Given that almost every ballet performance requires your hair to be in a bun, it can be tricky to master Romeo and Juliet's Italian Renaissance hairstyles. Not for ABT wig and makeup supervisor Rena Most and wig and makeup assistant Jill Haley. The duo is responsible for all three hairstyles Juliet wears onstage, following the exact looks used in the company premiere of the Sir Kenneth MacMillan ballet in 1985. Check out Most and Haley in action, below, and keep scrolling for the step-by-step breakdown.
Something magical happens when Jovani Furlan smiles at another dancer onstage. Whether it's a warm acknowledgment between sections of Jerome Robbins' Dances at a Gathering or an infectious grin delivered in the midst of a puzzle box of a sequence in Justin Peck's Everywhere We Go, whoever is on the receiving end brightens.
"I could stare at him forever," says New York City Ballet principal Megan Fairchild. "He's just that kind of open spirit. He's not judging anything. It's like he's looking at you with his arms wide open and a big smile—even if he's not smiling, that's the energy he's giving you."
Erin Baiano, Courtesy NYCB
View this post on Instagram
"If the world was a bunch of people sitting in a room, and you raise your hand, then you better have something interesting to say," says our February cover star @rajafeatherkelly. "I want to raise my hand." 📷: Jayme Thornton (@jaymethornton)
A post shared by dancemagazine (@dancemagazine) on