Last winter, we found out that a ballet emoji was coming our way as part of Emoji 12.0. The update includes nearly 400 new emojis featuring several disability-related symbols, gender neutral figures, and, thankfully, our favorite new tiny pair of pointe shoes. Since then, Google, Microsoft, Samsung, Twitter and other platforms (see a full list here) have all released their versions, but there was one hold out: Apple. Every iPhone update has left us breathlessly scrolling through the emojis, searching for the pointe shoes... until now! On October 28, Apple released iOS 13.2, and for the fellow iPhone users out there, all of our emoji dreams have finally come true.

Check out the full list of Apple's new emojis below in a post from Emojipedia's Instagram. (The pointe shoe is in the center of the 11th row down from the top, sandwiched between the swim shorts and the banjo.)

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While each media company's design is a little bit different, the images are a big relief after the "pink loafer with ribbons" prototype image that elicited criticism from bunheads last year. Luckily, Ruediger Landmann, the author of the ballet emoji proposal, let us know that something more streamlined was in the works. And for the most part, we're pretty pleased with the results.

So going forward, you can leave the salsa dancing woman and the bunny-eared, leotard-wearing twins behind. A proper ballet emoji is finally here!

Well, fellow "Dancing with the Stars" lovers, the Season 28 finale is officially in sight. With only two more weeks standing between us and the announcement of the Mirrorball Trophy winner, things are starting to get real. So, in a way it was unsurprising that last night's episode included some of the best dancing we've seen this season (or in "DWTS" history, for that matter). In case you missed it, we rounded up the highlights.

Kel Mitchell and Witney Carson: Salsa

Reminder from Kel Mitchell and Witney Carson that *this* is how they do it! We were totally blown away by this performance: Kel delivered all the sassiness, sexiness, and booty-shaking we ever could have asked for. He and Witney are hitting their stride just in time to make a play for the Mirrorball Trophy, and we are officially naming this couple one to watch. The judges seemed to think so too, awarding the duo two 9s and (drumroll, please) the first-ever 10 of the season, for a total 28.

Hannah Brown and Alan Bersten: Quickstep

For the past few weeks, the "DWTS" judges have been particularly hard on America's sweetheart. (We're looking at you, Carrie Ann Inaba.) But this week, Hannah Brown and Alan Bersten totally dazzled with their quickstep to "American Girl." Hannah Beast is back and better than ever, folks! The judges gave Hannah and Alan two 10s and a 9, totaling 29.

Emma Slater and James Van Der Beek: Contemporary

There is nothing we love more than a super-emotional "DWTS" contemporary dance. The long, meaningful glances! The sad covers of usually-upbeat songs! The drama when the dancers reach for something invisible off in the distance! James Van Der Beek and partner Emma Slater delivered on all of the above, and then some, with their performance. This couple has always been the one to beat, and they don't seem to be slowing down as the season heats up. The judges gave them three 10s, for a perfect 30.

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Following the individual dances, the couples went on to compete in one of our favorite "DWTS" traditions: dance-offs! We got to see Kel and Witney face off against Ally Brooke and Sasha Farber, Kate Flannery and Pasha Pashkov up against Sean Spicer and Jenna Johnson, and our favorite matchup: Hannah and Alan versus Lauren Alaina and Gleb Savchenko. Both Southern belles shocked with spicy salsas, and we couldn't get enough. (Plus, Gleb and Alan both lost their shirts somewhere along the way, something we're always fine with.)

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With all of the amazing dancing, we almost forgot that another elimination was on the way. And this season's eliminations have been particularly painful—is it starting to feel like Groundhog Day to anyone else? Yet again, former White House press secretary Sean Spicer was spared from jeopardy, leaving the judges to send home a better-qualified dancer. They opted to ax Kate and Pasha instead of Ally and Sasha, but, again, didn't seem too happy with their choice.

What do you think? Who's going home next week? Who's headed for the finale (and the Mirrorball Trophy)?

Savion Glover is one of the biggest names in the dance world, and perhaps the biggest in the tap world. The trailblazing hoofer's hard-hitting, rhythmically intricate style has fundamentally altered the tap landscape.

Glover is also a master teacher. But during his many years on the scene, he's never appeared regularly at a major dance convention. That is, until this season: Glover is now teaching at JUMP Dance Convention, scheduled to appear at approximately 15 more cities on its 2019–2020 tour.

We talked with JUMP director Mike Minery, himself a gifted hoofer, about working with a living legend—and how Glover is already changing the convention class game.

How did Savion come on board at JUMP?

Tap is my forte, and Gil Stroming, the convention's owner, is a tapper, too. Both of us just idolized Savion growing up, because he completely revolutionized tap dancing. The style we do today, you can trace a lot of it back to Savion's Broadway show from the '90s, Bring in 'da Noise, Bring in 'da Funk. I used to drive anywhere to take his class. For ages, Gil and I had talked about how amazing it'd be to have him on the faculty. We pursued him for a few years, and finally the scheduling worked out.

What classes is he teaching? 

He's doing a three-hour "Savion experience" on Friday nights, made up of three classes: one for the teachers, one for the younger dancers, and then an advanced class for the 15-and-up group. He doesn't approach teaching, especially at convention, like anyone else I've seen. Which in a way I expected, because, you know, he's Savion! But also, he's not really immersed in today's convention culture. So it's refreshing to watch him work without any predetermined ideas of what that class should look like.

How are his classes different from your average convention class?

Most convention tap classes are very content- and step-driven, with the students learning a combination to a specific piece of music. The end goal is to train the dancers in tap vocabulary. Savion's approach is, Oh, you guys know the steps already. He doesn't want to show you a combo the way he'd do it; he wants you to do what you do. It's a more intellectual experience, one that encourages you to think on your own, instead of him telling you what he wants. There's a lot of dance history involved, too. In one class, he was telling the kids, "Repeat after me: In Slyde We Trust," referring to Jimmy Slyde.

How have the students been responding to him?

It's funny, because I've looked up to Savion for 25 years, so I feel like one of the parents on the sideline—I don't want my kids to disappoint him! But they've been great. He has such an aura about him, and the dancers have really responded to that. He wants everyone to fully understand what he's saying, so he won't let anyone off the hook, and all the students have risen to the challenge. I think they understand that when he's singling out someone who's struggling, he's actually using them as a tool to help teach the lesson.

How does Savion's work fit into your larger mission for the convention?

I mean, if you can get Savion, you get Savion! He has so much to offer. We want the best teachers in the world in each genre, and Savion is exactly that.

Moody lighting streams across a dance studio. As a pop anthem blasts, a supergroup of strong, confident dancers attacks intricate choreography with finesse and poise. But this isn't the latest class video to achieve viral status—it's footage of the world-famous Radio City Rockettes at work.

For almost a century, the Rockettes have been celebrated for their signature style of precision dance, which combines ballet, tap, and classic jazz to awe-inspiring effect. These 80 women (two casts of 36, plus four swings/dance captains) have always been the undisputed stars of the Radio City Christmas Spectacular, which is seen by over a million fans each year.

But the Rockettes are out to start some new traditions, too. When opening night of the 87th season of the Spectacular arrives later this month, the curtain will rise on one of the most diverse kicklines in Rockette history—including an unprecedented 13 fresh faces. Meet four of them here.

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Soultana Schiavi

The Rockettes' reputation for work ethic and versatility brought Soultana Schiavi to Radio City. "I first saw the Rockettes when they toured to my hometown, and they definitely drew my eye," she says. "It's the perfect combination of technique, athleticism, and different styles of dance. Having done a lot of ballet seriously and competed for years, I wanted to continue with it all at a high level—and I thought joining the Rockettes was the best way to do that."

With a BFA in dance (with minors in English and entrepreneurship) from the University of Michigan already under her belt, Schiavi is now loving the demanding work of #RocketteLife. "I wasn't expecting to feel so accomplished every day," she says. "Every girl in the audience can find a Rockette to identify with, out of the 36 onstage. I think that especially in today's world, that's a really important message to get across."

Hometown: Buffalo, NY

Height: 5' 8 1/4"

Favorite Rockette tradition: "I really liked our team-building day towards the start of rehearsals. We were randomly assigned different tables, and given all kinds of prompts about what we have in common, what makes us different, and how our differences make us who we are. It was really fun to meet new people and talk about things that are greater than each of us individually."

Advice to aspiring Rockettes: "I was fortunate and grateful to get this job quickly after auditioning. But there are others who auditioned many times and then got the job, so there's always hope. It'll be your year at some point if you put the hard work in, keep training, and keep that fire inside you ignited."

Regan Hutsell

Last November, Regan Hutsell was a senior in high school. Now, she'll be dancing as a professional for the first time on Radio City Music Hall's Great Stage. Oh, and did we mention she started training in precision-style dance earlier this year? Clearly, she was born to join the line.

This January, Hutsell—who is, fun fact, the sister of New York City Ballet corps member Rachel Hutsell—was plucked from an open audition at the International Association of Blacks in Dance and offered a full scholarship to the Rockettes Summer Intensive's prestigious Invitational Week. Several whirlwind months later, Hutsell is fully immersed in a whole new world of bevels and eye-high kicks. But there's no danger she'll get lost in the crowd. "We were rehearsing for the finale, 'Christmas Lights,' when our director told us that light in the title is the light inside you," she says. "No matter our differences or what we look like, each of us has a beautiful light within that drew us to dance, and now shines out of us."

Hometown: Houston, TX

Height: 5' 7 1/2"

Favorite Rockette tradition: " 'The Parade of the Wooden Soldiers' has been in the show since 1933, which means everybody who's been a Rockette has performed that number. 'Soldiers' is where you get your Rockette wings, because there's so much history and legacy behind it."

Advice to aspiring Rockettes: "Believe in yourself. As dancers, we're so hard on ourselves, but to do this job you need to have confidence. When you come up against barriers, just keep pushing, because one day it will pay off."

Sydney Mesher

Sydney Mesher (a three-year alumna of the RSI Invitational Week, and a graduate of Pace University) auditioned several times before making the line—and that just makes the gig all the sweeter. "There's a lot of pride and significance that comes from holding this job," she says. "It's probably the closest to a 9-to-5 that a dancer will ever have, in that you get to work on your craft all day, every day."

As audiences know, that work pays off and then some. "What makes the Rockettes so inspiring as one line is that each of us is incredible at what we do," Mesher says. "We have people of different colors, different backgrounds, from different cities, from different countries, even. I was born without my left hand, but I don't necessarily consider myself disabled. I want to be known for being a good dancer who happens to have one hand—not a good one-handed dancer."

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Hometown: Portland, OR

Height: 5' 10 1/4"

Favorite Rockette tradition: "The supportive environment. It can be overwhelming to enter a new job, but the returning Rockettes have invited us newbies into Rockette World with open arms, helping us get on our game quickly."

Advice to aspiring Rockettes: "Keep your determination and your joy. There is a lot of training and perseverance needed to be a professional dancer, but the whole point of the performing arts is to find the joy. The Christmas Spectacular is amazing because these dancers have worked hard and you can see they love what they do."

Abbey Kowalec

Abbey Kowalec and the Rockettes go way back. Having completed three summers of RSI during her years studying ballet and modern at NYC's Marymount Manhattan College, Kowalec was then chosen as an assistant for RSI and the Rockettes' workshops for young dancers. "Being at the front of the room with Rockettes in more of a work setting really helped me get a leg up—literally!" she says.

After three seasons as a Knicks City Dancer ("much more jazz and commercial dance, but a very similar cleaning process to what we do in Rockette rehearsals"), Kowalec has finally come full circle by joining the Rockette line—and she's not taking the opportunity for granted. "It's so powerful to be part of an all female-identifying company, with all of us working together to achieve the same goal," she says. "The Rockettes have performed at the Video Music Awards, the Tony Awards, and the Macy's Thanksgiving Day Parade—they're still such a relevant presence in the dance community. As much as we're part of history, the show changes every year, and so do we."

Hometown: Burlington, CT

Height: 5' 9 1/4"

Favorite Rockette tradition: "At the very beginning of our first rehearsal, we lined up in height order—tallest in the middle, shortest at either end—to find out who we'd be standing next to for the dances this season. Knowing that every Rockette has experienced that made it such an iconic and emotional moment for me."

Dream of performing the Radio City Rockettes' ultra-precise choreography? You'll need to learn some ultra-specific terminology! We asked four first-year Rockettes—fresh from learning all that choreo—to define a few useful phrases from their "secret" language.

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ABOUT-FACE

"This is a military term, so I had no idea what it meant when we started learning 'Parade of the Wooden Soldiers'! It's a 180-degree turn of your entire body, done as sharply, efficiently, and smoothly as possible." —Sydney Mesher

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CHEEK

"This is when you face straight front and turn your head to one corner, but leave your eyes in the mirror." —Soultana Schiavi

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COVERING OFF

"You're 'covered off' to another dancer when you're dancing or standing exactly behind her, so that theoretically you would completely disappear behind her when viewed from certain angles." —SM

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ELBOW PLACEMENTS

"When your hands are on your hips, there are three elbow placements. A 'flat elbow' means your elbows point straight to either side. 'Perpendicular elbow' is more of a natural position, with the shoulders back and chest open. For an 'extreme back elbow,' you pull your elbows together behind you so they point to the back as much as possible." —Abbey Kowalec

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DEPTH

"To help us figure out our exact spacing, the Radio City stage is marked like a grid. Running stage left to stage right are a series of lines: dotted, then solid, then dotted, then solid. A 'depth' is the space between a particular set of lines." —Regan Hutsell

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GUIDING RIGHT

"As Rockettes, we always 'guide right.' That means that in a kickline or formation, I confirm my spacing based on where the dancer to my right is. We each 'guide right' all the way down to the stage-right end—that's how our formations stay so clean!" —SM

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SUNSHINE HEAD

"When our eyes are front, but our heads are turned and tilted back, as if sunshine were streaming down on our cheeks." —SS

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HEELING/TOEING

"These are two common spacings—one where your heels are right in front of a particular line ('heeling'), and one where your toes are right behind a line ('toeing')." —RH

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HOH

"Just a cute way to say 'hands on hips'!" —AK

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THIRD-MEZZ HEAD

"Another head position, in which your head should be pointing in the direction of the third mezzanine, with your eyes following." —SS

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REV BEV

"A bevel, but in relevé. Having been a ballet dancer growing up, I love that combination of ballet terminology and the signature Rockette bevel." —AK

Every year, hundreds of dancers audition for a chance to become a Radio City Rockette. Only a lucky few make the cut—this season, there are 13 newbies on the line—but many of them go on to perform with the Rockettes for years. Dance Spirit had the chance to listen in as first-year Rockette Mara Ranson asked 10-year veteran Corey Whalen all her burning questions about what it's really like to dance in the world's most famous kickline.—as told to Helen Rolfe

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Mara: Hi, Corey!

Corey: Hi, Mara!

M: How did you learn about the Rockettes?

C: My family got tickets when I was 16. I thought they were really amazing, but I was very shy as a young dancer—not exactly running into the next audition. When I turned 18, my teacher pushed me to audition.

M: What was that first audition experience like?

C: Petrifying! It was my first professional audition. I got there early, but the line was already wrapped around Radio City. The audition itself was intense. I had no prior knowledge, so it was all brand-new information, but I was called back for the next day. I made friends with a girl who came to the hotel where my mom and I were staying, and we practiced together overnight. The next day, I went back and made it through. But, in the end, I didn't get a call. I went to the Rockettes Summer Intensive the following summer, and got a much better idea of what the Rockettes expect, which helped at my next audition. But that first experience was nerve-racking.

M: Oh, I know. My first two or three auditions, I was a nervous wreck and didn't do well at all.

C: Your nerves get the best of you a bit!

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M: What has changed for you since you started?

C: What the Rockettes do is so precise that it's almost like a math equation. My first year was so overwhelming, learning every precise detail as to where your fingertips and eyeballs are. But once you get one or two seasons under your belt, those things become second nature. Now I'm able to focus on nuances and enjoying the choreography without stressing about where my foot is going.

M: What helped that first season?

C: Honestly, the women you work with make all the difference. You're one of 13 new girls. I was one of eight. You create incredible bonds with the new dancers because you're all going through it for the first time. And the veterans you befriend are life-changing, too. A veteran swing my first year was my saving grace. She'd write down notes and little pictures that helped me.

M: Would you say that's what surprised you most—how much of a math equation it all is?

C: I think so. Plus, the workload is something a lot of dancers haven't experienced: six hours a day, six days a week. When I started, I was in a touring group, so there was only our one cast. We did insane amounts of shows back to back. Now, you're doing four shows in a day and coming back the next for more.

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M: Speaking of those four-show days: What have you found helpful to get through them?

C: The other girls! You'll get to know the seven other women in your dressing room really well. I've been with my same girls for going on five seasons. There's always someone to lift you up. My dressing room does Secret Santa during our four-show days, so there's always something to look forward to. You need it—it's a looooooooong day.

M: Those 10 pm shows, right?

C: Get ready for 'em!

M: Was there a moment when it hit you in your first season, like, "Wow, I'm a Rockette!"

C: I'm from Rhode Island and, by luck, the first city we toured to was Providence, RI. Opening night, we put on our costumes and men from the U.S. armed forces escorted us down a red carpet into the theater. They had fake snow raining down, everyone was cheering—it was such a surreal moment. To arrive at a theater that I grew up going to, knowing I was going to perform with all my family and friends there for opening night…I'll never forget it.

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M: What a serendipitous moment! Do you have a favorite number in the show?

C: I honestly love "The 12 Days of Christmas." Tap isn't my strongest suit, but as my 10 seasons have gone on, I've really enjoyed getting to experience all the different "days," where you're dancing as a swan or a piper or a goose.

M: I've always loved "12 Days." It's also my favorite costume. Do you have a favorite?

C: I love that one, too. It's such a classic Rockette look, with the corset and the frilly tutu. And your family can still pick you out, without a wig or ragdoll glasses in the way!

M: Throughout your seasons of doing the show on the road and at Radio City, there've been lots of changes. Any numbers from the past that you miss?

C: I'm sure I'm not alone in this—a lot of women who've done the show also really loved "Shine."

M: It's my favorite finale.

C: I started with it on the road. The scrim comes up, there's a bluish, foggy light on us. We're in shimmering costumes covered in 3,000 Swarovski crystals, so we were just dripping in diamonds. Right before, they showed a video going through the history of the Rockettes. Hearing those words as we went up on the beautiful staircase, we felt like we were carrying on this amazing legacy.

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M: We're in Christmas mode for months and months. Do you get sick of Christmas?

C: A lot of people ask me that. I don't know how you feel, but I compartmentalize. It just doesn't feel like Christmas music.

M: I was having this conversation with my sister the other day, telling her my brain doesn't even register that it's Christmas music.

C: The holidays have never been ruined for me, and it'll probably be the same for you. The show is one part of Christmas, and celebrating with your family and friends is another.

M: What has been your coolest experience as a Rockette?

C: The Rockefeller Center tree lighting. It was a smaller group of us, and we got to do "Shine." The audience is close, which is cool because you can watch them—

M: Experiencing it with you?

C: Yes! As soon as we were done, we lined up with the NBC anchors and the mayor and watched as they lit the tree up.

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M: That's awesome. Any onstage mishaps that stick out in your mind?

C: One of the funniest happened on the road in Omaha, NB. We enter for "New York at Christmas" on a double-decker bus. There are two bus doors—one at the front, one at the back—but only one set of doors opened. We were looking off into the wings for our dance captain, wondering what to do. Finally, crewmen came onstage, trying to manually push the bus upstage so we had room to dance.

M: What do you think being a Rockette in 2019 means?

C: It's a testament to the company that the Rockettes have been at Radio City since 1932 and are still such a part of NYC culture. I meet families who come to the show every year, and they've seen the evolution of the Rockettes over time. Anybody can see that the intensity of the dancing has advanced over the years. It takes some pretty strong, athletic women to get through 100 shows in under two months. You'll feel like a rock star when you finish the season!

M: Final question: What has being a Rockette taught you about yourself?

C: I didn't know I could be this disciplined. It's a very intense 90-minute show with very little recovery time. On top of that, the friendships I've made are unlike anything else. I had women at my wedding that I met on day one of Rockette boot camp. You share a bond unlike any other.

If you're in high school, working after school/on the weekends/over the summer may be a reality you're not keen to face. After all, you've got enough to worry about: homework, rehearsals, technique classes, and maybe even college applications. But a job doesn't have to mean babysitting or folding sweaters at Madewell. Instead, you can develop the same communication, organizational, and leadership skills—not to mention earn a little green—by working at the very place you likely already spend the most time: your dance studio.

Teaching is probably the first studio job that comes to mind, but there are other roles that can be invaluable to your eventual career. "I grew up training hard as a dancer and studying visual arts, but I was also academic and analytical—I loved the rigorous side of school," says dancer Anna Marchisello, a former student at CC & Co. Dance Complex in Raleigh, NC, who has assisted Stacey Tookey and Kirsten Russell and works as a production manager in NYC with Jonathan Berger.

Getting the Job

Interested in pursuing a job at the studio? Approach your studio director about your desire to work. Be up front about your interests and intents, as well as your schedule. She may have questions, like: What are you hoping to get out of the work? Why are you interested in a position? Be ready with a few prepared answers.

You might find out that your studio already has a formal work-study program. At CC & Co. Dance Complex, for instance, "there's an assistant teaching program for students ages 12 and up and an internship program for four or five graduating seniors or those who have just graduated," says owner Christy Curtis. At Westchester Dance Academy in Mt. Kisko, NY, there isn't a formal work-study program, but Sallie Burke, co-owner and studio administrator, is almost always receptive to students' requests. "Most often, the students who approach me about studio work are used to discipline and are easily trainable," she says. "I love hiring students—they're efficient, bright, and organized."

Your conversations with the studio director or administrator should also include the not-so-easy-to-discuss topic of compensation. If, like at CC & Co., your studio has a program in place, the number of hours worked and starting wages might be set. "Assistant teachers receive tuition discounts per number of hours worked, while interns receive an hourly wage," says Curtis. At Westchester Dance Academy, two or three students are often fulfilling their school's work-study requirements, and thus only receive school credits they need to graduate. The numbers of hours students work depend on their school's academic guidelines, but "we work out their schedule in the beginning," says Burke, "and they follow through the whole semester."

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The Work

In the studio office, you'll likely assume administrative tasks: registering new dancers, drafting memos, uploading music to various competition websites, helping with costume measurements and shoe fittings, and posting to the school's social media accounts. Westchester Academy students also use Jackrabbit—studio-specific software that many schools across the country employ to track registration, attendance, and tuition. "I only allow tuition to be handled by our full-time office staff member," says Burke, "but our students definitely get familiar with the software, pulling attendance sheets and adding newcomers into the system. They also use Word, QuickBooks, Excel, and Google Docs."

Make it Your Own

If you have particular interests outside of dance, brainstorm with your studio's director about specific roles or odd jobs that can be tailored to you. One of Curtis' former students, for instance, studies communications at Pace University, and has helped manage the social platforms for CC & Co.'s nonprofit, Move it Raleigh. Love writing? Consider contributing to your studio's newsletter or drafting studio-parent communications. Interested in photography? Burke often asks her Westchester work-study kids to snap class pics to use on the studio's social feeds or in brochures. Marchisello channeled her visual arts and design savvy to create logos for CC & Co.'s annual performances and studio apparel, and assisted with costuming guest artists' pieces, taking their early visions and bringing them to fruition.

Most recently in her work as a production manager, for Berger, Marchisello coordinated a team of about 15 people who were making giant sculptural pieces—Marchisello often draws on her experiences assisting Curtis at CC & Co. "Everyone on the team has different strengths," she says. "Christy taught me to take stock in everyone's individual passions—what each is capable of and fulfilled by. Divvying up the work that way makes for a really efficient, supportive, and passion-driven environment." Ultimately, Marchisello's experience working for her studio was the foundation for the multifaceted arts career she enjoys today. "It first showed me that I could combine my creative and academic sides into one—I didn't have to keep my interests separate," she says.

We're always here for a good dance-tech collab. If it involves genius choreographer Kyle Hanagami? Even better. How about Kyle Hanagami and a crew of A-list dancers? Yes please. What about Kyle Hanagami, A-list dancers, and a device that might actually be useful to dancers and choreographers? That's a YAAAAAAAS.

The new Google Nest Hub Max has a nifty feature: You can use hand signals to start and stop music on the device, without actually touching it. The smart folks at Google recognized that that's the kind of thing choreographers could use all the time. (How convenient not to have to walk back and forth across the studio repeatedly while you're working out a phrase?) So they got Hanagami to make a video illustrating exactly how handy the Nest is.

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Hanagami did not disappoint. He enlisted a bunch of his/our favorite dancers—including Charlize Glass, Floris Bosveld, Madison Cubbage, and Anthony Westlake—and created a kind of candy-colored fantasia on his choreographic process, set to Curio's "Shake":

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To accompany the promo, Hanagami kicked off #TheMaxDance challenge. He's asking fans to learn some of the video's choreography, fill in their own moves during a pause break, and share the result on Instagram. Glass, overachiever that she is, is already on it:

Fearlessly expressive, triple threat Liam Redford is undeniably Broadway-bound. But the 13-year-old isn't waiting until he's older to step into the spotlight. Liam's already played one of his dream roles, the title character in Billy Elliot: The Musical, in five regional productions of the show, beginning with his debut at the Grand Theater in Williamstown, NJ, and concluding at the Opera House Theatre Company in Wilmington, NC, this past summer. In less than two years, Liam performed as Billy exactly 100 times, but he says he never got tired of the role, finding something new to explore and appreciate in every show (can you say #professional?). A seasoned storyteller, Liam hasn't just excelled in the role of Billy–most recently, he performed in Fun Home at the Front Throw Theatre Company in Philadelphia, while continuing to train in dance, voice and acting.

Fast Facts

Birthday: 1/12/2006

Hometown: North Hanover, NJ

Trained at: Dansations School of Dance in Hainesport, NJ (Due to Liam's rigorous performance schedule, in the past year he's only been home about five weeks, so most of his training is on the go!)

Most-played song: "Any songs by Ben Platt"

Three words to describe his dancing: Electric, inspired, powerful

Favorite dancer of all time: Ben Cook

Advice for other dancers: "Always stay true to yourself, and bring your own self to every role."

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Go-to stress reliever: Improv dancing

Strangest thing in his dance bag: Wooden foot-stretcher

Must-see TV show: "Parks and Recreation" and "Unbreakable Kimmy Schmidt"

Dream dance role: "Billy Elliot was my dream role! I'd also love to play Mike in A Chorus Line one day."

Non-dance hobbies: "I'm learning circus skills like juggling and aerial work, plus acting and singing."

Last night's episode of "Dancing with the Stars" saw our pros and stars performing to music by all of our fave boy bands and girl groups, including the Spice Girls, One Direction, and K-Pop sensation BTS. As a bonus, the judges were joined by "DWTS" alumni and boy band aficionado/veteran Joey Fatone.

As we get closer and closer to the finale (the semi-finals are next week, folks!), the dancing is only getting better. And last night also featured the elimination of one of the most controversial stars in "DWTS" history—talk about drama! In case you missed it, we rounded up the episode's danciest highlights.

Kel Mitchell and Witney Carson: Paso Doble

If you're looking for "game face," look no further than Kel Mitchell and Witney Carson. In recent weeks, this couple has totally shocked us with their performances, and this week was no different. Our beloved "Good Burger" goofball transformed into a sexy, smoldering paso doble champ, right before our eyes. Kel isn't messing around anymore, folks—he's ready for the finale. The judges gave Kel and Witney two 8s and two 9s, for a total of 34 out of 40.

James Van Der Beek and Emma Slater: Jazz

Be still, our 90s-loving hearts! Watching James Van Der Beek (of "Dawson's Creek" fame) performing to *NSYNC's "Bye Bye Bye" was a surreal, and perfect, moment. Dawson James and his partner Emma Slater brought all the body rolls and hair flips we ever could've dreamed of—and gave us a glimpse of what their freestyle might look like, if they make it through the semi-finals. The judges seemed a bit conflicted when it came to the scores, though, and gave James and Emma an 8, two 9s, and a 10 for their performance.

Hannah Brown and Alan Bersten: Tango

It's been a tough season for our girl Hannah Brown. Though she seemed to hit her stride with last week's breakthrough performance, rehearsal footage from this week showed Hannah struggling with her perfectionist tendencies. Her first performance of last night's episode received disappointing scores—but then she and partner Alan Bersten brought us this fabulous tango, full of challenging choreo. "Permasmile" pageant queen Hannah is no more: She's in beast mode now, just in time for the semi-finals. The judges gave her tango one 9 (give us a break, Len Goodman!) and three 10s, for a total 39 out of 40.

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The episode ended with a surprising, though overdue, elimination. For the first time this season, former White House press secretary Sean Spicer and partner Jenna Johnson ended up in jeopardy, alongside country queen Lauren Alaina and Gleb Savchenko. Though the judges spoke to Sean's tenacity, they didn't hesitate to send him home.

What do you think? Who's headed for the Mirrorball Trophy?

In our Dear Katie series, Miami City Ballet soloist Kathryn Morgan answers your pressing dance questions. Have something you want to ask Katie? Email dearkatie@dancespirit.com for a chance to be featured!

Dear Katie,

I've been trying to improve my front développé, but I just can't get it higher than 90 degrees. I'm plenty flexible, and my side extension is pretty good. What am I doing wrong?

Annika

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Dear Annika,

Flexibility is one thing, but being able to hold it is an entirely different thing! Start by focusing on your supporting hip. The more we obsess over the working leg, the more we tend to grip our muscles, which can keep us from accessing our full range of flexibility. Shift that focus to your supporting side, and you might find you suddenly have a few extra degrees of extension.

Often dancers distort their torsos in an effort to get the leg up in front. Not only does that ruin the line, it can also result in lower front extension. To avoid rounding your back, envision it arching—just slightly—as your leg extends front, and think of that opposite shoulder reaching for your working toe.

For more of Katie's helpful tips and advice, click here.

Traveling is just par for the course when you're a dancer. But spending hours 35,000 feet in the air on a plane can have serious side effects once you land. Here, we break down the biggest pre- and postflight dos and don'ts to help you feel ready for that first summer intensive class the minute you leave the airport.

DON'T…

…eat a salty meal or snacks before boarding. High-sodium foods can cause swelling, bloating, and dehydration (which translates into bloated, swollen, non-pointe-shoe-friendly feet and ankles).

DO…

…bring food from home, like a sandwich, raw veggies (baby carrots, celery, or sliced bell peppers), fruit (an apple, banana, or blueberries), or raw almonds. Fruits and veggies help boost your immune system so you don't catch a cold from the plane, and almonds are packed with energizing protein.

DON'T…

…drink lots of soda or coffee while in the air. Pressurized airplane cabins are void of pretty much all moisture, so consuming caffeine or sugary drinks only dehydrates you more.

DO…

…try to drink 8 ounces of water for every hour you're in the air. Make sure you bring a reusable water bottle so you can fill it up before boarding, and ask a flight attendant for a refill while you're on the plane.

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DON'T…

…stay seated the entire time.

DO…

…wear compression socks to combat swelling; walk up and down the aisle every couple of hours to give your body a break; do 10 relevés before sitting back down to loosen up your calf muscles and ankles; stretch each quad for 10 seconds.

DON'T…

…let the cabin light and noise keep you from getting much needed pre-performance sleep.

DO…

…use a neck pillow while you sleep so you don't get a stiff neck or back, and wear a blackout eye mask. The blue light from other passengers' screens can keep your mind stimulated, making it harder to fall asleep.

The holiday season is coming our way, and with it good cheer, a giving spirit and, of course, The Nutcracker. Our favorite photography duo, Dancers & Dogs, has found a way to garner that energy for a good cause: pet adoption.

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Kelly Pratt and Ian Kreidich, the St. Louis–based husband-and-wife team behind the popular photography project, have collaborated with Saint Louis Ballet and Stray Rescue of St. Louis for the second year in a row for what they've termed "Muttcracker." "Since the beginning of Dancers & Dogs, people have really wanted us to incorporate dogs that are up for adoption," says Pratt. "We have a really strong relationship with Saint Louis Ballet, so we asked if they'd be comfortable wearing Nutcracker costumes to help get these dogs adopted in a new, fun and interesting way." Not only was this project the perfect way for Saint Louis Ballet to promote its Nutcracker, which runs November 29-December 23, but it was a great fit for Stray Rescue as well. As the largest no-kill organization in the greater St. Louis area, it's focused on saving pets that have been abused and neglected. "They were really excited about showing their dogs in a positive way," says Pratt.

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In choosing which pets would get their moment in the limelight, Stray Rescue picked some that already been given visibility on Instagram, and others that have had a harder time finding adoptive homes, like the elderly, blind chihuahua pictured with the Rat King above. But working with rescue dogs that are largely untrained comes with a whole new set of challenges. "With 'Muttcracker' we're keeping things really simple," says Pratt. "We have the dancers do simple moves, or just sit and interact with them. These dogs have never seen anything like this before."

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Last year, all of the dogs that Pratt and Kreidich shot were adopted within two months of being featured. This year they worked with even more pups, as well as three kittens, but the team is hopeful that all of these animals will find new families in time for the holidays. Will any of the dancers they were photographed with end up taking a pet home? "I don't think so," says Pratt, "But they really, really want to."

On November 19, Pratt and Kreidich release Dancers & Dogs, The Book, their brand new coffee table photo book. A percentage of the proceeds will go to Stray Rescue of St. Louis. We're giving away two copies to our readers. Click here to enter!

Your first semester as a college dance student can be hectic. But being busy is no reason to put your mental health on hold. In fact, the times when you feel totally overwhelmed by tasks and to-do lists are actually when your mental health is most important.

Luckily, most colleges have tons of on-campus resources for getting help with your mental wellness. Just as you would go to the PT if your ankle were suddenly bothering you, you should seek out counseling resources if you're feeling anxious, depressed, or overwhelmed. DS talked to two college educators about the best ways to use your college counseling resources—and why it's important to do so.

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Do Your Research

First things first: Find out what resources are available at your school. A lot of schools offer drop-in counseling centers, where you can quickly stop in (even without an appointment) to talk to a mental health professional after a particularly grueling rehearsal or stressful class.

Shannon Murphy, an adjunct professor at the University of the Arts who directs the Body Pathways curriculum for undergraduate dancers, says these drop-in services are crucial for dancers already juggling a busy schedule. "You never know when something concerning might come up," Murphy says.

In addition, lots of schools (including UArts) have individual counseling, for which you can make regular appointments, as well as medical professionals on call, in case you need help with any prescriptions or medications.

We know that researching mental health services might sound like extra homework, but it's way easier than that. Usually, the information you need is right in front of you. Louis Kavouras, the chair of the dance department at the University of Nevada, Las Vegas, says that information about all of the UNLV counseling resources is listed on every syllabus they hand out. This is common practice at a lot of schools, so check your syllabus before you check anywhere else.

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Speak Up and Reach Out

Your dance teachers are a wealth of information—about way more than the difference between a contraction and an isolation. If you're really overwhelmed, find a faculty member you're comfortable with and ask them to point you in the right direction. They're there to help you grow as a dancer, and your mental health is a huge part of that.

Kavouras even encourages UNLV dance professors to look out for students who might be struggling. "I think students are quiet about it, because with this kind of pressure, a student starts closing up rather than opening up," Kavouras says, "So we've had faculty who simply take the student, walk them over to the office and introduce them to the staff there."

Ya Gotta Get Comfortable!

As dancers, we sometimes find it hard to admit that we're having a tough time, or to ask for help. After all, aren't we supposed to be superhero performers with perfect technique, who never have off days?

But remember that using the counseling resources available to you is only going to strengthen your dancing. "Be aware that your mental health is as much a part of your dancing as your physical health," Kavouras says. "Those two things go hand in hand. The mind and the body are intrinsically connected."

"Find the courage, or find a buddy that will walk into that office to help you go," Murphy says, "Whether it's a sore ankle or a sore spirit, the earlier you find help, the easier it is to figure out how to make a change."

As you're prepping your Thanksgiving meal, why not throw in a dash of dance?

This year's Macy's Thanksgiving Day Parade is stuffed (pun intended) with performances from four stellar Broadway shows, the Radio City Rockettes and students from three NYC dance institutions.

Tune in to NBC November 28 from 9 am to noon (in all time zones), or catch the rebroadcast at 2 pm (also in all time zones). Here's what's in store:

"Ain't Too Proud: The Life and Times of The Temptations"

Catch Sergio Trujillo's Tony-winning choreography, and the especially phenomenally smooth moves of Ephraim Sykes as Temptations frontman David Ruffin.

"Beetlejuice"

Set aside tradition and dive into the deathly fantastical world of Beetlejuice, brought to life by Connor Gallagher's choreography.

"Hadestown"

Head into the Underground with the cast of Hadestown, which took home eight Tonys this year. David Neumann's dances bring an understated, contemporary flair to this poignant retelling of Orpheus and Eurydice.

"Tina: The Tina Turner Musical"

The parade floats will be rolling. And Tina Turner, played by the fiery Adrienne Warren, will be "rollin' on the river," with moves courtesy Anthony Van Laast.

Radio City Rockettes

A parade staple, the Rockettes will add to the holiday cheer with their signature kickline.

Plus, Appearances from the Next Generation of Dancers

The celebration wouldn't be complete without some tiny dancers. Keep an eye out for kids from Jacques d'Amboise's National Dance Institute in the opening number, joining characters from the Muppets and "Sesame Street." Later on, students from The Ailey School will perform "Rocka My Soul" from Ailey's Revelations, and Manhattan Youth Ballet dancers will join Lea Michele of "Glee" fame.

As an audience member, it's easy to overlook how much work went into the performance onstage—a dancer's job is to make it look effortless, after all. But every pro has tackled a role that made them doubt themselves, whether by testing their stamina, pushing them out of their comfort zones, or touching on their vulnerabilities and insecurities. Here, six dancers share some of their toughest roles, how they made it through, and what they learned.

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Darius Hickman

Dancer, "So You Think You Can Dance" Season 15

"It Takes a Lot to Know a Man" was my last duet on "SYT." Choreographed by Travis Wall, it was very physically demanding, and I had to be very emotionally vulnerable. That was difficult for me to do on television. I felt like it was a big responsibility. I knew I needed to be honest with myself and let my emotions be natural for that piece to work. I think that's what made it so special, because it felt real. It was hard growing up being gay and black. My outfits were never casual. I always wore shimmer, glitter, and whatever I felt like. But I would get backlash, and that hurt. In the piece, Travis wanted me to embrace my feminine self and my masculine self, showing both sides of me. In rehearsals, the thing that really helped was remembering how important the show was to me. I dance to show people that anything is possible. When you're in a competition setting, it's very hard to not worry about what other people are thinking, but at the end of the day it's not for them. It's for you.

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Cassandre Joseph

Dancer and associate artistic director, STREB Extreme Action

There's a piece called Human Fountain. It's a scaffold that has three tiers, and it's fashioned after the Bellagio Fountains in Las Vegas, NV. The idea is that we would be essentially replacing the water and creating shapes, running and hurling ourselves off the platforms in many different orientations. I was a gymnast growing up, so my training was broken down into systems of progressions—learning and mastering a group of skills, then moving on to the next level. That's how I learned how to move. Human Fountain became very challenging because it's harder to create progressions when you only have three platforms. The choreography requires not only a lot of commitment and trust in yourself, but also speed, agility, and strength. Most STREB pieces do inspire some kind of fear, but this was different. I kind of had to get to know myself again. Before rehearsal, I would take five to 10 minutes to sit down and go over my strengths. I would jot down different ideas, and come up with progressions in my own right. I never really got over the fear, but I've armed myself with enough methods to keep that fear from stopping me. You don't just rise to the occasion—you sink to the level of your training. You have to remember it's not a momentary rise: You're armed with everything you need to do that skill, because you have been trained.

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Arron Scott

Dancer, American Ballet Theatre

During ABT's spring season, I had to step into every performance of Twyla Tharp's In The Upper Room. The ballet's music is pulsating, and the physical exertion is as clear as day to the audience, so it's really exciting to dance. This was my first time doing it on the Metropolitan Opera House stage, which was an extra challenge because it's just so massive. There are a couple exits where you literally only have four seconds to run up three wings and enter again. It's all about pacing, and the more you do a role, the more you can find times of calm to breathe, and then reload for the next big push. No matter how you try to fuel, you get to a point and you have to dig really deep and realize you're not going to feel like this forever, you're going to be fine. Music helps, too. I'm a very musical dancer—it drives me and gives me energy. It's a transcendent experience performing this ballet, and there's nothing quite like the feeling as a cast of being able to get through it. Everyone's absolutely exhausted, but seeing your fellow dancers pushing onstage to their max somehow reenergizes you, reignites the bit of fire that you didn't know you had.

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Solomon Dumas

Dancer, Alvin Ailey American Dance Theater

There's a solo by Robert Battle called In/Side, and it's performed to the music of "Wild Is the Wind," by Nina Simone. It's one of the most challenging pieces that I've ever done because you're by yourself. In a lot of work, you can rely on the energy that's shared onstage between your castmates, but with this it's just you for six minutes. When I perform it, it's about my innermost vulnerable thoughts. The costume is just a dance belt, and the piece is extremely physically challenging. You're throwing yourself around the stage, you're turning, you're jumping. There have been times when I've been lost onstage because the lighting is so dark. I have to create a story just so the audience understands the journey of the character within the solo. I've had to go on the stage when no one else is in the theater, and find time and space by myself to go deep within, because for me it's not something that just happens. We don't often think about that emotional commitment, and the fact that you have to be able to project it. It has to reach the back of the house. That's one thing that helped my dancing—you may know the steps, the spacing, the musicality—but you have to be able to add that acting aspect.

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Thryn Saxon

Dancer, Sleep No More

For the main role that I do, I had to shave my head. That was a huge transition for me aesthetically speaking and also emotionally, in terms of what it meant to give myself over and commit to my art. The character that I play is incredibly physical and powerful. The theme of the show is also quite intense and asks a lot of you. You have to immerse yourself in these heavy scenes, but also not let them overcome you. My character has no hair, and living with that component in my own daily life was challenging in the beginning—I felt like everywhere I went, I was her. I've never experienced such a close-knit connection between my performance life and my everyday life. Then I started to dissect what components of this character I already had in me, and now I can definitively say that her choices and parts of her world have made me have more conviction about my choices as a woman, more of a sense of my sensuality and the power behind that. Often we see images of a female with long, luxurious hair. I didn't realize how much I'd been affected by those images until I didn't have any hair. It's been an amazing experience and makes me think about other things in my life that I've not yet tried. It opened up a whole new world for me.

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Anissa Lee

Dancer, Syncopated Ladies

Rise Up is one of our most powerful pieces. We're always so positive and we uplift, and usually that means to bring joy or some type of sexy flair. But with Rise Up, in the particular political climate we live in right now, and with all the things going on in the world, it's a little triggering. It reminds us of the gratitude we have to be surrounded by things we love, and when hate does enter our circle, it teaches us how to rise above it. It's a fun dance, but it's definitely one of the more emotional ones, and lays a little heavier on the heart. Especially when we first started making these videos and becoming a little more viral, we would see backlash on social media. We almost expect it. Chloe Arnold always talks with us about how to receive that in the best way possible so it doesn't kill your soul or put the fire out in your heart. People who dance and put their work online are so vulnerable, they're letting people know who they are and what they want to express, openly. It's also a weird, bittersweet situation, because you're like, "I don't want this crazy stuff to be happening in the world, but it's also fueling why I do what I do." It's a delicate balance.

If you haven't yet watched last night's episode of "Dancing with the Stars," we're going to kindly recommend that you grab the tissues before doing so. Because, OH. WOW. We were teary-eyed through the whole darn thing. And we weren't the only ones: The entire ballroom seemed to be on the verge of waterworks, from the stars to the pros to, yes, even the judges.

That's not a huge surprise, really. It was the semi-finals, so naturally tensions were running high. And we only have one more week left with all our incredible stars, which is cause enough for crying. But before we start tearing up again, let's get to some of the incredible dancing we saw last night—of which there was plenty!

Kel Mitchell and Witney Carson: Contemporary

Kel Mitchell decided to use his contemporary routine as a platform for a cause he really cares about: reducing gun violence. He dedicated his performance to a childhood friend who died at a young age from a gunshot wound. The song? "I Will Always Love You" (cue the tears). Kel and partner Witney Carson delivered a gorgeous, heartbreaking number that merited three 10s from the judges, and even a standing ovation from head judge Len Goodman.

James Van Der Beek and Emma Slater: Foxtrot

James Van Der Beek also dedicated his dance to an important person in his life: his wife, who (as he explained just before his performance) suffered a miscarriage over the weekend. James explained that he wasn't even sure he would perform this week, but we are so glad that he did. His foxtrot with partner Emma Slater was emotionally raw, and absolutely beautiful. The judges awarded them three 9s, for a total of 27.

Hannah Brown and Alan Bersten: Contemporary

Hannah Brown's contemporary routine was inspired by her tumultuous time on "The Bachelorette," and the love she found and lost on the show (we still don't forgive you, Jed). But maybe she needed to lose that love to find...this incredible performance? We were blown away by how absolutely Hannah trusted partner Alan Bersten. The two performed some seriously jaw-dropping lifts that required Hannah to totally let herself go, and she did. The judges gave the duo three 9s, for a total score of 27.

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Of course, it wouldn't be a Season 28 episode without a shocking elimination. For the first time this season, James and Emma ended up in jeopardy, alongside Ally Brooke and Sasha Farber. Even though Ally and Sasha had landed in the bottom twice before, the judges chose to send James and Emma home—which sent an audible gasp through the ballroom. We're going to miss those two, and we're sending all the love to James and his family.

What do you think of last night's episode? Did the right couple go home?

In our "Dear Katie" series, Miami City Ballet soloist Kathryn Morgan answers your pressing dance questions. Have something you want to ask Katie? Email dearkatie@dancespirit.com for a chance to be featured!

Dear Katie,

I'm serious about dancing, but I'm also a good academic student. I'm 15 now, and it's getting really hard to balance my intensive dance training with honors classes and the homework that comes with them. I don't want to pick a path just yet—I'm not sure if I want to try to dance professionally, or if I want to go to college, or if I want to do both! Is there a way to balance everything without cutting way back on either dance or schoolwork?

Alex

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Dear Alex,

First of all, I think it's wonderful that you're focused on academics. That dedication will pay off outside the studio, of course. But it'll also benefit you as a dancer by expanding your horizons, and teaching you different ways of thinking and problem-solving.

I can't tell you what to do, but I can help you look at this dilemma from different perspectives. First, the dance-focused point of view: You won't be able to dance at a high level forever, but you can always return to your academic studies, pursuing college once your performing career is over. (Or you can take college courses while dancing, which has become a common and accepted practice.) If you think you might want to dance professionally, now is the time to commit to it.

On the flip side: If you end up choosing a more academic path, that doesn't mean you have to eliminate dancing from your life! You could take classes on the side, or become an avid arts supporter. You could also enroll in a college ballet program, which is a good middle ground. There are spectacular programs out there that would allow you to continue dancing at a high level.

The takeaway here is that there's no "wrong" choice. Whatever route you choose, you'll be able to pursue it without regrets.

For more of Katie's helpful tips and advice, click here.

Get excited, Jellicle fans: It's almost time meow!

We're about a month out from the release of the new movie version of Cats. To mark the occasion, the film's team has dropped another dance-filled trailer. The vid offers further peeks at Andy Blankenbuehler's choreography—and at the "digital fur technology"-enhanced versions of the celebrities (dance-world and, uh, world-world) involved, from Taylor Swift to Francesca Hayward.

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Cats opens December 25.

No matter how committed you are to dance, there's no denying that training can be grueling. Sometimes it's physically exhausting; sometimes it's mind-numbingly repetitive; sometimes, like during the annual Nutcracker run, it's both. How can you ensure that your love for dance will survive these difficult moments, when you just don't feel like spending yet another day in the studio? Here's how to keep yourself motivated when the going gets tough.

Take Time for Yourself and Your Body

Frequently, mental burnout is directly connected to physical overwork, and means that your body needs rest. When ballet student Tyler Wright's recurring injuries caused him to miss out on performing the role of the Prince in The Nutcracker with iconic ballerina Tiler Peck, he knew it was time to change his approach to training. "Even if it's just for five minutes before bed, I now check in with my body every day, so I know what areas may feel weak or strained," Tyler explains. This kind of scan can help you determine which exercises you might need to sit out to make sure your body can heal. It can also help you set goals for areas to strengthen, giving you a new sense of purpose in the studio.

Look at the big picture, too: Do you take mental and physical breaks throughout the year? Have you struck a healthy balance between schoolwork and dance training? "Many students quit dance in high school because their schedule has no downtime," explains Sue Sampson-Dalena of The Dance Studio of Fresno. She always asks her dancers to be honest about how many competition dances they feel they can handle throughout the year, with some just choosing two or three rather than six.

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Explore and Connect

If you can't remember why you fell in love with dance in the first place, try resetting your perspective. Attend a professional dance performance, take a master class in an unfamiliar dance style, or explore your local art museum. Engaging with the art world in new ways will stimulate different parts of your creative brain.

Sometimes, a lack of motivation comes from feelings of isolation and competition in your dance classes. Try scheduling a nondance activity with your dance friends once a week—a yoga class, or an afternoon of volunteering—to help everyone bond in a neutral environment. "Productions like the The Nutcracker can breed competition and jealousy, so you don't feel like you can be supportive of each other," explains psychologist Dr. Nadine Kaslow. "Really focus on connecting with your cast members."

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Practice Positivity

Cultivating a positive mind-set will help you stay motivated throughout long rehearsals and performances. "Try to stay present in each rehearsal. If you feel like your part is boring, learn other parts and mark them on the side," suggests Dr. Kaslow. Pay attention to how you're mentally speaking to yourself in rehearsal. Do you keep your thoughts positive ("I'm going to go for that triple pirouette today!") rather than negative ("I'll never pirouette as well as she does!")?

For long performance runs, see if friends and family can attend on different nights, so you always have a friendly face in the crowd. And find different nuances in each performance. "It can be as little as adding a different facial expression in one part, but I love to try to get different reactions out of the crowd," says Tyler.

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Ask the Difficult Questions

If things are so bad you're thinking about quitting dance, sit with that feeling for a while. "Imagine yourself not dancing for months—how would you feel? Do you have other activities that you would rather do in place of dance?" says Dr. Kaslow.

If, after that evaluation, you think a temporary or permanent dance break would be beneficial, that's OK! Time away from the studio might rekindle your love for dance. But if these feelings have been with you for a while, and are coupled with other issues—such as anxiety, an eating disorder, or depression—don't be afraid to ask for help from a trusted adult or a therapist.