The Rockettes are officially looking for some fresh faces. For the first time in almost a decade, the Christmas Spectacular at Radio City Music Hall is expanding its yearly open call in New York City to add audition locations in Chicago and Atlanta. The creative team wants to widen the pool and reach even more dancers.
So how can you get chosen out of hundreds of hopefuls?
Juliet Doherty looking out from the Radio City Music Hall stage
A list of Clara alumnae from Radio City's Christmas Spectacular reads like a star-studded, international gala program: Tiler Peck and Brittany Pollack of New York City Ballet (and Broadway), Meaghan Grace Hinkis of The Royal Ballet, Whitney Jensen of Norwegian National Ballet and more. Madison Square Garden's casting requirements for the role are simple: The dancer should be 4' 10" and under, appear to be 14 years old or younger and have strong ballet technique and pointework.
The unspoken requisite? They need abundant tenacity at a very young age.
She had a varied, flourishing career that included dancing for Lar Lubovitch, touring with the Bad Boys of Dance, and performing at Radio City Musical Hall and in Broadway shows. But Kamille Upshaw really wanted to make Mean Girls happen.
Not because she'd known Reginas or Plastics in high school—at Baltimore School for the Arts, her classmates were too busy pursuing dance, music, or other "artsy things" to form the obnoxious cliques that Lindsay Lohan experiences in the movie. But when the teen comedy by "Saturday Night Live" giants came out in 2004, Upshaw and her friends watched Mean Girls over and over and over. It was "an obsession," she says.
Josh Groban and the cast of Natasha, Pierre & The Great Comet of 1812. PC Chad Batka, courtesy of Matt Ross PR
I first got hooked on Broadway musicals as a preteen at Gypsy, with its tapping moppets, gyrating burlesque queens and Tulsa, the dancing heartthrob. I've been going ever since, but Dance Magazine has been at it even longer.
The 1926-27 Broadway season was just ending when DM began publication, and of its 200-plus shows, dozens were new musicals. One, a Ziegfeld revue called No Foolin', listed more than 80 performers. Such huge ensembles of dancers and singers were common, whether in revues, operettas or musical comedies.
And why not? The '20s were roaring, and Broadway was flush. But that wasn't the only difference between then and now. Dance in the theater was only tangentially related to a show's content. It was window dressing—however extravagant, it remained mere entertainment.