Cynthia Rhodes, known for her iconic roles in Staying Alive and Dirty Dancing, is a legendary figure in 1980s dance dramas. As she approaches her 68th birthday in November 2024, it’s worth reflecting on why this Hollywood triple threat chose to retire at the peak of her career.
Rhodes was born in Nashville, Tennessee, and began her career with a small part in the 1980 film Xanadu, which starred Olivia Newton-John and Gene Kelly. Her breakout came with her portrayal of Tina Tech in Flashdance, followed by a significant role in Staying Alive, where she played the love interest of John Travolta.
However, it was her unforgettable performance as Penny Johnson in Dirty Dancing that solidified her status in Hollywood. In this role, she captivated audiences with her Mambo dancing alongside Patrick Swayze, while also delivering poignant emotional scenes, including the character’s harrowing experience with an illegal abortion.
Rhodes described Penny as a complex character who had endured a tough life, yet retained a sense of sweetness. The film not only showcased her dancing skills but also tackled important social issues, positioning its leads, including Rhodes, for stardom.
Despite her success, Rhodes decided to step back from the industry, citing the physical demands of dance. “Dancing became really hard”, she said, expressing her desire for roles that didn’t involve strenuous movement. “I keep saying I’ll never dance again… my bones hurt, my back hurts all the time”, she explained.
In 1987, the same year Dirty Dancing premiered, Rhodes appeared in Richard Marx’s music video for “Don’t Mean Nothing”. She married Marx in 1989 and welcomed three children: Brandon in 1990, Lucas in 1992, and Jesse in 1994. Marx noted that Rhodes found more fulfillment in motherhood than in her previous career, which she left in 1990 partly due to the intense physical pain from dancing.
Rhodes, who started dancing at the age of three, emphasized her love for it but acknowledged the toll it took on her body. “If I never danced again, I wouldn’t regret it”, she said, highlighting her contentment in focusing on her family.
Her last film appearance was in 1991’s Curse of the Crystal Eye. After divorcing Marx in 2014, she stepped further into her role as a mother, watching her children pursue careers in the arts: Brandon as a music producer, Lucas as a singer and actor, and Jesse as a musician in a metal band. While fans miss seeing Cynthia Rhodes on screen, her decision to leave Hollywood resonates, underscoring the high demands of a career in dance and the joy she found in motherhood.
Australia’s adopted popstar son Leo Sayer reflects on his career
“I look at my role as being a friend of Canberra Hospital, I can bring some pleasure and happiness sometimes to people who are really in difficult times in their lives.”
With backing music from a Bluetooth speaker, Sayer croons his way around the cancer wards, making a human connection with everyone he comes across.
Canberra Region Cancer Centre Operations Manager Caroline McIntyre says Sayer’s visits are typically kept a surprise for patients and staff.
“He’s always come in so discreetly,” she says.
“Normally it’s just very quiet, he comes up in the back lift and says hello to literally everybody.
“Some of them are doing it tough, and to have a little bit of joy and light – it really gives them a lift.
“What makes me happy is to see people getting chemo on their feet dancing.”
Jamming with Jimi Hendrix, Countdown and the Troubadour
Originally a graphic designer by trade, English-born Leo Sayer rose to pop prominence in London in the late 1960s, as a singer-songwriter – and was soon adopted by Australia as an honorary son after his first tour here in 1974.
He went on to become an Australian citizen in 2009.
Sayer was a regular on ABC TV’s Countdown during the 70s and 80s, performing chart-toppers like “You Make Me Feel Like Dancing”, “When I Need You”, “More Than I Could Say” and “Orchard Road”.
He blushingly admits they were wild days – when he didn’t always live up to his “good-guy” public persona.
“It was mad, I mean, Top of the Pops in England, Countdown over here,” he says.
“You were mobbed by the fans, I remember being dragged out of a limousine the first tour that I came here, and then speaking to crazy people like Molly Meldrum on TV and trying to sort of like take it all in.”
It seems hard to believe – the petite, well-spoken singer, with a mane of curly hair that inspired changing his name from Gerard to Leo – beating off mobs of screaming fangirls.
Sayer circulated in superstar company, becoming close friends with former Beatles George Harrison and Paul McCartney, collaborating with Roger Daltrey of The Who, and even sharing a sly cigarette or two with John Lennon and Yoko Ono who had a flat above his design studio.
“I met Jimi Hendrix right at the start of his career. I actually jammed with him, playing the harmonica, and him playing the guitar,” he says.
Recalling his 1975 opening night at the famous Troubadour Club in Los Angeles, he looked up to see an intimidating line-up of fans in the front row.
“It was David Bowie, Elton John, and ‘The Fonz’ [Henry Winkler].”
Alongside them: John Cleese, Mick Jagger, Bernie Taupin, and comedian Marty Feldman.
“We never thought it would last, we were adapting to things around us, writing songs about things that are around us,” he says.
“And we thought they were only for our generation — so the amazing thing is my music’s become like a fine wine, where you lay it down and years later, it becomes a collector’s item.
“We’re in an age where the music that I make, young kids are actually latching onto it now, and they’re finding that that generation and that style of music we made is as current now as anything.”
Sayer’s health battles, still spreading hope at 76
Leo Sayer says his hospital charity work caps off a career dedicated to providing joy through music.
“It’s a nice piece of synchronicity really, because I was born in the grounds of a hospital in Shoreham by Sea in Sussex, near Brighton in England,” Mr Sayer said.
“I suppose I’ve always felt comfortable in hospitals and being around hospitals.
“Growing up, my dad was a hospital engineer, Mum was a nurse, my sister was a matron.”
Sayer has health struggles of his own, including three stents in his heart, which help him have a genuine connection to the hospital patients he entertains.
“[My music] is providing something that isn’t taking away from any of the treatment that’s going on. It’s providing something that’s just putting a smile on peoples’ faces.
“Music is communication and that’s what this is all about, we’re communicating, we’re making people feel better.
“We’re not healing people with music, but we are making them feel better about their healing.
“To sell out Canberra Hospital will do me fine.”
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