Body Wrappers TotalSTRETCH Seamless Convertible Tights & Capezio Hanami Ballet Shoe: You may have gotten used to an “anything goes” dance wardrobe while training and rehearsing virtually from home. But as you get back to the studio and performances, lines like Body Wrappers and Capezio make refreshing your basics more customizable with tights and shoes in color options to match a variety of skin tones and tight sizes from youth to 4X adult. $15.30, bodywrappers.com; $27.50, capezio.com

Real Techniques Brush + Sponge Cleansing Gel & Covet Dance Dancer Problems Kit: Before you get back onstage, you’ll also need to clean all of your makeup brushes and tools, replacing things like liquid foundation, cream products, mascara, and pencil or liquid eyeliners that have expired during the pandemic and can be prone to bacteria growth. And a kit complete with essentials like a mini sewing kit, bandages and hair ties is also helpful to have on hand in case of a backstage emergency. $6.99, realtechniques.com; $26, covetdance.com

Rael Beauty Invisible Spot Cover: For those still rehearsing in masks, it’s not uncommon to be noticing more breakouts than usual as a result of all the sweat and bacteria that gets trapped by your face coverings. Putting a hydrocolloid bandage over a blemish will help speed up healing time because the tiny, clear adhesives absorb excess oil and pus as they keep the area clean. $12, getrael.com

Harlequin Floors Home Studio Spaces: If you’re keeping up with at-home training, build a studio that best suits your space and budget. Harlequin offers professional-quality dance mats, plus freestanding and wall-mounted barres and larger sprung-floor panels. $85–$2,000, us.harlequinfloors.com

Revolutionary Principles of Movement: To change up your warm-up, consider a virtual foundational course with Revolutionary Principles of Movement. Merging science and dance, RPM’s offerings include an eight-minute therapeutic barre routine designed to be done anywhere, as well as a series of free YouTube videos that cover everything from audition tips to breaking down complicated steps like fouetté turns. rpm.dance

Hyperice: Pro dancers, like New York City Ballet’s Tiler Peck, have been using compression devices like the Hyperice Normatec to speed muscle recovery by increasing blood flow and circulation. The higher price point makes it less accessible, but the brand also offers more-affordable recovery tools, like the Hypervolt Go 2 percussion massager and Hyperice ice compression wraps. $75–$1,849, hyperice.com

Rollga Foam Roller: You can help support muscle recovery and even improve mobility and flexibility the old-fashioned way with a foam roller. Rollga’s grooved foam roller helps to better target muscles like the adductors, glutes and calves for a deep tissue massage. You can even download the brand’s app for instructional videos and expert tips. $34.99, rollga.com

Saje Muscle Melt Comforting Bath Salt Soak: Unwind after a show or tough class with a long soak. Saje’s cruelty-free and vegan bath blend combines Epsom and sea salts with essential oils like rosemary, lavender and eucalyptus. $20, saje.com

The post 10 Tools for Powering Up Your Performance appeared first on Dance Magazine.

THE EXPERTS: Daniela Gschwendtner and Steven Lee, “Dancing with the Stars” costume designer

THE DESIGN PROCESS: Gschwendtner and Lee have designed the professional and celebrity looks on the “Dancing with the Stars” live show and tour for 15 years—and that has meant countless quick-changes. With dozens of themed looks to create on a weekly basis, the design process can get tricky. “Plus, we don’t get notified about who is doing the quick-changes right away because they’re still working out the order of the show,” explains Lee, who designs the men’s looks.

To make everything as quick-change-friendly as possible, they try to avoid multipiece costumes, buttons and zippers. “The girls probably have it a little bit easier,” says Gschwendtner, who designs the women’s costumes. “I try to connect everything as one unit that you can slip on, hook and go.” While a one-piece is nearly impossible for the men, Lee still has his tricks. “If there are buttons on the shirt, I might convert them to Velcro, or sometimes I’ll attach a shirt to a jacket to make it one unit,” he says. “If there’s a sock and shoe change, I’ll have him layer the socks so he can just whip the first pair off.”

“The changes for TV are normally during a commercial break, and they’re quick, but not like on the tours,” says Gschwendtner. For the tour, where a two-hour show can lead to 40 to 50 dances with different costumes, it’s all about coordinating as a team. During fittings, Lee makes sure the dancers are totally comfortable with the mechanics of the 20-second garment changes. “I’m done once the design is done, but the dancers have to live with it for months.” But no matter how much forethought goes into a design, “Occasionally somebody doesn’t make a quick-change on tour, and they’ll come in a little later than they should,” says Gschwendtner. “It’s not ruining the show, and it’s more important that everyone is safe.”

THE EXPERT: Madeleine DeGracia, Pacific Northwest Ballet wardrobe manager

THE PREPWORK: Before the PNB costume shop builds the garments for classics like Swan Lake and newer works like Crystal Pite’s Plot Point, you’ll find DeGracia and her small year-round team making detailed spreadsheets of every quick-change. “You need itemized inventory lists that tell you everything from the dress to the undergarments,” DeGracia says of knowing what each change entails. “Generally, we only get one rehearsal to practice these quick-changes, and then it’s opening night. I have to have everything completely documented down to what order they’re going to take things off and what order they’re going to put things on, so the dressers can be ready to go.” At the top of DeGracia’s priority list is providing private backstage spaces for the dancers to change, which are built by the PNB carpentry department. “Sometimes you have a quick-change that’s so fast, you can’t get to a booth. In that case, I tell the crew ‘You guys need to evacuate this area at this time,’” she says. “We try to make the dancer feel as safe as possible.”

THE EXPERT: Kylie James, dancer in Katy Perry’s Las Vegas residency show, PLAY

THE QUICK-CHANGES: Growing up in the competition world, Kylie James experienced her fair share of quick-changes. But nothing quite prepared the 2019 Juilliard graduate for the whirlwind pace—and complicated costumes—of PLAY. “The first costume run was definitely a shock,” says James, who has eight changes during the five-act show. “We get dressed in a quick-change booth, and the dressers have taken notes on how we each like our costumes set up,” she says. “In our Act 4 to Act 5 change, I have to run to the other side of the stage, so I have my skirt placed in a doughnut shape that I can put over my head and slide right into.”

While the dancers have a breather during Perry’s acoustic set, other changes are a frenzied rush, so the female dancers in PLAY have two main dressers in each booth, plus additional dressers waiting outside. “In Act 1, we go from an orange soldier costume with our hair and faces covered to a one-piece that covers our hair,” James says of her Act 2 bath-doll costume. “That change is the trickiest, because our bras have to be hooked, the little yellow under­wear that we have has to be hooked, and we have to put on blue shoes before going to our accessories table for our gloves, floaties, sunglasses and bath-bubble hats.” The dancers have 2 minutes and 30 seconds to pull off the change and be positioned inside a prop and ready to go when the curtain rises. The dancers wig-wrap their hair before every performance, so their headpieces sit flush and to eliminate the need to pin and unpin the headpieces. “All of our headpieces are closed with either a hook-and-eye or a button,” says James. “It makes it way easier and more secure.”

The 5 Top Tips From the Pros

STEER CLEAR OF ZIPPERS: Though the dancers may not mind (and might even prefer) an easy-to-pull zipper, “Dancing with the Stars” costume designer Daniela Gschwendtner avoids them. “Zippers break, or if they don’t get zipped all the way, they’re a problem,” she says. “A strap and hook-and-eyes is better, because if one hook doesn’t catch, another will, and the costume will stay on.” 

PREP YOUR QUICK-CHAGE SPACE: It’s crucial for dancers to know where they’re changing and what their costume should look like before they go back onstage. Pacific Northwest Ballet wardrobe manager Madeleine DeGracia works with the props department to set up quick-change booths, but she notes that even hanging a thick sheet on a garment rack can still provide ample privacy. She gives each dresser detailed instructions and a photo of each costume, then has the dancers and dressers figure a changing routine that works for them.

HAVE AN EMERGENCY REPAIR KIT ON HAND: “The amount that the dancers really push the garment is insane, and the garment just has to take it, as opposed to a baseball uniform where it’s all stretch and there’s padding,” says DeGracia, who notes that part of her job is to be prepared for repairs. “I’m decked out in emergency gear—I’ve got scissors around my neck, and a needle on my sweater,” she says, adding that she avoids safety pins, which can easily come undone and cause injury. To provide lighting backstage, DeGracia recommends hands-free flashlights. “We use this wonderful product that looks like a necklace; it’s a U-shaped flexible wire, and each end has a little LED on it.”

PRACTICE MAKES PERFECT: “It took us several rehearsals to get everything timed accordingly, and to figure out the best plan of attack to get into the costumes so that it really became its own set of choreography,” says dancer Kylie James of prepping for the complicated costume changes in Katy Perry’s PLAY. Extra rehearsals may be essential for more involved designs, like the headdress with extravagant plumage James wears in Act 5. “They’re beautiful, but they’re also massive and very heavy,” says James. “We had to have a rehearsal period just for getting used to moving in them, walking in them, and adjusting our choreography,” she says of the other accessories, which are attached using backpack-like straps. “We’re walking up, like, a thousand stairs, which makes it a lot harder.”

COLLABORATE AND COMMUNICATE: As they prepare for the “DWTS” tour, Gschwendtner and her co-costume designer Steven Lee work closely with not only the dancers and dressers but also the choreographers and producers. “During tech we might say, ‘We can put video content here or have a slower exit for the previous dance to give them an extra 30 seconds,’ ” Lee says. During performances, clear communication between dancers and dressers is key. “The best quick-changers calmly talk the dancer through it,” DeGracia explains. “The performer already has so much going through their head, thinking about the movement and the emotions, the dresser can really help them. We’re with the dancers at their most vulnerable, and we really build this strong trust with each other to get the job done,” she adds. “We could not get through a show without our dressers,” James confirms. “They’re literally our saviors.”Marissa DeSantis is a frequent contributor to Dance Magazine

The post Costume Drama: Mastering the Quick-Change Game appeared first on Dance Magazine.

After nine years off of dancing, the last thing I anticipated to be a problem in my training was my feet. (Other than an unfortunate metatarsal break in high school, we’ve always gotten along.) But as I’ve slipped into my Grishko 2007s and felt the throbbing ache that pulses through my toes with even just a few relevés, I’ve realized it’s time to leave my old shoes in the past and embrace the future with my new feet.

So I went on a quest—to find my perfect shoe. To start, I scheduled fitting appointments in New York City with experts from Bloch, Capezio, Freed of London and Gaynor Minden. As far as I can remember, I haven’t done an actual fitting since I was 12 years old and got my first pair of pointe shoes. And I realized this: Getting fitted by someone capable can make all the difference. If you are feeling like something is off with your shoes, take the time and reach out to your manufacturer (or a new one if you want to try something different), and see what can be adjusted. I learned so much about my feet and can’t wait to see how my dancing improves with the right set of shoes complementing them.

Gaynor Minden

I started my search at Gaynor Minden’s boutique on 16th Street in Manhattan. The in-person store is closed to the public right now, but they let me come in to capture the experience of a fitting for Dance Magazine readers. If you’re interested in trying out Gaynor Minden, two of the company’s shoe fitters, Anna Pearson and Robyn Jutsum, recommend trying the virtual fitting service on its website.

What the fitters taught me:

• I have what is known as a “disappearing heel.” This means that when I point my feet, my heel bones slide in toward my ankles, causing the backs of a lot of shoes to gape or slip off.
• Minor differences in models can make a major difference in my dancing. For example, I was brought two similar shoes to try, but one of them had a slightly wider box. When I went to relevé, the one with the wider box had me sitting back in my shoe while the more narrow box had me firmly on top of the box.

Gaynor Minden shoe of choice: Classic Fit, CL-7M4SDH

Pros:

• This shoe is uber comfortable. I don’t feel any pain or pinching anywhere on my foot.
• Gaynors are made of unbreakable elastomeric materials (the same as what’s found in athletic footwear and equipment), which should, in theory, make them last longer than other pointe shoes.
• It’s really pretty! It shows off my assets without making me feel like I’m going to pop out of the shoe.

Cons:

• At over $150, Gaynors are pricey. I’m not sure I can commit to spending that much money on a regular basis. If I am buying shoes less often that’s one thing, but I am worried about falling in love with them and not being able to afford them long term.
• I have never worn shoes made of such unique materials, and while I liked the fit in the store, I’m curious what they’ll feel like once I’m really dancing in the studio.

Bloch

Next, I headed to Bloch in Lincoln Center. This brand made the first pair of pointe shoes I ever wore, so I was eager to see if they might still work for me. My fitter, Carol Alvarez, was knowledgeable, kind and, most importantly, didn’t push me on any particular shoe. “I would never encourage someone to take a shoe that isn’t right for them,” Alvarez told me. “I would rather send you to a different manufacturer than risk putting you in a shoe that doesn’t fit your foot correctly.”

What the fitter taught me:

• For whatever reason, my left foot doesn’t connect to the shank in a lot of shoes (and this goes for all brands). In the past, my left foot has looked less pointed than my right foot in pointe shoes, and I never knew why. I’m so glad Alvarez pointed this out, so I could be more intentional about which shoes to consider and which shoes were instant “no”s.
• I need toe spacers: Alvarez took one look at my feet while I stood in parallel and told me the space between my big and second toes could prove to be a problem when on pointe. The spacer will provide a bigger platform to relieve pressure on my feet.

 Bloch shoe of choice: Superlative Stretch Satin

Pros:

• It’s a stretch satin shoe, which makes the material comfortable. It hugs my disappearing heels without digging into or rubbing them.
• It looks nice on my feet, and the shank goes up against the inside of my arch really well.

Cons:

• My left foot twists a little in the shoe when I’m on relevé. Though it’s possible this problem could be corrected with ribbons and elastics, it’s a bit of a risky choice.

Capezio

For my third pointe shoe fitting I went to Capezio in midtown. My fitter’s name was Allison Piette, and she was delightful. She was committed to finding a Capezio shoe she thought could work for me and wouldn’t give up until she did. I swear we tried on almost every shoe in the store!

What the fitter taught me:

• If I’m feeling pain in my toes when I go on pointe, the culprit is very likely that my shoes are too big. According to Piette’s co-worker Katie Graham, “Every pointe shoe is made to fit different types of feet. It should fit ‘just right,’ not too snug and not too loose. The dancer should be lifted and well supported in the shoe. Their weight should be evenly distributed across all of their toes, and they shouldn’t sink into the shoe.” When they are too big, there is nothing keeping me from sinking and feeling all of the pressure of my body resting on my big toes. (Hence the throbbing pain in my old shoes.)
• Just because a shoe is popular doesn’t mean it will work for your particular foot. I had really high hopes for the Capezio Ava shoe, but unfortunately it wasn’t meant to be.
• My left foot has a tendency to twist in my shoes when I go to relevé, leaving me at risk of spraining an ankle. I noticed this problem earlier in the process, but it was really prevalent with most of Capezio’s shoes during this fitting.

Capezio shoe of choice: The Phoenix

Pros:

• The box is quite flat, which makes my foot look slender and extends the line of my leg in a really pretty way.
• The shoe hugs both of my arches well.

Cons:

• My left foot does twist slightly in this shoe, which makes me nervous.
• My disappearing heel makes it so the heels gape when I’m on pointe in a fairly significant way.

Freed of London

My last stop was Freed of London. Because this brand is a popular choice for many professional ballet companies (hello, New York City Ballet!), I’ve always been curious to see how their shoes would look on my feet. Unsurprisingly, I loved them! My fitter, Julie Smith, talked up my strengths and made me feel confident despite the strangeness of me being a 27-year-old getting fit for pointe shoes for the first time in nearly 10 years. 

What the fitter taught me:

• Though my feet measure wide, they are quite malleable and squish together in my shoes. For this reason (and the fact that all shoes will stretch over time), she recommends sizing as tight as I possibly can.
• To extend the life of my shoes, I should put Jet Glue in the boxes before I ever wear them. If I wait until after, the shoes will have already formed to my feet, and the glue will harden with bumps that will rub and hurt my toes.
• I should wear thin toe pads in order to feel the floor. If the shoes fit right, the toe pads shouldn’t make much of a difference in terms of comfort.

Freed shoe of choice: Classic Pro 90 (CP90) by either their Crown, R or Butterfly makers.

Pros:

• I tried on a lot of shoes during this process, and none looked quite as beautiful on me as this one. It hugs my arch, it doesn’t twist and I’m set firmly over the box. And I don’t experience any pain in my toes.
• They are a more affordable option than other shoes I am interested in.

Cons:

• I’ve been told that Freeds die quickly. The price point won’t help me all that much if I have to replace them more often.
• The heel slips in the back when I’m not on pointe, though I’ve been told ribbons and elastics will solve this.

My Picks

This was a tough decision! In the end, it came down to two options: Freeds or Gaynor Mindens. Ultimately the only way to know which will work best long-term is to try them out in the studio.

So, I bought both for just this month. I’ll test them out and see which shoe I prefer. I will keep you updated on which one ultimately steals my heart!

The post Begin Again: Finding My Perfect Pointe Shoe appeared first on Dance Magazine.

Today she has expanded into choreographing for films, like Warner Bros.’ In the Heights (as an associate) and Disney’s Sneakerella. And looking ahead, Williams plans to turn her attention to creating work onscreen as both an actress and a director. “I feel really blessed to have had people believe in me,” she says.

Falling in Love With Dance:

“When I was a kid, my mom couldn’t afford to put me in dance school at first, so my best friend would come over and teach me what she learned in her classes.”

Pre-Performance Superstition:

“I don’t like to be the first one down to the stage. If I’m there early, I think about all of the mistakes I can make. I get very, very anxious—I don’t sleep well the night before a show. But once I’m out there, I get totally calm.”

Creating Opportunities:

“Often, we think, Okay, I need to work with this untouchable director, and that’s great; we should always shoot for those things. But it can be just as rewarding to look at your friend and come up with something together that can be bigger than you ever thought it could be. Then, down the line, you could be that untouchable director.”

Finding Balance:

“As much as I have been working so hard across the board, what’s been the most valuable to me is learning balance and recognizing that balance equals abundance. And I don’t mean that in the economic way; I mean in feeling whole as a person.”

On Juggling the Classical and Commercial Worlds:

“One time I took a red eye after a performance with Cedar Lake to Monte Carlo with Beyoncé for the World Music Awards. After the performance, I got on another red eye to land in New York at like 8 in the morning to go straight to ballet class and do another show with Cedar Lake.”

On Her Choreographic Process:

“I’ve learned that I work much better under pressure. I have a hard time trusting that what I’m doing is great, but I recognize that everything that you do, there is no real wrong thing.”

A Career-Defining Moment:

“One of the biggest moments that sticks out to me is my last performance for Cedar Lake. The way the audience roared for me when I took my bow, it was really powerful. It was strange, because it was the end of a huge chapter in my life, but it also said so much about another beginning.”

The post Catching Up With the Ever-Busy Ebony Williams appeared first on Dance Magazine.

Pursuing his dream:

“At only 11 or 12 years old, I wrote my parents a letter asking them to let me go to an arts school in Guangzhou. They were very hesitant because they didn’t know what my future would be like in dance, but they realized that’s what I really loved.”

Dancing Balanchine:

“I studied Vaganova in China and didn’t know very much about Balanchine until coming to the U.S. I was like, ‘How come I never knew about this?’ The way the movement fits the body and moves with the music is something you can’t find with any other choreographer.

His TV debut on China’s “Dance Smash”:

“They messaged me on Instagram, and at first, I thought it was a scam! When the pandemic happened, I had the time to do the show. For the camera, you know that it’s going to be online forever, so I really had to make sure that every show was perfect, and that my expressions were on point.”

His ballet start:

“When I was in kindergarten, I watched my sister perform in a recital, and she was my inspiration. I found that in the studio, the teachers paid attention to me and were happy with what I did, versus in academic schooling, they were not always happy even though I had been trying hard and asking a lot of questions.”

Dealing with onstage curveballs:

“As a lead dancer, sometimes it’s not about how high you jump or how many turns you can do—it’s how well you can manage what happens onstage.”

His new city life:

“I’m looking forward to exploring more museums, and more art and music. There are so many talented people in this city from different places and backgrounds, which is something I really enjoy.”

The post New York City Ballet’s Chun Wai Chan Is Making Moves appeared first on Dance Magazine.

“I was obsessed with the video with Darcey Bussell,” recalls Magri, now a first soloist. “I knew I wanted that for my life. Funnily enough, when I got to do Gamzatti a few years ago, I was wearing Darcey Bussell’s tutu!” she says, laughing in disbelief. “I was like, ‘This just can’t be.’ “

Most memorable performance:
“When my family secretly flew here to watch my Don Quixote show—I saw my sisters and my parents in the wings during bows, and I lost it.”

What’s on her playlist:
“Jazz blues songs from Sam Cooke, Stevie Wonder, Ray Charles when I wake up. Bossa nova or Spanish guitar for when I’m cooking.”

Coffee order:
“A flat white with oat milk—I have it at least twice each day.”

The moment this career became real:
“Prix de Lausanne in 2011 was my first experience in Europe. I ended up winning the competition and the audience prize. That was such a huge thing for me because I realized, ‘Wow, I might be able to have a career with this.’ ”

Favorite role:
“Tatiana in Onegin.”

Top place to travel:
“Japan. I love the culture, and really respect the people. I would live there.”

One product she can’t live without:
“This amazing face cream by The Seated Queen.”

On lockdown life:
“Whenever I feel a bit anxious or stressed, I’ve been trying to have some time without the phone. It can be frustrating because so many people are doing things and posting about it. As dancers, we already put so much pressure on ourselves. But respecting your well-being, I think that’s what’s going to get us out of this in a good state of mind.”

Favorite spot in London:
“Fidelio Orchestra. It’s a restaurant, but it’s also a concert house with live, proper music before dinner—they’ll play Schubert, Beethoven, Rachmaninoff.”

Missed debut:

“I was meant to be doing my debut as Odette/Odile with the company before lockdown. I only got one stage call. But Act IV was so special because I felt like I lost myself in the role. Hopefully, I’ll get to experience that again in a performance.”

Her pre-performance ritual:
“In Rio, we had a teacher who told us to tap our heart like gorillas for courage. I still do it.”

The post The Royal Ballet’s Mayara Magri Is Seeing Her Dreams Come True appeared first on Dance Magazine.

It’s no longer just Les Ballets Trockadero de Monte Carlo and the few pointe-clad male character parts, like in Cinderella or Alexei Ratmansky’s The Bright Stream. Some male dancers are starting to experiment with pointe shoes to strengthen their feet or expand their artistic possibilities. Michelle Dorrance even challenged the men in her cast at American Ballet Theatre to perform on pointe last season (although only Tyler Maloney ended up actually doing it onstage).

The one problem? Pointe shoes have traditionally only been designed for women. Until now.

A Russian company called Siberian Swan has just announced the debut of the first pointe shoe model specifically designed for men, named “Rudolf” (after Nureyev, of course). It will be released next month, giving men an alternative to custom orders.

Research shows
that aside from being significantly longer on average, male feet are typically wider at the ball, instep and heel. Yet the heights of the ankle bones, instep and toes can be shorter. Men’s feet are also typically less flexible, and they often support more weight.

So you can’t simply make bigger pointe shoes and stick them on—they need a different design altogether to ensure a proper fit.

The Rudolf takes this into account, with a roomy box, medium-high vamp, a wide platform and medium profile. The shanks, made of plastic, are designed to support longer, less flexible feet, with options for medium, hard or super-hard strengths.

It’s all the brain child of two former Bolshoi Ballet dancers who launched Siberian Swan three years ago to support the needs of their company, the State Ballet of Siberia. They since realized there was international demand beyond their studio.

Case in, well, point: Even though the Rudolf has not yet been officially released, it already has dozens of pre-orders.

The post There’s a New Pointe Shoe Designed Specifically for Men appeared first on Dance Magazine.

Alyssa Lemons

“I feel like we’ve all found what works for us individually and we try to stick to the same routine,” Lemons says. “Usually, I get to Radio City Music Hall an hour before to warm up and get my hair and makeup ready for the show. I stay about an hour afterward to cool down and ice, but one of my favorite post-show rituals is washing my face and taking off all of the makeup.”

Neutrogena Ultra Light Face Cleansing Oil & Makeup Remover

“I use a Neutrogena oil-based makeup remover. It’s great because it moisturizes and takes off all of the waterproof makeup we use.”

target.com, $8.49

Fré Hydrating Facial Cleanser

“The Fré skincare line was designed for an active lifestyle, and it’s great for pre- and post-performances,” says Lemons, who uses the line’s cleanser in the morning and at night after removing her makeup.

freskincare.com, $35

Fré Defense Facial Moisturizer

“I use this moisturizer before shows to protect my skin from all of the sweat and makeup, and then post-show, I use their moisturizing serum.”

freskincare.com, $50

Fré Post-Sweat Clearing Mask

“I religiously use this on my day off,” says Lemons of the line’s detoxifying mask. “Every Thursday I wake up, wash my face, put my mask on, have my coffee and just relax and recover from a crazy week of shows.”

freskincare.com, $54

Nina Linhart

“I have really sensitive skin, so I try to keep my skincare routine as consistent as possible throughout the season,” Linhart says. “When we’re in shows, I’m sweating more, and things like the beard that we wear during the Santa dance can cause more breakouts if I’m not consistent.”

Clean & Clear Night Relaxing All-In-One Cleansing Wipes

“After a show, I use Almay Eye Makeup Remover just on my eyes to get the lash glue off and all of the eyeshadow. Then I use the Clean and Clear wipes to take off my face makeup,” says Linhart.

target.com, $4.99

GlamGlow SuperCleanse

“After I remove my makeup, I do the exact same routine that I do in the morning,” Linhart says. “I started using the GlamGlow face wash over the summer, and it is so nice for my skin—especially in the morning, my face is rejuvenated and ready to go.”

glamglow.com, $28

Clinique Clarifying Lotion

“I’ve used the Clinique toner my whole life. It’s the first toner I’ve ever used, and it really keeps my skin under control.”

ulta.com, $16

Cetaphil Moisturizing Lotion

“My skin gets really oily, so I try to keep it hydrated,” Linhart says. She also likes to give her skin a break from the stage makeup halfway through her long performance days: “During our four-show days, I take off my makeup, wash my face and do my skincare routine after two shows.”

ulta.com, $13.99

GlamGlow SuperMud

“I have this GlamGlow mask that I love to do on my day off,” Linhart says. “If I’m really having trouble with my skin or breaking out, I’ll use the mask in the morning, too.”

glamglow.com, $59

The post Two Radio City Rockettes Share the Skincare Products That Get Them Through the Christmas Spectacular Season appeared first on Dance Magazine.

Sudeikis told us about how she discovers new music, and made us a road trip-worthy playlist:

The post The Songs That Give Kristin Sudeikis the Chills appeared first on Dance Magazine.

Though what she’s listening to at any given time can vary dramatically, the through-line for Brandt is nostalgia: songs that take her back, whether to childhood, a favorite movie or a piece she’s recently performed. Brandt told us about her eclectic taste, and made us a playlist that will keep you guessing:

The post Skylar Brandt's Taste in Music Is as Delightful as Her Dancing appeared first on Dance Magazine.