Natalie Gilmore Shares Her Stage Makeup Must-Haves & Life on the Road With Justin Timberlake's Man of the Woods Tour
With limited space for luggage on the tour bus, Justin Timberlake dancer Natalie Gilmore makes sure her beauty routine can pull double duty. "Most of the stuff I use day to day I also use onstage," she says, adding that the dancers do their own hair and makeup for every show. "They give us a lot of freedom to use what we want, and I really enjoy getting to play with new products and experiment with different looks." That same freedom she has with her look carries over into her performance. "There's a lot of freestyle in the show," Gilmore says. "We have certain places we need to be, but we're able to map out how we want things to flow—I have a lot of fun with it."
Gilmore's day-of-show routine is fairly consistent no matter what look she's trying (or what country she's in). "When we get to the venue, I'll do some prep on my face before going to sound check," she says. "I like to do some kind of warm-up an hour and a half before the show to get my blood going and my mind working, but I like it to flow with how I feel. If I want an extra push, I'll do an ab workout, or I'll focus on stretching if I'm feeling tired that day."
Photo by Jayme Thornton
1) NYX Soft Matte Lip Cream, $6.49
"These stay through the whole show, and they actually work best if you don't wear any balm underneath them."
2) Kat Von D Tattoo Liner in Trooper Black, $20
"It has a felt tip that makes it easy to get a straight line without too many mess-ups. Usually, I'll do a bit of a wing to open up the eye, and then I use a regular pencil liner on the waterline."
3) Tarte Maracuja C-Brighter Eye Treatment, $38
"I'm quite simple when it comes to skin care. I wash my face after every show, use an SPF moisturizer, and I use this eye cream morning and night to brighten dark circles."
4) Ardell Lash Wispies Black, $4.99
"Always a go-to— these are the best false lashes."
5) Laura Mercier Tinted Moisturizer, $45
"It doesn't feel super-heavy or clog my pores. I'm putting stage makeup on every other day, so I have to be conscious of what products I'm using."
6) Tarte Lights, Camera, Lashes 4-in-1 Mascara, $23
"This is currently one of my favorites."
7) Fenty Beauty By Rihanna Match Stix Trio in Medium, $54
"I just got this set from Rihanna's line and she nailed it. There's a contour, highlight and concealer—plus, they're magnetic, so you don't lose them."
New York City Ballet principal Sara Mearns wasn't sure she was strong enough. A ballerina who has danced many demanding full-length and contemporary roles, she was about to push herself physically more than she thought was possible.
"I said, 'I can't. My body won't,' " she says. "He told me, 'Yes, it will.' "
She wasn't working with a ballet coach, but with personal trainer Joel Prouty, who was asking her to do squats with a heavier barbell than she'd ever used.
"The show must go on" may be a platitude we use to get through everything from costume malfunctions to stormy moods. But when it came to overcoming a literal hurricane, Houston Ballet was buoyed by this mantra to go from devastated to dancing in a matter of weeks—with the help of Harlequin Floors, Houston Ballet's longstanding partner who sprang into action to build new floors in record time.
Her Dying Swan was as fragile as her Juliet was rebellious; her Odile, scheming, her Swanilda, insouciant. Her Belle was joyous, and her Carmen, both brooding and full-blooded. But there was one role in particular that prompted dance critic Arnold Haskell to ask, "How do you interpret Giselle when you are Giselle?"
At eight, Alicia Alonso took her first ballet class on a stage in her native Cuba, wearing street clothes. Fifteen years later, put in for an ailing Alicia Markova in a performance of Giselle with Ballet Theatre, she staked her claim to that title role.
Alonso received recognition throughout the world for her flawless technique and her ability to become one with the characters she danced, even after she became nearly blind. After a career in New York, she and her then husband Fernando Alonso established the Cuban National Ballet and the Cuban National Ballet School, both of which grew into major international dance powerhouses and beloved institutions in their home country. On October 17, the company announced that, after leading the company for a remarkable 71 years, Alonso died from cardiovascular disease at the age of 98.
William Forsythe is bringing his multi-faceted genius to New York City in stripped down form. His "Quiet Evening of Dance," a mix of new and recycled work now at The Shed until October 25, is co-commissioned with Sadler's Wells in London (and a slew of European presenters).
As always, Forsythe's choreography is a layered experience, both kinetic and intellectual. This North American premiere prompted many thoughts, which I whittled down to seven.