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8 Cold Weather Skin-Savers
Between the brutal cold and wind outside mixed with the heat that's always on blast in the studio, keeping your skin from turning dry and cracked in the winter is already hard. Add sweating in class and rehearsal every day on top of that, and it can seem nearly impossible to keep your skin in check. We asked dermatologist Dr. Marina Peredo and Ballet West's Gabrielle Salvatto for their best tips on keeping skin calm and fake-free despite the dropping temps and endless applications of stage makeup.
Since daily perspiration can lead to clogged pores, Peredo suggests a gentle face wash in the morning and at night. Staying hydrated is just as important. "Dehydration can cause the skin to be drier too," Peredo says. Drink enough fluids throughout rehearsal to help keep your skin balanced.
Both Peredo and Salvatto agree that more moisturizer is key. Free of common skin irritants like fragrances and dyes, this rich and creamy formula melts right into skin without leaving it feeling greasy.
"I use this under my eyes and a little bit on my neck," Salvatto says of her nightly skin-care routine. "My mom told me about it years ago and her skin looks amazing, so it must be working!"
Peredo stresses that cleansing and moisturizing before bed will help your skin restore itself overnight. For an extra hit of hydration, apply a mask like this one, which includes rose water to calm redness and dry skin.
Not only will this rose-scented (and pink-tinted) salve keep your lips soft, but it's perfect to throw in your dance bag to smooth over tiny rough patches of skin when you're on the go.
"The winters are really dry in Utah, and it's a heavy performance season, so there's a lot more stress on the skin," says Salvatto. To swipe away stage makeup without stripping skin of hydration, Salvatto swears by this half-moisturizer, half-cleanser classic.
"If you're prone to acne, one way to combat breakouts is by using salicylic acid pads in between rehearsals," Peredo advises. These individual pads include 2 percent concentration of salicylic acid to exfoliate pores and dissolve the dirt and bacteria that cause breakouts.
Exfoliating once or twice each week will help remove dead skin cells. This option uses grape oil and acacia honey to soothe skin while jojoba beads gently exfoliate.
Before she became the 20th century's most revered ballet pedagogue, Agrippina Vaganova was a frustrated ballerina. "I was not progressing and that was a terrible thing to realize," she wrote in a rough draft of her memoirs.
She retired from the Imperial Ballet stage in 1916, and for the next 30-plus years, devoted herself to creating a "science of ballet." Her new, dynamic teaching method produced stars like Rudolf Nureyev, Alla Osipenko, and Galina Ulanova and later Natalia Makarova and Mikhail Baryshnikov. And her approach continues to influence how we think about ballet training to this day.
But is the ballet class due for an update? Demands and aesthetics have changed. So should the way dancers train change too?
I love being transgender. It's an important part of the story of why I choreograph. Although I loved dance from a very young age, I grew up never seeing a single person like me in dance. So how could I imagine a future for myself there?
The enormous barriers I had to overcome weren't internal: I didn't struggle with feelings of dysphoria, and I wasn't locked down by shame.
For many dancers, a "warmup" consists of sitting on the floor stretching their legs in various positions. But this strategy only reduces your muscles' ability to work properly—it negatively affects your strength, endurance, balance and speed for up to an hour.
Save your flexibility training for the end of the day. Instead, follow a warmup that will actually help prevent injury and improve your body's performance.
According to the International Association of Dance Medicine and Science, a smart warmup has four parts: "a gentle pulse-raising section, a joint mobilization section, a muscle lengthening section and a strength/balance building section."
It's easy to feel whiplashed thinking about everything Emma Portner has achieved in such a short amount of time. Last fall, the 23-year-old was the youngest woman ever to choreograph a West End production (it was based on Meat Loaf's greatest hits). This was, of course, after she already choreographed and starred in Justin Bieber's viral hit "Life is Worth Living," and before she charmed major media outlets when she secretly married actress Ellen Page. Now, she's L.A. Dance Project's first-ever artist in residence, and she's working on a commission for Toronto's Fall for Dance North Festival.
We caught up with her for our "Spotlight" series:
The dance community is heartbroken to learn that 14-year-olds Jaime Guttenberg and Cara Loughran were among the 17 people killed during the February 14 shooting at Marjory Stoneman Douglas High School in Parkland, FL.
Guttenberg was a talented competition dancer at Dance Theatre in Coconut Creek, FL, according to a report from Sun Sentinel. Dance Theatre owner Michelle McGrath Gerlick shared the below message on her Facebook page, encouraging dancers across the country to wear orange ribbons this weekend in honor of Guttenberg, whose favorite color was orange.
A statement released yesterday by New York City Ballet and School of American Ballet reported that an independent investigation was unable to corroborate allegations of harassment and abuse against former ballet master in chief Peter Martins, according to The New York Times. This marks the end of a two-month inquiry jointly launched by the two organizations in December following an anonymous letter detailing instances of harassment and violence.
The statement also included new policies for both the company and school to create safer, more respectful environments for the dancers, including hiring an independent vendor to handle employee complaints anonymously. These changes are being made despite the independent investigation, handled by outside counsel Barbara Hoey, purportedly finding no evidence of abuse.
Not all ballet dancers cling to their youth. At 26, Lauren Lovette, the New York City Ballet principal, has surpassed the quarter-century mark. And she's relieved.
"I've never felt young," she says. "I can't wait until I'm 30. Every woman I've ever talked to says that at 30 you just don't care. You're free. Maybe I'll start early?"
When Beatlemania swept through the U.S. in the 1960s, Mark Morris was one of millions of young Americans who fell head over heels for the revolutionary group. "I was not immune," the choreographer says. "My sisters were mad about The Beatles and so was I. At age 12 I had a crush on Paul, of course."
Flash forward 50 years and he is still rocking to the British band, but this time with a new Beatles-inspired dance work his company is touring across North America, starting this month with scheduled stops in Seattle, Toronto, Portland, Oregon, and another 25 cities before the end of 2019.
You could call it island-hopping, but it's not exactly a vacation. After choreographing last season's Come From Away, and winning a Tony nomination, Kelly Devine zipped from frosty Newfoundland to the Caribbean beach resort that is the setting for Escape to Margaritaville.
In the fall, she was shuttling between them, before they start this month: flying to Toronto to prepare a new Canadian production of Come From Away, then jetting back to Chicago for the final stop of Margaritaville's four-city pre-Broadway tryout.
"These two shows could not be more different from each other," Devine says with a dash of understatement. Come From Away is about the small Newfoundland town where airliners grounded by the 9/11 attacks dumped thousands of unexpected visitors; Escape to Margaritaville, at the Marquis Theatre, is a comic island romance concocted from the beachcomber songbook of Jimmy Buffett.