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The Waiting Game
You’ve been wait-listed to the summer intensive of your dreams. Now what?
Springboard Danse Montréal accepted 45 dancers from its waitlist last year. Photo by Michael Slobodian, courtesy Springboard Danse.
You’ve found the perfect summer program. You audition, and wait weeks for the fated acceptance or rejection letter. An envelope with your dream school’s logo arrives. You excitedly rip it open to find that you’ve been…wait-listed. Your ideal intensive, that just seconds ago seemed within reach, has now slipped away. Or has it?
Few feelings are more frustrating than being placed on the waitlist. What exactly went wrong? Should you follow up or ask for another chance? Or should you make a commitment to your second choice? Ultimately, how you handle yourself while in limbo can make a lasting impression.
A Numbers Game
Most summer programs accept more dancers than they have spots for, knowing that some students will go elsewhere. Waitlists ensure they’re not left with empty barre space. Some programs never touch the waitlist, while others may extend an offer to nearly everyone, and most schools’ dependence on the list changes each year. Lack of space is the number-one reason a qualified dancer is wait-listed. It’s also a spot for dancers that the audition panel feels may not be as strong technically, but they see something special in.
Patel Conservatory in Tampa, Florida, aims to have 300 students attend its Next Generation Ballet Summer Intensive each year. After seeing more than 600 dancers on a 25-city audition tour (plus year-round Patel students), around 500 dancers are admitted. Seventy to 80 end up on the waitlist. Instead of first come, first served, dancers on Patel’s list are divided by level, then carefully ranked. “We want to make sure each of our levels have relatively even numbers,” says Patel’s dance department manager Claire Florio, who adds that dancers in later audition cities are more likely to be wait-listed if their level is already full. “Auditioning as early as possible certainly can’t hurt.”
Springboard Danse Montréal, a three-week program that connects advanced dancers with choreographers, has to be even more specific when letting dancers off the waitlist—they’re not just filling class levels, but casting performances, too. The program typically has 110 available spots. When one is given up, it needs to be filled with a dancer similar to the original. “If I lose a guy who’s amazing at partnering, I’m not going to replace him with a guy who can’t lift,” says artistic director Alexandra Wells, who pulled 45 dancers, of about 60 total, off the waitlist last year.
Increase Your Chances
Your first instinct when wait-listed may be to ask for another shot. But Alexei Kremnev, artistic director of The Joffrey Academy of Dance in Chicago, says this can only sometimes help sway your odds. “Dancers can contact our staff and we’ll decide if a reevaluation should be allowed,” says Kremnev. (Joffrey accepts 6 to 12 dancers from a waitlist of about 120 each year.) “But if you’re given that second chance, make sure you’re ready for it.” Ultimately, re-auditioning is only helpful if something went completely awry the first time, like sickness or injury.
Being wait-listed is not a rejection—it means you’ve already proven you’re a strong dancer. Stay on the program’s radar and let them know they’re still on yours. “The majority of dancers never even respond to our initial email that tells them they’re wait-listed, which is not a good idea,” says Wells, who recommends a response that does more than just state your interest. “We want dancers who have done their research and can explain why our program suits them, instead of someone who says, ‘I’m still free.’ ”
After your first email or call, occasional follow-ups are warranted. “Showing that you’re enthusiastic is always a positive,” Florio says. “With that said, sending an email every day will overwhelm our staff. If we let you know the date you’ll hear back, you don’t need to continue asking about it before then.”
Down to the Wire
You may be forced to put down a deposit for another program before you’ve heard back from your number-one choice. In this case, reach out to your dream program and explain your situation. Patel will let dancers know where they stand on the waitlist. Before agreeing to the other program, ask for a deadline extension, and check the deposit-refund policy. If you do choose another program, it’s a nice gesture to contact your wait-list school and tell them you’d like to remove your name.
Joffrey may continue accepting students from the waitlist up to two weeks after its own registration deadline, which means many dancers will have already chosen other programs. But Kremnev doesn’t recommend backing out once you’ve paid a deposit, since you’re unlikely to get that money back. “Focus on learning as much as you can wherever you end up,” he says, “because any summer program can have a positive impact on your career.”
Wells agrees: “Just tell us, ‘I am so disappointed, but I’ve already agreed to something else.’ If you made it this far, we like you, and you can likely come back to us next year. The dance world is a small family, and we’ll remember a dancer who’s not only talented, but is smart, professional and sticks to her commitments.”
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.