Sascha Radetsky Biography
Sascha Radetsky was born on March 29, 1977, in Santa Cruz, California, United States. He is an actor and a former soloist with the American Ballet Theatre, principal with Dutch National Ballet.
Sascha Radetsky Age
Sascha Radetsky was born on March 29, 1977, in Santa Cruz, California. He is 41 years old as of 2019.
Sascha Radetsky Family
He was born in Santa Cruz, California U.S. He has an older sister, whom he used to watch as she took ballet classes. Information about his parents is not yet disclosed.
Sascha Radetsky Wife | Sascha Radetsky Married
Radetsky is married to his fellow dancer (then ABT soloist, now principal), Stella Abrera, since 2006.
Sascha Radetsky Height
There is no information about Radetsky height.
Sascha Radetsky Image
Sascha Radetsky Career
Radetsky joined American Ballet Theatre as an apprentice in 1995 and became a member of the corps de ballet in 1996. In 2000 he starred in the Nicholas Hytner directed movie Center Stage as Charlie and appeared in the Mandy Moore music video I Wanna Be with You from the movie’s soundtrack. He was promoted to soloist with ABT in 2003.
Radetsky danced as leading roles in major works by George Balanchine, Mark Morris, Paul Taylor, Lar Lubovitch, Kenneth MacMillan, Twyla Tharp, Antony Tudor, John Cranko, Agnes de Mille, Jorma Elo, Jerome Robbins, Ann Reinking, Christopher Wheeldon, and Jiří Kylian. 1, Lankendem and Birbanto in Le Corsaire, Espada and the lead gypsy in Don Quixote, Demetrius in The Dream, the Pastor in Fall River Legend, the second and third sailor in Fancy Free, Hilarion and the peasant pas de deux in Giselle, the pas de deux in Jabula, Gaston in Lady of the Camellias, the Jailer in Manon, Camille in The Merry Widow, Cavalier and the Nutcracker-Prince and in Kevin McKenzie’s The Nutcracker, Iago in Othello, Petrouchka in Petrouchka, the Warrior Chieftain in the Polovtsian Dances from Prince Igor, Rabbit in Rabbit and Rogue, Bernard in Raymonda, the Champion Roper in Rodeo, Benvolio, Tybalt and Paris in Romeo and Juliet, the Bluebird in The Sleeping Beauty, Benno and von Rothbart in Swan Lake, Orion in Sylvia, the fourth movement in Symphony in C, Hortensio in The Taming of the Shrew, Thaïs Pas de Deux, the “Guitar” pas de deux from Within You Without You: A Tribute to George Harrison and leading roles in The Brahms-Haydn Variations, C. to C. (Close to Chuck), Études, and The Leaves Are Fading. He created the Arabian Man in Alexei Ratmansky’s The Nutcracker and leading roles in From Here On Out, Troika, and Thirteen Diversions. Additionally, he was an original member of “Stiefel and Stars” and a frequent guest performer with ballet companies across the United States and abroad.
In September 2008, he left American Ballet Theater to join the Dutch National Ballet as a principal dancer, where his repertoire included Albrecht in Giselle and Masetto in Don Giovanni. On January 1, 2010. In his farewell performance, Radetsky danced as Franz alongside Xiomara Reyes in the ballet Coppelia
Sascha Radetsky Net Worth
Radetsky estimated net worth is under review.
Sascha Radetsky Movies
- A Nutcracker Christmas 2016
- Center Stage: On Pointe 2016.
- Center Stage 2000.
Sascha Radetsky Center Stage
Sascha Radetsky, featured in Center Stage, a 2000 American teen drama film where she appeared in as Charles “Charlie” Sims. The film explores the issues and difficulties in the world of professional dance, and how each individual copes with the stresses.
Sascha Radetsky Abt
Sascha Radetsky was named Artistic Director of ABT Studio Company. He joined American Ballet Theatre’s corps de ballet in 1996 were he was promoted to Soloist in 2003. He also danced as principal and guest principal with the Dutch National Ballet, Pacific Northwest Ballet, Staatsballett Berlin and Mongolian State Academic Theatre of Ballet.
Sascha Radetsky Flesh And Bone
Flesh and Bone is an American drama television miniseries, where Sascha Radetsky starred in playing the role of Ross, portraying a womanizing principal dancer.
Sascha Radetsky And Amanda Schull
Sascha Radetsky and Amanda Schull were in an on-screen matchup in Center Stage(2000).
Sascha Radetsky Video
Sascha Radetsky Instagram
Sascha Radetsky Interview
Published: September 7, 2011
Source: www.balletnews.co.uk
What motivates you at 8 am on a Monday morning?
My motivation (or lack thereof) to get up on a Monday morning is dictated by the day’s rehearsal schedule. If I have something fun and challenging to work on then I’m bustling bright-eyed around the kitchen making breakfast, but if I have a long, dull day of rehearsals to slog through then I tend to linger in my pajamas. If I’m writing something or working on something exciting outside of dance I’m also apt to wait until the last minute to head down to the studios. Of course, if I’m hurting or sore I’m less likely to tackle the day with a wink and a smile that if I’m feeling healthy and strong.
Why ballet?
This is a question I attempted to answer in two articles, one for Newsweek and one for Dance Magazine. It’s a tough question that doesn’t inspire brevity, but I’ll give it a shot! Ballet can be a deeply rewarding, exhilarating, even rapturous union of athleticism, music, and storytelling. It presents an ever-evolving physical, mental and spiritual challenge—a mind/body/soul workout. The intimacy of partnering fosters lifelong friendships, as do the daily rigors of class, rehearsal, performances, and tours. It’s powerful, delicate, virtuosic, and beautiful. It’s painful and frustratingly difficult to do well. And it’s great fun at times.
If you could dance anywhere in the world (not only in a theatre), where would you dance?
We once performed at the ancient Herodes Atticus amphitheater, located at the foot of the Acropolis in Athens. In Jesus’s time, gladiators spilled blood upon that very stage. During a performance, I remember gazing up at the Parthenon glowing softly atop the hill, above it a crescent moon and emerging mantle of stars. I can’t imagine a more breathtaking, historically relevant, or glorious place to dance.
What is your daily routine at the moment?
At the moment I’m rehabbing from minor surgery and ABT is laid off for several weeks, so my daily routine is different than what it’s like during the rest of the year. A typical non-performance workday would begin with coffee and a hearty breakfast, followed by the subway commute downtown to ABT’s studios, where I’d either take company class or give myself a thorough warm-up. I’d then rehearse all day, squeeze lunch in at some point, then do a quick but furious ten or fifteen-minute CrossFit-styled workout. In the evening, I’d have dinner with Stella and/or friends, do some homework or reading, and before bed watching The Daily Show and The Colbert Report.
How do you prepare in the hours before a show?
For a time I tried meditating before shows, but ultimately I found it didn’t make any difference. Plus, the more elaborate my pre-show ritual became the more difficult it was to sustain over a long season. So now I try to just whittle it down to the essentials: a quiet moment to lie down and relax, a good warm-up, a cup of coffee.
What are you looking forward to dancing in 2011?
In the Upper Room.
You can ask six famous people to dinner – who would you invite?
Homer, Miyamoto Musashi, Hugh Glass, Crazy Horse, Walt Whitman, and Pablo Neruda. But more than anyone, my father.
How would someone else describe you?
Don’t know.
What is your best piece of advice?
Nothing ventured nothing gained.
Which role has tested you the most & how?
Albrecht in Giselle. The steps in the ballet aren’t exceedingly difficult-nor is the partnering-but the character is so complex and conflicted that portraying him is an all-consuming, exhausting, exhilarating experience.
If you designed your own stage costume, what would you create?
I don’t know, depends on the choreography and style of the piece, the music, the cast, the purpose.
A phrase I use far too often is …
“Another round? Sure, why not…”
Who would play you in the film of your life?
Daniel Day-Lewis, Robert Duvall, Jeff Bridges, Steve McQueen or Denzel Washington (in their younger years).
What is your favorite quote?
Only that day dawns to which we are awake. There is more day to dawn. The sun is but a morning star. (Henry David Thoreau, from the end of Walden)
What’s on your iPod?
Blues, jazz, soul, classic rock, hard rock, rockabilly, old country, a bit of folk and bluegrass, hip hop, and classical.
Who would you most like to dance for, and why?
Family and friends, I suppose.
What makes you a good dance partner?
I like to think that I put my partner’s aesthetics, comfort, and wellbeing ahead of my own. Doing the pas de deux well is more important to me than doing the solo well.
Do you have a secret skill which no one knows about?
I’ve studied primitive skills – fire making without matches, shelter-building, wild edible and medicinal plants, bow-making, tracking, etc.
Describe yourself in just three words.
Miles to go.
In terms of your ballet career, where would you like to be this time next year?
Healthy and challenged.
f you could dance anywhere in the world (not only in a theatre), where would you dance?
We once performed at the ancient Herodes Atticus amphitheater, located at the foot of the Acropolis in Athens. In Jesus’s time, gladiators spilled blood upon that very stage. During a performance, I remember gazing up at the Parthenon glowing softly atop the hill, above it a crescent moon and emerging mantle of stars. I can’t imagine a more breathtaking, historically relevant, or glorious place to dance.
What is your daily routine at the moment?
At the moment I’m rehabbing from minor surgery and ABT is laid off for several weeks, so my daily routine is different than what it’s like during the rest of the year. A typical non-performance workday would begin with coffee and a hearty breakfast, followed by the subway commute downtown to ABT’s studios, where I’d either take company class or give myself a thorough warm-up. I’d then rehearse all day, squeeze lunch in at some point, then do a quick but furious ten or fifteen-minute CrossFit-styled workout. In the evening, I’d have dinner with Stella and/or friends, do some homework or reading, and before bed watching The Daily Show and The Colbert Report.
How do you prepare in the hours before a show?
For a time I tried meditating before shows, but ultimately I found it didn’t make any difference. Plus, the more elaborate my pre-show ritual became the more difficult it was to sustain over a long season. So now I try to just whittle it down to the essentials: a quiet moment to lie down and relax, a good warm-up, a cup of coffee.
What makes you a good dance partner?
I like to think that I put my partner’s aesthetics, comfort, and wellbeing ahead of my own. Doing the pas de deux well is more important to me than doing the solo well.
Do you have a secret skill which no one knows about?
I’ve studied primitive skills – fire making without matches, shelter-building, wild edible and medicinal plants, bow-making, tracking, etc.
Describe yourself in just three words.
Miles to go.
In terms of your ballet career, where would you like to be this time next year?
Healthy and challenged.
Why ballet?
This is a question I attempted to answer in two articles, one for Newsweek and one for Dance Magazine. It’s a tough question that doesn’t inspire brevity, but I’ll give it a shot! Ballet can be a deeply rewarding, exhilarating, even rapturous union of athleticism, music, and storytelling. It presents an ever-evolving physical, mental and spiritual challenge—a mind/body/soul workout. The intimacy of partnering fosters lifelong friendships, as do the daily rigors of class, rehearsal, performances, and tours. It’s powerful, delicate, virtuosic, and beautiful. It’s painful and frustratingly difficult to do well. And it’s great fun at times.
How has your interest in acting developed since your early film days with Center Stage? What keeps you circling back?
I guess my relationship with acting has been sort of complicated. It can be great fun (especially when dancing isn’t involved, as the pace and hours of shooting aren’t very compatible with dance), but it’s a distinct art form, of course, one that requires talent, study and coaching. I always enjoy the challenge of acting, and it’s something I’d certainly like to do more of, but it’s a tough gig to chase if you can’t be 100% committed.
You’re also heading NYU’s Ballet Pedagogy program—how is that role treating you? How do you balance it with other creative endeavors?
Running the ABT/NYU Master’s in Ballet Pedagogy Program has been rewarding thus far. My students are intelligent and hungry to learn, and I feel the information and experiences we’re giving them are valuable and unique to ABT. I’m grateful that my predecessor, the inimitably wise Raymond Lukens, has agreed to keep a presence in the program; also that several of my old coaches and colleagues have given talks and master classes. I’ve also been acting as a ballet master with the ABT Studio Company. I’d say I’m able to balance my responsibilities by getting out of Dodge and into the mountains every now and then to hike, fly-fish and regroup.
Do you have any fun dance-related (or not dance-related) holiday traditions?
Well, being involved in The Nutcracker is the inevitable tradition, so we’re rarely in the same place every year over the holidays—Nut guestings would scatter us far and wide. Now that I’m not onstage anymore, I try to visit family, hit the mountains or hang out with Stell as she Sugar Plums her heart out.
Have you seen the finished film yet? How much of The Nutcracker is in there?
I haven’t seen it, so I’m not sure how much dancing will make the ultimate cut. But I remember we shot bits of the party scene, snow, Act II divertissement, and the grandpas. Sophia and the other dancers, most of whom hailed from the National Ballet of Canada, did some great work.
Do we get to see you dance?
Yes, in one short scene. But I’ve been retired and out of class for over two years, so I think the correct question isn’t whether you get to see me dance, but whether you have to endure seeing me dance!
What was your favorite scene to shoot?
Strangely, it might have been the heaviest, most emotionally charged scene of the film, when Amy Acker’s character, Lily, receives tragic news. Amy went to a very dark place for that scene—and stayed there for hours. Though we were stuck together in a cramped dressing room, I tried not to speak to her in between takes and camera setups, treating her like I would a pitcher throwing a no-hitter. I learned a great deal from her, during that scene and over the course of the entire shoot.
What drew you to this project?
It seemed a good opportunity to work on acting, the people involved were all great folks and the story was charming.