Auditions

8 Thoughts Every Dancer Has During an Audition

Whether it's your first time jumping into the audition scene or you have hundreds of crinkled numbers to prove you're a seasoned pro, having a panel of judges eyeing your every move makes everyone's mind race a little.

Here are eight thoughts you're bound to have when you step into the studio for an audition.


1. Who has my lucky number?

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You may not be superstitious, but your développé is definitely a little higher when number 11 is pinned to your leotard. If you didn't get a chance to snag it at the registration table, chances are you'll be surveying the room during pliés to figure out who scored your lucky number.

2. Please, please don't let my tights run.

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Whether your tights are brand-new or you're wearing your favorite reliable pair, the last thing you want to see is a run when you glimpse in the mirror.

3. Smile! Wait, not too much.

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Not only do you have to worry about showing your rock-solid technique, but you also have to make it look enjoyable. It takes practice to strike that delicate balance between "I'm having fun" and "I might follow the director home."

4. Are they looking at me?

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It's been half an hour, and it doesn't seem like the director has even glanced in your direction. But as soon as you wobble during a penché, suddenly all eyes are on you. Couldn't they watch later when you're bound to jump higher than LeBron James during grand allegro?

5. Nope, I definitely didn't catch that combo.

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Normally, picking up combinations isn't a problem for you, but between the intimidating looks from the panel and the thick crowd of dancers marking in front of you, sometimes it just doesn't happen. Time to slide toward the back and hope another group goes before yours.

6. Wow, she's GOOD.

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When the dancer in front of you nails eight pirouettes and stays on the music, you might feel like packing up your dance bag and calling it a day, but don't let thoughts like this distract you. For all you know, someone else could be standing on the side thinking the same thing about you!

7. This is the fastest petit allegro I've ever done.

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Is this combo designed to assess your technique or simply give the judges a good laugh? Either way, just be happy you didn't trip over your feet.

8. Just tell me if I got it already.

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You made it through the audition, but every dancer knows the worst part comes after you take off your number. At least you can ice your feet while you obsessively refresh your email.

In Memoriam
Alicia Alonso with Igor Youskevitch. Sedge Leblang, Courtesy Dance Magazine Archives.

Her Dying Swan was as fragile as her Juliet was rebellious; her Odile, scheming, her Swanilda, insouciant. Her Belle was joyous, and her Carmen, both brooding and full-blooded. But there was one role in particular that prompted dance critic Arnold Haskell to ask, "How do you interpret Giselle when you are Giselle?"

At eight, Alicia Alonso took her first ballet class on a stage in her native Cuba, wearing street clothes. Fifteen years later, put in for an ailing Alicia Markova in a performance of Giselle at New York's Metropolitan Opera House, she staked her claim to that title role.

Alonso received recognition throughout the world for her flawless technique and her ability to become one with the characters she danced, even after she became nearly blind. After a career in New York, she and her then husband Fernando Alonso established the Cuban National Ballet and the Cuban National Ballet School, both of which grew into major international dance powerhouses and beloved institutions in their home country. On October 17, the company announced that, after leading the company for a remarkable 71 years, Alonso died from cardiovascular disease at the age of 98.

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William Forsythe is bringing his multi-faceted genius to New York City in stripped down form. His "Quiet Evening of Dance," a mix of new and recycled work now at The Shed until October 25, is co-commissioned with Sadler's Wells in London (and a slew of European presenters).

As always, Forsythe's choreography is a layered experience, both kinetic and intellectual. This North American premiere prompted many thoughts, which I whittled down to seven.

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"Law & Order: SVU" has dominated the crime show genre for 21 seasons with its famous "ripped from the headlines" strategy of taking plot inspiration from real-life crimes.

So viewers would be forgiven for assuming that the new storyline following the son of Mariska Hargitay's character into dance class originated in the news cycle. After all, the mainstream media widely covered the reaction to Lara Spencer's faux pas on "Good Morning America" in August, when she made fun of Prince George for taking ballet class.

But it turns out, the storyline was actually the idea of the 9-year-old actor, Ryan Buggle, who plays Hargitay's son. And he came up with it before Spencer ever giggled at the word ballet.

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As a dietitian specializing in dance nutrition, the most common DM flooding my inbox is "How can I drop pounds (specifically from body fat) and gain muscle?"

The short answer? Not happening.

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