Jayme Thornton

Just the Highlights: This Makeup Trick Will Give You an Unbeatable Onstage Glow

To give your performance look an instant boost, swipe on one of these shimmering highlighters as the finishing touch to your makeup routine. Made in a range of pearlescent colors from frosty lavenders and pinks to rich golds and bronzes, there's a highlighter to complement every role. Apply the product to the high points of your face (cheekbones, bridge of the nose and cupid's bow) for maximum impact under the stage lights. For more glow when using a powder, spritz your brush (or BeautyBlender) with a face mist first to create a super-pigmented finish they'll see from the fourth ring.



Jayme Thornton

Products from left to right:

Milk Holographic Highlighting Powder in Supernova, $24

Urban Decay Pro Diffusing Highlighter Brush, $32

Fenty Beauty Killawatt Freestyle Highlighter in Trophy Wife, $34

Stila Cosmetics Glitter & Glow Highlighter in Kitten, $30

Glossier Soothing Face Mist, $18

Artis Oval 6 Brush, $57

BeautyBlender, $20

Maybelline FaceStudio Master Strobing Liquid in Light, $5.99

L'Oréal Paris True Match LUMI Glow Amour Glow Boosting Drops in Golden Hour, $11.99

Latest Posts


Luke Isley, Courtesy Ballet West

How Do Choreographers Bring Something Fresh to Music We've Heard Over and Over?

In 2007, Oregon Ballet Theatre asked Nicolo Fonte to choreograph a ballet to Maurice Ravel's Boléro. "I said, 'No way. I'm not going near it,' " recalls Fonte. "I don't want to compete with the Béjart version, ice skaters or the movie 10. No, no, no!"

But Fonte's husband encouraged him to "just listen and get a visceral reaction." He did. And Bolero turned into one of Fonte's most requested and successful ballets.

Not all dance renditions of similar warhorse scores have worked out so well. Yet the irresistible siren song of pieces like Stravinsky's The Firebird and The Rite of Spring, as well as the perennial Carmina Burana by Carl Orff, seem too magnetic for choreographers to ignore.

And there are reasons for their popularity. Some were commissioned specifically for dance: Rite and Firebird for Diaghilev's Ballets Russes; Boléro for dance diva Ida Rubinstein's post–Ballets Russes troupe. Hypnotic rhythms (Arvo Pärt's Spiegel im Spiegel) and danceable melodies (Bizet's Carmen) make a case for physical eye candy. Audience familiarity can also help box office receipts. Still, many choreographers have been sabotaged by the formidable nature and Muzak-y overuse of these iconic compositions.

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