The term "backup dancer" might bring to mind the army of women on Beyoncé's Formation tour, or the men who didn't miss a beat during Mariah Carey's recent New Year's Eve performance, maintaining flawless unison as she dealt with technical difficulties. Choreography for concerts tends to be almost aggressively slick and synchronized, a sea of dancers serving to multiply the image of the star.

Jim Lafferty

But when it comes to making dance for the music industry's stages, the Japanese-born, Brooklyn-based choreographer Juri Onuki is in a league of her own. Last fall at Terminal 5 in New York, Onuki, 34, was one of three dancers accompanying Dev Hynes (also known as Blood Orange) during the tour of his new album Freetown Sound.

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There must be something in the water: Last week, we announced that Madonna is directing Michaela DePrince's upcoming biopic. And yesterday, we got wind of another major dance film: According to The Hollywood Reporter, Fox Searchlight has sealed the deal to make Ailey Ailey's life and work into a movie. Yes, please.

While some movies falter along their way to the big screen, we think this one's got legs (and hopefully a whole lot of lateral T's and hinges and coccyx balances, too). Why?

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Back in 2012, after 14 years dancing with Mark Morris Dance Group, choreographer John Heginbotham ventured out on his own. Don't think of it as going solo, though.

Almost from the outset, Heginbotham has embarked on a series of fruitful collaborations with other artists, via his namesake company, Dance Heginbotham, and through a stream of independent projects. His creative partners have covered a range of talents and genres: illustrator Maira Kalman (in 2017's The Principles of Uncertainty), opera director Peter Sellars (for Girls of the Golden West, which debuted at San Francisco Opera in November), and contemporary-music luminaries such as Tyondai Braxton and Alarm Will Sound.

Here's What He Has To Say: About starting his company, his rehearsal process and why he's drawn to creative mash-ups.

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Whether playing a saucy soubrette or an imperious swan, Irina Dvorovenko was always a formidable presence on the American Ballet Theatre stage. Since her 2013 retirement at 39, after 16 seasons, she's been bringing that intensity to an acting career in roles ranging from, well, Russian ballerinas to the Soviet-era newcomer she plays in the FX spy series "The Americans."

We caught up with her after tech rehearsal for the Encores! presentation of the musical Grand Hotel, directed and choreographed by Josh Rhodes and running March 21–25 at New York City Center. It's another tempestuous ballerina role for Dvorovenko—Elizaveta Grushinskaya, on her seventh farewell tour, resentfully checks into the Berlin hostelry of the title with her entourage, only to fall for a handsome young baron and sing "Bonjour, Amour."

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Breaking Stereotypes

When Andrew Montgomery first saw the Las Vegas hit Le Rêve - The Dream 10 years ago, he knew he had to be a part of the show one day. Eight years later, he auditioned, and made it to the last round of cuts. On his way home, still waiting to hear whether he'd been cast, he was in a motorcycle accident that ended up costing him half his leg.

But Montgomery's story doesn't end the way you might think. Today, he's a cast member of Le Rêve, where he does acrobatics and aerial work, swims (yes, the show takes places in and around a large pool) and dances, all with his prosthetic leg.

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Cover Story

Camille A. Brown is on an impressive streak: In October, the Ford Foundation named her an Art of Change fellow. In November, she won an AUDELCO ("Viv") Award for her choreography in the musical Bella: An American Tall Tale. On December 1, her Camille A. Brown & Dancers made its debut at the Kennedy Center, and two days later she was back in New York City to see her choreography in the opening of Broadway's Once on This Island. Weeks later, it was announced that she was choreographing NBC's live television musical Jesus Christ Superstar Live in Concert, to air on April 1.

An extraordinarily private person, few knew that during this time Brown was in the midst of a health crisis. It started with an upset stomach while performing with her company on tour last summer.

"I was drinking ginger ale, thinking that I would feel better," she says. Finally, the pain became so acute that she went to the emergency room in Mississippi. Her appendix had burst. "Until then, I didn't know it was serious," she says. "I'm a dancer—aches and pains don't keep you from work."

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