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?
The Radio City Rockettes in their new finale costumes. Photo courtesy of MSG.
Given how regimented the Radio City Rockettes are, from their precise kick lines to their Christmas Spectacular season show schedule (which can include up to four performances a day), it's no surprise they're just as strict with their skincare routines. After all, sweating in stage makeup six days a week can cause dryness and breakouts for even the most easygoing skin types. We caught up with Rockettes Alyssa Lemons and Nina Linhart for all of their tried-and-true skincare picks.
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.
Dancers often make the best chefs. Photo by Quinn Wharton
Tired of the typical turkey and stuffing? For Thanksgiving this year, try something different with these personal recipes that dancers have shared with Dance Magazine. The ingredients are packed with dancer-friendly nutrients to help you recover from rehearsals and fuel up for the holiday performances ahead.
If anyone raises an eyebrow at your unconventional choices, just remind them that dancers are allowed to take some artistic license!
Gaga teacher Amy Morrow says investigative styles can help any dancer. PC Ascaf Avraham
In today's dance world, it seems to go without saying: The more varied the training, the better. But is that always the case? Rhonda Malkin, a New York City–based dance coach who performed with the Radio City Rockettes, thinks trendy contemporary techniques that emphasize improvisation and organic movement quality are detrimental to the precision and strength needed to be a Rockette, in a traditional Broadway show or on a professional dance team. Her view is controversial: "If you really want to work, making $40,000 in three months for the Rockettes or $25,000 in one day filming a commercial, you need ballet, Broadway jazz, tap, hip hop—not contemporary," she says.
On the flip side, techniques that allow dancers more freedom may help them connect more deeply with their body and artistry, while providing release for overused muscles. We broke down the argument for both sides:
Never underestimate the beauty of a super-straight line.
We all know the name of The Rockettes' game is precision. But I didn't know exactly how precise until I stepped into a rehearsal for the
Radio City Christmas Spectacular last week. Director Julie Branam led the hour-long practice of the "New York at Christmas" number for 80 Rockettes, clad in black spandex and shiny La Ducas.
How do they become a kick line of perfection?
Precise legs: The Rockettes' battements are to eye level—no higher, no lower.
Staying together: Often, Branam would remind the dancers of not just the downbeats and other big musical markers, but the ands. The Rockettes count out the in-between movements, like at what count the knee should bend to the chest before it extends for a kick.
It's all about the photo opp: Counts are called so that the full picture is already realized on the count, every so slightly ahead of the music, sort of like how it is in Balanchine training.
Lots of floor markers: There are what seems like hundreds of numbers and lines taped off on the floor, marking where each dancer should stand and where they should meet at any given moment. It's sort of like when you mark your space on stage using center stage/half stage or figure out where you should be based on the marley tape—but way more precise.
Angles are everything: I noticed that most of the facings for the hips and shoulders were pretty simple. Maybe their hips were flat forward, but their shoulders were twisted flat to the side. It made things crisper, but it also called for a lot of flexibility in the upper back. The idea that you were stuck "between two panes of glass" was called out a lot.
The eyes say it: Sure, legs are important. But the focus is where it comes together. Branam and her team reminded dancers where they should be looking, using the second or third mezzanine for reference.
The
Radio City Christmas Spectacular will run November 13–January 3. Until then, check out this behind-the-scenes clip of the "New York at Christmas" number we took during rehearsal.
