So many dancers dream of making their way to Broadway, and dancing in a major production. It’s a long road for the talented, lucky and, most importantly, hardworking dancers who end up there. Years of class, auditions, random jobs and side hustles pay off for some, and they find themselves in the world they’ve worked so hard to become a part of. But that world is tough, too. Broadway shows perform eight times a week, every week, almost no matter what. Inevitably, any performer onstage has to manage a big schedule change after getting cast.
Here, Dance Informa chats with Lyrica Woodruff, currently performing with Schmigadoon!, the 2026 Tony Award-winning show for Best Musical, about how to navigate life as a performer with the relentless schedule, and some tips for others about how to stay healthy, fit and happy!
The classic eight-shows-a-week asks a lot of performers, but for dancers in particular, it must be tough to manage performing with the necessary task of taking class to maintain your body to be able to do the show. You have a strong ballet background, and we know that ballet is something that needs regular tending with consistent class. How do you manage getting class in while staying focused on the show?
“The amount of ballet that I do in the show is very concentrated. So, it’s the age-old adage that everything stems from ballet. Whether that’s ballroom or ballet or lyrical jazz, they all have a very similar base. The majority of the dancing we’re doing would be considered classic musical theater jazz. The choreography was created by Christopher Gattelli, our amazing director and choreographer, and is deeply inspired by choreography from The Music Man, Seven Brides for Seven Brothers and Singing in the Rain. Every major Golden Age musical you could think of has some sort of wink and nod in our show. The ballet specifically is only in Act Two, and it’s very short. But, you can’t just not do class and then go put on pointe shoes. It’s finding this balance between doing all these other styles of dance, while keeping my body healthy enough to throw on a pair of pointe shoes. I have to make sure the machine is well-oiled.”
Can you share some of the differences you’ve experienced in the Broadway world verses the ballet world, and how you’ve figured out the best schedule for yourself?
“In the ballet world, there are multiple casts of every ballet, so you’re realistically only doing that piece three times a week. But on Broadway, we have the same cast eight shows a week. You really have to listen to your body. How can I maintain what is being expected of me on stage every night, but also that I’m not in ‘show shape,’ where you’re literally only in shape to do exactly what you do in the show. I have found I can handle ballet class twice a week. I am hoping to add in a third, but it’s a challenge because I also need to make sure my body’s getting enough recovery time. On a perfect week, I would also add in one day of the gym.”
Obviously, the show is a musical, and ensemble members are required to sing. Lots of dancers dabble in singing, but what have you learned from it being something you do six days a week, and is there anything you do physically to support your voice?
“You can’t really rely on what you think you’re in shape for. You have to think above and beyond what is normally part of your dance world, because you’re using different muscles for singing. I add in a day of low intensity interval training on the treadmill for about 45 minutes. On Sundays, we only have one matinee, so I take the opportunity to sleep in an extra hour. Every body needs something different, but so far that is what I found to be most effective. You also have to make sure you get at least eight full hours of sleep. Your voice doesn’t actually fully recover until you’ve hit the eight-hour mark. Fun fact.”
Broadway shows can run for two weeks, two months, two years, and sometimes two decades. Assuming a long run, which I’m sure is what most performers mentally prepare for, how do you handle the exact same choreography over and over and over?
“You really have to find out what your cross-training is. When you’re doing the same choreography, on the same leg, every single night, the wear and tear is totally different than when you’re getting constantly different rep in a ballet company. Ninety percent of what I do is on my left leg – I’m turning to the right, or I’m always whacking my face with my right leg. My right hip flexor is naturally going to get tighter or tired more quickly. It’s a huge factor as to why I force myself to go back to class at least twice a week. You don’t need as much physical therapy when you’re already in tune with what your body is missing.”
Speaking of listening to your body and being aware of what it’s missing, have you made any dietary changes? I’m sure it’s tricky to time meals and make sure you’re getting enough calories in, and the specific ratio of carbs, proteins and fats. What works for you?
“It’s not a perfect science. How do I balance my overall diet and exercise? Am I getting enough protein? I realized I was barely clearing the halfway mark on what my protein intake should be. Once I started doing the needed research, I essentially had to double my protein intake. For healthy fats, even if it’s not perfectly balanced, I’m getting closer to that ballpark number, versus being like nowhere near what that was. It’s been a very good mental awareness gift that I was given because of this.”
In addition to the physical aspects required at this level, what about the mental part of a show like this? How do the people around you help keep you in a good headspace?
“Nobody is totally new to this, which I think creates an extra healthy and joyful work environment, because everybody knows the job. We have the best time, we make the best show possible, we love being around each other, we all go home. Then we just rinse and repeat, and there is no drama. Everybody loves each other in a really genuine way, and it’s just a special thing to be a part of.”
You can follow Lyrica Woodruff on Instagram: @lyricawoodruff.
By Emily Sarkissian of Dance Informa.
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