Yes, It Is Possible to Work Full Time and Be A Professional Dancer
Few dancers are able to make a comfortable living from their creative pursuits alone. Many rely on non-dance freelance work or multiple part-time gigs, fearing that a full-time job would take too much time away from their dancing. However, plenty of artists manage to balance full-time day jobs with fulfilling dance careers, opting for the security, benefits and opportunity to learn new skills.
McMullan works at an engineering firm and performs with two companies. Photo by Stephen Delas Heras, courtesy McMullan
Her dance gigs: This fourth-generation Isadora Duncan dancer performs with Dances by Isadora and Dance Visions NY.
Her day job: McMullan works at a large structural engineering firm in Manhattan. She oversees the company's research and development initiatives, handles internal marketing and communications, and plans large-scale events. She works roughly 40 hours per week and receives benefits, including health insurance and a 401(k).
How she makes it work: She rehearses mostly on the weekends, and if she needs to leave work early on occasion to go to a performance or rehearsal, she's able to communicate with her colleagues to make it work. "I've been super-honest with my boss and company. They all know I'm a dancer, and they're supportive of that," she says.
Pros and cons: "The biggest sacrifice is missing out on intensives or going to technique classes in the middle of the day," McMullan says. On the other hand, the job has allowed her to travel within the U.S. and abroad, and gives her the security of knowing she will always be able to pay her rent.
Dealing with doubters: "I have had a lot of people criticize me for having a 9-to-5. They call my dance career a hobby," she says. "That stereotype irks me. You learn so much from dance that you can implement in other places. And dancers shouldn't shy away from doing that."
Schreier rehearsing Contra with Ballet Hispánico's Dandara Veiga and Chris Bloom. Photo by Dmitry Beryozkin, courtesy Schreier
Her dance gigs: Schreier is a contemporary ballet choreographer whose upcoming projects include commissions from Dance Theatre of Harlem and the ABT Studio Company.
Her day job: She worked at Alvin Ailey American Dance Theater for seven years as a marketing assistant and later as manager of editorial content. Her responsibilities included social media content creation, advertising and branding strategy; editorial and creative direction; and contributing to two website redesigns.
Worlds colliding: "For over six years, no one at my job knew I was choreographing," Schreier says. That changed when she won the Breaking Glass Project's choreography competition in 2014. The prize was an evening-length performance at the Ailey Citigroup Theater. "I took a week of vacation to rehearse, but I was still renting studio space in the building. I would walk in, say hi to my co-workers, and then go to the studio instead of the office," she says.
Saying good-bye: By the end of Schreier's time at Ailey in 2017, she was using all of her vacation days for dance. She left to enter a semester-long, full-time fellowship at the Center for Ballet and Arts at NYU. Schreier has been paying the bills with choreography and the support of donors ever since.
Her advice: Use skills from your full-time gig to enrich your dance career. Working for Ailey taught Schreier how to manage the business of being a choreographer. "I don't think I would be where I am without that experience," she says.
Rogovoy took a full-time gig after finding that the freelance life didn't work for her. Photo by Kathryn Butler, courtesy Rogovoy
Her dance gigs: Rogovoy is a choreographer and freelance performer. Most recently, she performed a solo two years in the making at New Dance Alliance's Performance Mix Festival, and she will appear in a new work by Mina Nishimura in December at Gibney.
Her day job: She manages an independent toy shop in Brooklyn, working roughly 35 hours per week, Tuesday through Saturday. The job does not include benefits, but it does have some flexibility. She comes in late twice per week, using the free mornings to take class, and usually schedules rehearsals on her days off from the store.
Why dance admin jobs didn't work: Rogovoy used to do part-time or project-based work in arts administration and company management, but found she either wasn't making much money or was going on lengthy, demanding tours. "Those long days were often in a theater, close to dance, but very much on the sidelines in a way that I ultimately found frustrating," she says.
Why she went full-time: "It took me a long time to accept that the freelance hustle doesn't work for me," she says. "I wasn't able to be the person and artist I wanted to be while I was scrambling from gig to gig."
Lessons learned: Rogovoy still uses the skills she learned as a dance company manager. "I haven't completely left that kind of work," she says. "I've just made myself my main client."
Jennifer Kahn knew the theater industry could do better. As a professional stage manager for 17 years she worked on regional, off-Broadway and Broadway shows. Nearly each time a show closed, something unsettling happened: "I would watch them throw away our shows. All of the beautiful artwork by my friends in the paint shop would go in the trash." The elaborate backdrops? Gone.
But she had an idea: What if the material used in the backdrops and legs could be upcycled into something new? And what if theater lovers could literally keep a piece of a beloved show?
"The show must go on" may be a platitude we use to get through everything from costume malfunctions to stormy moods. But when it came to overcoming a literal hurricane, Houston Ballet was buoyed by this mantra to go from devastated to dancing in a matter of weeks—with the help of Harlequin Floors, Houston Ballet's longstanding partner who sprang into action to build new floors in record time.
For decades the name Alicia Alonso has been virtually synonymous with Ballet Nacional de Cuba, the company she co-founded in Havana in 1948. Alonso died on October 17, just shy of what would have been her 99th birthday. In recent years, she had stepped back from day-to-day decision-making in the company. As if preparing for the future, in January, the company's leading ballerina, 42-year-old Viengsay Valdés, was named deputy director, a job that seems to encompass most of the responsibilities of a traditional director. Now, presumably, she will step into her new role as director of the company. Her debut as curator of the repertory comes in November, when the troupe will perform three mixed bills selected by her at the Gran Teatro de la Habana Alicia Alonso. The following has been translated from a conversation conducted in Spanish, Valdés' native tongue.
New York City Ballet principal Sara Mearns wasn't sure she was strong enough. A ballerina who has danced many demanding full-length and contemporary roles, she was about to push herself physically more than she thought was possible.
"I said, 'I can't. My body won't,' " she says. "He told me, 'Yes, it will.' "
She wasn't working with a ballet coach, but with personal trainer Joel Prouty, who was asking her to do squats with a heavier barbell than she'd ever used.