7 Things Your Agent Wishes You Knew
If you're not booking the jobs you want, don't assume it's a reflection of your talent. All too often, the most gifted performers get passed up for the ones who know how to work the industry better. Mistakes you don't even realize you're making could be interfering with your success.
To help you get out of your own way, Dance Magazine asked Pete Engle, dance department director at Clear Talent Group, what advice he wishes all of his clients would follow. Founded in 2003 by former dancer and longtime agent Tim O'Brien, CTG is one of today's leading agencies for dance and choreography (in addition to other fields), with offices in Los Angeles, New York and New Orleans, as well as partnerships in Chicago and Atlanta. High-profile dance clients run the gamut from contemporary whiz-kid Travis Wall to mesmerizing Memphis jooker Lil Buck to ballet/hip-hop standout Ebony Williams. Agents work closely with the dancers—often offering these very tips—to make sure they are as prepared as possible whenever an opportunity arises.
1. Snap out of class mentality.
“There is a difference between taking a class and auditioning. In class, you're dancing for yourself: You're kind of internal, looking in the mirror, making adjustments. Dancers go to a lot more classes than they do auditions, so it's more comfortable to work this way. But in an audition, you need to turn that into an external performance."
2. Don't fight your niche.
“A lot of people want to be something they're not. We had a dancer who was 25 but looked 14. She tried to make herself sexier, and kept auditioning for sexy tours. But, like it or not, this is an image-based world. Once she realized that in this industry you need to be what people see, she booked all the time. She just booked different stuff—Nickelodeon, Disney, Disney artist tours. Know your place in the market and figure out how to present that."
3. Go to conventions—even if you think you're too old.
“Commercial choreographers used to teach in the major L.A. studios. But now, a lot of them only teach at conventions—they're on PULSE, NUVO, JUMP, Monsters. We've started telling our clients to consider taking class at conventions. If you can stand out, we know for a fact that choreographers at The PULSE have hired dancers. Monsters is great for professionals on the hip-hop side. If you have a friend who knows the choreographer, take them too so they can introduce you personally."
4. Don't show up without getting the inside scoop.
“Figure out what the casting director is looking for. Research who they've hired in the past. Think about the history of this choreographer: Go on YouTube, become aware of their style, their look. And dress like you're going to be on their stage. You want to take away the imagination of the casting table. If people have to think about what you would look like in their performance, they will already be looking at the next person."
5. Improve how fast you pick up phrases.
“At auditions, they don't give you an hour to run through the choreography and let it sit in your body. They want people who can learn, internalize quickly, then perform. If you're not able to do that fast enough, you need to be taking more classes to train your muscle memory. And they need to be classes that challenge you. Too many dancers just take the classes their friends take, or the ones they feel really good in. If you haven't been in ballet in six months, guess what? Ask yourself, Am I just taking the classes I like, or the ones I need?"
6. Match your materials to your goals.
“Does your agency have everything they possibly need to market you to the industry? We'll have dancers not booking because they'll either have zero pictures for us to submit or they'll have the wrong type of photos. If you have sexier pictures, that's not going to book you a Disney job. Update your materials. It's possible that an edgier look might help you book more tours—but if you shave one side of your head, that means we can no longer submit photos of a girl with long, curly hair."
7. If jobs aren't coming, be proactive.
“Have a meeting with your agent if you're frustrated. We always tell dancers you have to control everything in your control. You can't do anything about your height or ethnicity, but you can control your performance capability, how good you are at picking up choreography, what your body looks like, what your hair looks like, the clothes you wear, the energy you're putting out. And sometimes, you just need to give it time. It can take a year or two of maturing before you can confidently walk in a room, take charge of the space and show who you are as a dancer."
Before too long, dancers and choreographers will get to create on the luxurious 170-acre property in rural Connecticut that is currently home to legendary visual artist Jasper Johns.
If you think that sounds far more glamorous than your average choreographic retreat, you're right. Though there are some seriously generous opportunities out there, this one seems particularly lavish.
Every dancer has learned—probably the hard way—that healthy feet are the foundation of a productive and happy day in the studio. As dancers, our most important asset has to carry the weight (literally) of everything we do. So it's not surprising that most professional dancers have foot care down to an art.
Three dancers shared their foot-care products they can't live without.
Dancers trying their hand at designing is nothing new. But they do tend to stick with studio or performance-wear (think Miami City Ballet's Ella Titus and her line of knit warm-ups or former NYCB dancer Janie Taylor and her ballet costumes). But several dancers at American Ballet Theatre—corps members Jamie Kopit, Erica Lall, Katie Boren, Katie Williams, Lauren Post, Zhong-Jing Fang and soloist Cassandra Trenary—are about to launch a fashion line that's built around designs that can be worn outside of the studio. Titled Company Cooperative, the luxe line of women's wear is handmade in New York City's garment district and designed by the dancers themselves.
Royal Ballet dancers Yasmine Naghdi and Beatriz Stix-Brunell recently got together for a different kind of performance: no decadent costumes, sets, stage makeup or lighting. Instead, the principal and first soloist danced choreography by principal character artist Kristen McNally in a stark studio.
The movement is crystal clear, and at the beginning, Naghdi and Stix-Brunell duck and weave around each other with near vacant stares. Do they even know they have a partner? And how should they interact? The situation raises a much larger question: How often do we see a female duet in ballet?
As a student, Milwaukee native John Neumeier appeared in an opera at the Lyric Opera of Chicago. As Hamburg Ballet's artistic director and one of the world's leading choreographers, Neumeier now returns to the Midwest to direct and choreograph a new version of Gluck's Orphée et Eurydice, a co-production of the Lyric Opera, LA Opera and Hamburg State Opera. Set to open in Chicago September 23 with the Joffrey Ballet, the ambitious work will see additional engagements in Los Angeles and Hamburg over the next two years.
How did you come to be involved with this collaboration?
It was initiated by the director of the Lyric Opera, Anthony Freud, but I had already been in contact with Ashley Wheater about a separate project with the Joffrey Ballet. The two things came together—and this was really interesting to me because Chicago was important at the start of my career. I was born in Milwaukee, but most of my training was in or near Chicago.
You've previously created version of Orpheus for Hamburg Ballet. What about this particular production caught your interest?
When I got this offer from Anthony, I just went back to the piece and tried to sense what it meant to me now. Gluck's Orphée was part of a push to reform opera and to make a complete work of art involving music, text and dance. What interests me—particularly in this French version we are doing—is that dance plays such an essential role. When Agnes de Mille choreographed Oklahoma!, it was considered a revolution in musical theater, because dance moved the plot along. In Orphée, we can see that the same idea had been realized several centuries ago: that dance would not be just a divertissement, but a theatrical element, literally "moving" the plot along and expressing in another form the emotion of each situation.
Another idea in Orphée which fascinates me is its directness in projecting profound human emotions—emotions not used as an excuse for vocal virtuosity, but expressed in simple and direct musical terms. In Orphée, we have a mythical subject which is related in an extremely relevant, familiar, human way.
What happens when drones become part of the dance? For Margaret Jenkins Dance Company's latest work, Skies Calling Skies Falling, video artists David and Hi-Jin Hudge used a drone hovering 200 to 400 feet above the ground to film the dancers performing in an industrial granary. The resulting footage will be projected onto the floor and walls of the Taube Atrium Theater, creating a dystopian backdrop to the live performance.
Alex Carrington of MJDC, Photo by RJ Muna
It's been 34 years since Sir Kenneth MacMillan's Mayerling touched down on American soil, when The Royal Ballet first performed the great English master's tour de force ballet stateside. On September 22–24, Houston Ballet becomes the first North American company to perform MacMillan's epic chronicle of the murder-suicide of the heir to the Austro-Hungarian Empire, Crown Prince Rudolf, and his 17-year-old mistress, Baroness Mary Vetsera. Chronicling the last chapter of the Hapsburg Empire, the ballet is known for its true-to-life realism, and for the role of Rudolf, which transformed the way male ballet dancers drive a story. It's considered a dream role for a male dancer. And with seven pas de deux with five different women, a deadly difficult one at that.
Driving Houston Ballet's Mayerling train is principal Connor Walsh, who nearly missed this opportunity to dance the part when Hurricane Harvey flooded Houston Ballet's theatrical home, Wortham Center. Now moved to the Hobby Center for the Performing Arts and back in rehearsal, Walsh took a break from his busy schedule to talk about the role of a lifetime.
Have you ever felt like your relationship to dance is something of an addiction? Not to worry, that's completely normal—it's simply the way our brains are wired.
This week, The Washington Post published an intriguing feature that looks at the science of what actually goes on upstairs when we're watching a live performance. The insight comes from the emerging field of neuroaesthetics, which uses tools like brain imaging to study the relationship between art and the brain.
Here are some of the most fascinating takeaways: