Performing for any audience is jitter-inducing enough. But how about an audience of 100,000 rowdy game-day spectators? Dance teamers face unique pressures in their highly unpredictable performance environments, and inevitably, things go awry. We asked dancers and coaches from four champion teams to share some of their most embarrassing stories—and how they recovered like the pros they are.

LINDSAY SPRAGUE (Head coach, Carolina Girls, University of South Carolina)

Normally, we just dance on the sidelines during football games. But this past fall, our team performed on the field for the first time. It was the first game of the season, too, so the stadium was packed. The dancers were so excited, and waited eagerly on the sidelines for their big moment: the first timeout of the second quarter. Finally, we heard yelling: "They're going to call a timeout! Send the dancers out!" Of course, dancers are trained to hustle and be in place as fast as possible, so they got out there in no time—only to realize that a timeout wasn't actually happening. They had to get off of the field as fast as possible, because the football team could have been penalized for people being on the field. When a real timeout was called, about ten seconds later, the dancers ran right out again. Unsurprisingly, they were a bit frazzled and embarrassed, but they pulled it together, and we received really positive feedback from fans and the school's athletic department.

SHERYL KNIGHT (Head coach, Ladybirds, University of Louisville)

Games are completely unpredictable. A few years ago, we were planning to debut a new routine during a timeout of a basketball game, which was going to be televised. Our moment came, and the girls ran onto the court and got in position. Unfortunately, the people in charge of the music played the wrong song—not once, not twice, but three times. The girls just had to stand there. All of us on the sidelines were frantically scrolling through our phones, making sure we'd emailed the correct music to the marketing team. Our emails confirmed that we'd sent the right song. Someone just literally played the wrong one over and over again. In the end, the performance went really well—and our fans were very supportive. When the music started and the girls didn't move, they knew something was up, and they started clapping for us. I think that helped the girls feel better.

CAILYN COTA (Senior dancer, Rebel Girls, University of Nevada, Las Vegas)

During my sophomore year, my coach gave me a small solo during our hip-hop routine where I was supposed to hit a few improvised poses with attitude and confidence. That season, we made it to the finals at UDA College Nationals, and I really wanted to go for it during my solo. In the moment, adrenaline totally took over, and I ended up ripping my costume—a one-piece tracksuit—from my chest down. My underwear was showing! I actually didn't notice it had happened until the end of the routine. But of course I couldn't have done anything differently anyway—I wasn't going to stop dancing because of a costume malfunction. When the music ended, I just had to gather my composure, gather what I could of the costume's material, and stand there with pride. I was scared that the judges wouldn't realize it was a wardrobe malfunction, and that our team would be disqualified—it's such a family-oriented competition. Luckily, we weren't disqualified, and we all laugh about it now.

JULIE BERARDI (Head coach, Lionettes, Penn State University)

Before the preliminary rounds at NDA Nationals two years ago, our team headed onstage for our sanctioned eight-minute warm-up. We were running through all the lifts, most of which featured a single dancer, Becky, who's very flexible and looks great in the air. All of a sudden, in one lift—a pitch arabesque, which is like a penché, but with a more extreme back arch—Becky completely passed out, midair. Our staff ran over to her, so anxious: Was she dehydrated? Sick? Did she need fluids? All of a sudden, we realized that the costumes—which the girls had never worn before—had very high, rhinestone-encrusted collars that weren't stretchy. Becky's collar was too tight, and when she arched backwards, it cut off her air supply. Once we loosened her collar, she was completely fine. We didn't get to finish our warm-up, and everyone was really flustered—especially Becky!—when it was time to go on 15 minutes later. But the team performed beautifully under pressure, and we ended up finishing in first place with the highest score of the whole day. In finals, we finished second, but no one passed out—so we considered it a win!

How to Prevent (and Recover From) Dance Team Disasters

Troubleshoot as a team.

"Practice in any new setting as much as possible," says Lindsay Sprague, head coach of the Carolina Girls at the University of South Carolina. "We try to run our dances on the court prior to basketball games to set our spacing. And while we don't often get to practice on the real football field, we can work out kinks on the school's practice field. It really helps to get acclimated, because there are so many other things to think about in the moment. Your dancing has to be second nature."

Be consistent.

"Doing the same tricks or choreography in the same space every day can get a bit monotonous—but you can't let that make you complacent," says Cailyn Cota, a senior member of the University of Nevada, Las Vegas, Rebel Girls. "If you consistently put in the effort and take each practice seriously, you'll be able to hit all skills or tricks no matter where you're performing."

Expect the unexpected.

"Know that anything could go wrong, and plan accordingly," says Sheryl Knight, head coach of the University of Louisville Ladybirds. "If the music stops? Continue dancing and count to each other. If the music doesn't play? Stand there until it does."

Find ways to stay focused, despite the crowd.

"At basketball games, you're performing so close to the stands—sometimes a fan might be only 20 feet away," says Sprague. "It can be so distracting to focus on a certain face. I tell my dancers to look at the crowd like it's just one big blank canvas. Don't make eye contact if you think it'll distract you."

Stay engaged the entire game.

"Our team performs at football games for more than 100,000 people," says Julie Berardi, head coach of the Penn State University Lionettes. "We know not everyone is watching. But with that many people, you never know who is watching at any moment. So it's crucial to stay engaged and professional the whole time."

Breathe!

"Remember that you're doing something you love," says Knight. "Your love for dance will shine through. And know that you've got a team full of sisters who are all feeling the same way."

A version of this story appeared in the April 2019 issue of Dance Spirit with the title "Dance Team Disasters."

At historically black colleges and universities (HBCUs), halftime is game time. Students and fans flock to the stadium to witness the soulful stylings of the showtime band and the fierce dancers who accompany them. Their movements are sharp, explosive, and perfectly synchronized as they bring the music to life for the people in the stands. This is danceline, and its appeal extends beyond the stadium walls.

Showtime Soul

The history of danceline is inextricably linked to HBCUs. "In 1947, HBCU bands decided to switch from the more traditional corporal marching-band style that you see at big schools to showtime band," says Kalé Woods, director of Heat Danceline in Oakland, CA, and assistant coach of Mahogany 'N Motion, the danceline team for Morehouse College. Showtime band maintains the precision-based element of marching band but adds an entertainment factor by incorporating some dancing by the band members themselves. "They basically brought the soul to marching band," Woods says.

The change in music also brought about a change in style for the bands' dance teams. Over the years it became more and more stylized to match the music. The specific style varies from school to school, reflecting each school's culture. "I think of it in terms of geography," Woods says. For example, the Dancing Dolls of Southern University in Louisiana, coincidentally the first danceline dance team, have a style that's prim and proper. "They're like Southern ladies, with excellent technique and very little getting down or gyrating," she says. Schools in Mississippi and Florida incorporate a more hip-hop–based style. Mahogany 'N Motion, which is made up of dancers from Georgia's all-girls HBCU Spelman College, but dances for Morehouse College's football team, attracts studio dancers. "A lot of us come from the West Coast, which doesn't have any HBCUs and, therefore, is unfamiliar with danceline," Woods says. This difference is reflected in a more jazz-based style, incorporating lots of turns and leaps.

Ebony Fire during a Hampton University halftime show (Alexander Hamilton with the FORCE Media Team, courtesy Hampton University)

Getting Technical

If the style varies so widely, what unites danceline dance as a unique form? First and foremost, it's distinguished from both majorette dance and drill, two forms also linked to college bands. "People tend to associate majorette dance with baton and flag work, along with tumbling stunts," Woods says. "Drill is associated with ROTC and rhythmic military-like step." That said, there is quite a bit of crossover, and Woods' danceline team, Heat, competes in majorette competitions.

While many dancers joining HBCU dancelines are studio-trained, the movement is very different from traditional competition dance. "Everything is hard-hitting, and nothing is soft or drawn out," says Jailynn Robinson, a freshman in Ebony Fire at Hampton University in Virginia. Before Ebony Fire's summer boot camp and audition process, Robinson had never encountered this form of movement. "I was a competition dancer, trained in ballet, jazz, and contemporary. I had taken a bit of hip hop, but this was completely new," she says.

When people think of danceline, they likely think of the iconic formation with the captain in front of two to three lines of dancers. The captain "throws count" (also known as throwing cadence or calls): She performs an 8-count of movement, and then repeats that movement with the remainder of the team. Dancelines tend to perform these cadences in the stands, facing the field. Another typical feature of the HBCU danceline is the stadium entrance, when they lead the band onto the field in single file.

Ebony Fire performing during a halftime show (Alexander Hamilton with the FORCE Media Team, courtesy Hampton University)

The Sisterhood

When Robinson arrived at campus the summer before her freshman year to attend band camp, she was all nerves. "I thought I was in pretty good dance shape, but I wasn't prepared for all the conditioning," she says. "It was a lot of running in the heat, but I quickly formed a bond with the other freshmen, and the rest of the team." After acing her audition, she earned not only a spot on the team, but also a fellowship of sisters who would come to shape her college experience.

The girls of Ebony Fire spend a lot of time together, with three hours of practice Monday through Friday during football season, and additional hours of rehearsal on Friday nights and Sundays for special performances. Since the dancers need to build the stamina to dance throughout a three- to- four-hour football game, conditioning is a crucial part of practice. "We run three laps around the parking lot before stretching and beginning the rehearsal process," Robinson says. This training builds camaraderie, a spirit which continues into the team's collaborative choreographic process. "We're separated into groups and each group is assigned a section of the music to choreograph," she says. "The coach approves each section and makes corrections, and then we teach it to the rest of the team."

Despite long hours of practice, the sisterhood extends beyond the stadium. "The girls I've met through the team are my best friends at school, and I know they'll be lifelong friends," she says. Woods' experience confirms the staying power of danceline sisterhood. "I'm connected with generations of Mahogany 'N Motion dancers—those who came before me and the girls currently on the team," Woods says. "It's a close bond, maybe even closer than a sorority. And it goes way beyond college."

A version of this story appeared in the April 2019 issue of Dance Spirit with the title "The Danceline Dish."

It's a great week to be following the Duke and Duchess of Sussex (aka Prince Harry and Meghan Markle). First, on Tuesday there was the surprise launch of @sussexroyal, the couple's very own official Instagram account. Now, we have some seriously adorable photos and details from Harry's solo visit yesterday to the YMCA South Ealing in West London. Among other things, the dashing royal made friends with a baby and tried out his pre-ballet skills. What a time to be alive, friends.

As People reported, Prince Harry was at the Y to learn about how that organization supports local young people, and to participate in a roundtable discussion for The Royal Foundation's "Heads Together" campaign on mental health. (Meghan has no public appearances planned for this month, as she's coming very close to the end of her pregnancy.)

While visiting the YMCA, Harry found time to drop in on a pre-ballet class for 4- to 6-year-olds. As one does, Harry asked a 5-year-old named Emanuel what his favorite part of class was, to which Emanuel replied "the ballet challenge." Apparently, this involves balancing in a parallel retiré position with a plastic disc on your head. A CHALLENGE INDEED. As another tiny dancer reported with delight, His Highness did in fact wobble upon attempting the challenge. Welp, you can't go pro in a day—no matter what dance-movie montages might have us believe.

The ginger prince even stuck around after class to socialize with his fellow dancers (#relatable). Major takeaways included 5-year-old Arya's assertion that she's been doing ballet "for 100 years." Arya, we know how you feel.

Before departing, Harry told the class, "Well done! You were fantastic," and that in his opinion, they all deserve gold stars—"except you," he teased our challenge-loving friend Emanuel, who'd unfortunately chosen that moment to zone out and look the other way. Didn't know you were such a savage when it comes to classroom etiquette, Harry!

Hoofer Jared Grimes' expert musicality and dazzling sounds have made him a true tap icon. Born in Jamaica, Queens, NY, Grimes started taking tap lessons at age 3 from his mother. After moving to North Carolina a few years later, he began studying all genres of dance at Dance Connections in Greensboro, and attended competitions and conventions like Showstopper and StarQuest. At 15 years old, he joined Gene Medler's North Carolina Youth Tap Ensemble and toured with the group. Grimes moved back to NYC in 2001, where he later graduated from Marymount Manhattan College. Since then, he's performed with Wynton Marsalis, Gregory Hines, Ben Vereen, and Jerry Lewis, and has worked on films including The Marc Pease Experience and Little Manhattan. Currently, you can catch him teaching at Broadway Dance Center and New York City Dance Alliance. —Courtney Bowers

(here and below) Grimes as a young dancer (Frank Stewart, courtesy Jared Grimes)

Dear Teenage Jared,

You work really hard and because of that, you deserve to rule the world. But be prepared to work even harder at steering your talents in the directions of your goals. Training hours a day in multiple genres is not enough. Studying profusely is not enough. Being the best is not enough. The most important thing you'll need to learn is how to put yourself in the best position to unlock the many doors that lead to your dreams.

Jared

Photo by Santiago Barreiro, courtesy Grimes

A version of this story appeared in the April 2019 issue of Dance Spirit with the title "Letter to My Teenage Self: Jared Grimes."

Dancers are more than just talented: They might actually be superheroes. Don't believe us? Here are eight superpowers every dancer has.

Super Speed

Have you seen our petit allégro? Plus, we've got the ability to change costumes so fast no one in the audience even notices we're not onstage!

Super Flexibility

Elastigirl is quaking in her (stretchy) boots!

Super Strength

We don't just lift people above our heads—we do so in the most graceful way.

Super Multitasking

Some people can do two things at once, but dancers can do so much more than that. Balancing rehearsals, performances, school work, friends, and home life? We've got it covered.

Super Balance

The superpower that lets us keep turning and turning and turning...

Super Endurance

Think no human being could possibly make it through a two-hour show of nonstop dancing? Think again.

Super Versatility

We're basically shape-shifters onstage—which you know if you've ever seen us go directly from an upbeat tap number into the most angsty lyrical piece.

Super Flight

Well, maybe not literally...but some of us get darn close!

Oh hi there, dance friends. Did you have a good weekend? Because the ladies of K-pop supergroup BLACKPINK sure did: Their music video for "Kill This Love" broke Ariana Grande's record for the most popular 24-hour debut on YouTube.

And we think the vid's success is all about Kyle Hanagami's fabulous choreography.

"Kill This Love"—which now has more than 126 million views—earned 56.7 million hits in the 24 hours after its release at midnight on April 5. That's a cool 1.3 million more than the runner-up, Ariana Grande's "Thank u, next," earned during its first day on YouTube last November.

Honestly, our personal viewings alone might account for the difference. Hanagami, who's worked with BLACKPINK before, created choreo perfectly tailored to the dance skills of Lisa, Jennie, Rosé, and Jisoo. The resulting vid is almost embarrassingly addictive.

The stakes are never not high on a show like "World of Dance," but last night's episode—the very last of the Duels eps for this season—felt especially fraught. Why? The theme running through most of the routines (and the scores, and the results) was that age-old competition debate of tricks versus "goosies," as J.Lo would put it. A couple of teams made a point of not including any tricks in their choreo, another netted a perfect 100 from one judge after tons of stunts, and Ne-Yo admitted he's never felt the "goosies." (Um, do you even go here?!) As the Season 3 Duels wrapped up, the real question wasn't which acts would advance to The Cut, but whether it would be gasp-inducing stunts or heart-tugging artistry that would come out on top.

SIUDY FLAMENCO VS. FUEGO DANCE CREW

This was a nail-biter of a battle-of-the-sexes. In one corner, we had Siudy, beautifully representing flamenco dancers everywhere—but on a TV show that sometimes tends to favor dance styles that are more familiar to US audiences. In the other corner, there was Fuego Dance Crew, getting down with flashy, attention-grabbing choreo. It broke our hearts that Siudy was eliminated, but at the same time we get what J.Lo was saying about how their non-flamenco moments felt a little "basic."

UNITY L.A. VS. STYLE & GRACE

In contrast, there really was no contest here. While these two groups do share a stunning synchronicity and intense attack fueling every movement, there was a dynamism in Unity L.A.'s choreo that Style & Grace just couldn't seem to match. Ultimately, it was that exciting propulsive quality that sent Unity L.A. on to The Cut—and led J.Lo to suggest that they have what it takes to win the whole darn thing. No pressure, guys.

THE HEIMA VS. EXILES

Exiles kicked this Duel off with a super-entertaining routine that seemed hard to beat, full as it was with eye-popping togetherness and impressive feats (including an amazing sight gag that we're still not over, tbh). But then The Heima threw down the gauntlet in a major way. It didn't hurt that the Korean group danced to "Natural" (keep an eye out for my forthcoming TED talk on how it's impossible to NOT feel hype when listening to Imagine Dragons), but right from the opener—10-plus seconds of effortless headspins—it was painfully obvious that they'd already won. (Though Exiles took the Redemption round over Motiv Crew, so we'll see more of them in coming rounds, too!) Hard to imagine how The Heima will top this particular performance next week, when The Cut begins.

MAIN GUYS VS. RADIANCE

This duel might have just as well been renamed Goofiness vs. Gravitas. While we're not going to deny that we giggled pretty much all the way through the Main Guys' gag-tastic hip-hop choreo, their silly swagger just couldn't stand up to Radiance's flawlessly synchronized contemporary lines. Radiance's greater numbers made every hard hit all the more stunning, and set them up to show off more of that dignified girl power in The Cut.

THE KINGS VS. MOTIV CREW

Motiv Crew is classic "World of Dance": hard-hitting, technically outstanding hip hop with electric stage presence. But what edged The Kings over Motiv in this round was the extra-special sauce that the Bollywood-influenced Kings bring to everything they do. Their performances include not only mind-boggling tricks and crisp precision, but also a slapstick energy that makes it all so much fun to watch. No wonder Ne-Yo gave them a perfect 100. Dear Kings, can we be y'all when we grow up?

In our "Dear Katie" series, former NYCB soloist Kathryn Morgan answers your pressing dance questions. Have something you want to ask Katie? Email dearkatie@dancespirit.com for a chance to be featured!

Dear Katie,

My teacher always tells me to "lift from underneath" during grands battements, but I don't really understand what she means. I'm overusing my hip flexors instead, and they've started popping. Help!

Ella

Dear Ella,

The first thing I'd suggest is shifting your focus to your supporting hip. Often, we get fixated on the working leg, and that frequently results in gripping. Instead, think about staying over the supporting side and drawing on its strength. That will help free up your working leg.

Another trick you can use is the classic "go down to go up." We tend to grip our hip flexors because we're envisioning ourselves lifting our legs, rather than pushing off from the floor. So, as you battement, think about the leg first moving down into the floor before it lifts. Not only will that give you much more power, but it'll also naturally engage the correct muscles in the working leg.

You know the classic smiling "comedy" and frowning "tragedy" masks? What would happen if those came to life as fabulous teenage dancers?

That's the question posed by choreographer Kayla Kalbfleisch and director Jade Ehlers in the music video for Half the Animal's "Hi Lo." The earworm-y song explores the dualities within our personalities, and Kalbfleisch and Ehlers chose some familiar faces to embody those "highs" and "lows" (and even stand in for lead singer Chase Johnson): Jaxon Willard, Courtney Campbell, Elliana Walmsley, Arthur Celestine, and Ashur Taylor.

Take a look!

It's the day before your big recital and you've won the battle against your breakout—only to be left with the parting gift of unsightly dark marks in its place. While acne scarring can be challenging to treat, it's easy to prevent. Dance Spirit turned to Dr. Yunyoung Claire Chang, a board-certified cosmetic dermatologist in NYC, for advice on combatting this frustrating issue.

How to Prevent Acne

It's crucial to remove your makeup immediately following a performance. "All the sweat and makeup can clog pores, leading to more acne," Chang says. "Try to seek out products that are noncomedogenic, which are lighter and less oily, and thus less likely to clog your pores. Also, make sure you're regularly washing your makeup brushes!" She suggests using a salicylic acid cleanser to wash your face and exfoliate your skin if you're between breakouts, or a cleanser with benzoyl peroxide if you're battling any active acne.

Chang stresses that there's a big correlation between the severity of your acne and resulting scarring. "Treating acne early is critical in preventing scarring," she says. If you're only dealing with isolated blemishes that appear infrequently, using an over-the-counter retinoid treatment like Differin can stop the pimple in its tracks before it becomes a scar. However, everyone's skin is different, and certain cases require a more in-depth treatment plan created by a board-certified dermatologist. The bottom line is that the more you manage your skin, the less acne, and subsequent scarring, you'll have to deal with.

How to Treat Scarring

If you're managing recent scars, Chang emphasizes the importance of wearing sunscreen every day. "Otherwise, any dark spots will just get darker," she says. "Effective treatment really depends on the type of scarring." Hyperpigmentation can fade away over time with the assistance of glycolic acid, retinol, or azelaic acid (all available over the counter), as well as a professional chemical peel or resurfacing lasers. Atrophic scars—scars that appear to be indented—can benefit from methods that stimulate collagen production, including microneedling and certain laser treatments (though the latter can be costly and a bit painful). An appointment with your dermatologist is often necessary to determine the best course of action for your skin, especially if the treatment involves prescription-strength acids or medical procedures.

Getty Images

#BeautyHack

A little foundation and concealer can go a long way when it comes to covering acne scars. The secret lies in the application. Give yourself a good base by moisturizing and priming with your preferred products, then apply your foundation with a brush or Beautyblender. Take a fine-tipped concealer brush and dip it into your concealer. Dot the product over your scars until they're invisible (but don't overdo it, or they'll look cakey). Dip a powder brush into loose setting powder and apply it all over your face with a blending motion, taking extra care to tap gently over the scarred areas, rather than blend—this will lock the concealer into place.

A version of this story appeared in the April 2019 issue of Dance Spirit with the title "(Not So) Scarred for Life."

Well, ladies and gents, it's finally happening: The long-awaited show "Fosse/Verdon" premiered on FX last night, in all its jazz-handed, pigeon-toed glory!

If you're a dancer with a pulse, you know that the connections between this series and the Broadway smash Hamilton run very deep. The two share choreographer Andy Blankenbuehler, director Thomas Kail, and executive producer Lin-Manuel Miranda, to name just a few names. So we wouldn't say we're shocked that the various casts of Hamilton around the world—from London to Chicago to NYC—decided to celebrate the arrival of "Fosse/Verdon" with a big ol' Fosse dance-off. But we would say that we're absolutely obsessed with pretty much every entry in the challenge.

What fabulously fishnetted tribute is your fave? Take a look, and take your pick:

The West End Cast

The Chicago Cast

The Angelica Tour Cast

The Philip Tour Cast

The NYC Cast

It's been a crazy few years for dancer, singer, and actress Ariana DeBose. After performing in Hamilton's original cast (where she earned viral fame as The Bullet), she scored a Tony nomination for her portrayal of Disco Donna in last year's Summer: The Donna Summer Musical. Now, she's set to play Anita in Steven Spielberg's remake of the iconic West Side Story movie, which starts filming this year.

DeBose's star turn is coming at a time when true triple threats have become a rarer breed on Broadway, with shows favoring dancers who dance and singers who sing. But the multifaceted DeBose has always defied categorization—and her versatility has proved to be the key to her success.

Growing Up Determined

DeBose is no overnight success story, though. Her career has been decades in the making, and is built on her amazing work ethic, which she credits to her strong-willed single mother. "She was a public educator who valued learning," says DeBose. "I always needed to be better than I was the day before. Not trying wasn't an option."

As a young student, DeBose trained in multiple styles at CC & Co. Dance Complex in Raleigh, NC, and competed regularly at New York City Dance Alliance and West Coast Dance Explosion. "I was the comp kid who never actually won anything," she says. "I was a Regional Outstanding Dancer, but I think I only made the Top 10 at NYCDA once." Nevertheless, she loved learning from the likes of Mandy Moore, Sonya Tayeh, Jason Parsons, and Lauren Adams at conventions and master classes.

As a teen, DeBose switched her focus to musical theater, mainly because of the high cost of competition dance. The first high school show she auditioned for was Fame—and she ended up snagging the lead role of Carmen, because there wasn't anyone else who could dance. "I was terrible! My singing sounded like a foghorn," DeBose says. "But I realized I loved the challenge of trying to sing and dance at the same time." She started taking acting classes at school as well as private vocal lessons, and participated in county-wide productions.

NYC Dreams

After high school, DeBose made it to the Top 20 on Season 6 of "So You Think You Can Dance" before enrolling at Western Carolina University's musical theater program. But she left college after three months. "At that point, I'd already had some professional experience under my belt, and I wasn't quite fitting in at school," DeBose says. Eager to enter the workforce, at 19 she headed to NYC—and she never left.

Quinn Wharton

DeBose says her mentor, legendary Broadway star Charlotte d'Amboise, gave her the confidence she needed to make such a big leap. DeBose first met d'Amboise in high school, and began training with d'Amboise after attending her musical theater intensive, Triple Arts. The two became closer when DeBose was cast as Cassie in WCU's production of A Chorus Line, and d'Amboise—who earned a Tony nom for her take on the part in the Broadway revival of the show—coached her. "Charlotte helped me believe in my abilities as a dancer," DeBose says. "She told me I didn't need to go to college if I didn't want to." "Ariana was somebody who was just going to make it happen—she's driven in all the right ways and was ready for the next step," d'Amboise says. "She's always been a dynamic, fearless dancer. You just can't keep your eyes off her."

Once in NYC, DeBose started living that classic dance-hustle life, sleeping on d'Amboise's couch. "I only had a little money and had to ration everything," DeBose remembers. Then, suddenly, she booked three jobs at once: Diana in a non-Equity production of A Chorus Line, an ensemble role in the first national tour of Wicked, and Nautica in a new show, Bring It On: The Musical.

DeBose's intuition led her to choose Bring It On, and she made her Broadway debut with the production at 22. Next came roles in Motown: The Musical, the 2013 revival of Pippin, and a little show called Hamilton. "I'd describe Hamilton as a tidal wave of awesome," says DeBose. "It was just a really cool experience. To be terribly honest, had I not done Hamilton, I don't think the last few years would have happened. Or they definitely wouldn't have happened so fast."

Breaking Up with Hamilton

As much as DeBose loved performing in Hamilton, though, years of dancing in the intense show started to take a toll on her, both physically and mentally. "I had reached a place where I felt like my body was betraying me," she says. "It wasn't moving the way it used to, and that was a really hard thing for me to accept." After leaving the show, she made a conscious decision to seek out roles that would also make use of her singing and acting chops—and she resolved to no longer accept ensemble parts.

Quinn Wharton

It was a controversial move. "A lot of people told me that I was wrong when I said I didn't want to do ensemble roles anymore," DeBose says. "The community believed I was saying that ensemble work was bad. That was never it. It's just hard, and I needed a break." But she also had a deep-rooted trust in herself and her abilities. "With the way that I train and the way that I work, I knew that I had the skills to be successful," DeBose says. "I have an undying belief in myself." She headed back to acting and singing classes, putting in the work that would allow her to take her next step.

That work paid off: She scored a leading role in the new musical A Bronx Tale. "I did very minimal dancing in A Bronx Tale," DeBose says. "I got the opportunity to prove my ability to sing and tell an interesting story without dance."

About That Tony Nom

After spending a couple years resetting her body in A Bronx Tale, DeBose earned the role of Disco Donna in Summer: The Donna Summer Musical. While music icon Donna Summer wasn't known for her movement, DeBose convinced the show's creative team, including choreographer Sergio Trujillo, to let this Donna be super-dancy. "They gave me the space to create something in the style of Debbie Allen, Chita Rivera, Rita Moreno, Charlotte d'Amboise, and Ann Reinking—all the women I grew up loving, who played dynamic powerhouse roles," she says. "With Ariana's talent, I was able to go way beyond my expectations for that role," Trujillo says. "She's really one of a kind and has the 'it' quality you need to be a star. I've called her my little Chita Rivera since the moment I met her."

Quinn Wharton

Being nominated for a Best Featured Actress Tony Award for the role was just the cherry on top—and something she truly fought for. The day the Tony voters came to see the show, DeBose was injured and ended up performing with a cane. "I knew that I wasn't a shoo-in at all. I wasn't a favorite by any stretch of the mind," she says. "So it was a very special nomination."

The nom also felt like a validation of her career choices. "When the Tony hoopla died down, some of my colleagues who are ensemble dancers sent me messages," DeBose says. "They were like, 'Thank you for what you did this season. You showed people that dancers in the ensemble shouldn't be counted out. We can talk and we can sing.' "

Ariana Takes Hollywood

Next, DeBose is set to tackle film and television. Playing Anita in the West Side Story remake will surely make her a household name, but she's mostly focused on proving herself, and making sure her skills can back up the hype. "I'm nervous and excited," DeBose says. "This is kind of a go-big-or-go-home moment, like, can I really act? There's a little bit more pressure than before." But if there's anything we know about DeBose, it's that she'll keep rising to the occasion.

10 Things You Don't Know About Ariana

1. "I'm multiracial." DeBose is Puerto Rican and white.

2. "I love Oreos and peanut butter. It's like a Parent Trap thing for me."

3. She's a huge fan of "The Golden Girls" and the British TV show "Absolutely Fabulous." "So basically, I'm a 70-year-old cat lady."

4. Speaking of which: She has two cats, Izzy and Freddy. "Like I said, 70-year-old cat lady."

5. "I love tea. Spilling it and drinking it."

6. She enjoys photography. "Maybe one day I'll pull a Jessica Lange and have an exhibition of my artsy black-and-white photos."

7. "My favorite lip gloss is by Yves Saint Laurent. It's gold and sparkly."

8. She's a homebody. "I'm actually a very simple person, and I like quiet."

9. One of her favorite foods is Baskin Robbins' rainbow sorbet ice cream.

10. "When I was a baby, I was an Ivory soap baby—I was on their soap boxes. It was like being a Gerber baby."

Quinn Wharton

Using Her Voice

Ariana DeBose is unapologetic about showing her authentic self to fans on social media. She's very vocal about the issues that matter to her, and has only gotten louder as her platform has grown. "I have a lot to say," DeBose says. "But I try to say it with compassion, knowing that my opinions are my own, and I want to leave space for people to have their own opinions." (Her mantra is "Good vibes only.")

The causes she's most engaged in are LGBTQ issues (although DeBose is out, she doesn't claim any particular label) and women's issues. "Being a strong woman with an opinion these days is hard, so I want to empower young women and girls in whatever way I can," she says. "I want them to see that being yourself, standing up for yourself, being intelligent, and being fearless are all good things, and no one is ever allowed to take them from you."

#SELFCARE: How Ariana Survives Eight-Show Weeks

• Yoga is a must. "I take Bikram a lot."
• She always keeps fresh flowers around. "It reminds me of the beauty in the world."
• She prioritizes "me time." "I make sure to have at least 15 minutes every day that's just mine. No social media, no phone calls, no work. I might read or just sit and have my tea listening to Yo-Yo Ma."
• She loves coloring books. "Give me a coloring book and I'm a happy person."
• She tries to have lunch with a friend at least once a week. "That really keeps me going because it reminds me that the world is still going on around me."

A version of this story appeared in the May/June 2019 issue of Dance Spirit with the title "A Star Is Born."

In news that will shock absolutely no one, the BYU Cougarettes (aka our April cover stars) are National Champions once more! The powerhouse dance team clinched the top titles in both D1A hip hop and jazz during last weekend's NDA Nationals in Daytona, FL. Their precise, hard-hitting performances highlight exactly what makes them the team to beat (we're not kidding when we say our jaws were on the floor the entire time). Check them out below, and if you haven't already, make sure to read their cover feature!

Hip Hop

Choreography: Shandon Perez. Coaches: Jodi Maxfield & Jamyn Miller

Jazz

Coaches: Jodi Maxfield & Jamyn Miller. Choreographers: Karl Mundt & Kenzie Symanich

Where do I go next?

It's a simple question so many dancers face as they approach high school graduation. Yet it's also a decision that takes a whole lot of time, introspection, and fortitude to make.

When I was a wide-eyed little girl, ballet was pure, ethereal magic. The control and strength of these dancers seemed to defy physics—they took my breath away. From the costumes, to the movement, to the storylines, to the masterful classical compositions, I fell in love with ballet.

But what 11-year-old me realized after her first classes is that ballet is, to put it mildly, very difficult. It took immense determination on a daily basis to push through the soreness, constant criticism, and exhaustion from training every night after school. I had to give up a lot of high school "normalcy"; I was never able to go to school dances, football games, or parties, or stay home during the summers. Instead, while my peers were doing all of these things, I had to train.

But I wasn't deterred. On the contrary: I had a dream, and I chased it.

At 15, I moved away from home to study 40 hours per week in NYC at the Ellison Ballet professional training program. By then, I'd become completely consumed by ballet. There were many points where I had felt like I was missing out on all other aspects of teenage life. But whenever I stepped out onto a stage—including the Lincoln Center stages where I was lucky to perform—every worry disappeared. It was just me and that moment.

My senior year of high school was a whirlwind. Should I audition for ballet companies? Should I take a traineeship or job with a second company? Should I go to college for dance? Should I go to college for something else and dance recreationally? I was torn. I kept thinking to myself, "Yes, you want to dance, but what else can you be? What else do YOU want to be?" Those questions weren't going to go away until they were answered. I had to step back and envision what different paths would lead to in the long term.

Oliver Endahl/Ballet Zaida, courtesy McEvoy-Melo

Beyond ballet, I loved to learn—I believe the discipline and persistence that we're taught from a young age as dancers translates to many other aspects of our lives. With a potential future career in scientific research or healthcare in mind, I applied to a few colleges.

While waiting for admission decisions, I was filled with doubts. I didn't want to miss out on the "college experience" the way I'd missed out on classic high school experiences. I didn't want to disappoint my parents and myself by not going to college. But I also didn't want to miss out on the opportunity to reach my full potential as a dancer.

Then I got into Columbia University. Columbia offered me the best of both worlds: I'd be able to dance every day with instructors from the top ranks of American Ballet Theatre and New York City Ballet while simultaneously studying neuroscience at a highly regarded research university.

I came to college a shy young woman. On campus, I grew into myself. The highs, the lows, the mistakes, and the lessons I've learned over the past four years have not only helped me evolve as a person, but also made me a stronger dancer and performer.

Don't get me wrong: Maintaining your strength and technique while you're a full-time academic student is taxing. It's an endless cycle of waking up early, heading to ballet, going from class to class, running to late night rehearsal, and then hitting the library. I had to figure out how to balance my academic commitments with my development as an artist, not to mention my social life. But in college, ballet class became cathartic for me. It was the designated few hours each day where I could quiet my mind, and allow myself to be swept up in movement and expression.

What I've grown to understand is that life is a progression, and whatever your circumstances, you can figure out a way to achieve your goals. Don't be quick to judge when your dream college only has two dance levels instead of the six you're accustomed to. Don't quit when your director promotes your friend and you're left in the same rank for another year. Give it a chance when you're told that contemporary dance suits your talents better than ballet. Know that it's OK to move on from dance when you're ready to pursue other passions.

College didn't compromise my ability to be able to dance professionally. Instead, it gave me the tools I needed to determine what I wanted in my next chapter. It also taught me that big decisions don't have to be scary. Making difficult choices makes you a stronger person.

Now, as college graduation approaches, I'm facing the next big question: Should I take a gap year or two to dance in a company? Or should I go to graduate school straight away? I feel blessed to even be considering these options. And I'm forever grateful for the role dance has played, and continues to play, in my life.

At first glance, being a male dancer comes with serious perks. After all, since fewer boys than girls study dance, men are often in demand when it comes time for casting, and male students are also far more likely to get scholarships to prestigious dance schools and summer intensives.

But many boys give up on their dance training because of the struggles that come with it. From experiencing bullying and homophobic remarks to feeling forced to project as stereotypically masculine, being a young boy in dance is far from easy. To shed some light on these issues, Dance Spirit asked five male professional dancers to share their experiences and offer the advice they wish they'd received as students.

Teasing, Bullying, and Homophobia

Bullying—often stemming from homophobia—is one of the most common obstacles male dancers face. And that bullying can be extremely isolating, especially at school.

"It was so frustrating to always be the odd one out," says Abdiel Figueroa Reyes, an apprentice with Hubbard Street Dance Chicago. Originally from Puerto Rico, he moved to Las Vegas, NV, with his family at age 12. Though he experienced some taunting from the beginning, the bullying intensified as he entered high school. "I remember some of our peers during gym class addressing my friend and me, saying 'Are you guys gay?' Or 'Are you guys together?' " Reyes says. "They made me feel alone and uncomfortable, like a black sheep."

Hip-hop artist Gabe De Guzman notes that navigating the hip-hop scene can be a bit easier, since street dance is regarded as more masculine. Even so, he was unable to escape teasing. "Hip hop is such a strong style," he says. "But simply being a dancer of any style, I was picked on by the boys in my class at school."

Gabe De Guzman (Fly Girl Photography, courtesy De Guzman)

Some male dance students go to extremes to cope with bullying. Stephen Hanna, a Broadway vet and former New York City Ballet principal, was terrified of being teased as a young teen, and ended up crafting an intricate lie to hide his love for dance. "In middle school, I'd leave school early to take ballet classes," he says. "If anyone asked, I told them I had really bad allergies and I needed to get an allergy shot by a certain point each day or I wouldn't be able to sleep." The lie fell apart one day when, over the school's loudspeaker, Hanna was congratulated on his role in a dance production. Bullying quickly ensued. At that point, Hanna says, he was fortunate to escape the brunt of it by taking more intensives and classes outside of his hometown.

Stephen Hanna (CK Lowry, courtesy Hanna)

But what if you can't pick up and leave? All three dancers agree that building a close network of friends and family members is key. While their support probably won't make the bullying disappear, it will give you a sense of perspective. You can also use social media to connect with other young male dancers around the world facing similar struggles.

The Pressure to Be Hypermasculine

Some male students feel compelled to present themselves as stereotypically masculine, thanks to old-fashioned ideas about what a male dancer "should" look like. Zackery Torres first appeared on "Dance Moms" at age 13. In each episode, he received the same criticism: "The choreographers and producers said I needed to dance more like a boy or a man. I needed to bulk up, and I needed to wear clothes that didn't look super-flamboyant."

Zackery Torres (Rose Eichenbaum, courtesy Torres)

This issue became Torres' storyline on the show. The harsh words of his fellow cast members, as well as "Dance Moms" fans on social media, impeded his discovery of his true identity, both in terms of sexuality and gender. "I'm definitely a more feminine human being," Torres says. "When I was younger, not only was I struggling with my sexuality, but also with my gender identity. I couldn't understand why people kept forcing these stereotypical beliefs on me."

Torres suggests that those who feel this kind of pressure take a step back and work on self-discovery—even if that means delaying their professional career. After "Dance Moms" and appearing on "Abby's Ultimate Dance Competition," instead of pursuing dance professionally as many advised, Torres decided to return home and focus on himself and the studio. He realized that to stop others from making him into something he wasn't, he needed to find the strength and confidence to be his exuberant self.

A Lack of Male-Specific Training

Unsurprisingly, most dance classes are taught by and made up of women. And while the studio may be a welcoming place for boys, they can easily fall behind their female peers without male-specific training.

Nick Kepley, a former Broadway dancer and ballet professional, first saw this learning curve when he began attending summer intensives. "Growing up with all female teachers, I didn't get a lot of specific male technique except at summer programs," Kepley says. "And then it was obvious who from those groups went to year-round arts schools where they had men's classes—and who, like me, did not. It was intimidating. A lot of kids complain that men usually receive scholarships to go to programs just because there are fewer of them, but boys pay the price in other ways."

Nick Kepley (Whitney Browne, courtesy Kepley)

If there are no men to mentor you at your studio, look to the broader dance community. Many professional male dancers offer advice and technical tips on YouTube and Instagram. Don't be afraid to reach out to them with a kind email or message, and ask them to point you in the direction of intensives, workshops, or programs where you'll be able to find male-specific training.

The Hope to Hold On To

Being a male dancer is undoubtedly a challenge. But each of the five dancers interviewed agreed on one thing: Determination, drive, and authenticity are the key to perseverance and thriving.

"You can find success in dance if you're passionate about it," De Guzman says. "There are so many male dancers who've made their marks in the history of dance and entertainment, which only proves that gender doesn't dictate success. Don't let anybody tell you otherwise."

A version of this story appeared in the April 2019 issue of Dance Spirit with the title "The Boy Problem."

The bugle boy won't be the only one boogy-woogying in these dance-team costumes, all inspired by looks associated with the armed forces.

Photography by Erin Baiano

Hair by Erica Whelan

Makeup by Angela Huff

Modeled by Marissa Cannella, Angela Fioretti, and Allie Pereira.

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Angela (left) wears Satin Stitches. Allie (right) wears The Line Up.

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(from left) Angela, Marissa, and Allie wear Art Stone/The Competitor.

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Allie (left) wears Discount Dance Supply. Angela (right) wears A Wish Come True.

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Angela (left) wears Alexandra Collection by Just For Kix. Marissa (right) wears Curtain Call Costumes.

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(from left) Marissa, Angela, and Allie wear Curtain Call Costumes.

A version of this story appeared in the April 2019 issue of Dance Spirit with the title "On Military Time."

In our "Dear Katie" series, former NYCB soloist Kathryn Morgan answers your pressing dance questions. Have something you want to ask Katie? Email dearkatie@dancespirit.com for a chance to be featured!

Dear Katie,

When I was younger, I trained seriously in dance, and loved it. But two years ago, when I was 14, my family decided they couldn't afford lessons anymore. Since then, I've been running cross-country and doing Pilates every night, trying to stay in shape. Dancing professionally is still my dream, but I'm not sure if or when I'll be able to get back into classes. Is there any hope for me?

Jenna

Dear Jenna,

I'll be honest with you: In order to be a professional dancer, you'll need to train intensively, which means being in dance classes five to six times a week. But don't lose heart! You're already on the right track by staying in shape.

Ask your dance school about financial aid. Most schools will be willing to work with talented students, but dancers are often afraid to ask. Be bold! Explain your situation, and see if they can offer scholarships or reduced-fee classes.

I'd also suggest adding some ballet barres to your at-home routine. You can find many for free on YouTube (including several on my channel). They'll help you develop, or redevelop, the muscles you'll need for studio classes—and they'll keep you in a dance mind-set.

Last night, while the rest of the population was watching "Game of Thrones," we (and all of you) were wrapped up in the drama that was first round of "World of Dance" cuts. I'm gonna go out on a limb here and say that everyone can agree this season is especially unpredictable: We've got a whole new points system, surprises every episode, and a truly talented group of dancers who bring it week after week. So, who survived and who was sent packing? Here's what went down last night.

Junior Team Division

Crazy 8's

A standing O from J.Lo is always a good thing, and that's exactly what the Crazy 8's got. Their routine was, as ever, intricate, hard-hitting, and super satisfying to watch. We were living for their energy and facials, and absolutely loved the costumes. The judges were super impressed, giving them a 92.3.

Dancetown Divas

Ahhhh, our favorite ladies from Miami. What can't these super-girls do? (That's obviously a rhetorical question.) They confidently danced in heels, which is a feat in itself, and the addition of voguing had us screaming as loud as the audience. The judges loved it, awarding them a 93.3.

VPeepz

Last but certainly not least, the third junior group safe from The Cut was VPeepz. Their insanely technical, precise, and complex routine earned them a whopping 98.7, as well as a standing ovation from the entire judging panel. Right now, VPeepz is clearly the one to beat.

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Upper Division

Briar Nolet

Our 2016 CMS winner has been on a ROLL this season. Each of her performances builds on the last, and it's clear she's peaking at the right time. Nolet's performance last night highlighted every single one of her strengths. She earned a unanimous standing O, tears from J.Lo (!!!!), and a stellar score of 95.3.

Derion & Madison

These two are just so breathtaking to watch. Their performance was infused with a sense of emotion that'd been lacking a tad this season, and man, did it complete the package. The judges were blown away, giving them a standing O and a 94.7.

Poppin John

We live for some props done right, and Poppin John (or Proppin John—see what we did there?!) did just that last night. The supremely talented popper gave us a lesson in balance by pulling off some wild tricks and optical illusions, while never sacrificing the emotional pulse of the performance. The judges loved every minute of it, giving him a solid 95 and a standing ovation.

Next week is sure to be just as intense, so catch us back here for another recap!

Picture a group of dancers with brightly colored skirts, embroidered jackets and hats, and fleet feet that tap out a syncopated beat as lively music plays. The women fan out their skirts, rippling them like waves as they twirl and stamp.

This is folklórico, a dance style with as much complexity, variety, and history as the country of Mexico itself. Folklórico actually refers to many traditional dances from Mexico's different regions and states, rather than one single style, and you could fill multiple books with the details of every dance. Still, if you're interested in diving into folklórico, there are a few basics you should know.

A Blend of Influences

According to Gabriela Mendoza-Garcia, a dance scholar, choreographer, and artistic director in Laredo, TX, folklórico can be traced all the way back to the ceremonial and social dances of indigenous people living in Mexico. When the Spanish conquistadors arrived, they brought their own music and dances with them. During the colonial period (1525–1810) and even after Mexico's independence from Spain in 1821, immigrants from all over the world—Germany, France, parts of Asia and Africa—influenced the music and dances. During this colonial period, folklórico blended these influences with the traditions of Mexico's various regions and states. "Every state has its unique dance that represents them," says Raquel Ramirez, a teacher at Santa Monica College and director of Ballet Folklórico Flor de Mayo. Sometimes a dance will depict an animal from the area, a historical event that happened there, or another element of the local lifestyle.

Ballet Folklórico en Aztlan performing "Mitotili Poblana, The Tree of Life"

The rhythms of the footwork, the music, and the costumes are all clues about where a particular dance comes from. For many non-Mexicans, the dances of the Jalisco region—with their mariachi music, women in braids, and colorful, ribboned skirts—are their first exposure to the style. Jalisco is also the birthplace of Mexico's national dance, the jarabe tapatio (hat dance). In the 1920s, Mendoza-Garcia explains, the Mexican government wanted to unify the nation and began teaching the jarabe tapatio in public schools across the country. It was even performed by Anna Pavlova, who choreographed a version of it in pointe shoes during an international tour, and helped it become known on the world stage. The fandango, from Veracruz, is another popular dance, known for its lightning-fast footwork. In it, couples take turns dancing on a wooden platform called a "tarima."

Mastering the Fundamentals

Nailing the basic footwork, or zapateado, is probably the first thing you'll learn as a folklórico dancer. Ramirez breaks down the foot into four parts for her students—the toes, heels, soles (plantas), and balls. Each area can be isolated during any combination.

Folklórico is percussive, but not in the way you might be used to from other styles. Ramirez explains that in folklórico, the sound comes from tiny nails on the front and heel of the shoe, rather than metal taps. You're also typically dancing on the beat (unlike flamenco, where the percussion is on counter-beats, or syncopated off the beat, most of the time). Mendoza-Garcia adds, "In folklórico we use the heel more. We don't shuffle the ball of the foot. We press on it to make a sound with our heel." The dance becomes part of the music. "We're vital to the music because we set the beat," Mendoza-Garcia says. "In some of the dances, you do soft footwork when there's singing so that people can hear the singers."

A Ballet Folklórico Flor De Mayo performance (Joey Somera, courtesy Raquel Ramirez)

Some of the other steps used in combinations include gatillos, or accents done with the heel in between steps ("It kind of helps you fill in the blanks with music," Ramirez says); sencillos, or simple scuffing steps; and remates, or stomps that are done in between phrases.

Aside from the footwork, in many regions of Mexico, the manipulation of the skirt, or faldeo, is a key element for women. The length of the skirt, how high the dancer raises it, and the type of skirt work signal where the dance might be from. Typically, the skirt moves in a variety of patterns. Some are in opposition to the feet—if you step with your right foot, your left hand might be raising and fanning your skirt—and some movements are in sync with the feet. For men, machetes are used in certain dances.

Technique aside, perhaps the most important element is "keeping an open heart and mind and spirit, so that the joy of the dance can come through," says Viviana Enrique Acosta, artistic director of Ballet Folklórico en Aztlan in Lemon Grove, CA. "Even more so than the technique or style, I'm looking for that connection to the spirit of the dance, as it is transmitted from one generation to the next."

Folklórico Today

Over the years, some folklórico companies began incorporating elements of ballet and modern. Amalia Hernandez, the first to really become known for this, created Ballet Folklórico de México in the 1950s. While she was often inspired by Mexican history and traditional dance, "she added a lot of theatrical elements," says Mendoza-Garcia. "She was the first to add the modern and the ballet, and to reach such an international audience with a professional company." In one of her most famous pieces, La Revolución, Hernandez used folklórico to tell the story of women soldiers during the Mexican revolution.

Student Abigail Waiswick performing "Floreo" with Ballet Folklórico en Aztlan (Viviana C. Enrique Acosta, courtesy Ballet Folklórico en Aztlan)

Today, companies across the U.S., as well as in Mexico, vary in the amount that they blend folklórico with other styles. For Enrique Acosta, understanding where the dances come from is the most important thing, even when adding more modern elements. Knowing the history adds dimension to the movement. "Our hallmark is trying to maintain the indigenous aspect of our culture," she says. "Many dances are quite profound, but people have forgotten that ingrained or encoded knowledge, and so it seems like just a bunch of floating skirts and stamping feet." For Mendoza-Garcia, dance is also a way to stay connected with her heritage. "It's a way of not forgetting where you came from," she says.

A version of this story appeared in the April 2019 issue of Dance Spirit with the title "The Magic of Folklórico."

This is huge news, so we'll get straight to it:

We now (finally!) know who'll be appearing onscreen alongside Ariana DeBose and the other previously announced leads in Steven Spielberg's remake of West Side Story, choreographed by Justin Peck. Unsurprisingly, the Sharks/Jets cast list includes some of the best dancers in the industry.

Maybe the boldest of the boldfaced names is Maddie Ziegler, who'll play a Jet, as will fellow commercial-dance world standout Myles Erlick. Mike Faist, a Broadway vet who originated roles in Newsies and Dear Evan Hansen, will become Jets leader Riff. A glittering group of ballet-world dancers, including Jeanette Delgado, Brittany Pollack, Harrison Coll, and Sara and Leigh-Ann Esty, will appear in the Jet and Shark ensembles. Two "So You Think You Can Dance" champions—Gaby Diaz and Ricky Ubeda—will play Sharks (we called it!). Naturally, the cast list also features a bevy of Broadway standouts, including Ben Cook, Paloma Garcia-Lee, Eloise Kropp, Jess LeProtto, Jonalyn Saxer, Yesenia Ayala, and David and Jacob Guzman.

Here's the full lineup:

JETS

Brianna Abruzzo, Kyle Allen, Kyle Coffman, Ben Cook, Harrison Coll, Kevin Csolak, Kellie Drobnick, Julian Elia, Myles Erlick, Leigh-Ann Esty, Sara Esty, Mike Faist, John Michael Fiumara, Paloma Garcia-Lee, Garett Hawe, Patrick Higgins, Sean Harrison Jones, Eloise Kropp, Lauren Leach, Jess LeProtto, Skye Mattox, Ezra Menas, Adriana Pierce, Brittany Pollack, Daniel Patrick Russell, Talia Ryder, Jonalyn Saxer, Halli Toland, Maddie Ziegler

SHARKS

David Aviles Morales, Yesenia Ayala, María Alejandra Castillo, Annelise Cepero, Andrei Chagas, Jeanette Delgado, Kelvin Delgado, Gaby Diaz, Yurel Echezarreta, Adriel Flete, Carlos E. Gonzalez, David Guzman, Jacob Guzman, Ana Isabelle, Melody Martí, Ilda Mason, Juliette Feliciano Ortiz, Edriz E. Rosa Pérez, Maria Alexis Rodriguez, Julius Anthony Rubio, Carlos Sánchez Falú, Sebastian Serra, Gabriela Soto, Ricky Ubeda, Tanairi Vazquez, Jamila Velazquez, Isabella Ward, Ricardo Zayas