Looking back at the spring semester of my senior year at Butler University, one thing immediately comes to mind: auditions. On top of schoolwork, rehearsals, jobs, and other obligations, my fellow dance majors and I spent any remaining hours in pursuit of a contract.
Audition seasons are tough for anyone, especially the first time around. While college ballet students have specific logistical, physical, and mental elements to navigate, they also have certain edges that other pre-professionals may not. From finances to expectations and more, college ballet dancers encounter a unique set of challenges and advantages during the job search.
Staying on Schedule
Audition preparation takes time. Anderson Da Silva, a Grand Rapids Ballet company dancer who trained at Indiana University’s Jacobs School of Music, says that because college students have significant responsibilities in and outside of the studio, time management is crucial. During the fall semester of his senior year, he and his classmates filmed audition videos between rehearsals and classes or late at night when the studios were available. “I did a good chunk of my filming as late as 9 pm,” he says, adding that to avoid double-booking, it helps to share a studio sign-up sheet with fellow dancers.
Madeline Colesano, a current company dancer with Avant Chamber Ballet, decided to seek a contract as a sophomore at the University of Utah’s School of Dance. For her, advance preparation, a detailed planner, and a spreadsheet of important dates made her schedule manageable. Colesano, who also worked a restaurant job, began filming class material over the summer and researched companies early in the fall semester. (She relied on the audition-focused website Ballet Scout and social media to get a sense of companies’ styles, repertoire, and cultures.) “I had one of my teachers look over my audition video in the fall,” she says. “It was helpful to have a second eye, and I had time to make changes.” By Nutcracker season, she was ready to send her applications: “All I had to worry about when it came to the actual audition season was submitting and keeping up with all the emails, keeping my body healthy, and staying organized.”
Madeline Colesano. Photo by Nicole Marie Photography, Courtesy Colesano.
Covering Ground
Since the pandemic, casting a wide net has become more feasible with the increase of online screenings. But for college dancers navigating evening or weekend rehearsals and tuition expenses, choosing which auditions to attend takes careful planning. “I wasn’t in a financial situation where I could just jump on a plane,” says Da Silva. “Personally, if I received an email back from the materials I sent, or if they invited me to take company class, that’s when I’d go.” He adds that scheduling conflicts, such as two top-choice companies holding auditions on the same day in different cities, require tough decisions. While carpooling with classmates and staying with friends saved Da Silva money, he notes that sometimes it was nice to go on his own to have time to mentally prepare. When absolutely necessary, doing two auditions in one weekend, or even in a day, is an option. And, for students who have received interest from the company, it doesn’t hurt to inquire about alternative dates.
Audition travel often requires dancers to miss classes or rehearsals. Colesano says that, generally, college dance professors understand what students need and will allow for more absences. But nondance academic professors may not, so keep an eye on class policies. (If possible, it may help to not register for spring semester classes that meet on Friday evenings or early on Monday mornings.) Da Silva notes that things can get tricky if a dancer already tends to miss class or rehearsals often, or if a dance professor is especially strict about attendance. “In those situations where you say ‘I’m taking a personal day,’ you want to be as respectful as possible,” he says. “But you need to vouch for yourself. This is your future.”
In Good Company
All that extra work, travel, and dancing can add up. “I was constantly tired,” recalls Colesano. Rejections can also be demoralizing, and can lead to jealousy or secrecy among classmates. “Respect one another and remember that you’re all going through it,” says Da Silva, adding that auditioning with fellow students can provide comfort and confidence. He recommends being open about audition plans to help coordinate group travel. When discussing results, he was mindful to protect his own feelings as well as those of his classmates.
One concern dancers may have, especially when traveling together, is whether they’ll get lumped into a “college group” during the audition. The same goes for submitting resumés or letters of recommendation that have similar formats across classmates. According to Kathleen Breen Combes, artistic executive director of Ballet RI, that’s not something to worry about. “If that (college) is at a high level, there’s a lot of clout in that,” she says. If a dancer feels that separating from their group helps them perform better at the audition, Da Silva encourages them to do so. “Hopefully, you’ll have an understanding with your friends that it’s just what you need,” he says. But if not, give them a courteous heads-up before taking a different place at the barre or moving down the registration line.
Feeling Legitimate
Anderson
Da Silva (right) with Grand Rapids Ballet. Photo by Ryan Jackson, Courtesy Da Silva.
For auditioning college dancers, the lack of a company affiliation may cause insecurity. “We’re starting to see more college dancers enter professional ballet companies,” says Da Silva, “but one hindrance is that you don’t have that (company) name.” It can also be difficult for students to assess where they stand in the talent pool without direct proximity to professionals. That said, college dancers may have greater access to soloist roles or more diverse training and repertoire as compared to trainees or academy students. “I was lucky to get a lot of featured roles at IU,” says Da Silva. “Adding those types of videos to my performance reel gave me more confidence. If you know you’re capable of performing at that level, that helps you present yourself to the people at the front of the room.”
Breen Combes warns not to underestimate the appeal of college experience. “I value a well-rounded person and have had such wonderful results hiring dancers with degrees,” she says. “I have utilized those skills in other ways within the company, and it makes them understand the organization as a full, complex organism. That’s a huge difference for a director.”
The Results
College dancers are often a few years older than other dancers by the time they audition. And, especially if they’re accustomed to performing soloist or even principal roles, there can be a disconnect between audition expectations and results. “Most people aim for second company or corps contracts, but the hard truth was getting offered a traineeship or nothing,” says Colesano. “I felt I was too old to be a trainee, which in retrospect was not true.” In many ways, college ballet programs feel like apprentice programs in and of themselves. But Breen Combes, who primarily hires from Ballet RI’s trainees or apprentices, finds that college dancers often need another year of training that’s directly integrated with the company. “For me, being four years older is a plus,” she says. “Those are four years of understanding what it means to be an adult. That goes far. But there’s nothing that compares to company class and five to six hours of rehearsal.”
For Da Silva, it helped to lean on that extra experience. “I knew I was capable of performing the rep I did in college,” he says. “When someone from the main company is sick or injured, you can tap into that and be the one to step up. Show (directors) that you’re reliable and can still learn.” Colesano ultimately found her trainee year immensely helpful; she moved up to apprentice for a season before joining the main company last fall. But she wouldn’t have given up her time at University of Utah: “I grew into myself more. Knowing yourself as a dancer—and as not a dancer—can help you figure out what kind of company you’d thrive in and who you are as an artist. That comes across during auditions.”
Your People’s People
Don’t underestimate the power of college connections. Use your network—and not just for finding a place to stay. For Kathleen Breen Combes, artistic executive director of Ballet RI, personal contacts matter: “I have found that if I get a recommendation from somebody, including the dancers in my company, I am probably five times more likely to take an application into consideration.” Lean on your professors and friends who have graduated, and don’t forget your connections from outside of school, too. Those are the people who can vouch for your attitude, growth, and potential.
The post A College Ballet Dancer’s Guide to Professional Auditions appeared first on Dance Magazine.
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