Helen Rolfe is an Assistant Editor at Dance Spirit.
If you're a dancer with a bust, you know the struggle all too well. Wear a sports bra, and ruin the elegant lines of your leotard? Or go without support, and risk tons of pain and discomfort? The sad truth is, even when dancewear has a built-in shelf bra, that's often not enough support for the full range of ladies who dance.
Professional dancer Caterina Mercante has created a bra that promises to fix all of those issues. She calls it the ONE Bra, and it's designed specifically for dancers, with all kinds of features that could prove to be life-changing:
1. Underwire to lift and separate
2. Compression mesh in multiple shades to match skin color
3. Side attachments, so no bulging hooks in the back
4. Convertible straps
5. Removable pads
6. Available in B-D cups
But don't take our word for it. Watch this video to see the ONE Bra in action.
As far as musical theater news is concerned, this week has been liiiiiiiiit. On Tuesday, we reported that Carousel is coming back to Broadway next year in a production featuring several New York City Ballet favorites. Now there's word that two more of our ballet/Broadway baes are at the helm of a new City Center Encores! production of the classic Brigadoon.
Christopher Wheeldon will direct and choreograph this concert staging of Lerner & Loewe's romantic fantasy, opening November 15 and running just 5 days in total. So snag those tickets now!
Still not convinced? The swoon-worthy Robert Fairchild will play Harry Beaton, a handsome rebel living in the magical Scottish town called Brigadoon. We can't wait to have our very own modern-day Gene Kelly doing his triple-threat thing again.
To tide you over until November, here's Gene Kelly and Cyd Charisse in the 1954 movie version of Brigadoon. Because Cyd Charisse.
If you lived for Megan Fairchild in On the Town and Robbie Fairchild as An American in Paris, get stoked. Next March 23, a revival of Carousel is opening on Broadway, featuring the talents of no fewer than three New York City Ballet stars.
As reported by The New York Times, Justin Peck will choreograph this revival, Amar Ramasar will play seductive baddie Jigger Craigin and Brittany Pollack will take on the role of Louise Bigelow, a young woman trying to move on from her parents' troubled past.
Speaking of troubles, a lot of people are wondering how this revival—the fifth (!!) since the original 1945 production—will address the, um, problematic aspects of the Rodgers & Hammerstein musical's tragic plot. Carousel follows a young, innocent millworker named Julie Jordan, who falls hard for the town bad boy, a carnival barker named Billy Bigelow. Cue alllllll of the heartbreak, including domestic violence and other hallmarks of a toxic romantic relationship.
Personally, I can't wait to see how Peck addresses these possibly controversial elements, especially since he says he's "hoping to both pay homage to what Agnes de Mille did originally, and to extend the show further into new territory." No real specifics have been revealed yet, but traditionally there's a HUGE dream ballet in the second act centered on Jigger (Ramasar) and Louise (Pollack). Get excited, Broadway bunheads!
If, like us, you still can't get enough of Ed Sheeran's earworm hit "Shape of You," you are in for such. a. treat. Lauren Adams, genius choreographer that she is, created a literally sizzling samba for champion ballroom dancers (and real-life couple!) Daniella Karagach and Pasha Pashkov.
Just imagine the fire emoji and the dancing girl emoji times a million, and that is this dance. No exaggeration.
Oh, and fun fact! He never appears in the video, but our collective hip hop crush Kenny Wormald was the lead cinematographer. Cool, right?
I can't say I'd ever heard of Smithsonian magazine before a few days ago, but let me tell you now, guys: I am SO GLAD they exist. Because their latest issue brings us tons of wisdom straight from the mouth of one Misty Copeland—you might have heard of her?
For the April issue, Kween Copeland gifted Smithsonian's staff reporter Katie Nodjimbadem a number of priceless quotes. My personal favorite? Her answer to the question, 'What are three ballets everyone should see?'
"Oh wow. That's hard. One very close to my heart, like it's something I did very early on in my career at ABT and it's still one of my favorites from the choreography standpoint and the music standpoint, is 'Petite Mort,' which is contemporary work. Being in American Ballet Theater, we do full-length ballets. That's the bulk of our rep. Maybe 'Giselle.' Again, the whole thing from the music to the choreography to the costume to everything is done so incredibly well. Maybe a Forsythe ballet. I'm a huge fan of William Forsythe's work. I don't know, [maybe] 'workwithinwork.'"Copeland was just dancing 'Giselle' the other week on tour with American Ballet Theater! Here's a backstage peek of her rehearsing the title role:
I'm so excited for my debut tomorrow with @albanlendorf #ABTGiselle @roh_muscat ✨@abtofficial 📸@sarahlane #Oman
A post shared by Misty Copeland (@mistyonpointe) on Apr 5, 2017 at 10:49pm PDT
Head on over to the Smithsonian magazine site to read the full interview.
ABC might as well re-name this episode "All The Feels." Just about every dance was a genuine tearjerker—and, as a rule, I am so not a crier, y'all. That said, certain numbers stood out for amaaaaaaazing or awkward reasons. In keeping with the emotional roller coaster theme of last night, here are our (highly subjective) highs and lows from Week 4.
Low: Nick and Peta's rumba. Major props to Ms. Murgatroyd, not only for providing every last smidgen of the technique and sparkle in this bizarre Bachelor-themed version of "Shape of You," but also for putting up with Nick's gaze firmly fixed on the floor. Just when you thought things couldn't get more palpably awkward, Nick's fiancée Vanessa Grimaldi appeared at the end for a very long, very graphic smooch. No one wants to see that much PDA, "DWTS" producers. (But we love you, Peta. Keep fighting the good fight.)
High: Heather and Alan's cha cha. This number had all the ingredients for a perfect "Most Memorable Year": touching backstory all about family (cue the awwwwwww's), a deep connection to the song and—oh yeah—some seriously flawless fancy footwork! Plus the brief cameo appearance by Morris's real-life husband was more natural than some others on the episode. (Yes, I am giving you serious side eye right now, Nick.)
- Rashad and Emma's contemporary (I'm not crying, you're crying!)
- Bonner and Sharna's foxtrot. Dance heals, y'all. For proof, check out the full video:
- Erika and Gleb's disappointing cha cha. Spacey "stage presence" and a general lack of confidence doomed what could have been an AMAZING Madonna tribute number.
- Mr. T getting sent home. I know he wasn't exactly slaying the competition, but what a cutie! I'll miss his enthusiasm and good-natured presence.
It's crazy to think about what the dance world would be like without the high-quality digital video that's taken over the Internet. We wouldn't have inspiring class videos (like this one featuring Tate McRae), or mind-blowing music videos (like Parris Goebel's one-woman production), or live streams for all kinds of special events (hello, World Ballet Day).
My guess is that 10 years from now, we'll all be wondering how we even watched dance before 360 video. A creative, awwww-inspiring use of the technology popped up the other day courtesy of The New York Times. Their "The Daily 360" team took 360 video technology into an audition for the School of American Ballet. The results? Kinda cute and, not gonna lie, kinda creepy. But don't take my word for it! Watch the strikingly intimate footage for yourself:
This week's #FridayFire goes out to the one and only Misty Copeland. Video of a very young Misty performing on pointe after just ONE YEAR of training has surfaced, thanks to one Gary Junken.
So let's get those numbers clear: This video was taken 20 years ago. It's of 14-year-old Misty, dancing her variation on pointe after 1 year of training (!!). I will never get over her natural amazingness. #Goals for days.