin and a former dancer with the company, collaborated with Virtigo Pictures to create custom-built virtual environments inspired by the ballet, using Virtigo’s Unreal Engine software (originally developed for video games).

They then spent two days filming the trailer in front of Virtigo’s 50-foot curved LED screen, which creates a much more realistic background than a green screen, particularly in terms of lighting. The result is an almost-three-minute trailer that evokes the spirit of what the ballet, which runs March 22–24 at Austin’s The Long Center, will be. “It was meant to be a 30-second commercial” says Bloodgood, “but I ended up with so many ideas.”         

But has the trailer translated to ticket sales? “It has,” says Bloodgood. “We’re having some of the best March ticket sales that we’ve ever had.”

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