hurdling with stan west: dancer, model and certified ken

on what it was really like on greta gerwig's barbie set, the trickle down effect of the writers' strikes and how self-belief sticks around a little more with age.

Stan West is a 29 year old dancer, model and as of this year, a Certified Ken. Originally from South London, Stan now lives in North East London (aka, the cool bit). His happy place is sitting in The Spice of Life in Soho with a pint in his hand. Hard relate.

Over his years as a dancer, Stan has worked across TV, film and theatre. He performed in Angels in America at The National Theatre and in a world tour of Matthew Bourne’s Swan Lake. He has also danced for artists like Coldplay, Dua Lipa, Calvin Harris and Sam Smith, and has modelled for brands like Uniqlo and Marks & Spencer.

On screens, Stan has appeared in both film and TV, including Bridgerton, Disenchanted, Doctor Who, Mary Queen of Scots and Queen Charlotte. And this year, after many rounds of auditions, he was cast as one of the Kens in the really small unheard of film: Barbie.

Here, Stan tells me all the goss on what it was really like to be on the Barbie set, the trickle down effect of the ongoing writers' strikes and how self-belief sticks around a little more with age.

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Q: When you were younger, what did you want to be when you ‘grew up’? 

I used to be (and still am) obsessed with New York and I just wanted to be someone who had ‘meetings’ in New York. I wanted to cross the road talking on the phone with a file under my arm, dry cleaning in one hand and a coffee in the other. So in a very vague way, I wanted a job that could just give me that – probably in fashion or media or something stressful (but fabulous) where I could say things like ‘ugh my boss is kicking my ass today’. I also had a stint of wanting to be a P.E teacher but ultimately, I never really steered away from wanting to dance. 

Q: Tell us about your first job. Where did you work, how did you get that job and what did you learn?

My first real employment was at a Mexican restaurant in Leeds. I picked up a Saturday job in my third year of my degree to save up money to pay for my post graduate degree. I absolutely hated it. I would spend as much time as possible doing the shit jobs like polishing cutlery, wiping tables and squeezing lemons just so I could be left alone and not actually have to deal with customers. They used to make us carry huge trays of drinks (and we’re talking a lot of strawberry daiquiris) with one hand above your shoulder and I was useless – I would carry it like a basket of washing and be constantly told off.

A really clear memory have of my time there was when the manager had a go at this girl called Georgia, and she just turned to me and said ‘this isn't my career you know’. Being a dancer, I’d been well trained to do as I was told and be a good little worker – apologetic, hard working robot. That line from her made me realise that actually, sometimes it's just a Saturday job to get some cash – don’t deep it so much.

Q: Tell us about your worst ever job. Why did you hate it? What made it so bad?

I had this really weird job for a hot second in the very early days of my career. It was setting up spaces for meetings and presentations in an office block. The work was always between 6-9pm and you could just say when you were available to work and then you’d just… go. If I did enough of these a month, I’d cover my rent.

The actual work wasn't awful – I’d have to check that all the whiteboard pens were working before I was allowed to go home, and it was a little back-breaking carrying sofas and flip charts up flights of stairs etc. But what was awful was how it made me feel.

I was working with an eclectic bunch of people who ranged from 19 year old exchange students that hardly spoke any English to 45 year olds waiting for their band to take off. It might’ve been my young ego or the stars in my eyes, but I think I hated it because I was confronted with the reality of how people realistically try to make it as a dancer in London – and how hard it was going to be for me.

Q: How did you become a dancer?

I think I was about four when my older sister was going dancing once a week. I would have to wait in the café for her, then I would watch at the door and then I would join in at the back and then next thing I was going weekly myself and dancing on stage to B*witched.

I don't really remember deciding to be a dancer – it was a hobby that just took over my life and never left so when it came to A Levels, degrees and thinking about a career, I just didn't stop dancing and now here we are. I also think it definitely looked like a way out of my small town (we had moved down to the coast when I was eight) and it was also something competitive and vibrant and I was always pining for that. Had I got into a specific sport at a young age it could well have been that that was the thing that took over my life too.

My first paid gig as a dancer was the Brit Awards in 2015. I was invited to perform in the opening by an amazing choreographer I had worked with during my degree who pulled me in for it. I was doing my postgraduate degree at the time so getting that experience on my CV and getting a little income was very welcome! 

Q: Practically speaking, what’s it like being a dancer? What does an average day on the job look like?

It hugely depends on the job, there really is no average day. For example if I’m in a stage show and it's a performing day, then typically I’d arrive at the theatre for class, go through the notes from last night's performance, then do working notes where we move and figure stuff out and then there’s 90 minutes or so to eat, prep and ready yourself for the performance. Boom.

If I'm doing a film job then all rehearsals would have been done already and I’ll be on set heading into hair and make up as early as 4.30am, often eating breakfast on my lap. (FYI cold eggs are not the one when you're getting a wig glued on!) Then I’ll be on and off set filming whatever has to be done that day until wrap, which can be anywhere between 6pm - 10pm on an average day. Then I’ll be going to sleep ready to do it all again the next day.

Whatever the gig, you're always working with different people, for different people, in different settings doing different hours. It's so hugely varied and I love it when you have a good year and just get to bounce around it all. 

I can confirm that wherever Stan is, he's a 10.

Q: You were a Ken in the Barbie movie. I repeat. You were a Ken in the Barbie movie, aka the the highest grossing film in Warner Bros’ 100-year history, the highest grossing film ever from a female filmmaker at the domestic box office and the largest worldwide film release of 2023. How did you get the role of dancer in this film, and how did you react when you found out you were officially going to be a Ken?

Hi Barbie! So, the audition came through one of my agents and everyone knew it was going to be big. I had to audition three times, and each time the pool of men auditioning would get smaller and smaller.

The first round was a big call. There were around 40 men at a time, with each group having an hour’s audition slot across two days. The next round was slightly less and then the final recall was at Warner Bros’ studios, where they took all our measurements, height, multiple photos and were filmed just saying ‘Hi Barbie!’. We then had to perform the routines for Greta Gerwig and the rest of the team.

When I got the email offering me the job I was just so happy and relieved. It had been such a long process and jobs of this scale just don’t come up all too often for dancers, so I was just so excited that I was going to get to be a part of it. 

Sublime.

Q: Can you tell us about your experience of being on the Barbie set?

Even just visually, it was amazing to step into the Barbie world every day. The Barbie dream houses were so impressive, the pink beach was stunning and all the customs cars were so cool. And of course, everyone was absolutely gorgeous and groomed to perfection – so it wasn't exactly your average office.

All the actors were super lovely, too. As dancers, we also get to see them in a slightly more vulnerable way in the rehearsal room because they're usually a little bit nervous and excited. So we got to meet them when they were a little bit more chill and less on than they are on set for example.

For the record, Margot Robbie really is that beautiful in real life and Will Ferrell really is that funny in real life. One day we saw Dua Lipa leaving set and all the gays were just totally gagged, so that was a fun moment. 

I will say that it wasn't the most fun being shaved from eyeballs to toes then body painted every morning to get the Barbie and Ken smooth aesthetic. I mean, shoutout to the hair and make up team who just were so lovely and brilliant, but it wasn't top of everyone's request list at 5am!

Q: How long did it take to perfect THAT iconic I’m Just Ken musical number?

We spent weeks and weeks rehearsing the number – every time you think you have something, it gets sent off to all the departments that then come back with feedback or ideas. It might be set design saying ‘oh you won't be able to lean on that wall’ or sound design saying ‘we have to cut this moment because of XYZ’. It's a lot of back and forth but it was genuinely one of my favourite rehearsal periods I've had.

Jennie White and Lisa Whelam choreographed the film and they are the absolute best. They made the most hard working and fun environment where no question was too stupid and no idea was not worth throwing out there.

We ended up shooting the entire dream dance sequence (the one where all the Kens are in black) in one (very long) day because of availability and set scheduling. It was full on both mentally and physically but it was really magical. Hitting our opening positions and then hearing ‘quiet on set’ surrounded by 40 other Kens was pretty sick! 

Stan with Ncuti Gatwa. Also a 10.

Q: Did you take anything from set as a memento? 

I actually didn't, I'm not one for a memory box. A lot of people stole barbies though. 

Q:  Is there anything you wish you’d done differently over your career? If so, what?

I think it took a really really long time for me to be in an audition and really believe that they should hire me over someone else. I'm still working on it and I think that self belief comes and goes, but sticks around a little more with age.

Whilst I have a decent level of confidence, I never felt like the brightest star in the room and I think that's held me back. It's too competitive an industry to not walk into a room believing you could smash it, and a lot of people with less talent will be giving the brightest star energy and that’s who the panel will be drawn too.

I think it has a lot to do with upbringing and working class family mentality but I won't go too far into my therapy sessions with you now other than to say that I wish I'd felt like that bitch earlier on. 

Q: What’s the biggest hurdle you’ve ever had to get over?

The stress of the pandemic as a freelance dancer was absolute peak stress – no one was working and the industry became more cliquey than ever, as people were being incredibly loyal and it was really hard to open any doors. At one point during the pandemic I’d moved house, had no work on (obviously) and went through a break up. Those were three big fat nasty hurdles in one go. 

Q: What’s a recent hurdle (big or small!) you’ve had to get over?

The writer's strikes have had a ripple down effect on a lot of people's work. Projects that were in the pipeline have been pushed back, cancelled and even disappeared, so that's been a tense thing to watch from the side lines. 

Q: Anything to get off your chest?

Enough with the self tapes! It's a hangover from the pandemic that has sadly stuck around and it's just the worst. You jump through hoops trying to essentially make a small budget film at home, begging your housemate to come and film you doing various stupid requests down the street and spend so long screaming at your laptop because the file is STILL too big to send all because clients won't just hold an audition or casting. Please! Enough!

QUICKFIRE

Q: One work-related object you can’t live without? 

Water (bottle)

Q: Best advice you’ve ever been given?

Don’t ask, don’t get

Q: Worst advice you’ve ever been given?

Don't be yourself

Q: Your dream artist to dance for / with?

Sydney Dance company are unbelievable. I'd love to be in that studio. I'd also like to work with more music artists such as FKA Twigs and Christine and the Queens. 

Q: The person you admire the most?

Hm. Anna Wintour. She's got some stamina.

Q: Ever faked being sick to get off work?

Nope.

Q: Any last words?

Anyone got any work going?

You can follow Stan on Instagram here, and scroll through more of his Barbie set photos.

Stan with all the Kens, choreographers and Greta Gerwig. Oh, and Ryan Gosling. No biggie.