It's the day of the Tony noms, y'all! And the list—as delivered to us straight from the very talented mouths of Bebe Neuwirth and Brandon Victor Dixon—features all kinds of dancy favorites.

Highlights include Best Choreography nods for Camille A. Brown, Warren Carlyle, and Sergio Trujillo; a Best Director nomination for Casey Nicholaw; and big bunches of noms for dance-filled shows Ain't Too Proud (12), Beetlejuice (8), Oklahoma! (8) and The Prom (7).

Here are all the musical nominations (full rundown here):

Best Musical
Ain't Too Proud—The Life and Times of The Temptations
Beetlejuice
Hadestown
The Prom
Tootsie

Best Revival of a Musical
Kiss Me, Kate
Rodgers and Hammerstein's Oklahoma!

Best Performance by an Actor in a Leading Role in a Musical
Brooks Ashmanskas, The Prom
Derrick Baskin, Ain't Too Proud
Alex Brightman, Beetlejuice
Damon Daunno, Oklahoma!
Santino Fontana, Tootsie

Best Performance by an Actress in a Leading Role in a Musical
Stephanie J. Block, The Cher Show
Caitlin Kinnunen, The Prom
Beth Leavel, The Prom
Eva Noblezada, Hadestown
Kelli O'Hara, Kiss Me, Kate

Best Book of a Musical
Ain't Too Proud, Dominique Morisseau
Beetlejuice, Scott Brown and Anthony King
Hadestown, Anaïs Mitchell
The Prom, Bob Martin and Chad Beguelin
Tootsie, Robert Horn

Best Original Score (Music and/or Lyrics) Written for the Theatre
Be More Chill, Joe Iconis
Beetlejuice, Eddie Perfect
Hadestown, Anaïs Mitchell
The Prom, Matthew Sklar and Chad Beguelin
To Kill a Mockingbird, Adam Guettel
Tootsie, David Yazbek

Best Choreography
Camille A. Brown, Choir Boy
Warren Carlyle, Kiss Me, Kate
Denis Jones, Tootsie
David Neumann, Hadestown
Sergio Trujillo, Ain't Too Proud

Best Orchestrations
Michael Chorney and Todd Sickafoose, Hadestown
Larry Hochman, Kiss Me, Kate
Daniel Kluger, Oklahoma!
Simon Hale, Tootsie
Harold Wheeler, Ain't Too Proud

Best Scenic Design of a Musical
Robert Brill and Peter Nigrini, Ain't Too Proud
Peter England, King Kong
Rachel Hauck, Hadestown
Laura Jellinek, Oklahoma!
David Korins, Beetlejuice

Best Costume Design of a Musical
Michael Krass, Hadestown
William Ivey Long, Beetlejuice
William Ivey Long, Tootsie
Bob Mackie, The Cher Show
Paul Tazewell, Ain't Too Proud

Best Sound Design of a Musical
Peter Hylenski, Beetlejuice
Peter Hylenski, King Kong
Steve Canyon Kennedy, Ain't Too Proud
Drew Levy, Oklahoma!
Nevin Steinberg and Jessica Paz, Hadestown

Best Direction of a Musical
Rachel Chavkin, Hadestown
Scott Ellis, Tootsie
Daniel Fish, Oklahoma!
Des McAnuff, Ain't Too Proud
Casey Nicholaw, The Prom

Best Performance by an Actress in a Featured Role in a Musical
Lilli Cooper, Tootsie
Amber Gray, Hadestown
Sarah Stiles, Tootsie
Ali Stroker, Oklahoma!
Mary Testa, Oklahoma!

Best Performance by an Actor in a Featured Role in a Musical
Andre De Shields, Hadestown
Andy Grotelueschen, Tootsie
Patrick Page, Hadestown
Jeremy Pope, Ain't Too Proud
Ephraim Sykes, Ain't Too Proud

Welcome to the fifth annual Dance Spirit Jazz Hand Awards—aka "The Jazzies"—where we honor the most dancetastic new Broadway shows. Some are shining onstage right now, others will open in the next few months, and they're all worth a ticket. Consider this your official guide to the season's latest and greatest.

The Jazzie for Best Dancing Through the Decades Goes to..."The Cher Show," currently running at the Neil Simon Theatre

Based on the life and career of iconic pop star Cher, The Cher Show is as over-the-top as the singer herself. Prepare yourself for a Vegas-like spectacle of feathers, glitter, lace, sequins, and lots of big wigs. (The show's costume designer, Bob Mackie, was one of Cher's favorites back in the day!) The jukebox-style musical takes us through Cher's journey, with three main Cher narrators—Babe (Micaela Diamond), Lady (Teal Wicks), and Star (Stephanie J. Block)—who represent the various phases of her life, from her shy, grade-school days to the "Sonny & Cher" variety show in the 1970s to her fierce solo career in the '80s and '90s.

Because Cher has had such a long, unconventional career, the choreography (by Christopher Gattelli, of Newsies fame) features moves from multiple decades. There are '60s frugs and twists, eccentric '80s jazz, and '90s-style hip hop. "The dancing in this show is the glue that holds the story and the songs together," says ensemble dancer Ashley Blair Fitzgerald. "Many of the numbers are montage scenes that show the passage of time." Highlights include a stylized Bob Fosse– and Jack Cole–inspired number to "The Beat Goes On" and a sultry, partnering-heavy piece to "Dark Lady."

The Jazzie for The Best Classic Broadway Jazz Goes to..."Kiss Me, Kate," currently running through June 2 at Studio 54

Broadway purists, rest easy—you won't see any out-there contemporary choreo in this revival. Choreographer Warren Carlyle wasn't interested in updating the dance moves (it's a classic for a reason!), instead taking his inspiration from musical films of the 1940s, including Strike Up the Band, Babes on Broadway, Holiday Inn, and Yankee Doodle Dandy. "I felt a duty to uphold the standard of great dance on Broadway," Carlyle says. "The dancing in Kiss Me, Kate is classic musical theater, jazz, and American tap. It's a joyous celebration of dance and movement to one of the greatest scores ever written."

For those who aren't familiar with the musical, Kiss Me, Kate takes place in 1948 and is a show within a show, centering on a musical production of William Shakespeare's The Taming of the Shrew. Kiss Me, Kate is super-funny and follows some passionate romances, including the onstage/offstage conflict between Fred Graham (The Taming's director, producer, and star) and his ex-wife and leading lady, Lilli Vanessi; and Lois Lane and her gambling boyfriend, Bill.

The original production of Kiss Me, Kate opened in 1948 and won the very first Tony Award for Best Musical in 1949. The tunes by Cole Porter include iconic hits like "Too Darn Hot," "So in Love," and "Always True to You in My Fashion." This staging features Broadway legend Kelli O'Hara as Lilli, Will Chase as Fred, the dance-tastic Corbin Bleu as Bill, and Stephanie Styles as Lois Lane.

The Jazzie for the Best Minimalistic, Modern Update Goes to..."Oklahoma!," currently running through January 19

You may be familiar with the classic Rodgers and Hammerstein show Oklahoma!, but this production brings a whole new look to the prairie. Mark Morris alum John Heginbotham reimagined the choreography, including its iconic dream ballet, first choreographed by Agnes de Mille. Dancer Gabrielle Hamilton performs the newly updated dream piece, which is completely unlike—and a bit more ambiguous than—the original. Most of the rest of the choreo is centered on social dances, like two-steps and country swing. But it's not just the dancing that's different: The whole production is scaled back. Instead of a sweeping, realistic set, this revival features a more intimate, bare-bones staging and a bluegrass band instead of a full orchestra.

The Jazzie for Coolest Can-Cans Goes to..."Moulin Rouge! The Musical," opening July 25 at the Al Hirschfeld Theatre

Based on the 2001 cult-classic film by Baz Luhrmann, this production heads to the Great White Way full of all the eclectic extravagance that made the film a hit. From the second you walk into the theater, you'll be captivated by the vivid set, flanked by a sparkling red windmill and a giant blue elephant. As in the film, leading lady Satine (Karen Olivo) makes her entrance from the ceiling on a trapeze, and the show features hit songs from the movie, including "Lady Marmalade."

But there are lots of new experiences to take in, too. For one, the soundtrack is a pop medley, featuring over 70 songs by artists such as Lady Gaga, Florence + The Machine, OutKast, Lorde, Beyoncé, Elvis, Madonna, Elton John, and The Rolling Stones. And Sonya Tayeh's choreo is a nonstop, hypnotizing whirlwind of gritty contemporary movement. "You haven't seen the can-can done this way before,"

dancer Morgan Marcell says. "Sure, we're kicking our legs in skirts, but we're also atop a passerelle [footbridge] in heels, and we're daring and strong." It's a bohemian fever-dream you'll never want to end.

The Jazzie for Creepy-Crawliest Dancing Goes to..."Beetlejuice," currently running at the Winter Garden Theatre

The "ghost with the most" is headed to Broadway. Inspired by the 1988 Tim Burton movie, the musical follows the story of teenage Lydia, whose new house is haunted by a recently deceased couple and the demon Beetlejuice. Lydia, played by dancer Sophia Anne Caruso, gets a much bigger role in the musical. She's obsessed with the "being dead thing" because her mother passed away six months earlier. Beetlejuice, played by Alex Brightman (of School of Rock fame), also gets lots more stage time in the new production, acting as a narrator throughout. And there's quite a bit of dancing for both leads. "Alex and Sophia are fantastic dancers," choreographer Connor Gallagher says. "Neither of them were cast for their dance ability alone, so the fact that they're so game has been a gift. We've built the show around their talents."

The production also features tons of special effects, puppets, rock music, and some manically cool ensemble choreo. "The dance vocabulary is all over the map," Gallagher says. "There's hip hop, salsa, doo-wop, and a big, acrobatic vaudeville number. It's all rhythmically intricate and very athletic."

The musical also re-creates one of the film's most memorable and silly scenes: the dinner party where the ghosts take possession of guests' bodies, forcing them to dance to the Jamaican folk song "Day-O (The Banana Boat Song)." "There's quite a bit of possession in our story, or moments where one character controls another character's body," Gallagher says. "It was fun to play with the different styles of movement each character generates during that."

Beware: This show isn't intended for kids under 10, as Beetlejuice's jokes are a tad dirtier than the ones in the film.

The Jazzie for the Most Outside-the-Box Choreo Goes to..."King Kong," currently running at the Broadway Theatre

The true star of King Kong is clearly the massive gorilla of the same name. In the production, Kong comes alive as a 2,000-pound, 20-foot-tall animatronic/puppet who leaves the audience completely awestruck as he runs down the streets of Manhattan, climbs the Empire State Building, and picks up leading lady Ann Darrow (Christiani Pitts). The visually stunning show, which feels as much like an amusement park attraction as a Broadway production, has also updated the original 1933 film story for modern audiences: Ann Darrow is no damsel in distress. Instead, she's an aspiring actress who saves herself.

The choreography also sets the show apart. Even though it's set in Depression-era NYC, there isn't one main dance style. Expect lots of explosive contemporary musical theater moves and stylized partnering that mimics the energy of busy NYC streets. "I wanted the choreography to reflect the fearless drive of NYC at the time," director/choreographer Drew McOnie says. "The city was being built from the ground up with the new construction of skyscrapers. Just like the buildings, the citizens were all reaching up, too, with aspiration and unbreakable spirit."

The Jazzie for the Highest-Energy School Dance Moves Goes to..."THE PROM," currently running at the Longacre Theatre

The Prom takes this season's award for the show with the most heart, as well. It's an uplifting story about acceptance and equality, following a lesbian couple in Indiana who are banned from attending their high school's prom and the diva-like Broadway stars who step in to save the day—causing hilarious chaos in the process. Directed and choreographed by Casey Nicholaw, the dancing represents the diversity of the characters: There's super-hard-hitting hip-hop/jazz movement for the teens, and classic musical theater jazz for the Broadway stars. "The dancing in the show is the main attraction," dancer Mary Antonini says. "There are no crazy special effects or big LED screens—Casey really uses dance to tell this story."

You'll be especially impressed by Angie, a character who's a veteran Broadway chorus girl, played by real-life veteran Broadway chorus girl Angie Schworer. Schworer herself has been in 11 Broadway shows, including The Producers and Something Rotten, and her character in The Prom mirrors her real life ("Prom Angie is a little more narcissistic than real-life Angie, though," Schworer says). And she gets a fantastically fun, Fosse-inspired solo called "Zazz."

The show is also packed with huge, full-out production numbers and a finale dance that includes the entire cast. "The finale is my favorite because it's really unusual to have every single cast member dance," Antonini says. "It's amazing and incredibly unifying."

A version of this story appeared in the May/June 2019 issue of Dance Spirit with the title "Presenting Dance Spirit's Annual Jazz Hand Awards."

Getting ready for a performance is stressful, to put it mildly. We rehearse for so long that the thought of messing up onstage is enough to give us heart palpitations. Everyone has their pre-performance rituals and superstitions—but here are five things NOT to do if you want to have your best show ever.

Eat a Huge Feast

Yes, it's important to have a nutritious snack or light meal before the show—but please, don't have a full-on mukbang with your friends! Nobody wants to feel bloated or nauseous onstage.

Do Anything that Could Get You Injured

Now is not the time to try out that new acro trick everyone's been doing.

Wait Until the Last Minute to Do Your Makeup and Hair

Because rushing through hair and makeup will only make you feel more stressed about the performance to come.

Skimp on Your Warmup

It doesn't matter how naturally flexible you are. You need to warm up!

Say "Good Luck" or "Break a Leg"

ONE WORD: MERDE.

When you hear the words "Broadway star," what do you see in your head? A diva belting out the 11 o'clock number from center stage? Fans waiting eagerly at the stage door to get an autograph from the leading man? Well, we think the Great White Way's brightest stars can actually be found in the ensemble. After all, these triple threats dance 'til they drop, pull off complex vocal harmonies, and create three-dimensional characters from scratch—eight times a week.

Here are five of Broadway's most brilliant unsung heroes and heroines. You may not know their characters' names, but without these dancers' prodigious talents, the show literally couldn't go on.

Jonalyn Saxer

Dream ensembles: Crazy for You, Thoroughly Modern Millie

Jonalyn Saxer (photo by Erin Baiano)

Jonalyn Saxer's journey to Broadway sounds a lot like the overnight-stardom plot of 42nd Street: Twelve days after graduating from Syracuse University with a BFA in musical theater, Saxer became a replacement swing in Bullets Over Broadway, covering no fewer than eight female ensemble tracks. Saxer hasn't left the boards since, bringing her prodigious tapping skills and a charming liveliness to the ensembles of Honeymoon in Vegas, Holiday Inn, CATS, and now Mean Girls. But even Saxer's #blessed career hasn't come without struggle. "In the ensemble, you run around drenched in sweat, using your body so much that by the end of the week, there's nothing more you can give," she says. "Sometimes the hardest thing is just looking at the beast you have ahead of you and telling yourself to start."

Jonalyn Saxer (at bottom of escalator, hand on hip) with the cast of "Mean Girls" (Joan Marcus, courtesy Boneau/Bryan-Brown)

Ahmad Simmons

Dream ensembles: Hamilton, Dancin'

Ahmad Simmons in costume for "Carousel" (courtesy Simmons)

When it came time for Ahmad Simmons to attend college, he faced a rare dilemma: He'd gotten into both the dance and musical theater programs at Point Park University and was torn. Ultimately he chose dance, because the department offered more financial aid. Simmons went on to dance with River North Dance Chicago and Parsons Dance. Luckily for Broadway audiences, Simmons never quite let go of musicals: He booked CATS (his first Broadway audition) in 2016, danced Justin Peck's Tony Award-winning choreography in Carousel, and plays Fosse muse Ben Vereen in FX's "Fosse/Verdon" limited series. Currently in Hadestown's workers chorus, Simmons considers ensemble work to be the hardest on Broadway: "We're responsible for carrying the show's emotional heartbeat. Keeping the audience on the edge of their seats is tough—it separates the men from the boys and the women from the girls, so to speak."

Simmons as Alonzo in "CATS" (Matthew Murphy, courtesy Simmons)

Lyrica Woodruff

Dream ensembles: An American in Paris, Oklahoma!

Lyrica Woodruff (Brandi Nicole, courtesy Woodruff)

"Growing up, I was obsessed with movie musicals, but never thought of them as a career," says the aptly named Lyrica Woodruff. Instead, she hoped to one day join a major ballet company, and moved to NYC at 14 to train at the School of American Ballet. Everything changed during her first summer break from SAB, when she joined the ensemble of Marie, Dancing Still (then called Little Dancer). Woodruff danced in the show throughout its entire workshopping process and, after graduating from SAB, in its two regional runs. Next came a Chita Rivera Award for playing Susan the Silent in Finian's Rainbow off-Broadway. Woodruff made her Broadway debut in Anastasia, where she danced as the eldest Romanov sister Olga, Swan Lake's Odette, and various other characters in the ensemble.

Woodruff as Olga in "Anastasia" (Dave Mack, courtesy Woodruff)

Garett Hawe

Dream ensemble: Hairspray ("You could do a long run of that in the ensemble and never get bored, because the message is so uplifting and positive.")

Garett Hawe (Matthew Murphy for Broadway.com, courtesy Hawe)

"I want to dance forever, or as long as my body will let me," says Garett Hawe, who just finished touring the country with Hello, Dolly! "I still get chills every time we finish a dance number and hear the applause." It might surprise you, then, to learn that Hawe didn't start dance training until he was 15. He's certainly made up for lost time since then. Hawe earned his BFA from the University of Cincinnati College-Conservatory of Music, then toured with Mary Poppins and Wicked and played a Lost Boy in Peter Pan Live!. He's danced in no fewer than four Broadway shows: Mary Poppins, Newsies, Matilda, and Carousel. Next, Hawe will be a Jet in Steven Spielberg's remake of West Side Story.

Hawe in "Gypsy" at the Cape Playhouse (courtesy Hawe)

Yesenia Ayala

Dream ensembles: Sweet Charity (which she performed in off-Broadway in 2016), or "any other Fosse show!"

Yesenia Ayala (Matthew Murphy for Broadway.com, courtesy Ayala)

Yesenia Ayala's musical-theater career actually began after she'd declared a biology major at East Carolina University. Though Ayala grew up doing ballet, jazz, modern, and tap, her parents expected her to become a doctor or lawyer. Once at ECU, though, Ayala realized she couldn't leave dance behind, and eventually switched majors, joining the school's theater program. She's since graced the ensembles of Charlie and the Chocolate Factory and Carousel on Broadway. A three-time Chita Rivera Award nominee (and winner of one, as part of the Carousel ensemble), Ayala says ensemble life isn't for the faint of heart—or body. "Doing the same moves eight times a week can really affect your alignment. I do physical therapy and ballet to center and strengthen myself."

"Carousel" ensemble members onstage during tech (courtesy Ayala)

How to Give a Tony-Worthy Performance in the Ensemble

"You need strong technique in a lot of different dance styles. Most Broadway choreography nowadays combines several aspects of dance." —Garett Hawe

"Pay attention to what the director tells the principals, and watch everyone else go through their scene work. You'll begin to understand who you are in relation to other characters, and can then create your character(s) from there." —Yesenia Ayala

"It's not our job as ensemble members to steal attention from the principals. That said, every show I try to be one theatergoer's favorite. I don't care if all one thousand other people aren't looking at me. That's worth it for me, and all you can hope for." —Jonalyn Saxer

"Choreographer Andy Blankenbuehler taught me that you need intention and a point of view in every moment. I write full backstories for every number and scene, even if it's a brief crossover. Otherwise, you can't live it truthfully, much less reproduce it for a hundred performances." —Ahmad Simmons

"Make the most of each step you get to do. Give each performance the same effort and care you gave opening night. What makes a great ensemble dancer is the constant drive to be better than you were yesterday." —Lyrica Woodruff

A version of this story appeared in the May/June 2019 issue of Dance Spirit with the title "Stars of the Ensemble."

There was singing! There were pyrotechnics! There was, afterwards, a celebrity wedding officiated by an Elvis impersonator!

But most importantly, last night's Billboard Music Awards featured some very fabulous dancing. Because when choreo-loving icons like Taylor Swift, Ariana Grande, and Madonna are all in the same room, you know you're going to see some impressive moves.

Here are the highlights:

Taylor Swift and Brendon Urie, "ME!"

Given the massive scale of the candy-colored video for this track, we weren't surprised that T.Swift and the Panic! At the Disco frontman decided to go big last night, with oodles of dancers and a full-on marching band (*waves at Beyoncé*).

Halsey, "Without Me"

Did Halsey's dance alter-ego/antagonist/love interest look familiar? Yup—that was none other than Jade Chynoweth!

Ciara, "Thinkin Bout You"

This dancing queen's flawlessly choreographed performance gave us ALL the Janet vibes.

Madonna and Maluma, "Medellín"

What's better than one Madonna? How about four dancing Madonna holograms—plus the real Madonna, and Maluma, and a whole crew of backup salseros for good measure?

Ariana Grande, "7 Rings"

Ariana wanted some of the best dancers in the industry to break it down alongside her in graffiti-bedecked puffer jackets. SHE GOT IT.

Mariah Carey medley

Mariah, the recipient of the Billboard Icon Award, didn't dance herself. (She was too busy showcasing that 50-octave range.) But her tuxedo-clad backup dancers won absolutely everything.

BTS feat. Halsey, "Boy With Luv"

If you saw them perform this banger on "Saturday Night Live" a few weeks back, then maybe—maybe—you were prepared for the awesomeness of the K-pop boy-banders' dancing. If you didn't, well, we're guessing you're still recovering.

Paula Abdul medley

Yup, girl's still got it! She opened the mix of her greatest hits with some #casual a cappella tap—and things only got dancier from there. (Fun fact: The fan she beaned with her hat was Julianne Hough.)

Few things ruin the magic of a performance faster than the sound of loud pointe shoes. "When an audience watches someone dancing, they don't want to hear tap-tap-tap," says Houston Ballet first soloist Allison Miller. Pointe shoe sounds can be distracting to you, too, breaking your concentration and keeping you from getting lost in the moment. So, how can you step more softly? Doing so takes thought and practice, and maybe some changes to your shoes themselves. But it can also help you stand out—quietly.

Work Your Shoes

Certain brands of shoes are noisier than others, depending on how they're made. Dance Theatre of Harlem's Daphne Lee likes Gaynor Minden shoes because they're built with extra padding in the tips for shock absorption. "They help me stay quiet, especially when I'm on tour and stages are harder," she says.

Daphne Lee (Eduardo Patino, courtesy Dance Theatre of Harlem)

Dancers who wear more traditional pointe shoes, which are made with fabric, cardboard, and paste, sometimes bang them against walls, darn the tips, or add alcohol or water to soften the boxes, making them less noisy. But softer boxes also provide less support. Accordingly, some dancers add glue after their banging/darning/wetting, to shore up their shoes in specific spots. Pacific Northwest Ballet soloist Elle Macy, for example, glues just the front of her box, so the back half isn't loud when she's jumping or running.

Use Your Technique

Solid technique will give you better noise control. "Working hard at barre to get your legs strong will help cushion your landing from jumps," says Miller. To eliminate the dreaded clunker landing, "you have to finesse your musculature and find the coordination it takes to control the roll-down," she says. Macy remembers her first teacher (her mom!) always telling her to roll through her feet: toe, ball, heel. "Her voice pops into my brain when I land too loudly," she says. "You have to pretend that the ground underneath is precious."

Elle Macy in Ronald Hynd's "The Sleeping Beauty" (Angela Sterling, courtesy Pacific Northwest Ballet)

Miami City Ballet principal soloist Emily Bromberg sometimes puts her pointe shoes on halfway through barre and does exercises after class to strengthen the intrinsic muscles of her feet. "When it comes to dancing quietly, rolling through your feet is huge," says Bromberg. "If you land with a flat foot, you're going to be loud." She suggests strengthening big muscle groups, like your stomach and glutes, as well as those tiny foot muscles—knowing how to use them all together will give your feet a better base of support. And don't neglect your transition steps, especially in petit allégro sequences. They're often the source of those tap-tap-taps. "For fast footwork, you have to really hold yourself and lift up," Bromberg says.

Consider the Choreography

For some pieces—like variations that include hops on pointe, or pas de deux that feature long promenades—you might be forced to wear a harder, louder pair of shoes. For other pieces—like those that are full of fast-moving footwork—almost-dead, super-quiet shoes are the answer. It's all about finding a balance that works for the choreography at hand. "We recently did Jerome Robbins' Dances at a Gathering, and the accompaniment was just piano, so you could hear everything," says Bromberg. "But the ballet is over 60 minutes long, so you can't have a pair that's too soft, because they might not make it to the end!" The perfect pair for Bromberg? Darned at the tips and broken-in, but not dead.

Professional dancers often have the luxury of unlimited pairs of custom-made shoes that they can bang, cut, and scrape to perfection. If you're a student who has just a pair or two at a time, you can still test out different strategies with guidance from your teacher. "Try out new tactics and learn what works for you," Macy says.

A version of this story appeared in the May/June 2019 issue of Dance Spirit with the title "Soften the Sound."

Growing up in the UK, Rashmi Becker loved to dance—but hated the fact that her disabled brother couldn't participate fully alongside her. So she founded Step Change Studios to address the lack of opportunities for differently-abled dancers to train and perform. In its very first year, the Studios gave over 1,000 people a chance to dance that they may not have had previously. Step Change dancers have performed in community centers and assisted-living homes around the UK, and last year they made their Sadler's Wells debut with a showcase called Fusion. Now, Becker's story of opening up the ballroom world is being spotlighted in a documentary short called Breaking Ballroom, which has its US premiere tomorrow night at the Manhattan Film Festival. Dance Spirit spoke to Becker about the future of inclusive ballroom dance, and how you can make your studio a more welcoming environment for different kinds of dancers.

Dance Spirit: How did the documentary come about?

Rashmi Becker: Last year, I produced the UK's first-ever inclusive ballroom show at the Sadler's Wells, a really prominent venue for dance in London. On the back of that, filmmaker Dragana Njegic heard of my work and approached me, wanting to make a short film. She had never come into contact with disabled dancers, so I said to her, "Why don't you come along to classes, meet our dancers, and get a feel for what it's about?" She ended up spending four or five months attending the UK's first-ever blind ballroom program, came to a couple of our performances, and met our dancers. She immersed herself, and the result is a much deeper, more authentic film about dance's artistic side, but also the value of dance in terms of quality of life.

Step Change Dance perform "Fusion" at Sadler's Wells, London, England in 2018. (Stephen Wright, courtesy Becker)

DS: What misconceptions do people have about making dance more inclusive?

RB: There are ignorant comments, like one studio that told me, "Wheelchairs will ruin our dance floors." Particularly in my genre, Latin dance, people don't necessarily see the commercial benefits of being more inclusive. And then there are the more cringeworthy prejudices. When Step Change Studios started to grow, taking on more instructors was really difficult. What's critical as a teacher or choreographer is the creative challenge of being able to adapt what you already know so that people can learn from you. That's a challenge, whether you're disabled or not: Everyone learns differently, and it comes down to how you adapt your teaching style. I've found it's about attitude rather than aptitude. I've been meeting with dancers, teachers, and schools here in NYC this week, and those are challenges they have as well. What was great about the Sadler's Wells show was that it was all about the dance. It wasn't political or wordy or preachy. We had three very strong dancers in their own right, and I think that helped challenge dancers' and audiences' perceptions. Some non-disabled dancers were dancing in an inclusive way for the first time, so that was a great learning experience for them as well, to realize that the quality of the performance wouldn't be compromised.

When I produced Fusion, there was a lot of interest from media. Some journalists had very stereotypical views about disability, and asked oversimplified questions like "How do you dance in a wheelchair?" One dancer who used to be a pro but developed multiple sclerosis was asked, "Does it feel not as challenging to dance now that you have to use a wheelchair?" She still trains and works really hard! I was at a contemporary show last night with disabled and non-disabled dancers, and they told me that when they were looking for funding, a potential funder told them that disabled dance "is just not something people are interested in." But when people see the diversity and quality of the dance, they immediately convert. We have to ask ourselves, What are our preconceptions? What are the barriers we put in place about what a dancer's body is and who should be able to dance?

DS: Why ballroom?

RB: In addition to my own more extensive background in ballroom, I feel like the ballroom world in particular tends toward exclusivity. Ballroom and Latin dance has a strong focus on the physical aesthetic. In competitions, it's about the costumes and the fake tan and amazing nails and makeup and hair. Ballroom hasn't evolved at the pace of other genres in terms of becoming inclusive. The States are even more active in ballroom than the UK: There are competitions every week, and so many people doing Latin and ballroom around the country. With shows like "Dancing with the Stars," and the UK's "Strictly Come Dancing," the genre is clearly really popular—but the opportunities for interested people with disabilities remain very few. When I was setting up Step Change Studios, I wanted to talk to teachers that were inclusive, and I really struggled to find them in Latin and ballroom.

A Step Change dancer performing "Fusion" at Sadler's Wells, London, England in 2018. (Stephen Wright, courtesy Becker)

DS: What should dancers know before expanding their horizons to work with a dancer who has a disability?

RB: The biggest challenge is that initial perception barrier of presuming that it's somehow radically different, that you need special skills. I've taught absolute beginner classes where people have no rhythm, can't count in time, or turn right when you say turn left. When our blind ballroom program had their first exam, it was the examiner's first time examining people with visual impairment or sight loss. He was really amazed, and said to me afterwards that these beginners had performed better in the exam than sighted beginners. It's really just about adapting to how people use their bodies to learn in different ways. It's been shown in business environments that working in an inclusive way produces better results. When you work with a more diverse group of dancers, it makes you more creative and confident, and benefits your artistic intelligence as a non-disabled dancer. Dancers who are training to be teachers themselves have learned from volunteering with us to be a lot more versatile in how they approach dancing and teaching to different learning styles. I'm a visual learner, so I like to watch and copy. Other people I've seen carry notebooks in which they write the steps down. I'd love to see performing-arts programs make it mandatory to learn how to work with able-bodied and disabled children and adults. I think that'll result in a much stronger core of teaching professionals, with much more interesting artistic outcomes as well.

You can catch Breaking Ballroom on Friday, May 3 at 5 pm at Cinema Village (22 East 12th Street, New York, NY 10003).

Choreographer's block? Marinda Davis has the opposite problem: "I have 12 different ideas in my head at any given time," the contemporary choreographer says. Born and raised in Tampa, FL, Davis grew up assisting convention-circuit greats like Frank Hatchett, Gus Giordano, and Dennis Caspary before moving to NYC to get her BA in dance at Marymount Manhattan College. After dancing for Sheila Barker and Anthony Morigerato, Davis was diagnosed with eight different diseases, many of them autoimmune. But she hasn't let her health keep her from being a two-time Capezio A.C.E. Awards finalist, creating two evening-length works for her company, marInspired ; the storytellers, and teaching regularly on the convention circuit. Read on to find out how Davis selects from her wealth of inspirations. —Helen Rolfe

"I'll listen nonstop to whatever song I'm using, to know every detail of the music. That calms me down and gets me focused. When I was younger, I didn't trust myself in the room, so I would pre-plan quite a bit. About five years ago, I realized that I was limiting myself and the dancers. All dancers have strengths and weaknesses, and when you play to those in real time, the coolest things happen."

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"When I was growing up, every dance had the same cookie-cutter tricks, like a million fouettés. I always had this idea that there was a different way to get emotion and a story across, without all the tricks. I met Lisa Allain when I was a Power Pak kid in the Starpower summer program, because she choreographed the opening numbers (which I now do). Her style was wild: Everything felt like the opposite of what your body wanted to do. It felt so foreign, but I immediately recognized that this was everything I'd imagined. She made pieces that had huge storylines and concepts, but she wasn't using the standard tricks to get them across."

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"I've started using a lot of songs from contemporary Broadway shows—Hamilton, The Color Purple, Dear Evan Hansen. Contemporary gets this rap of being so dark and gloomy. Why can't we make happy work? If we want to keep the genre going, we've got to make it a little more versatile, and music is a great way to do that."

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"Julianne Hough and I have been close since I choreographed a 'Dancing with the Stars' piece for her in 2017, and I did her recent public-service announcement about endometriosis. SpeakENDO wanted dancing to reflect her pain and the strength she has to overcome it. It was a challenging project. When you're doing a commercial, you're trying to please dancers and people from the ad industry, which can be difficult because you don't speak the same language. I kept pulling my assistants into the studio until we aligned my vision with SpeakENDO's vision. The morning of, we got there super-early with Julianne. She's such a great actress and dancer. I think the PSA is going to help a lot of people, too, which is what's most important."

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"I spent January making 'Flickers' for Giordano Dance Chicago. Nan Giordano wanted me to create something about my chronic illness, to benefit charity—which was awesome of her. I didn't want to at first, because I've made so much work about my health. But I realized we could make it uplifting, showing that in the darkest moments, there's light around the corner. I asked Nan, 'Do you want me to gear it towards jazz?' She was adamant about me staying true to what I do. I've found that staying true to your voice creates a lane for you that no one else is in. It's so important that choreographers don't try to imitate trends."

A version of this story appeared in the April 2019 issue of Dance Spirit with the title "Choreographer's Collage: Marinda Davis."

Season 16 of "So You Think You Can Dance" is almost here and we are SO. EXCITED. While we wait for the new season to roll around (it premieres Monday, June 12!), we figured we'd reminisce about some of the most iconic auditions from last year. And...cue music!

Jay Jackson (aka Laganja Estranja)

Of course we have to start this this list off with Miss Estranja, honey darling! Okurrrr! Seriously, this performance put the biggest smile on our faces.

Bridget Derville-Teer

We were literally saying "what?!" throughout Bridget Derville-Teer's entire audition. The eerie darkness she brought to her routine was so intriguing.

Hannahlei Cabanilla

The fluidity, the control, the flexibility—Hannahlei's jaw-droppingly beautiful audition was a fitting first step on her path to the Season 15 title.

Ryan "Opium" Green

He called this style of dance "visual intoxication," and that's pretty much the best way to describe it! We still stan.

Eddie Hoyt

Imagine having as much talent as the tap-tastic Eddie Hoyt. CANNOT. RELATE.

Emily Carr

Emily Carr has SO much control during this audition routine. It's truly incredible to watch.

Dustin Payne

We'll never forget the moment we were introduced to Dustin Payne, future dance legend. And we're sure we're not the only one who felt hardcore jealous watching his audition.

Miko Fogarty is no stranger to the spotlight. But when the former comp star and Birmingham Royal Ballet dancer took the stage at University of California, Berkeley last month, it wasn't in a tutu and pointe shoes. Instead Fogarty, dressed smartly in a black blazer and turtleneck, was there to give a TEDx talk titled "A Ballerina's Second Act: My Journey of Rediscovery."

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In this 10-minute long lecture, Fogarty outlines her path from rising ballet star to UC Berkeley pre-med student—and all of the lessons that she learned along the way. Fogarty bravely describes what she calls her "journey of rediscovery and reinvention," and how she found her new passion: biology. Fogarty's honesty and openness is a true inspiration for anyone figuring out the long-term role that they want ballet to play in their life. But don't take our word for it; Fogarty's talk is now available in full on YouTube. Check it out below.

What do we love more than a fabulous dance routine by a chart-topping K-pop boy band? Rehearsal footage of a fabulous dance routine by a chart-topping K-pop boy band.

BTS just gifted us this gem of a behind-the-scenes (aka BTS!!) video, in which the seven-member crew runs through some choreo for their hits "Boy With Luv" and "Dionysus," backed by a cadre of slick gentlemen dancers. (Fun fact: The routine was choreographed by Andrew Elam and 18-year-old Sienna Lalau of The Lab.) We love the raw vibe of the vid—and the fact that even during rehearsals, the Bangtan Boys give it their all.

[CHOREOGRAPHY] BTS (방탄소년단) 'Dionysus' Dance Practice www.youtube.com

Last night's "World of Dance" Season 3 Finale was WAY too much—and we mean that in the best way possible. There was a rousing, million-dollar-worthy opening number to Panic! At the Disco's "High Hopes." Then, Derek Hough snuck out from behind the judges' table to perform with Season 2 rockstars Michael Dameski and Charity and Andres. And Derek wasn't the only judge on his feet: Ne-Yo sang a couple of his most recognizable tunes as DS faves (and illustrious "WOD" alums, dzuh) Ian Eastwood and Sean and Kaycee slayed absolutely everything. Even last season's champs The Lab got back on the "WOD" floor, performing a tribute to J.Lo that radiated perfection well beyond their years. And all FIVE finalists got their last chance to leave it all on the dance floor before the newest world champions were crowned—pun intended. 🤴🏾🤴🏾🤴🏾🤴🏾🤴🏾🤴🏾🤴🏾🤴🏾🤴🏾🤴🏾🤴🏾🤴🏾🤴🏾🤴🏾

Briar Nolet—92.7

After announcing to J.Lo in her mentoring session that her goal was to prove that "one woman can win this thing" (YAS), Nolet showed why she's the Upper Division champ with this haunting solo. The second half of her performance couldn't quite live up to the dramatically acrobatic opener (just watch the video and you'll understand), but don't cry for Briar—she'll be a special guest on J.Lo's imminent 25-city "It's My Party" tour of North America, along with The Lab and Swing Latino. Casual.

VPeepz—93.7

Next up were the very cute VPeepz from the Philippines, delivering so. Much. Energy! It broke our hearts when these "so dope" (Derek Hough's words) pint-size peeps were eliminated despite their high score and even higher level of precision, but we have a feeling that the world hasn't seen the last of this tiny-but-fierce crew.

Ellie and Ava—95.0

In case it somehow slipped your mind, let us just remind you that these two are 13 and 15 years old. As Hough said, their incredible showing on "WOD" (last night included) is just "the first chapter in Ellie & Ava's story." Both are incredible dancers in their own right, but there's just something about the insane synchronicity you achieve when you're as close as sisters—or literally are sisters, like these two. As Ne-Yo said, "The grace and the elegance—you guys are the most beautiful dancers we've seen on this stage."

Unity LA—95.7

Unity LA came into this final round as underdogs—and yet not. As the judges' Wild Card pick from last week, they weren't divisional champs like the other four finalists. But J.Lo emphasized that Unity LA actually had the second-highest score overall from last week, reminding us that they absolutely deserved to take the stage on the last night of Season 3. And as Derek said, "The innovation and the choreography are just sensational."

The Kings—100

Okay, so this one came out of NOWHERE. The Kings had come into their joint mentoring session with just 30 seconds of choreography prepared, which perplexed the judges. Turns out there was zero reason to fear, though—a couple of days later, their routine had magically morphed into a blockbuster-worthy spectacular of unbelievable stunts and heart-stopping synchronicity. J.Lo even said they brought a whole new level of excitement to the competition. So it wasn't really a surprise when The Kings took home the million dollars. Congrats, gentlemen!

The pressure of attending your first musical theater audition in the Big Apple can throw even the strongest dancer off her game. We asked industry pros to reflect on their audition experiences, so that you can set yourself up for success.

Do Your Research

It's crucial to know your audience before even entering the audition space. Isadora Wolfe, cast member and resident director for Punchdrunk's Sleep No More, admits she didn't anticipate the dynamic ranges of physicality and energy the artistic team would expect from auditionees. "I should have done more research to familiarize myself with Punchdrunk and the work," she says.

Not only will research prepare you for the choreography, but it'll also help you determine if the audition is worth your time. "Casting directors are often looking for a specific person," says Mean Girls' Collins Conley. If they want someone petite and you're 5' 10", it may not make sense to audition.

Collins Conley (third from left) in "Mean Girls" (Joan Marcus, courtesy Boneau/Bryan-Brown)

Finally, research can help keep you from making the ultimate audition blunder: saying or doing something off-putting right in front of the creative team. "A lot of times, the director will be sitting in the back, conspicuously watching auditionees," says Broadway vet and teacher Josh Assor. "You want them to feel confident that they can spend four weeks in the rehearsal studio with you."

Network, Network, Network

While musical theater may be one of the only worlds that still holds open calls, there's still much to be said for being "known" before you walk in. "When I'm working on a new project, I often invite people I know to audition," Assor says. "Build your dance circle by taking class with the choreographers or offering to assist or do pre-production work." Rick and Jeff Kuperman, choreographers of Alice by Heart off-Broadway, stress the importance of these relationship-building efforts. "Catching the eye of a director or choreographer happens inside and outside the audition room," Jeff Kuperman says. "We ask for recommendations for performers all the time, and if your reputation is strong and suggests that you're a good collaborator, we'll be excited to work with you."

Assor teaching at Broadway Dance Center (Jenna Maslechko, courtesy Broadway Dance Center)

Invest in a Solid Dance Reel

The Kupermans often check for dance reels online if they feel like they need more information. "If you have a reel, especially as we get into final callbacks, we can see you at your best," Rick Kuperman says. "As for the reel itself, worry less about flashy peripheral cues and focus more on substance. Cool camera angles and impressive sets are nice and all, but not if we can't see your performance shine through." Most importantly, make sure your reel is easy to find. Upload it to YouTube and include your full name and the words "dance reel" in the title and search tags. That way, busy directors won't miss an opportunity to see more of your work.

Anticipate a Long Wait, and Tons of People

Assor and Conley both say that the sheer number of people was the most surprising part of their first NYC auditions. "There were hundreds of girls, and the rooms were so small," Conley says. "It was shocking." Unless it's a non-union audition, Equity dancers always audition first, and if there's any time left, then non-Equity dancers may get their shot. Conley eventually learned to use the wait to her advantage. "As the room would start to clear out, I would use the extra space to move and keep myself warm," she says. Wolfe recommends using headphones to tune out all the chatter that can get in your head as you wait to be called.

Don't Forget About Your Voice

Looking back on her first auditions, Hamilton dancer Karla Garcia wishes she had focused on her singing a bit more. "As dancers, we usually get through the first stage of the audition, often feeling like we nailed it. Then we get to the voice portion and we're a completely different person. Our confidence is gone," she says. Garcia recommends finding several songs that you feel comfortable performing.

"Hamilton" ensemble dancer Karla Garcia (Ted Ely, courtesy Garcia)

Assor tells his students to think about singing as another style of dance that requires the same time and attention. He recommends bringing a songbook to every audition, even if they don't request it. "You never know if they are going to change their minds and decide they need to hear your voice," he says.

Dress for Success

"There's no dress code for musical theater," Garcia says. "Don't try to look like everyone else." Rather than strictly dressing for the part, she recommends wearing whatever will make you feel most comfortable performing the particular movement style of the show, and fits with the style of the choreography. "Maybe you want to wear heels and a skirt for West Side Story and sweatpants for the thrashy movement in Wicked," she says. "But if you're not going to vibe in it, don't wear it."

One way to ensure you're dressed for success is to bring two different-looking outfits that you know are comfortable for you. Conley always brings a leotard and a skirt, for more classical combos, and a bra top and leggings, in case she needs to be more grounded.

Know that People Are Going to Know the Choreography Ahead of Time

Particularly when it comes to big, well-known shows, many of your fellow auditionees have likely auditioned for the same show several times. This means they have a certain familiarity with the audition combo, and chances are they've practiced it in preparation. "Don't be surprised if they teach the combo very quickly, and if everyone else seems to be picking it up," Assor says.

The company of "Hamilton" (Joan Marcus, courtesy Sam Rudy PR)

If you have an opportunity to see the show ahead of time, it can give you a sense of the overall movement aesthetic. If anyone in your dance community has auditioned for the show before, ask them what to expect. If they can tell you specifically which dance numbers are taught at auditions, take that information to YouTube. For long-running shows like Wicked, step-by-step YouTube tutorials can be your best friend.

Handle Mistakes with Poise

Show your positive attitude in the way you handle slip-ups. "We look not so much at mistakes themselves, but at how a performer reacts to mistakes. Don't let a missed count, or a trip, or anything throw you. Dive back in and finish strong," Rick Kuperman says. "Telegraphing your frustration in the audition tells us you might do the same in the rehearsal room—or even on the stage."

Be Patient

It's probably not what you want to hear, but most people don't book the gig on their first try. "Many of my friends didn't make it on Broadway until their 30s," Assor says.

When it comes to facing rejection, Garcia reminds dancers to remember why they love dance. "You belong in NYC because of your passion," she says. "Stay alert to how much you love it."

Pack a Perfect Audition Bag

• current headshot
• updated resumé
• songbook
• scripts
• kneepads
• cozy socks
• a couple of outfits
• a healthy snack
• water
• deodorant
• hair spray
• headphones
• a good book

A version of this story appeared in the May/June 2019 issue of Dance Spirit with the title "In the Room Where It Happens."

Last night's Met Gala featured, as always, oodles of celebs in deliciously over-the-top ensembles. And since editorial fashion always looks better in motion, Vogue (which hosts the bash) brought in Sherrie Silver to choreograph videos starring some of the gala's biggest names.

Silver—the mastermind behind Childish Gambino's "This Is America" video—kept the movement simple but 1000 percent in line with the gala's "camp" theme. The resulting vids are delightfully weird. Bette Midler does the swim to a Cher soundtrack! Lady Gaga swoons in a sculpture gallery! Jared Leto tenderly fondles a model of his own head!

Take a look at a few of our faves below, and the full collection over at Vogue's Insta:

In our "Dear Katie" series, Miami City Ballet 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,

I've reached a point where it's clear that my body isn't designed for ballet. Realizing that broke my heart, because dancing with a classical ballet company was always my dream. Some of my teachers have said that I should audition for contemporary groups, but I feel like that would be weird—I've barely studied contemporary dance, and I don't love it. Should I quit dance? Or should I go down a path I'm not 100 percent passionate about?

Aaliyah

Dear Aaliyah,

I know how difficult this kind of situation can be. Here's the truth as I know it: No matter what you do in the dance world, you need to love it more than anything. Dance is an incredibly tough career, so if you aren't passionate about it, it won't work.

Having said that, how do you know that your body isn't right for ballet? Many companies are open to dancers of all different shapes and sizes. I'd encourage you to do some research before giving up on your dream. Broaden your ballet horizons! Look into smaller or regional companies, which tend to be more open-minded about body types than the big-name groups.

Should you start taking some contemporary classes during the process? Of course—it can only help you. But don't quit ballet cold turkey. And if, at the end of this process, you decide that dancing professionally isn't for you, that's OK! Choosing a different path doesn't make you a failure.

For more of Katie's helpful tips and advice, click here.

Chances are, you're regrettably familiar with those unpleasant pre-period symptoms known as premenstrual syndrome, or PMS. PMS is a sign of a healthy, functioning body, but it's still frustrating to deal with every month—especially during long Nationals rehearsals or summer intensive classes. Dance Spirit turned to Dr. Lauren Streicher, a gynecologist and clinical professor at Northwestern University's Feinberg School of Medicine, for advice on all things PMS.

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What It Is

"PMS occurs just before your period, and goes away as soon as you get it," says Streicher. There are a bevy of symptoms, including bloating, mood swings, breast tenderness, and cramping, all of which are caused by the shifting hormones in your body.

How to Get Relief

While a simple Google search yields tons of remedies for PMS symptoms, Streicher emphasizes that the majority of them don't make a difference. "There are lots of myths and quick fixes, from certain vitamins to special diets, but medically, they do nothing," she says. If you're in a pinch before rehearsal and need to ease your cramps and bloating, a cup of peppermint tea, some ibuprofen, and 15 minutes with a heating pad can help. But at the end of the day, Streicher says that one of the best ways to alleviate PMS symptoms is simply moving your body. "Take class—don't take the day off. Any form of exercise or movement will greatly help," she says.

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When It's More Than Just a Few Cramps

Most girls experience mild to moderate PMS symptoms, but sometimes they can be more severe. "If you're experiencing debilitating bouts of PMS, ask your gynecologist about birth control pills. They can help regulate hormones and decrease symptoms, or eliminate them altogether," Streicher says. If you're battling crazy bloat, Streicher suggests asking your doctor about a diuretic to combat water retention—especially if you have a big performance coming up.

A version of this story appeared in the May/June 2019 issue of Dance Spirit with the title "Don't Stress About PMS."

Twenty One Pilots, Janelle Monáe, Tame Impala, Boston Ballet.

One of these things is not like the others.

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This Memorial Day weekend, Boston's hometown ballet company is joining a lineup of major music stars for Boston Calling, a festival dubbed by some as an "East Coast Coachella." It's the first time in Boston Calling's 10-year run that dance will be featured—and possibly the first time ballet has ever been given major stage time at such a high profile music festival.

The company with take both the main stage and the more intimate, covered Arena Stage in three works: an excerpt from William Forsythe's Playlist EP, set to R&B artist Khalid's "Location"; a new duet by former principal Yury Yanowsky; and, perhaps most unexpectedly, a new work by corps member Sage Humphries, who's choreographing to music by her brother Michael Humphries, the artist behind indie band Future Self.

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As a 21-year-old music festival lover, Humphries calls the opportunity "overwhelming, in the best way." She choreographed her first piece just last fall for Boston Ballet's ChoreograpHER Initiative. When she was out injured earlier this year, artistic director Mikko Nissinen asked if she'd be interested in putting her unexpected free time to use by creating something for the festival. She jumped at the chance.

Her new work, White, casts each dancer as an iconic character from rock-and-roll history. "If you picture a 16-year-old who can't stop listening to their favorite record, that's the vibe I'm going for," she says. "Someone is listening to music and it comes to life—the stories they hear in the song are personified."

With such a massive venue, the pressure is on. But Humphries is ready for it.

"The festival's lineup is honestly my musical heaven. The fact that we're going to be backstage with these bands and performers we love, performing for thousands of people—it's an amazing opening for the future of ballet."

Keaton Gillespie has the expressive face of a silent film star. Add in her soaring extensions, elegant port de bras, and gorgeous feet, and it's no wonder this 15-year-old is turning heads. Currently in her second year at Ellison Ballet in NYC, Keaton made the big move up from South Carolina on her own at 13, after crafting a PowerPoint presentation to convince her parents that the school's intense Vaganova curriculum was what she needed to take her dancing to the next level. (Her parents will join her in NYC this summer, now that her brother has finished high school.) Keaton's 2018 wins included junior grand prix at ADC/IBC and top 12 classical at the Youth America Grand Prix NYC finals. But she's not in it for the trophies. "I love ballet for the artistic challenge," Keaton says. "You're doing something so physically demanding, but you have to portray a character at the same time. I want to impact people with my artistry onstage."

"I like my training to be intense, and Vaganova technique is such a challenge. No matter how hard you're working, you have to look light and happy and calm in your upper body."

Competing at ADC/IBC (Smack Arts, courtesy Ellison Ballet)

Fast Facts

Birthday: February 13, 2004

Favorite color: Gray

Favorite food: Ribs

On her playlist: '80s R&B and rap

Loves watching: "While sewing my pointe shoes, I watch baking shows and football. My teams are Clemson for college football, and the Dallas Cowboys for professional."

Dance idol: Iana Salenko of Staatsballett Berlin

Favorite dance step: Fondu

Dream role: "Juliet. I like the character, that she starts so young and happy—almost childish."

A version of this story appeared in the May/June 2019 issue of Dance Spirit with the title "You Should Know: Keaton Gillespie."

For many musical theater dancers, joining Actors' Equity—the union that represents theater performers—is one of the biggest milestones in their career. All Broadway shows fall under Equity, as do many off-Broadway shows, regional productions, and national tours. However, while getting your card can be great, it can also hinder—"especially if you're just coming into the business," says dancer Travante S. Baker, who's performed in the West Side Story international tour. "A lot of theaters have to conserve money and they can't always hire Equity performers because their rates are too expensive." So, is it better to go for your card right away, or try to book lots of jobs in smaller, regional theaters first? And if you are working toward a card, how do you make the most of the process?

The Equity Advantage

Equity membership guarantees benefits like mandated breaks, overtime pay, safe working conditions, and health insurance—and Equity performers are typically paid more. There are a couple different ways to earn your card: You can be cast in a production that offers them, or accrue points through the Equity Membership Candidate (EMC) program. Once EMC members accumulate 25 weeks of work at participating theaters, they become eligible to join the union. For instance, Baker started collecting points through the EMC program, but ended up earning his Equity card sooner when he was cast in a Disney production in Orlando, FL.

Alicia Lundgren (Tom Marvel, courtesy Lundgren)

One of the biggest advantages an Equity card provides is the ability to be seen first at Equity auditions. Alicia Lundgren, who danced in the original Broadway ensemble of Shuffle Along, had several years of concert dance experience under her belt when she started auditioning for musicals. As a non-Equity dancer with Philadelphia-based Philadanco, she would rehearse until 10:30 pm, then catch a 6 am Megabus to NYC in order to sign up for an Equity chorus call. After hours of waiting, she'd sometimes be told that non-union actors weren't being seen, and would return home without getting to audition. The next day, she'd do it all over again. Lundgren earned her Equity card through being cast in a workshop for a new musical, and she hasn't looked back since. "Ultimately, more doors opened when I had the card, based on just being seen," she says.

There's also a safety component. Since non-Equity shows don't have the same standardized regulations, there isn't a guarantee there will be floors that are safe for dancing, frequent breaks, or tours without one-nighters (where a show performs and then the cast is immediately put on a bus to their next location), for example. "You've got to really use your instinct and know what kind of situations you're putting yourself into," says Ani Taj, a performer, choreographer, and founder of The Dance Cartel. "If the paycheck isn't big, what makes it worth it? Is it a big networking opportunity? Is it creatively satisfying? Are you in a safe space? Those are the questions I ask myself, stepping into a creative venture where there aren't necessarily protections in place."

Ani Taj in "ONTHEFLOOR" (Maddy Talias, courtesy Taj)

Building Experience

While Equity opens a lot of doors, it closes others. For Jane Abbott, who's danced in the Legally Blonde international tour, being non-Equity often presents more opportunities to get hired. At a recent production of Chicago at Theatre By The Sea in Rhode Island, the theater could afford to hire only a few Equity actors, and those spots went to leads, not ensemble members like Abbott. If she had been Equity, she likely wouldn't have booked the job.

Non-Equity shows are also valuable learning experiences—from learning how to advocate for yourself to working in mixed casts with both Equity and non-Equity actors. "There are opportunities when you're non-Equity to be in rooms when people are developing things, especially in nontraditional venues and spaces," says choreographer Chase Brock. He cites a non-Equity project he choreographed at Busch Gardens in Williamsburg, VA, with Tony-nominated director Sam Buntrock. "It was a very young cast, but they learned a lot from working with a creative team who came from such an experienced background," Brock says.

A current EMC member earning her points through summer stock, Abbott hopes to join Equity by the time she turns 26 (the age at which she'll have to go off her parents' health insurance). If the option to get her card comes sooner, she probably won't take it unless it's for a Broadway show. "I'm not in a rush," she says. "I want to remain non-Equity for a little bit longer. It makes it harder to get seen for Equity productions, and it doesn't guarantee some of the benefits, but I think that overall I wouldn't have as many opportunities. I don't think I would book as much work."

Ultimately, "everybody gets to these cards and these milestones on a different timeline," says Brock. "You want to do as many things as you can, say yes to everything, because all of it is information, and all of it will lead you to new places."

A version of this story appeared in the May/June 2019 issue of Dance Spirit with the title "Getting Carded."

There's nothing like a showmance—and "So You Think You Can Dance" has turned out to be an especially good breeding ground for love. (Which isn't all that surprising, given how gorgeous and talented its competitors inevitably are.) Here are 6 "SYTYCD" couples we'll stan forever.

Taylor Sieve and Lex Ishimoto

Love was DEFINITELY in the air during Season 14. First, winner Lex Ishimoto and third-placer Taylor Sieve fell for each other (OK fine, they officially fell for each other before the show began, but still!)...

Kiki Nyemchek and Koine Iwasaki

...and then the season's other two Top 4 contestants—Koine Iwasaki and Kiki Nyemcheck—also fell in love! It was like something out of a romance novel.

Sydney Tormey and Logan Hernandez

We're still going! A third couple came out of Season 14: oh-so-cute pair Sydney Tormey and Logan Hernandez.

Allison Holker and Stephen "tWitch" Boss

The OG "SYT" love story! Allison and tWitch are one of our favorite couples of all time—even beyond the show. We've had a blast watching their relationship (and their family!) grow over the years.

Ashleigh and Ryan Di Lello

How gorgeous are Ashleigh and Ryan Di Lello? The ballroom dancers both competed on Season 6, and have since gotten married and started a family together.

Lauren Froderman and Cyrus "Glitch" Spencer

So much talent in one season-spanning (she won Season 7, he was a runner-up on Season 9) couple! Love their love.