You'll Feel Pretty
After we saw Broadway diva Karen Olivo play the part of Anita in the revival of West Side Story on Broadway (which she won a Tony Award for!), we wanted to learn how to get her sultry makeup and kinky curls. We called in some of our favorite beauty experts, hairstylist Tonya Noland and makeup artist Chuck Jensen, to remake the look on Patricia Zeccola, a 23-year-old NYC-based Latin dancer (who kind of looks like Olivo, right?). Try this style for your performance or audition!
Get tightly coiled, Latina-like curls
If your hair is curly:
Step 1 Coat your wet locks with mousse such as got2b Kinky Curl Defining Mousse, then section your hair off into quarter-sized pieces.
Step 2 Coil sections into little mini-buns and loosely pin them to your head with small metal clips.
Step 3 Use a diffuser (a special blow-dryer attachment for curly hair) to dry your locks—but don’t touch your hair with your fingers or it will frizz! Once your tresses are 3/4 of the way dry, take the pins out and let your hair fall loose. Continue to use the diffuser on your tresses until they’re completely dry.
Step 4 Finish with hairspray. We swear by Fekkai Sheer Hold for bouncy curls that won’t budge!
If your hair is wavy or straight:
Step 1 Mist wet hair with a light spray gel like L’Oréal Studio Line Tightly Wound Curl Boosting Curl Spray Gel.
Step 2 Blow-dry your hair and part your locks into quarter-sized pieces.
Step 3 Curl those sections, alternating a one-inch wide curling iron with a 1/2-inch sized curling iron.
Step 4 Use extra-hold hairspray—Dove makes a fantastic one!—to ensure that your ringlets stay coiled.
Sassy Sharks Girl Makeup How-To
Step 1 Even out skin with foundation. Tip: Test foundation on your jawline, since there’s generally no discoloration there. If you can see it, then it’s not the right shade for your skintone.
Step 2 After foundation, always start with blush. Without it, your face is a blank slate, and you run the risk of overapplying colors to other areas, like your eyes.
Step1 Use a pale pink shadow on your entire eyelid, a rose shadow on the crease and a frosty white shadow under the brow. The order of colors should always go (from lash-line to brow): medium, dark, light.
Step 2 Dip a thin brush in water, then dab it on black cake liner to create a liquid liner. Rim your lash line with a thick line, about 1/8 of an inch.
Step 3 With the help of a lash-curling tool, clamp the outside edge of your lashes to make your eyes look wide-set.
Step 4 Use a black mascara to coat your upper lashes with two even strokes. Avoid mascara on lower lashes if you’re going to be taking photos, since it can make your eyelashes look spidery.
Step 1 Clean up messy eyebrows by tweezing. Simply hold a makeup brush near your eye and use this brow placement chart. But be wary of over-plucking! Full brows are more flattering.
Step 2 Fill in sparse spots with brown eyeshadow.
Step 1 Don’t draw a straight line with lip liner. Feather it instead, making lots of little dashes.
Step 2 Mix rose lipgloss and lipstick on a brush for a very sheer look. Use a lip brush to fill lips in with the mixture. Run the brush to the edge of your lip and over the liner.
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.
For more on choosing whether to compete or not, click here.
I started dance classes at a young age. By the time I was 3, I was training at The Dance Club, and I grew up there. I started with the basics—ballet and jazz—and eventually added tap, tumbling, contemporary, and hip hop.
Early on, I did compete. I remember my first time: I did a trio at a small local competition, and it got first place. The trophy was as tall as I was, and I loved it. I attended conventions as a mini, and had the opportunity to take classes from Travis Wall, Sonya Tayeh, Andy Pellick, and Joey Dowling-Fakhrieh. There was so much variety—I was in awe.
For more on choosing whether to compete or not, click here.
My mom was a dancer growing up, and she went on to become a dance teacher, so I've really grown up in the studio. I started classes when I was 2, and by the time I was 9, I was training at The Dance Club and knew I wanted to dedicate all my time to dance.
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.