Football's cool and all, but when Justin Timberlake is bringing new music and dance moves to the halftime stage, it's hard to pay attention to anything else. Luckily, if you can't wait until next weekend's Super Bowl to get your "Filthy" fix, Pepsi shared a behind-the-scenes look at JT's halftime show rehearsals on their Twitter page. Complete with interviews from his longtime choreographer Marty Kudelka (who started working with JT back in his *NSYNC days) and dancers like Dana Wilson, the video gives an inside look at Timberlake's upcoming 13-minute performance.
"It starts with the music—I don't have to draw from too many other places," Kudelka says in the video. "There are no limits, and that's inspiration enough." As for how that translates, Timberlake explains, "He has his own style of movement, and it compliments the way that I like to move onstage—it's crisp without being showboat-y."
Based on the video, it looks like we'll be getting a taste of some new songs from JT's upcoming album Man of the Woods alongside our old faves. No matter what he's singing, we know it will be a high-energy performance.
"A lot of times dancers and the band are thought of as supporting talent, and we're there to lift him up and keep his show strong," Wilson says. "With JT, it's really not the case. I've felt lifted by him. We really are a family—it's not about spotlight and then the ghosts in the background. We walk up on stage as a really unified force."
Devon Teuscher performing the titular role in Jane Eyre. Photo by Gene Schiavone, Courtesy ABT
Story ballets that debut during American Ballet Theatre's spring season at the Metropolitan Opera House are always the subject of much curiosity—and, sometimes, much debate. Cathy Marston's Jane Eyre was no different. The ballet follows the eponymous heroine of Charlotte Brönte's novel as she grows from a willful orphan to a self-possessed governess, charting her romance with the haughty Mr. Rochester and the social forces that threaten to tear them apart.
While the ballet was warmly received in the UK when Northern Ballet premiered it in 2016, its reception from New York City–based critics has been far less welcoming. A group of editors from Dance Magazine and two of our sister publications, Dance Spirit and Pointe, sat down to discuss our own reactions.