Mao’s Last Dancer 2009

During Mao’s Cultural Revolution, an 11-year-old Chinese boy Li Cunxin grows up in a rural Shandong commune where daily life centers on farm work and collective life. When officials sweep through schools to recruit candidates for centralized training, he is initially overlooked but is ultimately chosen after his teacher’s plea, and he travels to the provincial capital in Qingdao for screening. From there, he is sent to Beijing for an audition at Madame Mao’s Dance Academy, and, after a series of rigorous physique and flexibility tests, he earns admission to ballet training.

Years of demanding practice follow, with Li’s talent gradually crystallizing. A senior teacher champions classical Russian ballet, a path that contrasts with the politically charged style required by the regime, and this tension helps fuel the teacher’s eventual ostracism. During a pivotal cultural visit to China, an American-based English ballet director, Ben Stevenson, is struck by Li’s extraordinary gifts and enlists him as an exchange student at the Houston Ballet, opening the door to a three-month stay in the United States.

In America, Li is confronted with life beyond the village and begins to question the strict dictates he has known. He forms a bond with an aspiring American dancer, Elizabeth Mackey Elizabeth Mackey, whose presence attracts Li to the local ballet scene. Li and Stevenson press for a longer stay, but the Chinese government denies the extension. Driven by opportunity and love, Li decides to pursue his future in the United States, and he and Mackey marry in a bid to anchor their life together and to navigate the complexities of international residency.

Li’s decision triggers a sharp clash with authorities. A Chinese resident diplomat at the Houston consulate forcibly detains him to compel his return, while media and high-level officials in both countries monitor the crisis. Li resists repatriation, and although the government eventually agrees to release him, it revokes his citizenship and bars him from ever returning to his homeland. The upheaval strains Li and Mackey’s relationship, and their marriage falters as Li remains in the United States to advance his ballet career, while Elizabeth’s own prospects in dance wane.

Five years later, a gesture of goodwill allows Li’s parents to visit him in the U.S. to witness his artistry, including a performance of The Rite of Spring, and to share a family reunion on stage. Li is eventually granted permission to visit China again, this time returning with his new wife, Australian dancer Mary McKendry. The couple comes back to Li’s village, reconnects with his former teacher, and performs an impromptu outdoor ballet to the cheers of the community.

The closing credits sketch the broader arc of Li Cunxin’s life: he danced with the Houston Ballet in 1995, an achievement broadcast to a global audience, and he and Mary McKendry settle in Australia with their three children. Ben Stevenson remains a towering figure in the ballet world, continuing his work as a director at the Texas Ballet Theater. The narrative also notes that Li’s circle extends into the professional world—Elizabeth Mackey’s path includes years with the Oklahoma Ballet and a later career as a speech therapist—while Li, Mary, and their family carry forward the legacy of their remarkable journey.