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Dancers who resemble a celebrity or each other


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A friend who went to the Kirov in NYC in the sixties thought that the then blonde Irina Kolpakova was a double for Yvette Mimieux. I always thought that Jenifer Ringer looked like a young Vivien Leigh, Dvorovenko has a different shape face but more of the "minx" quality Leigh had. Jenifer is a Melanie whereas Irina definitely is a Scarlett.

Julie Kent resembles Jessica Lange in my opinion.

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Paul and Jane D., I have seen "Yankee Doodle Dandy" but not for many a year. Cagney was wonderful in that film! It's funny but we always think of Astaire & Kelly as the great Hollywood dancers and we tend to leave Cagney out of the group. Your descriptions of his footwork makes me hungry to see the film again.

Cagney generally didn't appear in musicals, which is probably why he isn't classed with Astaire and Kelly as a rule. I'd call him a fascinating 'mover'; it's a pleasure just watching him do something as simple as walk into a room and sit down. In "The Public Enemy" there's a great bit where, right after meeting Jean Harlow, he does some rapid little tap beats on the sidewalk.

atm711 writes: Diana Adams looked remarkably like a 40's actress, Gail (not to confuse with Jane!) Russell.

Absolutely true, and it never would have occurred to me. Although I remember Russell as being slighter than Adams, very sweet and frail.

Moira Shearer looked very like Vivien Leigh, too, with red hair and a more rounded face -- especially those photographs of Leigh as Titania in the Tyrone Guthrie production.

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Tyler Angle = Marlon Brando, before Brando got that mean look.

Helene Alexopoulos = Susan Jaffe and vice versa, with change of coloring.

Sarah Lane = Melissa Hayden

During Baryshnikov's brief sojourn at NYCB, Robbins' Four Seasons was on the bill one day. As the male "Spring" quartet was going through its section, one of the matinee ladies near me exclaimed to her friend, "Oh, look! There he is!" indicating the blondish, square-jawed (but tallish) Christopher Fleming. Fleming was a lovely dancer, but he was no Baryshnikov.

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I've been watching that 1984 LA Ballet videotape 'Pas de Deux.' Very grainy-looking but a lot of worthwhile things on it.

Michal Denard has something of Patrick Swayze and Gerard Depardieu (before he got so fat), anyway Denard has wonderful big theatrical French face, in same way Jalil Lespert, current film star, does.

On same tape, the divine Pat McBride looks very much like Lee Radziwill. Those are delicious looks if there ever were any.

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I have found a slight resemblance between Altynai Asylmuratova and Audrey Hepburn - they both have those marvelous high cheekbones. And they are both so beautiful in an unusual way.

I just watched the POB "Don Quichotte" and sometimes Aurelie Dupont reminded me of Catherine Zeta-Jones and sometimes she reminded me of Liv Tyler.

I also have noticed the Guillem/Adjani resemblance.

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Speaking of Catherine Zeta-Jones, there are certain scenes in ABT's filmed version of Giselle where Carla Fracci bears a striking resemblance to Catherine Zeta-Jones. The resemblance doesn't show up consistently -- mostly when Fracci has her back toward the camera and turns toward it. (The scene where Ted Kivitt is holding Fracci in his arms and then she turns away from him comes to mind.)

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Kay Mazzo and Audrey Hepburn had a strong connection in my eye. In fact, I can still see it today.

Are you thinking of the spidery, tiny-limbed bodies more than the faces? I can see the body similarity (especially if you juxtapose Mazzo from Stravinsky Violin Concerto and Hepburn in the swimsuit in 'Two for the Road') but not anything in the faces, as Hepburn had a face full of light and natural glamour that enhanced the already unusually striking prettiness; my (admittedly fewer) views of Mazzo are memories of a much simpler face.

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Peter Schaufuss reminds me of Robert Mitchum, primarily in attitude (the personal sort) but also something in the face, especially the nose. However, with Mitchum this attitude looks more natural and graceful (he's in the more appropriate medium for it, I'd think), and maybe even a bit more musical. Does make me think that some of the noir classics, as Chandler, are dreamy and romantic enough for ballet--like taking 'Slaughter on 10th Avenue' a few revolutions further and darker.

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Papeetepatrick, that's an interesting thought about using the Chandleresque characters and ambience for a ballet. I guess James Sewall had a similar idea (though in a basically camp vein) when he created his new work, Guy Noir: the Ballet.


I notice that Guy Noir is a "registered trademark and used by permission." Would that apply, I wonder, to Sam Spade as well?

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Is "Les Bourgeois" Michael J. Fox if Michael J. Fox was a ballet dancer, or is "Back to the Future" Daniil Simkin if Daniil Simkin was an actor? More a body language and movement quality thing than facial features though I think ...

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Bart--that's amusing about Guy Noir. I think Keillor is everywhere now. In 2002, I saw him and his people at Town Hall taping one of the shows; this was made very worthwhile by the singing of the great Odetta and also my first time to see Kristin Chenowith.

Yes, I think I was thinking about a more truly sinister 'real noir', not camp. 'Farewell, My Lovely' and 'the High Window' and 'The Little Sister' especially come to mind--but Chandler, perhaps more than any other novelist, made of Los Angeles a truly romantic city, and pointe dancers don't seem at all unnatural in something like this. It could be either story ballet or abstract, I'd think.

Carbro--adore 'loner eyes,' my first time to hear this term. I'm going to employ the mirror to see if I can exude them too...

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Re: Fox/Simkin. You're right, there is a similarity in movement style which I think the choreography emphasizes. Fox is kind of fond of moments when he can sag, and do a take to the audience, saying, somewhat archly, "Do you believe this?" I remember an interview where he admitted this trait when he had to portray his own daughter in the BTTF series. He realized that there could be none of that if the acting job were to succeed. Simkin makes a business of the lassitude of the lounge lizard, and does it with great skill and relish. They both explode out of such moments to tremendous effect, and they both have a simpatico relationship going with the audience. So yes, I can agree with a parallel for Fox/Simkin.

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From the Kultur DVD of Nutcracker with Maximova and Vasiliev, when both were in their late 40s.

The older Vladimir Vasiliev (Nutcracker Prince): the older Terrence Stamp.

Tkhe older Maximova (Masha): a cross between Zizi Jeanmaire and Audrey Hepburn?

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