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Want to Be a Better Auditioner? Reframe Your Approach with These 4 Steps
In 2012, freelance contemporary dancer Adrianne Chu made a major career change: She decided to try out for A Chorus Line. "Even though I didn't get the job, I felt like I was meant to do this," says Chu. So she started going to at least one musical theater audition every weekday, treating each as a learning experience. After several years of building up her resumé, Chu's practice paid off: She booked a starring role as Wendy in the first national tour of Finding Neverland.
Approaching auditions as learning opportunities, especially when you're trying to break into a different style or are new to the profession, can sharpen your skills while helping you avoid burnout. It also builds confidence for the auditions that matter most.
Shift Your Mind-Set
Cultivate the skills you need for auditions in class. Photo Courtesy Patel Conservatory.
Start by treating familiar classes like auditions, suggests Dr. Elena Estanol, psychologist and co-author of Dance Psychology for Artistic and Performance Excellence. Focus on the skills you will need, like expression, performance and ability to learn material as quickly as possible. When you arrive at an actual audition, think of it as class in a slightly different environment.
"The key is to adopt a growth mind-set, meaning that every experience is an opportunity for learning, rather than an event in which you have to prove yourself," says Estanol. "See auditions as a chance to showcase your skills and talents, see other dancers, and be exposed to new choreography and styles of teaching."
Learn from Your Competition
Absorb helpful information from your fellow auditioners. Photo by Jim Lafferty.
It's okay to ask your fellow auditioners for tips and extra information. It may seem counterintuitive, because technically they are your competition. However, Dr. Kate Hays, a psychologist who works with dancers and athletes, says that if you feel comfortable, engaging with your peers may help you feel more positively about auditioning. Plus, other dancers may know more about what a certain choreographer likes, or be able to tell you whether to expect rapid-fire cuts. "You make friends, and you take a piece of information from each person," says Chu. "Everyone in the waiting room has a different puzzle piece."
Set Specific Goals
Before Adrianne Chu landed the role of Wendy in Finding Neverland's tour, she familiarized herself with the choreography. Photo Courtesy Chu.
Have a goal in mind separate from whether or not you book the gig: If you are new to cattle calls, for instance, use the audition to get accustomed to being part of a big group. Or, simply familiarize yourself with the choreography of a particular show or a company's repertory. Before Chu was cast as Wendy, she was already familiar with the Finding Neverland choreography because she had been to previous open calls for the show. Auditions may also give you rare access to high-profile choreographers, so relish these opportunities to learn directly from them.
Think It Through
Keep a journal about your audition experiences. Photo by Lisa Fotios/StockSnap.
Reflecting on your performance after an audition is perhaps the most important part of turning it into a constructive experience. "Make sure you don't do this right after," says Hays. "All you'll be able to think about is how you screwed up." Instead, wait at least a few hours, and then ask yourself: What did I do well, what would I do differently in the future, and what did I learn? Estanol recommends keeping a journal to record these thoughts. This will allow you to track your progress over time, and remind you of insights that may ultimately lead to a job
When Rachel Hamrick was in the corps of Universal Ballet in Seoul, her determination to strengthen her flexibility turned into a side hobby that would eventually land her a new career. "I was in La Bayadere for the first time, and I was the first girl out for that arabesque sequence in The Kingdom of the Shades," she says. "I had the flexibility, but I was wobbly because I wasn't stretching in the right way. That's when I first started playing around with the idea of the Flexistretcher. It was tied together then, so it was definitely more makeshift," she says with a laugh, "But I trained with it to help me get the correct alignment so that I would have the strength to sustain the whole act."
Now, Hamrick is running her own business, complete with an ever-growing product line and her FLX training method—all because of her initial need to make it through 38 arabesques.
For the new Broadway season, Ellenore Scott has scored two associate choreographer gigs: For Head Over Heels, which starts previews June 23, Scott is working with choreographer Spencer Liff on an original musical mashing up The Go-Go's punk-rock hits with a narrative based on Sir Philip Sidney's 1590 book, Arcadia. Four days after that show opens, she'll head into rehearsals for this fall's King Kong, collaborating with director/choreographer Drew McOnie and a 20-foot gorilla.
Scott gave us the inside scoop about Head Over Heels, the craziness of her freelance hustle and the most surprising element of working on Broadway.
Dance in movies is a trend as old as time. Movies like The Red Shoes and Singin' in the Rain paved the way for Black Swan and La La Land; dancing stars like Gene Kelly and Ginger Rogers led the way for Channing Tatum and Julianne Hough.
Lucky for us, some of Hollywood's most incredible dance scenes have been compiled into this amazing montage, featuring close to 300 films in only seven minutes. So grab the popcorn, cozy on up, and watch the moves that made the movies.
Broadway musicals have been on my mind for more than half a century. I discovered them in grade school, not in a theater but electronically. On the radio, every weeknight an otherwise boring local station would play a cast album in its entirety; on television, periodically Ed Sullivan's Sunday night variety show would feature an excerpt from the latest hit—numbers from Bye Bye Birdie, West Side Story, Camelot, Flower Drum Song.
But theater lives in the here and now, and I was in middle school when I attended my first Broadway musical, Gypsy—based, of all things, on the early life of the famed burlesque queen Gypsy Rose Lee. I didn't know who Jerome Robbins was, but I recognized genius when I saw it—kids morphing into adults as a dance number progresses, hilarious stripping routines, a pas de deux giving concrete shape to the romantic yearnings of an ugly duckling. It proved the birth of a lifelong habit, indulged for the last 18 years in the pages of this magazine. But all long runs eventually end, and it's time to say good-bye to the "On Broadway" column. It's not the last of our Broadway coverage—there's too much great work being created and performed, and you can count on hearing from me in print and online.
If you want to know how scary the AIDS epidemic was in the 1980s, come see Ishmael Houston-Jones' piece THEM from 1986. This piece reveals the subterranean fears that crept into gay relationships at the time. Houston-Jones is one of downtown's great improvisers, and his six dancers also improvise in response to his suggestions. With Chris Cochrane's edgy guitar riffs and Dennis Cooper's ominous text, there's an unpredictable, near-creepy but epic quality to THEM.
What is the right flooring system for us?
So many choices, companies, claims, endorsements, and recommendations to consider. The more you look, the more confusing it gets. Here is what you need to do. Here is what you need to know to get the flooring system suited to your needs.
This time last year, Catherine Conley was already living a ballet dancer's dream. After an exchange between her home ballet school in Chicago and the Cuban National Ballet School in Havana, she'd been invited to train in Cuba full-time. It was the opportunity of a lifetime, and one that was nearly unheard of for an American dancer. Now, though, Conley has even more exciting news: She's a full-fledged member of the National Ballet of Cuba's corps de ballet.
"In the school there were other foreigners, but in the company I'm the only foreigner—not just the only American, but the only non-Cuban," Conley says. But she doesn't feel like an outsider, or like a dancer embarking on a historic journey. "Nobody makes me feel different. They treat me as one of them," she says. Conley has become fluent in Spanish, and Cuba has come to feel like home. "The other day I was watching a movie that was dubbed in Spanish, and I understand absolutely everything now," she says.
Chantel Aguirre may call sunny Los Angeles home, but the Shaping Sound company member and NUVO faculty member spends more time in the air, on a tour bus or in a convention ballroom than she does in the City of Angels.
Aguirre, who is married to fellow Shaping Sound member Michael Keefe, generally only spends one week per month at home. "When I'm not working, I'm exploring," Aguirre says. "Michael and I are total travel junkies."
Akram Khan and Florence Welch (of Florence + The Machine) is not a pairing we ever would have dreamt up. But now that the music video for "Big God" has dropped, with choreography attributed to Khan and Welch, it seems that we just weren't dreaming big enough.
In the video, Welch leads a group of women standing in an eerily reflective pool of water. They seem untouchable, until they begin shedding their colorful veils, movements morphing to become animalistic and aggressive as the song progresses.
Savannah Lowery is about as well acquainted with the inner workings of a hospital as she is with the intricate footwork of Dewdrop.
As a child, the former New York City Ballet soloist would roam the hospital where her parents worked, pushing buttons and probably getting into too much trouble, she says. While other girls her age were clad in tutus playing ballerina, she was playing doctor.
"It just felt like home. I think it made me not scared of medicine, not scared of a hospital," she says. "I thought it was fascinating what they did."
It can be hard to focus when Alice Sheppard dances.
Her recent sold-out run of DESCENT at New York Live Arts, for instance, offered a constellation of stimulation. Onstage was a large architectural ramp with an assortment of peaks and planes. There was an intricate lighting and projection design. There was a musical score that unfolded like an epic poem. There was a live score too: the sounds of Sheppard and fellow dancer Laurel Lawson's bodies interacting with the surfaces beneath them.
And there were wheelchairs. But if you think the wheelchairs are the center of this work, you're missing something vital about what Sheppard creates.
A Jellicle Ball is coming to the big screen, with the unlikeliest of dancemakers on tap to choreograph.
We'll give you some hints: His choreography can aptly be described as "animalistic," though Jellicle cats have never come to mind specifically when watching his hyper-physical work. He's worked on movies before—even one about Beasts. And though contemporary ballet is his genre of choice, his choreography is certainly theatrical enough to lend itself to a musical.