The time away gave Martins a sense of perspective and left her feeling refreshed. After she recovered from her injury, she auditioned again—and, finally, landed a coveted spot in Moses’ troupe.

Martins’ story is not unique. These days, auditioning two, three, four, or more times isn’t an anomaly—it’s often the norm. “In this industry you get told ‘no’ all the time, so auditioning is your job,” says Houston-based musical theater dancer Courtney Chilton. Depending on what corner of the dance scene you’re in, “You might spend more time auditioning than on contracts.”

Learning how to weather the emotional storm that often accompanies repeated rejection is a challenge. But doing so can lead to fulfilling opportunities. Consider these mindset shifts as you navigate return auditions.

It’s Just the Nature of the Beast

Radio City Rockette Ashley Kasunich Fritz auditioned a total of six times for the Rockettes before finally getting accepted in 2011. Now in her 13th season, she says that six auditions isn’t actually that uncommon in Rockette world these days: “The choreography is so specific, and there’s not a ton of rehearsal time, so you need to be able to match other people right away.”

“It’s the nature of the beast,” says Chilton. As a cast member and dance captain for regional and touring productions, such as South Pacific, Mary Poppins, and Elf, she remembers periods when she would book about one in 50 auditions. “And that was pretty good!” she says. In musical theater, where a casting director may see hundreds of dancers for one part, competition is especially fierce. Knowing that going in can help temper the frustration and disappointment when you find yourself auditioning repeatedly.

It’s Not You (Necessarily)

Though it’s important to be as prepared as possible for any audition, recognize that there will be many variables directors are considering as they make selections, some of which are unrelated to your dancing. A casting director may need something or someone hyper-specific at a particular moment. That doesn’t mean you aren’t right for the company or show—it just might not be your time.

“So many things have nothing to do with what you did in the room,” says Chilton. “You have to acknowledge that there will be plenty of times when they just want someone two inches taller.”

There Are Advantages to Auditioning Again

Despite the prior rejection, being a returning auditionee has its perks: familiarity with the company or show’s people, process, and choreographic style; the accompanying confidence that comes with that familiarity; and the opportunity to demonstrate your tenacity and dedication by coming back.

Both Chilton and Julie Branam, director of the Christmas Spectacular Starring the Radio City Rockettes, agree that in most scenarios, directors look favorably on returnees. “You’re building familiarity and building relationships,” says Chilton. Branam agrees: “I love seeing dancers come back. I love to see when a dancer has really worked and is improving and is getting it.” Kasunich Fritz remembers getting cut in the first round at her first Rockettes audition, but making it further and further through the process each time, which helped boost her confidence. “The director could see where I started and where I progressed to,” she says. “Going through the process multiple times, they really get to know you.”

Similarly, getting face time with current company members and fellow auditionees can help demonstrate how well you work with others and give you some much needed social support as you navigate the audition process. “I saw other dancers who had auditioned multiple times as well,” says Kasunich Fritz. “You start to build a community. Since the dance world is small, it creates friendship and camaraderie.”

Protect Your Self-Esteem

It’s natural to feel disappointed when you get told “no,” but remember that one “no” doesn’t determine your worth as an artist or your future in the dance field. Acknowledge your feelings, and figure out self-care strategies that work for you.

The people in your support network, from friends and family members to fellow dancers, can be powerful boosters as you get back on the horse, offering a sense of perspective and affirming your talent and worth. “Find your people. Find your friends,” Chilton says. “Find someone who is going to go get a cookie with you after the audition.”

In the end, stay focused on what drove you to audition in the first place. “If you give up right away, you’re only hurting yourself,” Martins says. “It pays off to keep on going back, especially when it’s a company you feel connected to.”

Leveraging What You’ve Learned

When you’re auditioning for a company, show, or program for a second (or third, fourth, or fifth) time, applying the lessons learned from your previous rejection(s) is key. Here are three tips for setting yourself up for success as you audition again.

1. Record yourself doing combinations from the audition. One of the most helpful strategies for Rockette Ashley Kasunich Fritz was finding studio space and videotaping herself doing the combinations she had learned at the audition. “I would videotape them, watch them, check my angles, go over them, and then repeat the process, much like what we do in rehearsals now,” she says. “It was all about building that muscle memory through repetition.”
2. Take classes in the style of the show, program, or company. It’s possible that you may just need more time with the movement style or choreography in question. Elena Martins, dancer with Robert Moses’ Kin, remembers just how new and different Moses’ style felt to her when she first moved to the Bay Area. “I loved the style, but I get why he didn’t hire me right away,” she says. “It was just so different from what I had done before.” Over time, she grew more comfortable with Moses’ aesthetic and eventually joined his company.
3. Incorporate feedback. Many company and casting directors offer corrections and feedback during an audition. Take note! Rockettes director Julie Branam intentionally gives dancers feedback during auditions to see how they will respond. “As we get further into the audition process, we give specific notes to see if they can make the adjustment,” she says. “That’s part of the job. We do notes until the show closes because that’s how we keep the shows clean.”

The post If at First You Don’t Succeed…Learn How to Navigate Return Auditions appeared first on Dance Magazine.

I got the validation of a callback and, though it ultimately wasn’t the right fit, I was introduced to important people in the industry. Last year I wrote about what it’s like to audition without the support of an agent. Today, I’m grateful to instead share a glimpse of what it looks like to audition with my team behind me, and to share my agent Lucille’s advice on what dancers can do to best support their agents. 

What My Life Looks Like With an Agent

Despite the triumph of a few in-person auditions, I should note that in many ways life with an agent is similar to life without one. I still scan audition listings, hoping to see something that’s a good fit. Only now my agent takes care of those initial submissions for me. And, like before, most of the auditions Lucille has sent my way have asked for self-tapes. Only now I submit them with more confidence that they might actually be seen. It’s also a relief to know that when industry questions arise, my point of contact is Lucille.

It’s still a slow burn. It’s a challenging time in the industry, made even harder by being new to the scene, but in so many ways Lucille has made this time significantly more pleasant. I’m so grateful!

My Q&A With Lucille DiCampli on Agency Best Practices 

Is there anything dancers should keep in mind when they first start working with an agent?

Remember your agent signed you because they believe in your skills and ability to succeed. Sometimes dancers feel like their agent doesn’t like them or isn’t sending them out enough. But the truth is you never really know how much your agent is pushing for you. There is no point in us reading breakdowns and not submitting. It might take six weeks, it might take six months, but we are going to submit, submit, submit, and push, push, push. Then something will kick off for you, and you’ll see that it will usually stay that way. But in the meantime, keep in mind that we have had an unprecedented last few years. New York is still in the recovery phase, and a lot of shows have closed on Broadway. There are things coming up in those theaters, but it’s going to take a little bit of time.

Can dancers feel confident their agent is submitting them, even if they don’t hear much for a little while?

Absolutely. Legit agents do not receive a commission on anything that you don’t book. If you don’t book, they don’t receive payment either. Sometimes I will talk to a client and offer to send their submission report over so they can see some of the things we have been submitting them for. When they read it, they will see that a lull doesn’t always have to do with how much they’ve been submitted, but rather what type they are versus what type casting is looking for. I will submit you for every project that is right for your skills, ability and type. There is always an ebb and flow and there will be times that are more busy than others.

What can dancers do to better support their agency during the process?

Have several great photos that depict different looks on hand. For example, this week I reached out and asked if you could send me another theatrical shot for a submission I was working on. What’s really great is you sent it over immediately. You could also ask about the kind of feedback your agent has been getting on you. You may learn that casting thought you needed to be stronger vocally, and you can work on that as you prepare for the next audition. Keep your resumé up to date and be responsive. Quickly let them know if you are available and interested in the projects they send you.

When is it appropriate to reach out?

If your agency hasn’t connected with you in three to six months, reach out and say, “Hey, just checking in, wondering how things are going. Is there anything I can do to help? I would love to talk about what I have been submitted for and what my goals are.” You don’t want to call them on a Monday morning—or really any morning before noon because they are doing breakdowns—but the truth is, it’s not unreasonable to expect dialogue. Now, they may not get to you in five minutes, but they should be able to talk with you. Even if they are letting you know that they haven’t had a lot of your type, they can let you know which things are going in a good direction, and which projects are not. It has to be interactive for this relationship to work.

For the full interview, and an inside look at what auditioning looks like for me these days, head over to Dance Magazine’s YouTube channel. 

The post Begin Again: Auditioning With The Support of an Agent appeared first on Dance Magazine.

During the early days of the pandemic, however, the audition process was turned on its head. Traditional, in-person open calls were too much of a risk, so, instead, directors relied heavily on video submissions. In many cases, auditions were conducted entirely online. While this came with certain challenges for dancers—such as finding an appropriate space to dance in—many preferred this format, which was more flexible and gave them more time to master material at their own pace. Even as in-person auditions make a comeback, they don’t quite look the same as they once did.

The Self-Tape Revolution

Right before the pandemic, Joey Kipp, who had primarily been a concert dancer, accomplished a major career goal: He signed with a manager and started to pursue more commercial work. Kipp, who is Black, says his goal was seven years in the making, and that he had encountered racism and body shaming along the way. Enter the pandemic—and an end to in-person auditions. Self-tape auditions, a longtime practice for booking theater and commercial gigs, became more widespread across genres.

Thanks to habits he adopted in the early days of the pandemic, Kipp was well-positioned to book work through video submissions. When in-person classes were placed on indefinite­ hiatus, the Merce Cunningham Trust started offering Cunningham technique classes on Instagram. Kipp regularly took these online classes; afterward, he spent an hour practicing phrases, filming his dancing and uploading the videos to Instagram. This practice paid off: Kipp was offered consistent work in the commercial and concert realms through self-tape auditions. He didn’t audition for a gig in person again until August 2021.

Kipp cautions that there can be drawbacks to auditioning via video. Notably, it can be easy to procrastinate. “Psychologically, it is harder for me to initiate the process of doing a self-tape,” he says, which can involve finding and renting an affordable space. “But I do feel like I’ve gotten a lot more work because of it.” It can also be harder to get the true sense of a project without auditioning in person. “Sometimes you can gauge whether there’s that magic happening in the room or not,” says Kipp. On the flip side, self-tape auditions can ease some of the emotional challenges of the process. For example, it eliminates the crushing experience of showing up and being cut based on “look” alone, or being cut within the first few minutes of an audition.

While Kipp acknowledges that self-tape auditions still require­ resources, like access to a good camera, a computer and space to dance, he says that, overall, he believes the rise in self-tape auditions has opened up opportunities for more dancers: “I feel like more people of color, trans people, disabled people and people that live outside of New York have been able to get jobs all over the country and internationally.” As in-person auditions become more common, Kipp says, many directors are still asking dancers to submit materials beforehand, to narrow down the in-person pool. Kipp prefers this hybrid model: “I don’t think I’m ready for open calls.”

Combination Auditions

Since 2016, the Grand Audition has offered dancers the opportunity­ to audition for 10 ballet companies (most of which are based in Europe) in one place. More recently, this concept of making auditions more convenient for dancers seems to be catching on in the U.S., as well. The International Association of Blacks in Dance holds a weekend of auditions for professionals and students attended by prominent ballet company and school directors. Youth America Grand Prix, which already functioned as an opportunity for ballet dancers to be seen by top schools and companies, now holds a job fair that serves as an audition for multiple companies. And for the second year in a row, Ballet California held a National Master Audition in December, offering dancers the chance to audition in person for directors from multiple companies.

“I’ve watched dancers go on audition tours, which are so expensive and take so much time,” says Ballet California co-artistic director Diane Lauridsen. “I’ve seen people spend $10,000 on an audition tour, and not everyone can do that. Plus, it’s hard for dancers to get to auditions when they’re in school or in a company, and sometimes directors hire a lot of people and other times they don’t.” All this expense and unpredictability inspired Lauridsen to try to create a better system: a multiday audition where dancers can be seen by the directors of several midsize companies all at the same time. On the first day, directors watch dancers in class. There are no cuts during class. Dancers called back for subsequent days have the opportunity­ to learn repertory from the various companies, and some are asked to show prepared variations. The first year, says Lauridsen,­ eight company directors participated, and several dancers were hired or received scholarships or traineeships. Following that success, 10 directors participated the next year.

Lauridsen believes there’s value to auditioning in person. “I remember hearing a director say about one dancer that after looking at her tape, they weren’t interested. But after seeing her dance in person, they hired her,” she says. “I also think it helps people connect with companies they might not have thought of.”

In addition to saving money and time, a single combination audition—as opposed to a long tour involving lots of travel—can also help dancers minimize their chances of catching COVID-19. There is one major drawback, however: The Grand Audition in Europe, Ballet California’s Master Audition and YAGP’s virtual competition all cost money to be a part of. This can be a significant barrier, particularly for dancers from low-income backgrounds. Investing in these models, and making them more accessible, would be a powerful way for major dance companies to show a commitment to diversity. Lauridsen says that Ballet California uses the fees to fly in company directors and house them, and also provides resources to dancers, including resumé guides and deals on hotel rooms.

Lingering COVID Concerns

In fall 2022, Actors’ Equity Association announced that it would reopen its audition centers in New York City, Chicago and Los Angeles and return to required in-person auditions in 2023. The union had previously given the go-ahead to individual employers to begin holding in-person auditions earlier in 2022. Some dancers have mixed feelings about the return to open calls. After all, it’s one thing to risk getting sick at work; it’s quite another to risk getting sick just for the possibility of work. But others have been excited to get back to a format that feels familiar.

Griff Braun, national organizing director at the American Guild of Musical Artists (AGMA)—the union that represents dancers at New York City Ballet, Alvin Ailey American Dance Theater and numerous other dance companies—says that so far, most AGMA signatory companies have worked collaboratively with the union to implement safety protocols that evolve based on the COVID risk level in their particular area. Though AGMA doesn’t hold group auditions at its own facilities like Actors’ Equity, it has worked with the Stage Directors­ and Choreographers Society to create return-to-work COVID guidelines, which include best practices for auditions. “Many of our companies have been quite conscientious about these things,” he says. “They don’t want to shut down their workplaces.”

For Kipp, who is immunocompromised and has an elderly mother, going back to in-person auditions still gives him pause. “I always have to take that into account,” he says. “It’s not just about how I feel, but it’s about how my practices are affecting other people.”

The post Has the Pandemic Changed Auditions Forever? appeared first on Dance Magazine.

In January, I wrote a column about creating reels to submit to agencies and casting directors. I primarily focused on my dance reel, but also included brief details about my acting and vocal reels. As I’ve mentioned before, I’m returning to dance (and pursuing Broadway) on a budget, so outside of vocal coaching, my vocal reel was a bit of a thrown-together DIY project. It didn’t take long for me to realize that I disliked it. While I’m a dancer first, singing is still crucial to my goals. And yet, I was sending out work I clearly wasn’t proud of.

In January 2022, I spoke with talent consultant and Launch Talent director Leesa Csolak, who recommended I work with Cameron Richardson-Eames, a London-based voice teacher who works with singers on Broadway, Netflix, HBO, Apple TV+ and “The Voice.” He trained at The Juilliard School, The Royal Academy of Music and Cambridge University, and his online voice studio reaches students from over 30 countries. Leesa thought he could make a big difference in the quality of my voice, so I decided to give him a try.

On our first day of working together he gave me the correction (read: compliment) I needed, and recommended I start the whole process over. From January through April 2022, I met with him regularly, working on three songs: “Safer,” from First Date; “There You’ll Be,” by Faith Hill; and “Someday,” from The Wedding Singer musical.

“My main priority for your technique was to rid you of tension in places where it was not serving your vocal production,” Cameron said. “When I first heard you and watched your old reel, there was a clear conflict between how you were asking your body to function for dancing and what it ought to do in singing. Reconciling those two things is one of the most challenging aspects of working with professional dancers who also need to sing.” According to Cameron, I had a lot of tension in my neck. What’s more, my diaphragm and abdominal muscles were not working in a way that supported my sound or provided an efficient flow of air over the vocal folds. “So we devised a series of exercises for you that, in a remarkably short space of time, overhauled really quite large parts of your technique,” he said.

By early May, my voice had progressed significantly. (My mom is a beautiful singer who has always been a bit picky with my pitch, and even she was thrilled with the improvement!) “Your voice now sounds a lot more grounded in the body,” Cameron said, “and as a consequence of that it has a warmer, rounder sound that is both more commanding and actually a genuine representation of what your voice should sound like when obstacles are removed.”      

Honestly, I don’t know how he did it, but I’d been told that uniquely qualified vocal coaches are worth spending the money on. “It would be better for you to work with a more expensive yet experienced vocal coach once per month than a regular teacher once per week,” Csolak advised. That sounded a little strange to me, but I trusted the process and, thankfully, it worked out.

Eventually Cameron recommended I get into a recording studio. “This industry is way too competitive for anyone to present less than their best work,” he said. “Recording in a studio instantly creates a much higher-quality product with cleaner and clearer sound and a well-balanced track.” In Cameron’s opinion, professionally recorded and mixed reels implicitly tell casting directors about the level at which you’re working, and the standards you hold for yourself. It also allows them to picture where they can take your voice, and what kind of repertoire would work for you.

“If you send me a recording that could stand up against a Broadway original-cast recording, then I’m going to mentally frame you against those singers,” he said. “By contrast, a reel shot on an iPhone with a low-quality track in the background will require me to do a lot of the heavy lifting on that front.” 

So, I took his advice and worked with Chip Fabrizi at P.P.I. Recording in SoHo, in New York City. Chip allowed me to set up a backdrop and ring light in front of his microphone and other recording equipment so I could get video and audio done at the same time. We Zoomed Cameron in from London and got started by having me sing “Safer” three times in a row while Cameron gave me corrections between takes. “Sounds a bit careful,” he said after one of the runs. “Enjoy the tune a bit more.” Once I finished, we listened to the recordings and chose the one we thought was best.

We followed the same process for the other two songs before Chip and Cameron worked together to mix the tracks. “If this were an album that the first cast of a Broadway company was producing, we would spend hours and hours on this part,” Chip said. Thankfully, the process only took us 10 minutes or so. 

And voilà! After three hours of work, I went home with three tracks I am super-proud of! (Genuinely, this time.) And I can’t wait to send them out to both agencies and casting directors.

Go to Dance Magazine’s YouTube channel for a full look at the process, along with the finished product! While rerecording my vocal reel initially felt like a setback, I’m so glad I was pushed to improve my work. Now I have a reel I am happy with, as well as a voice coach on my team who knows what I need to do to progress in my goals. We stand on the shoulders of others, and I’m so grateful to be collecting a team of people who are so generously offering me a boost.

The post Begin Again: Try, Try Again appeared first on Dance Magazine.

Despite being 27, I’m really just starting out, which means I am both unrepresented (meaning I don’t have an agent yet, though I hope to have one eventually) and non-Equity. (Whew, boy!) It’s a challenging stage of the process that I think most dancers can relate to. At one point or another, the majority of us will spend some time grinding on our own, honing our audition skills and seeking to fill out our resumés so that when our dream jobs come calling, we are ready.

This month I’m sharing a bit about my process for finding auditions, submitting self-tapes, and taking advantage of networking opportunities without support. Full transparency: It’s exhausting, and it’s taken a little extra effort to be enthusiastic about it. Thankfully, I’m still finding joy in this crazy journey.

The Room Where It Happens

Kicking off a dance career is always difficult, even when the industry is booming. Kicking off a dance career without representation in an industry hobbled by a multiyear pandemic? Insane. For starters, without an agent, there are a number of auditions I won’t even know about and rooms that I simply won’t be let into. According to a March 2020 Dance Magazine article, “agents communicate with casting directors and are in the know about opportunities, auditions and upcoming projects. They submit your headshot, resumé and other materials to casting and can often schedule invited calls or general meetings beyond the required open calls,” explains writer Candice Thompson.

Thankfully, there are ways to learn about many auditions on your own. Over the past couple of months, I have spent a lot of time digging through websites like dance.NYC, playbill.com, backstage.com and actorsaccess.com. For company auditions that may not be listed on these platforms, I’ve been paying close attention to social media accounts and individual websites, hoping to find a break. This month I submitted for a dance call for Phantom of the Opera on Broadway that I found on the Playbill site, an Equity chorus audition for the Jagged Little Pill tour that I found on backstage.com, a production called The Night Falls, by BalletCollective, that I found through Dance/NYC, and a Zoom audition for Hubbard Street Dance Chicago that I found on social media. 

Ask the Experts

Once I find audition listings, I’m faced with my next hurdle. Without a team of experts giving me feedback, it’s hard to know which listings are reputable or worth my time. I don’t always know who is actually hiring (sometimes unions require shows to hold auditions, even if they’ve already hired all the talent they need), which opportunities I would be a good fit for, and which artistic staff might have a good reputation.

I’ve tried to solve this problem by tapping into my own network of dance friends and asking for their opinions. If those resources come up short, I can do some sleuthing online to glean information on the choreographer’s background, see what other dancers have said about working for them, and check out clips of their previous work on social media. If all else fails, I submit for whatever sounds interesting and hope for the best. 

One perk of not being represented means I have very little pressure to submit for opportunities I don’t actually want. For example, I know that most out-of-state gigs are likely not a good fit for me and my stage of life right now. I’m setting my audition radius close to home, and unless it’s a show that I am really excited about, I simply don’t submit.

Too Much Talent

I recently attended a mock audition held by Clear Talent Agency at Steps on Broadway. During the Q&A portion of the workshop, one of the agents, Loretta Morrison, said that some casting directors are receiving something like 3,000 submissions per audition these days. That’s a lot of information for them to consume and artists to differentiate between. Which means that I need to accept that a portion of my self-tapes will never actually be seen by anyone (or if they are seen, it’s likely by someone whose brain has been turned to mush!), and there really isn’t anything I can do about it.

Now, if you’re thinking “That’s depressing,” you’re not wrong. But I’m not losing hope. It reminds me of a lesson my mom taught me when I was in college. After returning from yet another bad first date, I was feeling disappointed and called her to vent. Her reply was simple: “The more you date, the more you date.” It’s a numbers game. The more people you meet, the more likely you are to find someone you have a genuine connection with. Similarly, the more auditions you submit for, the more chances you have to be seen by casting directors, and the more likely you are to book something eventually. If you don’t try at all, you most certainly won’t succeed.

Burn, Baby, Burnout

I’d be remiss if I didn’t tell you that the virtue of the numbers-game mentality has its limit. Filming a reasonable number of self-tapes can be fun—it’s a unique class experience and a chance to do what I love. Filming an inordinate number of self-tapes can lead to burnout (and to bankruptcy if you’re renting studio space to film).

Therefore, I have been kind to myself. If there is an audition I’m excited about, and I have the energy for it, I will throw my hat in the ring. If I’m tired and overwhelmed, I will skip it and hold out for the next one that comes at a better time for me. At this age, I understand that life is all about balance. I don’t just want to accomplish this goal—I want to enjoy the journey on the way.

The post Begin Again: The Audition Grind appeared first on Dance Magazine.

So how exactly do you go about finding an audition outfit that’s also confidence-boosting? We turned to three professional dancers who have years of experience honing their sartorial senses across ballet, modern, commercial and Broadway auditions.

Do Your Research

Before you start combing through your wardrobe, get a thorough understanding of who you’re auditioning for. “I begin by reading all of the casting details thoroughly, because if they list things like ‘bring heels’ or ‘wear formfitting clothing,’ you want to start with those details and build from there,” says Fana Tesfagiorgis, a former dancer with Alvin Ailey American­ Dance Theater whose recent work includes Broadway, television and film projects. “Then I always look up the show, company or creative team to see what their tendencies are. History, culture and time period also matter. So for a show like Ain’t Too Proud, I’ll dive into the lives of legendary Black women, like Tammi Terrell, Diana Ross and Mary Wilson, to gain inspiration for how I appear in the room and how I move.”

Do a Test Run

Pacific Northwest Ballet corps member Juliet Prine recommends also rehearsing your wardrobe ideas. “Try your outfit in class or rehearsal to see how you feel, and text a quick pic to a friend or family member to get a second opinion,” she advises. “I once borrowed a beautiful leotard from a friend for a studio showing, but I didn’t think about how thin the material was. The leotard ended up pretty sweaty and had my partner’s sweat all over it as well.”

Plan for the Unexpected

It’s always better to be overprepared than to be thrown off by a last-minute switch-up or an outfit malfunction. “Bring multiple looks, hair products, a little bit of makeup and every type of shoe imaginable, because you never know what they’re going to throw at you,” says Vincent. “And definitely bring kneepads if you’re auditioning for a modern company.”

Keep It Consistent

As for callbacks, you should generally wear the same thing. “If the same outfit is clean and ready, that’s what I’ll be returning in,” says Tesfagiorgis. Vincent agrees: “You want the artistic director and team to be able to find you quickly,” he says. “If it’s a more intimate setting, like an invited call that’s under 10 people, then you can kind of test the limits.”

The Big Picture

Your audition style is very much a personal choice. “The main goal is to share yourself,” Tesfagiorgis says. “Listen to your instincts, and ask mentors or company and cast members if you have access to them,” she suggests. What you wear also shouldn’t take away from the real focus: your dancing. “The people at the table in front of you want to be moved artistically,” Vincent says. “I know it’s cliché, but if you’re enjoying yourself and putting 100 percent effort into the movement that you’re given, they can’t miss that.”

Quick Tips

Fana Tesfagiorgis
Fit matters: “My audition outfit has to fit well as I dance and as I stand, so that I can keep my focus on the craft. If someone is constantly adjusting their straps or pulling on their shirt, it can reflect discomfort or second-guessing.”

Finishing touches: “As far as makeup, I love to keep it natural, but I may add eyelashes for Broadway auditions. For my hair, I have ways to keep it out of my face while still letting my texture and volume be shown. There is a dire need for the normalization and appreciation of more Afros onstage, on TV, billboards, magazines—everywhere.”

Juliet Prine
Pointe shoe prep: “I prepare one really good pair and also bring a backup. I do best when my shoes are very hard, so I only wear them for class once, and then put them away until the audition.”

Ditch the warm-ups: “You’re auditioning to let them see you dance, so let them really see you.”

Jake Vincent
Winning Taylor look: “I have more of an athletic build, and I knew that the aesthetic of Taylor was long lines and tights. Instead of picking tights and a T-shirt, I chose a unitard, which would lengthen me.”

Fabric preferences: “I tend to stick more to harder fabrics like lycras, and I stay away from cottons, because they have a higher chance of ripping.”

The post This Is How You Nail Your Audition Outfit, According to Pros appeared first on Dance Magazine.

DO Relax

Franklyn Warfield, senior manager of theatrical casting for Norwegian Cruise Line, is a former dancer himself. So he’s sympathetic to the nerves that take over many dancers when asked to speak or sing at an audition. “I think a lot of dancers don’t feel that they can bring themselves to the table, or that they’re allowed to take up space and time,” he says. “We are here to see you.”

Slow down (more than you feel you need to, since most people talk faster when they’re nervous), so that the casting team can clearly hear your name. “Don’t pause too often, and try to reduce the ‘ums’ and ‘likes,’ ” Williams adds.

DO Rehearse It

Williams suggests practicing your slate beforehand, but not so much that you sound over-rehearsed or robotic. Try filming yourself to catch anything you’d like to change.

DON’T Ignore Instructions

Whether the directions call for your height, agency representation, geographic location or the name of the song you’re performing, they’re there for a reason, Warfield says. “Whatever parameters or requests I’m communicating as a casting director, they’re not arbitrary.” You don’t want to give casting any reason to eliminate your self-tape before they even see you perform.

DO Keep It Brief

Looking to show your personality through an additional fun fact that’s not specifically asked for? “You get one,” Williams says. “You can add one thing if it’s actually quirky and fun, but don’t deviate too far.” Respect the hiring team’s time.

DO Be Flexible

In an attempt to peek past a rigid “audition persona,” casting directors will sometimes ask for something spontaneous when you slate at in-person auditions. Be ready to tell a clean joke, recount an embarrassing story or share something fun about yourself.

DON’T Slate When It’s Unnecessary

Only slate when it makes sense to. “If you walk into the room and I say, ‘Helen! So good to see you again,’ we’ve established the fact that we know who you are,” Warfield says. “To then go into a slate feels awkward and inauthentic.”

DON’T Forget About Body Language

“You always want to appear bright, energetic and open,” Williams says. In body language, that translates to having your arms down by your side or behind your back—never crossed in front of you, since that reads as confrontational. “Sometimes dancers revert back to a rigid bevel or hands on hips, as an attempt to hold all their nervous energy in,” Warfield says. “Don’t be lackadaisical about your body language, but show that you’re open to a normal human interaction, or even some banter.”

DO Be Intentional About Your Focus

Mimic eye contact by looking straight into the lens for a self-tape (not at the moving image of yourself, no matter how good you look!). At an in-person audition, you can make real eye contact with the panel while slating, but remember to shift your focus just above and behind their heads as soon as you start performing.

The post Use Your Voice: 8 Slating Tips for Auditions appeared first on Dance Magazine.

To help make this dilemma a little less ambiguous, we spoke with Janet Eilber, artistic director of the Martha Graham Dance Company, Virginia Johnson, artistic director of Dance Theatre of Harlem, and Jason Styres, a casting director for Broadway, film and television.

What are your general feelings about dancers personalizing
audition material?

Janet Eilber: “Short answer: Yes, we want to see the dancer’s personality. Martha Graham’s language—the physical vocabulary created—is only 50 percent of the work. That language needs to be completely informed by a dancer’s personal expression­. And in an audition, we need to see that a person can show us their personal expression, their vulnerability, their heart, because it’s an essential part of performing Graham.­ Martha never saw her choruses as uniform personalities. Even if the movement was uniform, she wanted each dancer to be an individual onstage.”

Virginia Johnson: “One of the things I’ve observed is that not enough research has been done by dancers about the company they’re auditioning for. You should walk into that room knowing what that company looks like, what the style is, what their aesthetic is, what their artistic imperative is. It’s not about investing your particular expression in a bit of choreography, but understanding how your artistic intuition fits in with that company’s message. You are auditioning to be part of something bigger than you, so how are you going to be part of that?” 

Jason Styres: “I get this question a lot—and I can’t stress this enough: If you are doing the material, it is your own. Now, a creative team may not want to hire you, because your movement is not what they are looking for, but you have to decide which is more important: living artfully and fully, or fitting into the mold. Neither is ‘bad’ or ‘wrong.’ They are just very different. Each choreographer is going to have their own opinion on this, and it can even vary from project to project with the same choreographer.”

How can dancers assess if personalization is welcomed at an audition?

Styres: “Ask! If you feel uncomfortable asking the choreographer, ask the associate or assistant.”

What are some of the ways dancers can make the movement their own without disrespecting the choreographer or the work?

Eilber: “I think the use of focus is incredibly important. It reveals so much about what you’re saying—and it also takes the audience with you. So many dancers think that a head turn is just part of the choreography, when it’s something much more useful, inhabited with intention.” 

Johnson: “I’m from the servant generation; I was a servant to my art—I really cherish that. Something has been created by someone else. You have to figure out, well, how do I serve and illuminate that vision?

“One of the beautiful things about the generation that is stepping into the field is their sense of personal identity and investment in that. That is a great step forward. At the same time, I do think it’s very important for them to understand that there’s a sanctity to the material, and it’s not about twisting it to show yourself. It’s about the work.” 

Styres: “That depends on the dancer. Some dancers are architectural in their approach—they need to get the structure of the phrase down, know where all the arms go—before adding in anything new. Others are what I call ‘bakers’: They add in flair as they go, based on what feels right, or in response to the atmosphere. Dancers have to understand their own processes to know what will work best for them in an audition.”

Is there anything dancers absolutely should not modify?

Johnson: “It’s an important exercise for the work to be produced as given, so I don’t think that you should ‘modify’ it in any way. It’s more about enhancing and deepening what’s given.” n

The post Should You “Make the Movement Your Own” in Auditions? appeared first on Dance Magazine.

More discrepancies followed—like when the casting team made the first cut 10 minutes after viewing headshots, without even seeing the dancers point their toes. “At that moment, I realized that I had a lot to learn about this part of the dance world,” she says.

Kotsopoulos’ experience isn’t unique. Most concert dancers looking to transition into commercial dance find there is a steep learning curve when it comes to auditioning.

Know That It’s Not Just About Talent

Though it can be difficult to accept, most jobs in the commercial industry are about more than your technique. “You might be the best dancer in the room, but that doesn’t mean you are going to get the job,” says ​​Jim Keith, founder and president of The Movement Talent Agency. “It’s all about your image.”

Some casting directors now vet dancers digitally before they audition in person. A high follower count on Instagram or TikTok can help certain dancers book jobs over others. “A lot of brands want to piggyback on the dancer’s followings,” he says.

Study Up

Just like in concert dance work, one of the best ways you can prepare for an audition is to study the background of the project and those associated with it. “Look up the choreographer,” Keith says. “Watch videos of their work so you can have a grasp of their style ahead of time. If you’re auditioning for a musical artist, study their music videos and tour footage.­”

According to Rhonda Miller, director of the commercial dance BFA program at Pace University, dancers interested in Broadway should be familiar with the history of the shows they are auditioning for. “Get to know the styles of different decades on Broadway.”

Hone Your Nondance Skills

Whether it be for film, television or Broadway, there are skills outside of dance that you’re going to need to develop—most commonly, acting and singing. “At that first Broadway audition, I realized that the other dancers in the room had been training vocally their whole life, and I had a lot of work to do,” Kotsopoulos says. She now takes weekly voice lessons, and after years of hard work, she feels confident singing in front of casting directors. “My friends in the concert world can’t believe all the training I’ve had to do outside of dance,” she says. Special skills like tumbling, juggling or even skateboarding can also be useful to expand the jobs you can book.

Expand Your Photo Portfolio

Every concert dancer has that one gorgeous black-and-white headshot that works for every company audition. While that may also have a place in your commercial audition life, it’s not enough. Keith encourages his clients to have headshots that fit several different looks. “If we have a dancer who is 25 and 5’1″, we might submit her for projects for teenage characters,” he says. “We need a headshot that reflects that.”

At the same time, Keith might also submit that dancer for an audition that requires a more mature look, and she will need a headshot that makes her look more grown up. Dancers should also have photos of themselves that are “commercial-casual,” others that are “high-fashion,” and even some that are “sporty.”

Equally important, Miller says, is that your images accuratel­y represent you. “You want to make sure that when you go into the room, the casting director is not surprised by what they see,” she says. “Each agency has their own photographers that they like to recommend to their clients. They should be able to guide you.”

Sharpen Your Speed-Learning

Commercial jobs typically have a short run-time with little rehearsal. During the audition, choreographers need to see that you can pick up movement quickly, and look camera-ready without much hand-holding. Make learning and mastering choreography a priority.

Adjust Your Improv

When asked to improvise at commercial auditions, remember that casting directors are looking for something entirely different than what the artistic staff at a company is looking for. “In the concert world, I’m showing you my movement quality when I improv,” Kotsopoulos says. “In the commercial world, they want to see your tricks, your best moves, your personality and everything you’ve got within just two counts of eight. Don’t be afraid to go there.”

Get Camera-Comfortable

The majority of the commercial world is recorded on camera, so learn how to work it. “You need to make sure that what you would do onstage translates into the lens of the camera,” Kotsopoulos says. “Practice developing confidence onscreen, so that you can bring that to the table when you audition.”

The post What You Need to Know Before Your First Commercial Dance Audition appeared first on Dance Magazine.

And it’s easy to fall into a spiral of self-doubt. In these moments, Nadine Kaslow, a clinical psychologist who consults with dancers at Atlanta Ballet, wants you to remember that there are many reasons for rejection, and recommends you ask yourself what exactly this feedback means. Does it mean you aren’t a talented dancer? Or does it simply mean you need a little more time to improve? 

Reasons For Summer Intensive Rejection

“We will sometimes see a 12-year-old with a lot of poten­tial, but they just need a bit more strength to be ready to handle the hours of dance required for that level,” says Denise Bolstad, the managing director of Pacific Northwest Ballet School. “We want to avoid injury or burnout from doing too much too early.” 

You could also be in the camp of dancers who were talented but, unfortunately, lost to the numbers game. “We audition 2,000 students per year and only have room for about 240 students in our limited class sizes,” Bolstad says. It’s possible you weren’t in the top percentage of students for your age group, you didn’t happen to catch the eye of the audition panel, or maybe it just wasn’t your day.

Even if you are a strong dancer, sometimes your attitude can hold you back. “A lot of people will think, I’m better than so-and-so, how did they get in?” Kaslow says. “And you might be right, but maybe you didn’t come across as someone who is interested in learning and growing, and that’s something you need to work on.” Auditions are about more than your technique—schools are looking to see how you come across as a person, as well. 

As difficult as it is to accept, sometimes the reason you didn’t land an intensive is because you simply aren’t the right fit for that particular school. “When I was doing summer programs, at some point I realized it wasn’t going to happen for me in America because I’m too short,” Kaslow says. So she went to France, where she had heard that shorter dancers were more typical, and succeeded there. “Look for a place where you might fit based on your reality,” she says. 

Strategies for Success

Bolstad recommends auditioning for a variety of programs each year. “We suggest students cast a wide net,” she says. Remember, there are a huge number of programs out there—don’t pigeonhole yourself.

Consider your intentions for the summer intensive, suggests Kaslow. “If the goals are to expand your horizons and repertoire, learn new styles, get a new perspective and different feedback, you can reach them at a lot of different intensives,”­ she says. If, however, your goal is to open the door to eventually landing at a particular company, it’s important to be realistic. “There aren’t that many people who go to these summer intensives and then get into the company, anyway,” Kaslow says.

Bolstad does want to be transparent and let dancers know that if they don’t get into their dream company’s summer program, it may be time to consider setting your sights elsewhere. “It’s hard to hear, but if we don’t accept a student for our summer course, it is highly unlikely that they will make it into PNB,” she says. “Especially if they have auditioned multiple years in a row.” Keep in mind that if you aren’t the right fit, it’s better to learn that early on so you can set new goals.

Find the Bright Side

The silver lining? A life in dance is sure to be full of rejection for everyone. Getting experience with it when you’re young will help you cope when it happens in higher-stakes situations. What’s more? Discovering where you get rejected and accepted can help you zero in on where you’re most likely to succeed as a professional in the dance industry. “To even start in this field, you need to be mentally strong,” Bolstad says. “Put yourself out there, and build your resilience.”

But Why? 

If you’re curious why you were rejected by a program, Bolstad recommends you speak to your hometown studio teachers. “We discourage students from reaching out to us,” she says. “We don’t know you. We only saw you for an hour and a half. Your regular teacher, who sees you every day, is in a much better position to give you advice on which camp you might fall into, and what your next steps should be.”

Dealing With Hard Feelings

Even if you’re able to keep things in perspective, getting cut might still sting a little (or a lot). Kaslow wants you to know these feelings of disappointment, hurt and anger are all understandable and normal. “Be compassionate and allow yourself to have your feelings,” she says. “People try to stop their emotions, and it overwhelms them or they get caught in it and they can’t let it go. Know there is a cycle.­ It will be intense and it will hurt, but just ride the wave of emotions. In the meantime, get back in the studio and keep going.” 

Bolstad recommends developing a strong network of trustworthy friends, family and therapists that you can go to while you cope. “The people I see who are most successful have a good support system,” she says. “Don’t keep it inside. You will be surprised to learn that most people have had similar experiences, and can talk you through it.”

In the end, it’s important to separate your self-esteem and your identity from the summer intensive that rejects you. “I know it’s really disappointing, but you cannot take it as a rejection of you as either a person or a dancer,” Kaslow says.

The post How to Cope With Summer Intensive Rejection appeared first on Dance Magazine.

To provide a bit more clarity and some expert audition advice, Dance Magazine spoke with Lena Lauer, director of education programs at the José Limón Dance Foundation; Vivian Nixon, associate artistic director of Debbie Allen Dance Academy; and Kristina Windom, upper-division head at The Washington School of Ballet.

Prompted by a series of “Would you rather…” audition-day dilemmas, they discuss what they prefer to see from students. Their audition advice shows how, sometimes, there’s no one “right” answer. Everything from the culture of the school to the personal preferences of whoever’s in the front of the room can play a part. 

Would you rather see a student struggle to do a more challenging version of a step or cleanly perform a more basic version?

 Vivian Nixon  “In an audition setting, it’s not the time to show us the struggle, but rather what you have fine-tuned—that’s what I’m looking for.”

 Kristina Windom  “It’s telling to watch students struggle and see how they get through that.” 

Would you rather hear a student ask a question or watch them figure it out on their own?

 Lena Lauer  “It’s always valuable to see a dancer try to figure something out. Ultimately, they need to be able to work independently.”

 Nixon  “I’m always happy to give students whatever information­ they need, because I want them to get the spot. We’re on your side, so ask the question and get the answer.”

 Windom  “I teach my students to advocate for themselves. And part of establishing that sense of inclusivity in the classroom is encouraging them to speak up.” 

Would you rather students stand exactly where you tell them or adjust so they can be seen?

 Nixon  “I’m going to make sure that I can see the student, so I’d rather you stand where I asked you to stand.”

 Windom  “Where students choose to stand says a lot about them. I would rather adjust myself at an audition and walk around the room.”

Would you rather a student wear dance attire that vibrantly expresses who they are or make more subdued sartorial choices? 

 Nixon  “I would rather a student know exactly what they’re auditioning for. If you’re coming in for The Ailey School or the Debbie Allen Dance Academy, wear all black.” 

 Lauer  “I always prefer to see someone for who they are.” 

 Windom  “Students shouldn’t necessarily show up to an audition wearing a big tutu, but I’m all about them expressing themselves.” 

Would you rather a student dance full-out during the entire audition or mark the phrase until groups?  

 Lauer  “If you want the spot, why wait until groups to show me who you are?”

 Windom  “When they’re at the sides of the room, waiting for their turns, and I see those certain kids close their eyes and go through the épaulement, that’s pure love for me.” 

Would you rather a dancer make the choreography their own or stick exactly to the material as it was taught?

 Nixon  “Stick to the source material, but add your own dynamics­ and personality.”

Would you rather see technique and polish or potential and passion?

 Lauer  “Technique is the baseline. How a dancer makes the material into art is what any choreographer is hoping to see.” 

 Windom  “When you factor in what we’ve gone through in the last year and what kids are juggling these days, I prefer to see the passion, because you can’t teach that; you can’t teach unfiltered love of movement.” 

The post What Do Summer Audition Panelists Want? Here Are Answers to Your 7 Biggest Dilemmas appeared first on Dance Magazine.

This concept is the throughline of the curriculum at American Musical and Dramatic Academy, where dance students spend all four years honing their audition skills.

“You’re always auditioning,” says Santana Trujillo, AMDA’s dance outreach manager and a graduate of its BFA program. On campus in Los Angeles and New York City, students have access to dozens of audition opportunities every semester.

For advice on how dancers can put their best foot forward at professional auditions, Dance Magazine recently spoke with Trujillo, as well as AMDA faculty members Michelle Elkin and Genevieve Carson. Catch the whole conversation below, and read on for highlights.

1. Do Your Research

Every audition, no matter the style, should start with research. Elkin, who works professionally as a choreographer and a dancer for film, television and theater, tells her students to focus on the big picture. Ask yourself: “What character am I auditioning for?” Once you’ve found your storyline, look behind the scenes: Who is choreographing? What kind of artists have they hired before, and what will you highlight in yourself to show them you’re up to the task?

Carson, who served as artistic director of the Los Angeles Contemporary Dance Company from 2016–20, says the preparation looks similar even if you’re working in concert dance. “The only way you’re going to understand the ethos of the company you’re auditioning for is by putting in the time,” she says. Just like you’d research the specific character of a commercial role, look at the artistic director’s bio. Study the movement vocabulary of the company you’re interested in and reflect on how you can demonstrate that you’re prepared to take on its rep.

​2. Know the Expectations

That said, there are still differences between commercial and concert auditions, so being familiar with each will help make the process less overwhelming. Television and film move faster than theater or concert auditions, says Elkin, “especially if you’re a union member,” because the panel may only have an hour to see people. Build your skills in learning choreography quickly, and be ready to dance at a moment’s notice. In theater, there’s “a little bit more time to see people dance longer, sing and read sides,” says Elkin. At AMDA, she teaches her students to be prepared for both situations: The more flexible you are, the more opportunities will come your way.

Auditioning for a concert-dance company will be a longer process, says Carson. “There’s a lot more than the technical prowess of a dancer that an artistic director looks for,” she says. When she directed the Los Angeles Contemporary Dance Company, Carson was drawn to auditionees who were versatile, open-minded and had a collaborative spirit. When you’re hoping to join a company, she says, you’ll want to demonstrate that you’re interested in the whole creative process—not just the final result. At AMDA, concepts like these are built into the curriculum: Carson leads classes that expose students to a range of different choreographers and working methods every semester.

​3. Use Technology to Your Benefit

Elkin, who has worked in the commercial-dance industry since childhood, continues to watch the ways that technology transforms the audition process, especially as we move through the pandemic. “A lot of the first initial calls are going through self-tapes,” she says. “The big pivot to being online created this wonderful experience to figure out how to shoot, how to be on camera, and how to slate and submit that information.”

Elkin thinks that most first-round auditions will continue to be online, even post-pandemic, but the change isn’t necessarily for the worse—dancers can save time and money by eliminating the need to travel and wait in long lines before they’re seen. Right now, she works to make sure her students at AMDA feel comfortable and confident presenting their best selves on camera.

4. Look Past the Binary

“There’s cross-pollination happening between the commercial and concert dance worlds,” says Carson. At AMDA, students are taught to “dive into each world without hesitation.” The result creates an environment where students are able to change or vary their career paths, leading to more artists who are increasingly open-minded in how they approach dance.

Trujillo, for example, started at AMDA wanting to be a Broadway-style singer, but the mentorship she found in the dance department guided her toward hip-hop and heels dancing instead. “I’m honored to be on faculty at AMDA because of the forward thinking that goes into the programs we create,” says Carson. “I feel like we’re constantly innovating.”

The post AMDA’s 4 Tips for Acing Your Next Audition appeared first on Dance Magazine.

Lynn Tatum, Courtesy A.I.M

Rose Eichenbaum, Courtesy USC Kaufman

If the audition includes improvisation, feel free to consciously embrace and respond to the unconventional setting, says Kopcsak: “Imagine what the camera is seeing, exploit the frame and be almost cinematic in your approach. What we’re looking for this year is creativity, innovation and confidence. Make navigating around your kitchen table or interacting with a prop parts of the dance.”

The post How to Deal with Auditions Gone Digital appeared first on Dance Magazine.

Meanwhile, in a studio directly underneath, one dancer is diligently hopping on one foot, while behind her, another is struggling to balance as she pliés in an “airplane” position. Both are being closely watched by clinicians who are marking a worksheet whenever the dancers hike a hip or buck their trunk.

It’s Boston Dance Alliance’s yearly open call, which now runs concurrently with its Dancer Health Day. The two events, which happen shortly after Labor Day, have become an invaluable resource for the local dance scene.

And whether they’re looking to book jobs, or simply want a cheap class, all dancers are invited to take as many master classes as they want. Rachel Bobek, who came for ballet, contemporary and jazz, also attended the previous year’s call shortly after graduating from Point Park University, leading to multiple offers throughout the year. “I got to perform in an opera, which I wouldn’t have even known to audition for,” she says. She also booked her now-regular company gig with Natalie Johnson Dance.

For directors, the call is an efficient way to scout without having to set up their own audition. Joe Burgio of Ensemble InEdit, a multidisciplinary improv group, says he invites anyone he sees potential in to take company class or join a rehearsal. He has worked with eight dancers from the open call over the past five years, including two who still perform with his company today.

The post Inside the Boston Event That Holds Wellness Screenings and an Open Call Under the Same Roof appeared first on Dance Magazine.

So how can you get chosen out of hundreds of hopefuls?

Courtesy MSG

The post How Do You Get Hired as a Rockette? We Got the Inside Scoop appeared first on Dance Magazine.

The Cattle Call

Unlike many ballet auditions, Cox and Keating don’t make a single cut during technique class. “Some of my dancers don’t have great ballet technique,” says Cox, “but the intelligence they bring to movement—a great ballet dancer might not be able to do that.”

That’s not to say that the class isn’t challenging. After an abridged barre, Keating gives a fiendish center adagio with an arabesque penchée —particularly challenging for the ladies, now in pointe shoes. She tests dancers with tricky timing and unusual port de bras. But she also wants them to relax and be themselves. “I want them to feel like they’re dancy combinations where we can really see them move and shine in their own light.”

After a few repetitions of grand allégro, Cox and Keating make the first cut, sending more than half of the dancers home. Those remaining learn a sequence from Nicolo Fonte’s Beautiful Decay, after which the directors make another cut, leaving just about 20 dancers.

Three and a half hours in, choreographer Colby Damon begins teaching a combination from his work On the Mysterious Properties of Light. It’s full of yawning extensions, sharp accents and swift, deep lunges. The dancers run it multiple times in four groups. At one point, Cox asks Damon to stop giving the auditionees information about the movement and musicality. “We have to see what they can interpret,” she says.

Cox and Keating make a final cut before deciding to go into overtime to see partnering work from the remaining 10 dancers. “Thankfully I didn’t schedule anything after!” says Blake Krapels, a 25-year-old Juilliard graduate and third-time BalletX auditionee.

Keeping At It

Gabriel Bienczycki

It turns out, Krapels’ persistence paid off. After his second audition, Cox spoke with him about the intense physical demands of dancing in BalletX. “She didn’t feel like my body was ready for that,” he says. So Krapels, who identifies as more of a contemporary dancer, added more ballet classes to his routine in the year and a half between his second and third BalletX auditions. “I also went to the gym a lot.”
Cox noticed, adding that she saw “a newfound strength of heart and spirit” in Krapels, “which added an extra layer of depth and finesse to his musicality.” After he attended two callbacks in May, she offered him a contract for the 2018–19 season.

Company Immersion

Maximilian Tortoriello, Courtesy BalletX

At the time of the New York City audition, 21-year-old Anna Peabody was still a third-year student at Indiana University’s Jacobs School of Music. The Tuesday after the audition, she got a call and was awarded the available summer female contract. Just a few weeks later, Peabody had a year-round contract in hand. “The beautiful approach to her artistry convinced us it was time to add an 11th dancer to BalletX before another company scooped her up,” says Cox. Peabody finished that year’s finals remotely and was soon thrown into the deep end, getting cast in Lil Buck’s new work, Express, and Matthew Neenan’s Increasing, both of which she performed with BalletX at the Vail Dance Festival last summer.
Peabody is currently completing her last school year at IU remotely, and both she and Krapels are finding a home in the close-knit company atmosphere. Peabody says that Cox and Keating are candid and open. “Actually all the dancers here are,” she says. “That’s why—at least for me—their dancing is so beautiful to watch. Everyone is just very honest with the dancing and with the self.”

The post From Cattle Call to Company Contract, Here’s What It Takes to Join BalletX appeared first on Dance Magazine.

Show You’re Adaptable

Alexander Iziliaev, Courtesy Miami City Ballet

Contrary to what you might expect, Lopez doesn’t require incoming dancers to have Balanchine training. “But they have to be strong,” she says. “The articulation of the feet, the way we hold our arms—those things can be taught, but I can’t teach them if the dancer in front of me doesn’t have a classical foundation.”

Clean, performance-ready technique is Lopez’s baseline. “Do they have mannerisms that I feel would be difficult to change? Can they maintain their technique while they’re moving? If the minute you let go of the barre you can’t do center work, then I’m going to have problems putting you onstage.”

Learn Quickly and Apply Corrections

Cheryl Mann, Courtesy The Joffrey Ballet

In every company class, Joffrey Ballet artistic director Ashley Wheater gives a 32-bar enchaînement in the center. “An enchaînement is what we really do when we dance onstage,” he says. “How you connect rhythm, steps and transfer of weight, and how you utilize space within the enchaînement, tells me a lot about a dancer’s ability to be fluid.” He demonstrates that combination only once. “It shows you who’s willing to really focus, pick it up and deliver.”

Wheater will give corrections to auditioning dancers and makes note of how they’re received. “You can see when people feel affronted,” he says. “You want to see that they take the time to absorb and apply it.”

Relax Into the Company Vibe

Beau Pearson, Courtesy Ballet West

Rather than holding open calls, some ballet companies prefer to invite select dancers to take class for three to four consecutive days at their studios. That length of time reveals both adaptability and consistent trouble areas, and allows dancers to settle into the company vibe. “From pliés to an early tendu, you can tell immediately if the dancer has what we’re looking for,” says Ballet West artistic director Adam Sklute. “But other attributes—a movement quality, a sense of artistry—take a while to get to know.”
That said, Sklute is playing with the open-audition format in order to reach a wide array of dancers at once. “I hate the calls where we have to cut people,” he says, so this spring, Ballet West will hold 90-minute master classes on March 23 in New York City and March 30 in Salt Lake City. Each class is limited to 70 participants and open to all dancers, whether they want to be considered for the company or not. No one will be cut. “This format will hopefully give people a more relaxed environment,” he says, “versus feeling like they have to prove themselves.”

The post What Ballet Directors Look for During an Audition Class appeared first on Dance Magazine.

The post How I Got the Job: Martha Graham Dance Company appeared first on Dance Magazine.

You May Wait With No Warm-up Space

At Equity calls, union members are given priority to holding rooms and warm-up areas. If there isn’t enough space, non-Equity dancers must wait elsewhere. If your name is called and you don’t hear it, you miss your chance. “There were auditions I didn’t even warm up for because I was afraid of missing my name,” Sarah Cooper says. “I would just pray there wouldn’t be a battement in the combo.”

When Timothy Cooper started auditioning, he got yelled at for trying to use a restroom reserved for Equity members. “I had to go all the way downstairs just to use the bathroom,” says Cooper, whose credits include the U.S. tour of A Gentleman’s Guide to Love and Murder.

The post Without an Equity Card, You May Have Trouble at Broadway Auditions appeared first on Dance Magazine.

Getting hired is about more than just talent. Directors are looking at everything: from your height, to your energy, to understudy requirements—if you are a replacement in a Broadway show, for example, you have to be able to slot into it seamlessly. The creative team will size you up immediately when you walk into the studio, so make sure you’re projecting the right message from the start.

The post 6 Ways To Embrace Your Type—And Get Cast More Often appeared first on Dance Magazine.

Update: Due to an overwhelming response, the in-person audition has been moved to a larger location to accommodate more dancers. See details below.

For the first time in more than 10 years, Janet Jackson is holding an open audition for dancers.

Even better? You could land a spot in her #JTribe simply by posting a video on social media.

All you have to do is follow @JanetJackson on Facebook, Twitter, Instagram and Musical.ly, then upload a 30-second clip of yourself performing your favorite classic Janet choreo, or even just freestyling to her music. Just hashtag #DanceWithJanet so Jackson and her creative director Gil Duldulao can find your video—they’re looking at entries starting today.

Jackson wrote on her website this morning:

“It doesn’t matter your gender, ethnicity, shape, size, or where you live, this is an equal opportunity. I want to see it all!”

If you’re more of a traditionalist, you can also audition in person at Showbiz Studios in Van Nuys, California, April 23-25.

In a press release, JTribe dancer Allison Buczkowski offered some advice for hopefuls:

“Dancers should definitely do their research and know who they are auditioning for. Be sure you are showing who you are. Don’t be what you think Janet will like. What’s unique about Janet’s dancers is, she allows us to be ourselves. So be yourself, come ready to dance and break a leg!”

The post UPDATE: Calling All Janet Jackson Lovers: Audition For Her #JTribe On Social Media appeared first on Dance Magazine.

“Our main goal is really to help dancers,” says David Makhateli, a former principal with The Royal Ballet who launched the Grand Audition with his wife, dancer Daria Makhateli. With 10 artistic directors from a wide range of countries present, a dancer who might not fit one company’s requirements has many more opportunities to be noticed. The prestigious lineup includes top international companies as well as midsized ones: This February, the Mariinsky Ballet, Dutch National Ballet and Royal Swedish Ballet will be represented, among others. Most companies are based in Europe, but American directors have also taken part in past editions, namely American Ballet Theatre’s Kevin McKenzie and Atlanta Ballet’s Gennadi Nedvigin.

A New Way to Job Hunt

Makhateli first came up with the concept when he was a student himself, in the 1990s. Originally from the country of Georgia, he won a scholarship at the 1992 Prix de Lausanne and finished his training at the Royal Ballet School in London, but struggled with the cost of traveling to auditions in his final year.

His vision was first realized in Brussels, Belgium, in 2016, and since last year, the Grand Audition has been held in Barcelona, Spain, where Makhateli is now based. The demand has been overwhelming, he says: Interested dancers are required to apply online with photos and a recent performance or training video of their choice for pre-selection, which is done by a professional committee. (For dancers unsure whether they are up to par, that initial screening can save the cost of traveling.) “Last year we had over 300 applications, and we stopped at 177 contestants,” he says. “For me, quality is important, and it’s also important that everybody is able to be seen in class.”

For 19-year-old Jacob Roter, from Brooklyn, New York, the Grand Audition was a handy way to fulfill his dream of a European career. “I didn’t want to go to every country to audition,” he says. At the 2017 edition, he won a contract with Norwegian National Ballet’s junior company, and also got an offer from Atlanta Ballet. “What’s really cool is that you get to see how different directors are, how they represent their companies,” he says.

The two-day audition begins with a straightforward technique class. Photo by Andrej Uspenski, Courtesy Grand Audition.

An Inclusive Experience

The first day, all contestants take a full class—a “basic one,” says Makhateli—in age groups on the slightly raked stage of the Teatre-Auditori Sant Cugat. The 10 directors then select the dancers they’re each interested in for the next round. On the second day, those who are chosen perform a classical variation they prepared ahead of time from the Grand Audition’s list. “It feels a little bit like a performance,” Roter says. “If you get into the second round, you’re able to really dance and show what you have artistically.” Last year, 51 dancers made it to the variation stage, and 44 (approximately a quarter of all contestants) were then invited to one-to-one interviews with one or more directors, resulting in 28 contract offers.

One requirement for directors to participate is to have contracts available, Makhateli says, although they are under no obligation to hire anyone at the Grand Audition. Unlike at competitions, they don’t sit behind a table. “They can make remarks, go up onstage,” Makhateli says. Some, like the Mikhailovsky Ballet’s Mikhail Messerer, have hired multiple dancers, or recommended some to colleagues who weren’t in attendance. “The directors were literally backstage with us, and it was really intimate,” Roter remembers. “Everybody who got past the first round ended up meeting directors, even when they didn’t get a job.”

The only criteria for dancers to apply is that they are professionally trained. “I don’t have height requirements or anything. We have a variety of dancers,” says Makhateli. The age range also aims to be inclusive: It was set at 17 to 26 years old after discussions with directors. “At 17, you can be hired in a junior or main company, and at 26, they are dancers with experience, who may be looking for a change.” Some soloist and principal contracts have been awarded to more mature contestants, although the Grand Audition doesn’t advertise them to avoid misleading hopeful dancers.

Class onstage at Barcelona’s Teatre-Auditori Sant Cugat. Photo by Andrej Uspenski, Courtesy Grand Audition.

The Grand Audition is an international affair: The 2017 edition had contestants from 27 countries, including Japan and Australia, and 13 dancers from the U.S. Roter met with friends from his training days there, and while some of them didn’t get past the first round, he says he found the group atmosphere more comforting than his experience at regular auditions in Berlin and Prague.

Makhateli’s main advice for dancers is to be professional from the start—photos and videos submitted with the application are then shared with interested directors—and to choose variations carefully: “Show your best qualities. Don’t do a variation that doesn’t suit you, like a turning variation if you can’t turn.” Originality can also be key: Last year, the only Esmeralda was luckier than the many Auroras at the variation stage.

At about $400, the registration fees are steeper than those at traditional auditions, but it can be more cost-effective than traveling to a range of cities. “It’s totally the dancer’s choice, but if you audition for separate companies, just a flight inside Europe could cost you that much,” says Makhateli. A year down the road, Roter is happily settled at Norwegian National Ballet 2, which he admits he had never heard about before the Grand Audition. “I think it’s an ambitious thing to go for, but if you really want to dance in Europe, it’s totally worth it.”

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