ETHAN STIEFEL AS COOPER NIELSEN IN "CENTER STAGE" (2000) AND "CENTER STAGE: TURN IT UP" (2008) by Dane Youssef

ETHAN STIEFEL AS COOPER NIELSEN IN "CENTER STAGE" (2000) AND "CENTER STAGE: TURN IT UP" (2008)


by Dane Youssef


Cooper Nielsen is renown as one of the greatest dancers on earth right now. Without question.


Where the traditional male dancer's body is slightly more muscular, Nielsen has more of a lithe build, allowing him to move the way a prima ballerina absolutta would at the peak of her illustrious career. The man doesn't merely leap, he flies. He puts even some of the best ballerinas to shame.


Something of a "bad boy rebel," he rides a motorcycle, wears aviator shades and has a flip, indifferent way of dealing with authority and those who clash with him. And yes, Nielsen is perhaps the greatest out there right now. But he's not merely content to be the best "ballerino" out there, he's also trying his hand at big professional choreography. But ABA's artistic director isn't content to give into all of Cooper's demands. Reeves seems threatened having someone who's name seems to shine brighter than his.


The American Ballet Company doesn't seem to be entirely his when Nielsen is that arrogant, obnoxious, womanizing Alpha-male jock you see in every other sports movie. Nielsen may currently be the best there is, but Jonathan was the one who could assure her job security.


But more likely, there is a moment near the end of the movie where someone tells Nielsen, "You're an amazing dancer and you're a great choreographer. But as a boyfriend, you kind of suck." So maybe Kathy had the right idea all along.


Since the great Nielsen's departure from ABC, the feelings and relationship of Reeves and Donahue continue to ferment. Eventually (and thankfully), Cooper returned to the US of A and to the ABC. He wasn't about this one embarrassing relationship mishap make him go into hiding forever. And he still is the brightest star ever to come out of the ABC, even more so than current artistic director and current significant other of Kathleen Donahue, Jonathan Reeves. To celebrate his grand return to the company, he re-unites with his former lover (as a dance partner only) and the two perform a rendition of Sir Kenneth MacMillan 's "Romeo & Juliet." The piece is greeted with the expected raves and teary-eyes. The two seem to be re-united as more than just dance partners. Yet when Cooper plants a passionate kiss on her elegant swan-like neck at the reception, she takes him aside and tells him in no uncertain terms that it's over and it's been over. They're dance partners, she tells him. Nothing more. But Cooper's abilities as a dance don't just overshadow Kathleen. He seems to take limelight away from her husband as well.


Which may very well explain why Reeves resent Cooper so much--that and the fact that Cooper used to bone his wife. Kathleen cheated on Cooper with Jonathan and now there are clues hinting that she's now making time with Cooper behind Jonathan's back.

Perhaps.


She gives Cooper a look when ABC's least promising (yet most determined) pupil gives him a box of cookies after their one-night stand ("so you'll have some for next time"). And at a performance, she seems to have some kind of issue with dear Jody comes to see their duet. Kathleen hints at her being a stalker. "You are in big trouble," she tells him. Though he goes home with another woman.


He has a geekiness about him, though a boyish charm. He doesn't seem like the playboy type. But his success in the field of professional ballet allows him to play Don Juan. Though it's implied he still loves Kathleen and in one scene, he may be trying to get her back. Or he may be just trying to get back at her.


The man is considered the greatest ever to pull on tights, slippers and stand at the barre without being a Russian. Everyone who sees him dance knows he's the greatest. Even Kathleen, Jodie and Eva have to concede that.


Professional ballet has never seen anything as breathtaking as Cooper's ballet. But even the piece itself would only be half of what it is with our Cooper himself dancing the male lead. After it's over, the applause is loud enough to bring the entire roof down.


His dancing is not in the way of Baryshnikov or Nureyev, a powerful beast with grace. His dancing is more light and delicate. He's soars with more grace and ease than his ballerina partners.


While those who know him best are quick to point out he has his faults (only some of which are listed above), he just seems to always know and have whatever dance is all about...


--For Every Boy Who Ever Got Into Ballet (tights, slippers and all), Dane Youssef



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