“It was a dream come true,” says Lindsley Allen, dancer, dance educator and creative choreographer about her role in the now-iconic dance film Showgirls, starring Elizabeth Berkley. Originally, the movie was supposed to be the big dance movie of its generation—something of a “Basic Instinct” meets “Flashdance.” Though the initial reception was less than ideal, in the 30 years since its release, the film has become a cult classic, with fans memorizing every line, and its star—who so unfairly bore the brunt of the backlash—has gone on to receive long-overdue acclaim. Today, Lindsley discusses what it was like to work on such a major movie production, why it was initially misunderstood and now so beloved, and why dancers should always be consulted when making a film about dance.    Just as “Showgirls” paved the way for later, more lauded films like Demi Moore’s “Striptease,” dancers like Lindsley and host John Corella paved the way to improve the regulations, conditions and rights of dancers working on major film productions. Lindsley discusses what it was like to film the scenes in which the dancers performed topless, working with legendary choreographer Marguerite Derricks, and how her training program The Boom Effect is helping to prepare emerging dancers with bankable skills.    Join today’s episode of Dance Dad to hear Lindsley recall fondly what it was like to be part of what turned out to be a cult classic.   Quotes “It was a huge call…to me it was, everyone was there that was of the A-list category. It was insane. It was a huge audition…and I wanted to get the job. It was big names, it was a big studio, it was a long job for dancers.” (9:47 | Lindsley Allen) “I really think they thought it was going to be…the serious musical drama. They didn’t know it was going to be a cult classic. So, when it didn’t do well that first weekend, it wasn’t what they expected, I’ll say it like that. It wasn’t what they expected that weekend, and we kind of knew on the inside because some of us as dancers, some of those scenes, we were thinking, ‘Well, we wouldn’t really say that, as dancers, we wouldn’t really do that.’” (20:00 | Lindsley Allen)  “It’s because it’s so over the top—the acting, the dancing—actually, the dancing might be the most grounded thing in it…you don’t laugh at it, you’re kind of laughing with it, with love…I think that makes perfect sense and I’m so glad that you said that. I think that is why it became a cult classic because people resonated with it, but just in a different way than what they originally expected.” (23:18 | John Corella and Lindsley Allen)  “They really did build [Elizabeth] up so much that it was going to be huge and she ended up…I think for the business it’s good for young dancers to know– and that’s why I always teach–knowing the business and knowing the artistry and keeping them separate as much as you can, it’s not easy but…Her agent dropped her, she was blamed for a lot of the movie’s failure and that is just not fair.”  (25:47 | Lindsley Allen) “A lot has changed. Dancers who are listening—Lindsley and I, we walked so you could run. There’s so much that has changed as far as how long you can dance, the surfaces you can dance on, the types of shoes, with the union— that’s why unions are important for dancing—and again, using your voice.” (43:47 | John Corella)   Links Connect with Lindsley Allen: www.instagram.com/lindsleyallen 1nightonlyboomeffect.eventbrite.com   Dance Dad with John Corella on Instagram: https://www.instagram.com/dancedadwithjohncorella/ John on Instagram: https://www.instagram.com/john_corella/ Podcast production and show notes provided by HiveCast.fm