Beyoncé's Super Bowl Halftime: Five Things You Didn't Know
It's no secret we loved Beyoncé's Super Bowl halftime show. So naturally, we were dying to know more about the making of the production. We caught up with Just For Kix designer Alexandra Clough—who performed in the "Single Ladies" number and designed the leotards the dancers wore!—to get a behind the scenes look at the performance.
Five things you didn't know about the fiercest Super Bowl halftime ever:
1. "There were 74 dancers onstage during the "Single Ladies" number." 30 were Bey's dancers and 44 were dancers (mostly local New Orleans girls) who auditioned and scored a coveted spot.
2. "Beyoncé rehearses full-out. What you saw on TV was the same performance quality we saw in every practice." Okay, so maybe this isn't too surprising, but it makes sense: Kill it in rehearsal, perform it like a boss.
3. "Beyoncé is not a diva." Sure, she's got enough talent and star power to justify major diva status, but Alexandra says she was "very humble and down to earth."
4. "The whole cast only rehearsed together 5 times." Three of the practices were full dress rehearsals with everyone (including all of the fans that ran onto the field to their set places). Fun fact: It took 500 stage crew members to get the set on and off the field!
5. "The leotards I designed had a special pocket in the back for our radios and headphones." That's right, every dancer onstage wore ear pieces so they could clearly hear the music and dance together without fear of echoes or getting off count.
And no, Alexandra didn't get to meet baby Blue Ivy. (Of course, I asked.) She did, however, spot Jay-Z after the performance when they all posed for pics.
Now for a special treat. Check out this awesome vid of Bey and her dancer rehearsing for the big performance:
Much of Janelle Ginestra's career has been about helping others shine. She's dedicated herself to supporting and cheerleading her partner, WilldaBeast Adams; the emerging talents in their dance company, ImmaBEAST; and the countless dancers she inspires at master classes and conventions. Her YouTube channel has become a launching pad for young talents like "Fraternal Twins" Larsen Thompson and Taylor Hatala, thanks to viral videos featuring Ginestra's creative vision.
But Ginestra's a skyrocketing success in her own right—an in-demand choreographer, a social media influencer, and a dance entrepreneur, building a legacy one eight-count at a time. It's time for her turn in the spotlight. And she's more than ready. "I want to be a legend in whatever I do," she says. We'd argue that she already is.
Daphne Lee is a queen, and not just in the "OMG Girl Boss Alert" sense of the word. She's an actual queen—a beauty queen. Crowned Miss Black USA in August, she's been doing double duty as she continues to dance with the Memphis based dance company, Collage Dance Collective. Lee's new title has given her the means to encourage other black girls and boys to pursue their dreams, while also pursuing dreams of her own. The scholarship money awarded with the pageant title will assist her as she earns a Masters of Fine Arts degree at Hollins University.
When a choreographer finds a composer whose music truly inspires her, it can feel like a match made in dance heaven. Some choreographers work with the same composers so frequently that they become known for their partnerships. New York City Ballet soloist and resident choreographer Justin Peck, for example, has tapped composer Sufjan Stevens numerous times (last spring, the two premiered The Decalogue at NYCB, to rave reviews); L.A. Dance Project's Benjamin Millepied's working relationship with composer Nico Muhly has spanned a decade and two continents; and when tap dancer Michelle Dorrance premiered the first-ever Works & Process Rotunda Project, a site-specific work for New York City's Guggenheim Museum, last year, percussionist Nicholas Van Young was by her side as an equal partner. Successful collaborations require compatibility between artists, direct and honest communication, and flexible, open minds. But when the stars align, working with a composer can be extremely rewarding.
For ballerinas, it's the dream role to end all dream roles: Odette/Odile in Swan Lake, the type of part dancers spend years preparing for and whole careers perfecting. And it's a role that New York City Ballet principal Tiler Peck never thought she'd dance. Though Peck is one of the world's preeminent ballerinas, her short stature made Odette/Odile, typically performed by longer, leggier dancers, seem (almost literally) out of reach.
Then—surprise!—her name popped up on the cast list for NYCB's fall season run of Swan Lake.
Lani Dickinson's power, grace, and raw presence make her a standout with AXIS Dance Company, whose mission is to change the face of dance and disability by featuring a mix of disabled and non-disabled performers. Born in China, Dickinson was adopted by an American couple and started dancing at 8 in Towson, MD. She attended the Boston Ballet School for two summers, studied at the Idyllwild Arts Academy for the last two years of high school, and graduated with a dance degree from Alonzo King LINES Ballet's BFA program with Dominican University of California. In 2015, she joined AXIS and won a Princess Grace Award. Catch her this month during AXIS Dance Company's 30th-anniversary season—and read on for The Dirt!