Ballet Stars
Courtesy Retribution Media

Marcelo Gomes' clean technique, skilled partnering and magnetic stage presence make him one of the world's most versatile and in-demand male dancers of his generation. This year saw the principal dancer celebrate his 20th anniversary with American Ballet Theatre, a company he joined at just 17 years old. Coinciding with this milestone was the release of the feature length documentary Anatomy of a Male Ballet Dancer, created by the two-man team David Barba and James Pellerito—who actually approached Gomes via Facebook. The documentary, which was seven years in the making, has been making the film-festival circuit this year, most recently August 6 at the Jacob's Pillow Dance Festival.

The film combines intimate interviews with backstage and rehearsal footage and archival video. It focuses on Gomes' skill and prowess as a partner and includes interviews with some of the world's top ballerinas including Diana Vishneva, Polina Semionova and Misty Copeland.

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From left: Irina Baranova, Alicia Markova and Nora Kaye posed in one of Jacob's Pillow's original farm buildings. Photo by Hans Knopf, Courtesy Jacob's Pillow Dance Festival Archives.

This year, the Jacob's Pillow Dance Festival in Becket, Massachusetts, is celebrating its 85th season. Over the years, some of the world's greatest dancers of the 20th and 21st century have performed here. But without the help of two of Britain's biggest ballet stars during World War II, the festival might not have survived at all.

Founded by modern dance pioneer Ted Shawn, the "Pillow," as it's come to be known, had been home to his company of Men Dancers since the early 1930s. By 1940, due in part to the outbreak of World War II, his company had disbanded, leaving Shawn deeply in debt and eager to realize his assets.

In 1941, British ballet stars Alicia Markova and Anton Dolin leased the property, with the help of benefactor Reginald Wright. There they established The International Dance Festival, a school and summer residency for Ballet Theatre (now American Ballet Theatre). Many of the participating dancers, including Markova, had just left the Ballet Russes de Monte Carlo for Ballet Theatre, and the residency was a way of keeping them together. The dancers were not paid, so many survived on $10 a week in unemployment benefits, contributing $1.00 a day towards food and lodging.

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