#STARLET DANCE FULL#
Ratmansky is full of quiet fury and disbelief, but in the studio he is calm and measured – “like a psychologist”, says one dancer – as he insists on steps being repeated again and again. I thought, ‘NATO, the UN, will stop it.’ And nothing happens.”
That’s the end of Putin.’ And nothing happened. “When the war started, I thought: ‘Well, now millions of Russians will go out into the streets and stop it. “So the air sirens go and they just sit there and wait.” Ratmanksy can’t believe it’s come to this. He’s in his 90s and can’t walk to the bomb shelter. You just need to suffer a little bit.’ Can you imagine?” Meanwhile Tatiana’s father is in Kyiv. “They say, ‘Wait a little bit, you’ll be free, you’ll be with us. Ratmansky’s wife, Tatiana, has some family in Russia. How can a sane person support the war? It’s just beyond me.” “Disappointed is not the right word,” he says of them. People he considered friends have not condemned the war.
(He’s now based in the US.) He was choreographing at the Bolshoi when war broke out, but left immediately and has been outspoken about the invasion ever since. Photograph: Johan Molenarīorn in St Petersburg, Ratmansky spent his childhood in Kyiv, trained in Moscow, danced with the Ukrainian National Ballet as well as in Canada and Denmark, and later became artistic director at Moscow’s Bolshoi Ballet. ‘How can a sane person support the war?’ … the full company. “I remember doing a cabriole and being in the air thinking, ‘What is happening there now? How are my friends?’” Finding the dancers in tears in the dressing room, the show’s producers pledged to help, joining forces with world-leading choreographer Alexei Ratmansky to create a haven for dancers and produce a new version of the ballet Giselle for a week-long run at London’s Coliseum next month. “You’re dancing but you don’t feel your body,” he says. Stanislav Olshanskyi recalls going on stage the day after the invasion. The United Ukrainian Ballet came about back in February when two young Ukrainians were dancing in a show in the Netherlands with Dutch ballerina Igone de Jongh. In a studio down the corridor, dancers go through the familiar ritual of daily ballet class – reassuringly the same the world over, except some of the faces look tired and tense and distracted. Offices and classrooms have been turned into makeshift bedrooms. We’re in the Hague, where the city’s former music and dance conservatoire has become a home for Ukrainian refugees – including a new company of ballet dancers.
#STARLET DANCE MOVIE#
I have family in Russia who say: ‘You’ll be free, you’ll be with us.’ Can you imagine?Įveryone here has a story like this, but it feels as if they’re describing a movie plot because the surroundings couldn’t be calmer.
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