Delving into Maestro's Most Audacious Moment: The Dream Ballet Revealed | Vanity Fair

Article by Esther Zuckerman

In the early scenes of Maestro, produced by Bradley Cooper, a shift from black and white imagery to coloured takes place. Leonard Bernstein, played by Cooper, and Felicia (Carey Mulligan), his future wife, transgress from their status as spectators at a lunch in Massachusetts to actors on a Broadway stage.

Maestro features an impressive dream ballet sequence where Felicia and Lenny find themselves wrapped up in a performance of Fancy Free, a renowned Jerome Robbins-dance piece from 1944 concerning sailors on leave, which was collaborated on by Bernstein in terms of the music. Soon, they watch on before taking on the roles themselves, the sequence acting as a metaphorical representation of the tumultuous journey their relationship will take.

Cooper fostered the idea of this stylistic change in narrative early on. He planned to utilise Bernstein's music as a way of chronicling Lenny and Felicia's budding relationship further. He saw the transition from the Fancy Free to the On the Town sequence as a reflection of their relationship - a shift from whimsical and magical to haunting and disruptive, fitting with the narrative of their relationship.

Justin Peck, a notable choreographer who worked on Steven Spielberg’s West Side Story, was brought on board by Cooper to oversee the dance sequences and bring Cooper's vision to life. Cooper and Peck aimed to tell a story of longing and pursuit through their choreography.

Peck describes the number, which starts with Lenny and Felicia fleeing from a famous concert venue towards their own artistic dreams, as depicting Lenny revealing to Felicia his passionate and imaginative side, and Felicia immersing herself in Bernstein's creative world.

Training Cooper to perfectly enact his part of Robbins's famous work and depicting that Lenny's attraction to the sailor-dancer was not just physical but also as a role he wishes to emulate. They settled on a solo involving a heart-thumping gesture perform by Lenny which was reiterated later in the film.

“Bradley acts smoothly, demonstrating rhythmic competence throughout the dance sequence," states Peck. Cooper didn't employ a dance double, opting instead to train tirelessly for months under the guidance of dance instructor Craig Salstein. For him, it was about encapsulating Lenny in the Fancy Free scene, rather than portraying him as an exceptional dancer.

Cooper admits that the process was not without difficulty but succeeded nevertheless, earning the approval of Peck for his authentic performance. Peck gives credit to Cooper's natural movement ability, considering it a rare trait amongst actors.

Dancers from the New York area, many of whom also contributed to West Side Story, filled in the other roles. There was a workshop about three months prior to shooting at Broadway's St. James Theatre. Cooper and Mulligan joined the last few days of rehearsals which focused on ensuring they were comfortable and confident with their roles and movements. Their efforts were applauded by both Peck and the rest of the dancers.

Even with that prep, the choreography was being tweaked throughout the process of shooting, so Cooper and cinematographer Matthew Libatique could capture it the way they desired. “I would make a lot of changes, just micro changes, because it’s all about creating depth—what’s the story being told in that moment?” Cooper says.

Ultimately, for Cooper, this cinematic break with reality was in keeping with the spirit of Bernstein’s work. “I really just took a page from the way Lenny made music and the way Lenny lived his life,” he says. “I always knew that the movie had to be as bold as he is [or] it could never properly reflect or encompass his soul.”