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CENTER STAGE
Too-familiar tale of aspiring dancers lacks brio
By Jack Garner (May 12, 2000) -- Nicholas Hytner's Center Stage revamps the backstage dance musical with modest success, telling an adolescent-oriented tale of life among ballet hopefuls. Coming from all sorts of locales, ethnic backgrounds and life experiences, the talented teens are vying for the few available slots in Manhattan's prestigious American Ballet Theatre. The film's pattern has already been established in such films as The Turning Point, Flashdance and Fame. Falling into place are all the expected elements -- OK, cliches -- including the crucial audition performance, bitterly competing divas, complicated company romances, a fearsome stage mother and the stunning, last-minute triumph of an understudy. Of course, there is dance galore, ranging from the traditions of Swan Lake to the eccentricities of a modern dance (complete with motorcycle) to a frolicking night of salsa at a hot Latin club. Though the choreography is uneven and not always imaginative, it demonstrates that dance is meant to be free-spirited and fun, even if the preparation is arduous and unforgiving and the competition is cutthroat. The young dancers are played by fresh-faced newcomers, mostly with impressive dance credentials, including Zoe Saldana, Shakiem Evans and Susan May Pratt. Leading the pack is Amanda Schull, an appealing 21-year-old who's new to film but not to dance. The story is told from the point of view of her character, Jody, a passionately determined young woman who is repeatedly told she lacks technique and has the wrong build for a dancer. The more familiar older cast members include Peter Gallagher as ABT's artistic director, real-life ABT soloist Ethan Stiefel as a veteran dancer and would-be choreographer, former Tony winner Donna Murphy as a hard-driving but understanding teacher and Debra Monk as the stage mom. Hytner directs with a confidence reflecting experience in both film drama (The Madness of King George and The Crucible) and stage musicals (Miss Saigon and the revival of Carousel). But Center Stage lacks the substance and emotional power of those earlier works.
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