Well, last night—after an extensive search process that focused on finding the best actors within the Puerto Rican/Latinx community—the WSS team finally revealed who'll be playing Maria, Anita, Bernardo, and Chino (joining Ansel Elgort, who was cast as Tony last fall). And you guys: It is a truly epic group.
First, the danciest roles. Our new Anita is the unstoppable Ariana DeBose, whose impressive Broadway credits include the original cast of Hamilton (she was "The Bullet") and Disco Donna in Summer: The Donna Summer Musical, for which she earned a Tony nom last year. You already know how we feel about DeBose: She graced our July/August 2016 cover!
Taking on Bernardo is David Alvarez, aka one of the original Billys in Billy Ellioton Broadway. Alvarez's sensitive, nuanced, technically polished (he trained at American Ballet Theatre's Jacqueline Kennedy Onassis School) take on Billy stunned critics back in 2009. Afterward, he took some time off from performing to serve in the military. We're eager to see how he's grown and evolved as an artist.
Original "Billy Elliot" cast member David Alvarez performs "Electricity"
Who's Maria? That'd be 17-year-old Rachel Zegler, a high school student from New Jersey who's about to be very, very famous. (Her Instagram following jumped by thousands overnight.) And playing Chino is Josh Andres Rivera, a true triple threat with a BFA from Ithaca College, who most recently appeared in the Hamilton national tour.
James Whiteside (Jayme Thornton for Dance Magazine)
Say you're perpetually impeccable designer Thom Browne. Say you're planning your Spring 2020 Paris menswear show along a "Versailles country club" theme. Say you want a world-class danseur to open the show with some kind of appropriately fabulous choreography.
Who do you call? James Whiteside, of course. On Saturday, the American Ballet Theatre principal—wearing pointe shoes and a glorious pinstriped tutu—kicked off Browne's presentation at the École des Beaux-Arts with a 15-minute, show-stealing solo. Whiteside choreographed the piece himself, with the help of detailed notes from the designer.
I'd been a professional dancer for five years when I realized the pain I'd been feeling in my hip and down my sciatic nerve was not going away. I had been treating it for two years as we dancers do—with regular visits to my masseuse, physical therapy, baths, ice and lots of Aleve—but I never stopped dancing. It finally dawned on me that if I kept going at the speed I was going (which was, well, speedy), the pain would only get more severe and unrelenting, and I might never dance again.
I told myself I'd take two months off, and all would be better.
That first morning when I woke up at 10 am, I had no idea what to do with myself. My life until that moment had been dictated by class and rehearsal, every hour accounted for. How should I fill the huge swath of time ahead of me?