My childhood was spent growing up in a lower, middle-class family on the outer northern fringes of Sydney in the 1970’s and 80’s, attending an all-boy’s public school. Access to quality live theatre experiences was difficult (I vaguely recall attending a live production of Fantasia as a pre-tween) and my family didn’t have the finances to easily afford them, coupled with a local culture that was infinitely more likely to attend the “footy” than a ballet.
Due to this lack of financial, geographical and cultural access to live theatre, it was via the screen, bringing music and dance into my living room, that I fell in love with dance specifically and performance more broadly. As a pre-teen, I recall Friday nights spent sitting on the couch with my recently divorced Dad, or curled up alone on a Saturday afternoon after a morning spent playing cricket, falling under the magical spell and becoming addicted to watching reruns of the Golden Age of Hollywood musicals: West Side Story, Guys and Dolls, Top Hat, The Red Shoes, An American in Paris, Oklahoma, A Chorus Line and the list goes on and on.
Dance was athletic, romantic, it was storytelling, it was emotion conveyed through movement, and it generated and allowed me to explore ideas and feelings that I could only experience while in a Zen-like focus — lost in that silver screen.
Thinking back, I was first drawn in and nourished on reruns of black and white classics starring Fred Astair and Ginger Rogers, and musicals of the mid-1930’s laced with the complex, over-the-head-shooting style from renowned choreographer Busby Berkeley. Later, in my early teens, it was the TV series FAME (1982) and the movies Flashdance (1983), Footloose (1984) and the break-dancing classic Beat Street (1984) that ignited a fire in my belly. Though the film The Turning Point had been released in 1977 I didn’t see it until I was in my late teens. And through this, I became enamoured with the incredible dynamism and magnetic charisma of Mikhail Baryshnikov and the phenomenal power and elegance of ballet, later solidified upon watching a grainy video cassette recording of Giselle, starring acclaimed Principal Artists of The Australian Ballet, Kelvin Coe and Christine Walsh, and later still, Nureyev’s acclaimed made-for-film, Don Quixote (1973).
Since that time, culturally we seem to have produced less human-talent driven TV and cinema devoted to dance – with the exception of the growth in shortform dance on film, once featured in the now defunct ReelDance festival — and less in the way of musicals, though they’ve been notable exceptions, such as Baz Lurhmann’s beloved Strictly Ballroom and Moulin Rouge, Chicago with the dazzling Catherine Zeta-Jones, The Greatest Showman with our own Hugh Jackman, the remake of West Side Story (sorry Mr. Spielberg, I’m not a fan) and the popular Australian TV series, Dance Academy to name a few that stand out. Yet the strong audience pull for dance and musicals has never dimmed: the storytelling simply shifted to become dominated by animation companies such as DreamWorks, Pixar and Disney. Of course dance remains on our televisions, yet it’s more typically part of annual TV fodder like Dancing with the Stars, or So You Think You Can Dance, which while engaging – for me – don’t have the pull and gravitas to truly nourish and inspire a career defining dream, as dance can when it’s an integral component of great story-telling, delivered by hard won human talent.
And yet … we’re all different, have different preferences and journeys that bring us into the world of dance. We asked a range of incredible people that make up our vibrant dance community, sharing a stand-out TV series or film that inspired their passion and careers.
— Josef Brown, Managing Director of MDM and Founder of The Library Aesthetic
Brett Morgan – Director at National College of Dance
Film: Singin’ in the Rain
I was inspired from a young age by Gene Kelly and Donald O’Connor in Singin' in the Rain in particular Moses Supposes — their effortless rhythm, humour and synchronicity made me want to dance the way they did. I watched that movie over and over again as I wanted to be just like them. Years later, I had the privilege of meeting Donald O’Connor and telling him he was the reason I began dancing.
Simone Goldsmith – Former Principal Artist and co-founder of MDM Dancewear
Film: The Turning Point
Oh gosh, this really shows my age, but The Turning Point is probably the first dance movie I can recall that inspired me to dance. The footage of Baryshnikov and Leslie Brown dancing Act 2, Giselle, will forever be etched in my memory. That it was filmed in the late 70's blows my mind — it could be seen on any stage around the world today and still be considered world-class!
Georgia Canning – Studio Owner and founder of The Balanced Ballerina
Film: Center Stage
Center Stage shaped my childhood dream of attending a full-time ballet school connected to a professional company. It was the first time I saw ballet in a grown-up environment — with boys, late-night outings, and behind-the-scenes gossip — which felt thrilling as a young student on the cusp of her teen years.
Lisa-Maree Callum – Former Principal Artist, now Principal Rehearsal Director at QLD Ballet
Film: Funny Face
The one that truly sparked my imagination was Funny Face, starring Audrey Hepburn. What drew me in was Audrey’s unmistakable elegance and the natural and unforced way she carried herself. From a young age, I aspired to embody a similar sense of composure and grace. I realize I set the bar extremely high by looking to Audrey as my inspiration, but I like to think, in some small way, I managed to honour that ideal.
Sarah Boulter – Choreographer and Studio Owner of Ev & Bow
Film: White Nights
White Nights left an incredible mark on me in my youth. The blend of pure entertainment and technical brilliance was electrifying. The dynamic performance between Mikhail Baryshnikov and Gregory Hines etched a spark of inspiration that has never faded.
Lisa Howell – Physiotherapist and founder of The Ballet Blog
Music Video: Dangerous (Michael Jackson) and Vogue (Madonna)
The funny thing is, there wasn’t really a movie or TV series that inspired me, but I was mesmerized by the MTV music video dancers! This was the 80’s, so think Michael Jackson, Madonna etc. I had no access to jazz, hip hop, or tap lessons … only ballet and flamenco, and I was dying to do something “cooler”. So I’d record onto VCR and teach myself the MTV routines instead. Ha!
Lynette Wills – Former Principal Artist, Head of Dance at VCAS
TV Series: FAME
Represents every dancer’s dream: a place where you’re surrounded by like-minded performers, fuelled by creativity, passion, and limitless possibility.
Angela Lau – Founder and Director of the Australian Dance Festival (ADF)
Film: Dirty Dancing
I strongly identified with the character of Frances “Baby” Houseman and how dance was a way for her to evolve and be seen for who she really was. And who wouldn’t want to go from the unseen smart girl to burning up the floor with Johnny!
Lisa Pavane – Former Artistic Director, The Australian Ballet School
Film: The Band Wagon
So many great works to choose from, but I could not go past The Band Wagon because of the unforgettable dance scene, Dancing in the Dark. I love this pas de deux because Astaire and Charisse connect so naturally, capturing an effortless bond that feels both romantic and deeply human. The elegance of the choreography, along with their style, unison and musicality, is breathtaking. Each movement feels perfectly in sync with the music, and you can almost feel their emotions through every step. It is passionate, dramatic and timeless, a perfect example of how dance can tell a story without words.
David McAllister AM – Former Artistic Director, The Australian Ballet
Film: The Turning Point
Without a doubt — Herbert Ross’s The Turning Point. I saw the advertisement for it when I was on a school excursion to see a Shakespeare film and was the only young man in that all-boys auditorium who was genuinely thrilled that it was about to hit the screens. I was not disappointed. To this day, I believe Ann Bancroft delivered the finest actor-as-dancer performance of all time, second only to Vivien Leigh in Waterloo Bridge.
Leanne Stojmenov – Artistic Director, West Australian Ballet
Film: Dirty Dancing and Grease
Recording: Don Quixote (Harvey and Baryshnikov)
I absolutely cannot choose between Dirty Dancing and Grease. They were both on constant loop in my household on VHS. I suspect Stranger Things may have educated this generation on what VHS actually is.
The recording of Cynthia Harvey and Mikhail Baryshnikov in Don Quixote was also played regularly, sometimes every morning before school. Often I would only make it to Kitri’s first entrance, but that alone was enough to inspire my entire day.
Marie Walton-Mahon OAM – Founder and Director, Progressing Ballet Technique
Film: Mao’s Last Dancer
This is far more than a story about ballet — it is a profound narrative of resilience, truth, and the transformative power of art. Directed with restraint and integrity, the film traces Li Cunxin’s extraordinary journey without ever resorting to sentimentality. What makes this film so compelling is its honesty: the physical and emotional cost of excellence, the weight of political control, and the courage required to choose freedom — both artistically and personally. The dancing is superb, but it is never shown as spectacle alone; every movement carries consequence, identity, and defiance. This is a film that reminds us that technique is meaningless without purpose, and that great dancers are not shaped solely by studios and stages, but by hardship, belief, and an unyielding commitment to truth. Mao’s Last Dancer stays with you long after the final frame — a testament to how dance can give voice to the human spirit when words fall short.
Lia Cox – Theatre Reviewer (LiaLoves) and Arts Educator
Film: West Side Story
Growing up, the dance films that really stayed with me were West Side Story and An American in Paris, and honestly, I still feel their influence every time I watch or write about dance or music theatre now.
West Side Story completely swept me up. The energy, the emotion, the way movement spoke when words weren’t enough, it felt electric. I loved how the dancing wasn’t just there to be impressive, but to tell the story: the tension, the heartbreak, the hope. It showed me early on that dance could be bold, political, and deeply emotional all at once.
It shaped how I see dance: as something that can be grounded and gritty and dreamy and lyrical. They’re the reason I’m drawn to performances that tell stories, take risks, and make you feel something, and the reason I do what I do!
Editor’s Note
As we compiled these reflections, it became clear how many formative dance films could not be named. We have included an Honourable Mentions list below. If you are in need of a rewatch, or are a young dancer looking for inspiration, consider this a place to begin.
Honourable Mentions
- Seven Brides for Seven Brothers (1954)
- Hello Dolly! (1969)
- A Chorus Line (1985)
- Billy Elliot (2000)
- The Red Shoes (1948)
- Saturday Night Fever (1977)
- All That Jazz (1979)
- An American in Paris (1951)
- Fame (1980)
- Shall We Dance (1937)
- Cabaret (1972)
- Pina (2011)
- Yuli (2018)
- The Young Girls of Rochefort (1967)
- Flashdance (1983)
- Xanadu (1980)
- Basically any film made by Richard Rogers and Oscar Hammerstein