How Could the Audition Process be Better for Dancers—and for Hiring Teams?

February 3, 2025

With more talented dancers competing for fewer jobs, audition season has become a gauntlet of overcrowded open calls and time-consuming self-tapes. Could auditions be more productive and less painful, for performers and hiring teams alike? A group of high-level performers and choreographers weigh in on their biggest audition issues—and offer solutions.

The Application Phase

Many companies and casting directors now ask for an application package, including video clips, before inviting dancers to audition in person. There are benefits to a self-tape first round. “You can pick combinations that highlight your skills,” says Pacific Northwest Ballet principal Cecilia Iliesiu, who also mentors pre-professional dancers and advises ballet schools through her consulting business, Ballet Life Coach. “You can choose your best take. You wouldn’t have that opportunity in a live class.”

Alex Meeth and Joslin Vezeau rehearsing in studio. They stand side by side with their arms interlocked as the look upwards
Mark Morris Dance Group’s Alex Meeth (front) and Joslin Vezeau. Photo by Christopher Duggan, Courtesy MMDG.

Despite those perks, the emphasis on self-tapes “hasn’t really made life easier,” because companies may all need to see different things, says Alex Meeth, a 2022 Boston Conservatory at Berklee graduate who recently joined Mark Morris Dance Group. “If you’re doing your homework, you want to send clips that speak to a company’s style and rep,” Meeth explains. “It creates a lot of work, coming up with new material for each audition.” Dancers may also have to rent studio space to film, and work around existing rehearsal and performance schedules.

Iliesiu’s dream to streamline the process in the ballet world? “I would love to see something like the common application for college,” she says. “Companies agree on elements they want to see, and dancers submit one set of materials.” If directors need to see something unique, such as contemporary rep in a certain style, she proposes making that an add-on. While this exact tactic might not work in all genres, hiring teams across the board can pay more heed to the burdens audition applications place on performers.

In the Room

Open-call turnout is as robust as ever, and even “invite-only” auditions can be unpleasantly crowded. Ballet RI apprentice Maya Sprague recalls applying to audition for a European company and believing she was one of a small cohort moving on to the in-person round. “When I got there, there were 300 people in the room!” she says.

Overcrowded auditions make it hard for dancers to be seen—and hard for directors and choreographers to ensure that they’re making the best choices. One possible solution? “I would love to see organizations willing to spend more money to host more audition days,” says musical theater choreographer Al Blackstone. “It would result in a better culture as well as better work, because we would be more thoroughly investigating the performers that come in.”

Greater transparency about what’s being looked for could also reduce crowding. “Someone might be incredible, but simply not right for a particular job,” says commercial choreographer Mandy Moore. “My goal is to have the right people in the audition room.”

And in concert dance, “Companies usually know what kind of dancer they’re looking for,” Meeth says. He recalls being the shortest dancer at one audition, and later learning that the company wanted a tall man. “I was still happy I showed up,” he says, “but when you really need a job, that situation is not ideal.”

Al Blackstone sitting on the floor while watching dancers in class
Al Blackstone. Photo by James Jin, Courtesy Blackstone.

Sprague adds that companies may not share how many spots are available—or whether they’re paid positions or pre-professional, tuition-based opportunities. If this information is disclosed up front, dancers can make informed audition decisions.

On the other hand, young dancers are often advised to go to as many auditions as possible. Showing your face, even when you know you’re not perfect for a gig, can sometimes pay off down the line. (Blackstone says he makes note of dancers he isn’t able to hire for this show, in case he can use them in the future.) Meanwhile, if casting calls get too specific, companies risk excluding or discriminating against qualified performers. Still, by making their needs more transparent, hiring teams could remove a potential pain point from the audition process.

The Costs

In a perfect world, “auditions would be free,” Meeth says. Yet audition fees remain fairly common. Auditioning dancers also often incur travel expenses, and they may have to take time off work. While self-tape applications have negated some costs, “Money is a barrier,” Iliesiu says. “Decisions have to be made based on what you can afford.”

Some organizations also hold workshops immediately before open auditions. “Are the people who do the intensive getting a leg up, just because they can pay?” asks Meeth. Instead of pre-audition, pay-to-attend intensives, he suggests offering more open company classes and short intensives throughout the year: “Provide opportunities for dancers to introduce themselves to you. Build a community.”

Moore teaches master classes whenever her schedule allows. Blackstone is also a frequent master teacher—though he notes that the classroom and the audition room are two very different environments. Still, if dancers could put more money toward training and networking and less toward auditions alone, it would be a welcome change.

The Network Effect

Maya Sprague en pointe wearing baggy shorts and a crop top while dancing in a dimly lit space
Ballet RI apprentice Maya Sprague. Photo by Tony Abello, Courtesy Sprague.

Even if these problems were resolved, would auditioning still be as much about who you know as how you perform? Possibly. The dance world is small, and relationships do matter. If a director knows and trusts you (or knows and trusts someone you’ve worked with), that can give you an edge over a dancer who’s an unknown quantity. And that’s all the more reason to devote time and effort to growing your network.

“It’s a myth that we all should be in competition with each other,” Meeth says. “We’re a community. A win for one is a win for all.” That mindset definitely applies to improving the audition process: Removing unnecessary barriers benefits performers and hiring teams alike.

To Self-Tape, or Not to Self-Tape?

What if an audition is an in-person open call—with the option to self-tape instead? “It is so valuable to be in the room, to learn directly from the choreographer and to be seen,” says musical theater choreographer Al Blackstone. “Also, auditioning is a skill; it requires time and practice to be able to do it well.”

“I’m a big fan of getting to know people and understanding them in the room,” says commercial choreographer Mandy Moore. “It’s much harder to do that with a video.” She adds that self-tapes may be saved for after the in-person audition—meaning your submission may not be watched with fresh, receptive eyes (if it gets watched at all). If you genuinely can’t attend an audition for a dream gig, send that self-tape. Otherwise, you’re probably better served by going to the open call.

Social Status Quo

The social media landscape may be constantly evolving, but as a tool for self-promotion, it isn’t going anywhere. During the audition process—especially if you’re interested in commercial work—“Instagram is your resumé,” says Courtney Saffold, who’s currently dancing for Disney Cruise Line. Your profile should represent you as a dancer as well as a person. If you’re going after a certain type of role, show yourself in that light.

Concert dancers can use social media strategically too. Highlight styles and roles that reflect your career goals. Present yourself as someone people will want to work with. And, of course, whatever genre you’re in, use social media to network with your peers. Supporting each other during this tough time can make all the difference.