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3 Directors on How to Ace Your Audition Interview
Even if you make it through to the final round of an audition, that doesn't mean that you're guaranteed a spot on the roster. Before handing out contracts, many companies also require prospective dancers to complete an interview with staff. How can you impress your potential employer with your words as much as your dancing? Three artistic directors weigh in on what matters most.
Dorothy Gunther Pugh, Ballet Memphis
Ballet Memphis in Gabrielle Lamb's Manifold. Photo by Andrea Zucker, Courtesy Ballet Memphis
What do you cover in a typical interview?
"In the studio, I'm already watching closely for how well you pay attention, how you handle your nerves, and are you polite to the rest of the dancers. So, by the time you're sitting down with me in my office, I just want us to get to know each other. I want to see you look me in the eye, be curious and listen. (I might have questions about someone who just can't stop talking.) But I also want to know what you like about your hometown, what drew you to our company, and who you are when you're at ease. Remember that you're interesting to me!"
Colin Connor, Limón Dance Company
Photo by Juan José Escalante, Courtesy Limón Dance Company
What kinds of responses are red flags that a dancer wouldn't be a good fit for your company?
"I think a lot of dancers assume it's bad if they're not extroverted, but I'm happy to hire someone quiet. Do show me you can articulate what you love, because that's what you end up drawing from as an artist. I see a red flag when it sounds like someone has a lot of scheduling conflicts and previous commitments but still insists she can commit to us. I understand that working with other choreographers might be the only way you can survive, but being overextended is not a healthy way to function. You really have to be transparent in the interview about the obligations you do have, so I can be up front about whether it's possible to work with you."
Patricia Barker, Grand Rapids Ballet
Photo by Michael Auer, Courtesy Grand Rapids Ballet
How can a prospective dancer prepare?
"I don't want to be asked how many performances we do or which choreographers we work with. A great way to prove you've done your research is to say, 'I see Robyn Mineko Williams is choreographing this season. I was able to work with her in one of my summer programs.' That draws my attention to something I may have missed on your resumé, and now I know that I can touch base with her about that experience."
One of the biggest myths about ballet dancers is that they don't eat. While we all know that, yes, there are those who do struggle with body image issues and eating disorders, most healthy dancers love food—and eat plenty of it to fuel their busy schedules.
Luckily for us, they're not afraid to show it:
Looking for your next audition shoe? Shot at and in collaboration with Broadway Dance Center, Só Dança has launched a new collection of shoes working with some pretty famous faces of the musical theater world! Offered in two different styles and either 2.5" or 3" heels, top industry professionals are loving how versatile and supportive these shoes are! Pro tip: The heel is centered under the body so you can feel confident and stable!
When I wrote about my struggle with depression, and eventual departure from dance because of it, I expected criticism. I was prepared to be challenged. But much to my relief, and horror, dancers from all over the world responded with support and stories of solidarity. The most critical response I saw was this one:
"Dance isn't for everyone."
This may as well be a mantra in the dance world. We have become entrenched in the Darwinian notion that the emotionally weak will be weeded out. There is no room for them anyway.
Growing up in a family-owned dance studio in Missouri had its perks for tap dancer Anthony Russo. But it also earned him constant taunting, especially in high school.
"There was a junior in my sophomore year health class who was absolutely relentless," he says. "I'd get tripped on my way to the front of the classroom and he'd say, 'Watch out, twinkle toes.' If I raised my hand and answered a question incorrectly, I'd hear a patronizing 'Nice one, Bojangles.' "
What does a superstar like Carlos Acosta do after bidding farewell to his career in classical ballet? In Acosta's case, he returns to his native country, Cuba, to funnel his fame, connections and prodigious energies back into the dance scene that formed him. Because of its top-notch, state-supported training programs and popular embrace of the art of dance, Cuba is brimming with talented dancers. What it has been short on, until recently, are opportunities outside of the mainstream companies, as well as access to a more international repertoire. That is changing now, and, with the creation of Acosta Danza, launched in 2016, Acosta is determined to open the doors even wider to new ideas and audiences.
There's so much more to the dance world than making and performing dances. Arts administrators do everything from raising money to managing companies to building new audiences. With the growing number of arts administration programs in colleges, dancers have an opportunity to position themselves for a multifaceted career on- or offstage—and to bring their unique perspective as artists to administrative work.
While Solange was busy helping big sis Beyoncé give Coachella its best performances of all time, an equally compelling project was quietly circulating on Instagram:
New York City Ballet continues its first year without Peter Martins at the helm as our spring season opens tonight.
When he retired at the start of the new year, we plunged headfirst into unknown, murky waters. Who would the new director be? When would we know? Would we dancers get some say in the decision? Who would oversee the Balanchine ballets? Who would be in charge of casting? Would a new director bring along huge upheaval? Could some of us be out of a job?
In the world of ballet, Arcadian Broad is a one-stop shop: He'll come up with a story, compose its music, choreograph the movement and dance it himself. But then Broad has always been a master of versatility. As a teenager he juggled school, dance and—after the departure of his father—financial responsibility. It was Broad's income from dancing that kept his family afloat. Fast-forward six years and things are far more stable. Broad now lives on his own in an apartment, but you can usually find him in the studio.
Bales of hay, black umbrellas, bicycles—this Midsummer Night's Dream would be unrecognizable to the Bard. Alexander Ekman's full-length, inspired by Scandinavian solstice traditions and set to music by Mikael Karlsson, is a madcap celebration of the longest day of the year, when the veil between our world and that of the supernatural is said to be at its thinnest. The Joffrey Ballet's performances mark the seductively surreal work's North American premiere. April 25–May 6. joffrey.org.