How stella got her groove back dance scene

How Stella Got Her Groove Back (1998)

  • Cast & crew
  • User reviews
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  • 19981998
  • RR
  • 2h 4m





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Stella is a highly successful, forty-something San Francisco stock broker who is persuaded by her colorful New York girlfriend Delilah to take a well deserved, first-class vacation to Jamaic... Read allStella is a highly successful, forty-something San Francisco stock broker who is persuaded by her colorful New York girlfriend Delilah to take a well deserved, first-class vacation to Jamaica. Stella is a highly successful, forty-something San Francisco stock broker who is persuaded by her colorful New York girlfriend Delilah to take a well deserved, first-class vacation to Jamaica.





    • Kevin Rodney Sullivan
    • Terry McMillan(novel)
    • Ron Bass(screenplay)
  • Stars
    • Angela Bassett
    • Taye Diggs
    • Whoopi Goldberg
    • Kevin Rodney Sullivan
    • Terry McMillan(novel)
    • Ron Bass(screenplay)
  • Stars
    • Angela Bassett
    • Taye Diggs
    • Whoopi Goldberg
  • See production, box office & company info
    • 54User reviews
    • 30Critic reviews
    • 56Metascore
  • See more at IMDbPro
    • Awards
      • 4 wins & 8 nominations


    Trailer 2:21

    Watch How Stella Got Her Groove Back


    Top cast

    Angela Bassett

    • Stella Payne

    Taye Diggs

    • Winston Shakespeare

    Whoopi Goldberg

    • Delilah Abraham

    Regina King

    • Vanessa

    Suzzanne Douglas

    • Angela

    Michael J. Pagan

    • Quincy Payne

    Sicily Johnson

    • Chantel
    • (as Sicily)

    Richard Lawson

    Barry Shabaka Henley

    Lee Weaver

    Glynn Turman

    • Dr. Shakespeare

    Phyllis Yvonne Stickney

    • Mrs. Shakespeare

    Denise Hunt

    • Ms. Thang

    Lisa Hanna

    James Pickens Jr.

    • Walter Payne

    Philip Casnoff

    • Kennedy

    Lou Myers

    • Uncle Ollie

    D'Army Bailey

    • Minister
      • Kevin Rodney Sullivan
      • Terry McMillan(novel) (screenplay)
      • Ron Bass(screenplay)
    • All cast & crew
    • Production, box office & more at IMDbPro

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    Did you know

    • Connections

      Featured in At the Movies: How Stella Got Her Groove Back/Return to Paradise/Snake Eyes/The Rat Pack/Full Tilt Boogie (1998)

    User reviews54


    Featured review

    'Stella' lacks groove

    Angela Bassett ("Waiting to Exhale") is talented and buff as Stella, a single mother/career woman who's in need of a vacation. Stella decides to head for Jamaica with her best friend, Delilah (Whoopi Goldberg in a fine supporting role). Stella meets 20-year-old Winston (Taye Diggs). They fall in love, in-spite of Stella's emotional insecurities. Terry McMillan adapted from her novel based on her real-life experience. I hate to say this, but unlike "Waiting to Exhale," this overlong movie barely holds up to the book, because of too many plot holes and too many unnecessary characters. On the contrary, Diggs turns in an impressive performance as well. My evaluation: ** out of ****.



    • Michael_Pilkington
    • Mar 15, 1999

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    • Release date
      • August 14, 1998 (United States)
      • United States
      • English
    • Also known as
      • How Stella Got Her Groove Back On
    • Filming locations
      • 1090 Rubio Street, Altadena, California, USA
    • Production company
      • Twentieth Century Fox
    • See more company credits at IMDbPro

    Box office

      • $20,000,000 (estimated)
      • $37,672,941
      • $11,318,919
      • Aug 16, 1998
      • $39,278,722
    See detailed box office info on IMDbPro

    Technical specs

    • 2 hours 4 minutes

      • Dolby Digital
      • 1. 85 : 1

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    Towards wine - Newspaper Kommersant No.

    161 (5434) dated 09/09/2014

    Marina Zudina (Blanche) and Mikhail Porechenkov (Stanley) play their roles according to popular notions of how Tennessee Williams should be played prepared last season by the premiere - "A Streetcar Named Desire" by the great American playwright Tennessee Williams directed by the chief director of the Krasnoyarsk Youth Theater Roman Feodori. By ROMAN DOLZHANSKY.

    Nikolai Simonov's set — a two-storey wooden house with galleries installed on the turntable of the stage, something like, if not a huge tram, then at least a steam locomotive — went to director Roman Feodori along with the great play by Tennessee Williams and the distribution already made: another director, who was going to stage "Tram" Desire "at the Chekhov Moscow Art Theater, refused to work shortly before the start of rehearsals. For the young director, who in recent years has become famous thanks to the performances he staged in Barnaul and Krasnoyarsk, the Moscow Art Theater rehearsals certainly became a good school - when else will you get such bright acting personalities in addition to the circumstances suggested in the text.

    Williams's play is seductive because of the strong, downright Broadway-style plot that leaves room for subtle nuances of characters - that's probably why A Streetcar Named Desire has not left the repertoire rails all over the world for more than half a century. Everyone knows that the main theme of the play is the clash of fragility and brute, animal strength, the conflict of lonely human hopes and the everyday truth of life. But within the theme, there are many variations.

    The famous leading actors in the new performance play commendably, with full dedication, in accordance with the popular notion of how to play a play that has been replayed by good actors all over the world. In the troupe of the Moscow Art Theater, of course, the first person who comes to mind when thinking about Stanley Kowalski is Mikhail Porechenkov. He is absolutely convincing not only in his thick-set masculine solidity and rough earthiness, but also in hints that Stanley is not so simple, that he did not appropriate the right to be strong and ruthless, but deserved it before himself. A completely different character is Mitch, whom Mikhail Trukhin is not afraid to make funny sometimes; the audience will always have time to feel sorry for him - well, at least when they hear that the courtship of Blanche is caused not so much by his fading male zeal, but by the desire to console his dying mother. Here, bustling, noisy, selflessly immersed in family life, Irina Pegova's Stella is an excellent illustration of the saying about night and day cuckoos. The diurnal cuckoo in flight is her sister Blanche, so different from Stella that it's hard to believe they are related by blood. Marina Zudina draws the image of Blanche from the best American icon - a sample named Marilyn Monroe, adds inexpensive coquetry, insecurity, nervous breakdown to taste - and carefully carries the prepared mixture to the very end of the performance.

    These characters met in the performance of the Moscow Art Theater, but could also meet in the "Tram" of some other route. And the path that Roman Theodori wanted to continue is visible not so much inside, but around the main plot. The director read with particular attention two passages in Williams's play - firstly, a poetic prologue remark, which describes the outskirts of New Orleans, where Stella and Stanley live and where in the evenings the sounds of a broken piano are always heard from around the corner. Secondly, Blanche's confession is her recollection of how she once found her husband in bed with another man and how, after that, her husband shot himself at a noisy party.

    The director brought three pianos back from around the corners of New Orleans right onto the stage and generously layered the action with musical (composer Olga Shaidullina, by the way, sits at one of the instruments) and dance numbers. The same fatal party where beautiful young men and women dance, where puritanical norms of decency are rejected and everything is literally saturated with vicious temptations - there are fewer and fewer clothes on the heroes, some men wear women's clothes, and in dance duets, on the contrary, they do without female, this party still haunts Blanche Dubois. On the heels of the heroine, even at her sister's house, the same unfortunate man whom she calls a boy walks: he remained a boy, invisible to others. And the sound of the shot sounds again and again, pretending to be other sounds.

    So it's not the loss of the parental home, not the lack of money, and not the reputation of a whore that haunts Blanche, but the boy's suicide. It is from this memory, according to Theodori, that Blanche flees - and although the heroine of Marina Zudina, who changes dresses, does not look like a victim of persecution mania, we understand that she really reached the last station in her terrible tram. Guilt is a terrible punishment for a person. So, in the finale of Roman Theodori's performance, we see Stella howling alone at the moon, who, obviously, eventually went crazy because she handed her sister over to a lunatic asylum. And Blanche at this time, like a monument to the unconquered, rises above her in a white dress - maybe from some other performance.

    Interview | December 2022

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    This season at the American Ballet Theater (ABT) was especially significant for company artist Stella Abrera. In May, she performed the title role in Giselle , a highly anticipated performance for both Abrera and the audience, which was met with overwhelming acclaim. Then, on June 30, during a company meeting led by ABT Artistic Director Kevin McKenzie, Abrera was announced as one of the company's newest lead dancers.

    Abrera promoted with dancer Misty Copeland and other members of the company, including Skylar Brandt, Thomas Forster, Luciana Paris, Arron Scott and Cassandra Trenari, were promoted to soloist. The promotion for Abrera, who turns 20 years with ABT in January, was met with tears and thunderous applause from her peers. This is a feat that most young ballerinas and troupe artists dream of. Abrera's hard work, resilience from a severe injury a few years ago, and continued dedication to his craft have made this a well-deserved promotion for an amazing artist.

    Newly appointed ABT lead dancer Stella Abrera as Giselle in Giselle. Photo by MIRA.

    Abrera, originally from South Pasadena, California, says that as a young ballet student she spent hours studying videos of ABT performances, particularly one of Don Quixote with Cynthia Harvey and Mikhail Baryshnikov at the Metropolitan Opera.

    Amanda Selwyn

    “The great technique, high energy and witty performance of the dancers in this video really inspired me and I desperately wanted to be on stage among them,” Abrera tells Dance Informa.

    In 1996, Abrera joined ABT as an apprentice and was also supposed to be part of the Met scene. She recalls several unforgettable performances and roles over the years with ABT: the center couple in Leaves Wither with husband Sascha Radetzky performance Symphony Concerto together with ABT director and his good friend Gillian Murphy during an ABT alumni reunion role Gulnar in Ethan's farewell performance Stiefel. Corsair and roles that she says have a special place in her heart, such as Gamzatti in La Bayadère , Mirta in Giselle , Sylphs , Stomper in The Upper Room and Lady Capulet in Romeo and Juliet .

    More recently, Abrera made her debut in leading roles, including in Cinderella in the play by Frederic Ashton. Cinderella , Clara in Alexei Ratmansky's performance The Nutcracker and Giselle in Mackenzie's production Giselle .

    Richelle Carey married

    Perhaps unique to Abrera's rise to the status of a principle was the problem she suffered due to an injury that prevented her from even walking properly a few years ago. What appeared to be a calf injury was actually due to a greater strain on the sciatic nerve in her back.

    “The correct diagnosis eluded me for several months, and I began to wonder if I would ever be able to walk again at a normal pace and without serious pain,” explains Abrera. “Many months of rehabilitation and strengthening, trial and error, improvement and relapse followed. Finally, I returned to the stage with the support of my wonderful husband, dear friends and family. But I brought back another dancer and another person. My approach to ballet technique has become more scientific and, most importantly, my thinking has changed. Instead of dancing to fulfill my girlish dream of becoming a school principal, I just focused on being the best dancer and artist I could be. I didn't even think about a raise. Dancing of any rank is an incredible gift. I vowed never to forget it.”

    ABT lead dancer Stella Abrera in one of her favorite roles, Gamzatti in La Bayadère. Photo by Marty Saul.

    With this new approach to dancing, Abrera is back stronger than ever. She says she continues to work on all aspects of her craft - technique, artistry, performance and partnerships. She reminds herself to "breathe, relax and get grounded" and don't overwork or "muscle" every step.

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    "I try to find moments of stillness and calmness among the more powerful steps to give the phrase more texture," says Abrera. “I'm trying to apply the same ideas to acting. I found that my face is quite plastic and easily distorted, so I have to hold back a little when it comes to facial expressions. Say the phrase "less is more." I train outside the studio almost every day. Cross-training is vital to keeping my body healthy and better prepared for ABT's energetic and often highly effective choreography."

    Abrera exudes grace and gratitude as she speaks of her promotion announced that June afternoon. She recalls how she was overwhelmed with emotions - shock, delight, disbelief.

    Learn more