Auditions are an unnerving fact of life for dancers—and can be especially unsettling when they’re done in the comfort of your own company. When visiting choreographers and répétiteurs come to town, they prefer to have a day or two to work with the company before making their casting decisions. The good news is that when someone from the outside is casting roles, dancers often end up on the same playing field regardless of rank, with an equal shot at getting noticed. And if you make the most of the audition, your career can get a major boost. Here are some tips for putting your best self forward.

Before the Big Day
Prior to visiting, a choreographer will probably do some homework by watching videos of the company and getting a feel for the dancers ahead of time. Trey McIntyre, director of the Trey McIntyre Project, starts by talking to the director and rehearsal assistants first. “I do my best to explain what I’m trying to achieve with the piece and get suggestions in terms of who they think might fulfill those roles the best,” he says. If you have a reputation for being focused, versatile and a fast learner, you’ll be at the top of the list.


You can gain a competitive edge if you do a little research of your own. “The more prepared you are, the more you can adjust to what the choreographer might want,” says Dance Theatre of Harlem member Ashley Jackson. Before someone comes to set a piece, Jackson looks up the choreographer’s biography online, watches examples of their work on YouTube and reads recent reviews to get a sense of what to expect. For added insight, she tries to talk to friends who have already worked with the choreographer. “You could learn that the person prefers dancers to be more internal, with less showmanship,” she says. Knowing that can help you adjust your projection accordingly.

Don’t Hide

While you don’t need to stand front and center to get noticed, where you are in the studio—and what you’re doing—says a lot. “It’s important to find at least a couple moments when you’re forward and present,” says choreographer Julia Adam, who has created work for companies like San Francisco Ballet, Houston Ballet and Joffrey Ballet. “Hiding in the back can look like you’re disinterested.” Jackson prefers standing in the front but off to the side so she doesn’t have the pressure of being on center. She also tries to make eye contact with the choreographer to make a connection and convey her interest.
McIntyre will hesitate to work with dancers if it looks like they’re afraid to expose themselves artistically. “If someone’s using anything to hide, whether it’s where they stand in class or if they continually make a joke of their mistake instead of focusing on how to fix it,” he says, “I’ll take pause.” McIntyre and Adam also warn against wearing too much junk. “I don’t mind funky style,” says Adam, “but you absolutely have to be able to see the body. That’s also showing an openness and vulnerability, rather than hiding.”

Have a Focused and Open Mind

Choreographers might value different things when it comes to movement quality or aesthetics, but they appreciate a strong work ethic and positive approach. “I look for people who are extremely focused in the studio, who want to take chances creatively and devote themselves to the process,” says McIntyre. “They should do everything they can to describe the kind of person they are in rehearsal and what I can expect them to be like.”




When auditioning for a new ballet, Jackson realizes that her ability to absorb details is being scrutinized as much as her dancing. “I listen to other people’s corrections and avoid talking in the back of the room,” she says. “When other groups are going through combinations, I go with them or work on the side by myself.” More than once, Jackson got into a piece because the choreographer saw her reviewing material in the corner. She’s also made an impression by learning other people’s choreography, even the men’s steps. “If you have to do a version of it later, you already know it,” she says.  

If the choreographer teaches material as part of the audition process, it’s important to be adaptable. “You have to be open to what the choreographer wants to create,” says Jackson. “Sometimes it feels weird, or you’re not sure about a step, but the trust needs to be there.”

Adam concurs. When she’s unfamiliar with dancers, she tries to make the most honest connections as quickly as possible. “I try to get a sense of not only how they move but who they are as people,” she says. Adam looks at the dancers’ musicality and whether or not they take direction well. “I can’t reinforce enough the importance of being open,” she says. “Show who you are in your body and in your mind, and don’t pretend to be something you’re not. Then you’ll be put in the right place.”

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If you're in the NYC area and are in need of weekend plans, you might want to consider heading to the Film Society of Lincoln Center to see Jean-Stéphane Bron's documentary, The Paris Opéra. While the film was originally released in France this past spring, it just made its way to the US on October 18th, and it chronicles the 2015-2016 season at the Paris Opera.

Encompassing the entire institution (which was founded in 1669 by King Louis XIV!), dancers will particularly enjoy an inside look at the Paris Opéra Ballet—both in rehearsals and onstage. Most notably, Bron captures the then POB director Benjamin Millepied as he decides to leave his position with the company barely a year after his appointment.

Check out the full trailer below, and the Film Society of Lincoln Center's full listing of showtimes here.

Your Training
Thinkstock.

Bianca Bulle was always prone to ankle sprains. When she was 18, her recoveries became more complicated: She started experiencing Achilles tendonitis due to muscle weakness and fluid buildup in the ankle. "The last thing to get back to normal would be my Achilles, which was so incredibly tight and painful," says Bulle, now a principal at Los Angeles Ballet.

The Achilles is the body's largest tendon, attaching the bottom of the calf muscles to the back of the heel. It contracts and releases as you relevé and plié, as well as when you jump and even walk. Tendonitis, or inflammation, of the Achilles is one of the most frequently reported overuse injuries among active people, according to the American Physical Therapy Association. You'll know it by the pain or tightness at the back of the heel. If the condition gets bad enough, the tendon can rupture, which requires surgery to fix.

Achilles tendonitis is especially common among dancers on pointe, but it's not inevitable. With rest and proper conditioning, you can work to avoid it with careful technique and a commitment to cross-training.


Boston Ballet School pre-professional students. Photo by Igor Burlak Photography, Courtesy Boston Ballet.

What Causes It?

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New York City Ballet in Marc Chagall's costume designs for Balanchine's "Firebird."

I am a self-confessed costume nerd who really needs little persuasion to travel nearly 3,000 miles to see a costume exhibition—which is what I did when I set off for California for the new exhibition at Los Angeles County Museum of Art: Chagall: Fantasies for the Stage. I knew Marc Chagall primarily for his sumptuous blue swirling paintings featuring violin-playing goats, his incredible ceiling at the Paris Opéra's Palais Garnier, and murals at the Metropolitan Opera House in New York City, so I was intrigued to see his work with ballet.

Marc Chagall (1887–1985), was born Moishe Zakharovich Shagal in Belarus. He later moved to St. Petersburg, Russia, to study art, apprenticing under famed Ballets Russes designer Leon Bakst. Chagall's work in ballet and opera, however, did not begin until he and his wife Bella arrived in the U.S. as World War II refugees in 1941.

Chagall: Fantasies for the Stage, adapted from an earlier exhibition at the Montreal Music of Art and curated by Yuval Sharon and Jason H. Thompson, is an exciting opportunity to see 41 costumes and nearly 100 designs. But it is the costumes that really steal the show. You won't see any tutus here, but instead amazing, almost cartoon-like realizations of Chagall's artwork. LACMA's exhibition runs through January 7, 2018. For those of you who can't make the trip like I did, here's a rundown of highlights.

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Tiler Peck in "Who Cares?". Photo by Paul Kolnik, Courtesy NYCB.

New York City Ballet principal Tiler Peck and Emmy-winning actress Elisabeth Moss (of Mad Men and Handmaid's Tale fame) may seem like unlikely friends, until you dig a little deeper into their backgrounds. Both attended Westside School of Ballet in Santa Monica and spent summers at the School of American Ballet in their youths. Moss and Peck's career paths diverged when the former fell in love with acting and Peck went on to study at SAB full time, eventually becoming the star we know today. Now, the pairs' artistic pursuits are uniting in an exciting new project.

According to Deadline.com, Moss will produce a documentary featuring Peck and her work curating BalletNOW, last summer's star-studded, critically acclaimed program at Los Angeles's Dorothy Chandler Pavilion. Peck was the first woman to lead BalletNOW's programming, and she brought together dancers from companies including The Royal Ballet, Miami City Ballet, American Ballet Theatre and the Paris Opéra Ballet, putting them on stage with tappers, clowns and break dancers (sometimes simultaneously).


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Your Best Body

Looking for creative and healthy ways to get your pumpkin fix this fall? First, back away from the pumpkin-spiced latte—the season's unofficial drink is often laced with sugary syrup and comes with a complimentary mid-rehearsal crash. Instead, try these simple snacks with puréed pumpkin. It's high in beta-carotene, which converts to immunity-boosting vitamin A, and is a good source of vitamin K, iron and fiber. You can buy it canned or make the purée from a "sugar" or "pie" pumpkin (they're commonly available at grocery stores or farm markets).

Fruit-and-Spice Toast

- Spread purée onto whole-grain toast.

- Top with sliced pear.

- Add a dash of cinnamon.

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Pointe Stars

When Maya Plisetskaya first toured abroad with the Bolshoi Ballet, she stunned the world. Her dramatic and technical abilities were far beyond what anyone outside the Soviet Union had seen before. She quickly became an icon, symbolizing Russian ballet.

Plisetskaya was the perfect ballerina to play the Tsar Maiden in The Little Humpbacked Horse when choreographer Alexander Radunsky and composer Rodion Shchedrin recreated the classic Russian folktale in the 1960s. This vintage clip of the ballet offers a glimpse into an era gone by. Although ballet technique has advanced since then, Plisetskaya's performance is still electrifying. She is daring and agile in her manèges and fouettés, while she shows gentle purity and authentic emotion in the pas de deux with the wide-eyed Ivan. Even half a century later, this magnificent artist continues to transfix us with her radiant presence onstage. Happy #ThrowbackThursday!


Pointe Stars
P.O. Alienz in Lavender Leotard; Paulina Waski modelling a Kreature Kulture t-shirt. Photos Courtesy Paulina Waski.

Walk into any ballet class and you're bound to see a row of dancers clad in leotards patterned with dainty flowers and lace. But nearly three years ago, American Ballet Theatre corps dancer Paulina Waski wore a very different kind of leotard to class—and her colleagues loved it. Now an average day at ABT includes any number of dancers in leotards featuring angry aliens, detached eyeballs and grinning monsters.

"My dad, John, is an artist, and he draws all these crazy creatures," Waski explains. "One year he did what he called his paper plate project; he drew a new creature onto a paper plate every single day for 365 days. I thought, 'he should put one on a leotard!' He screen printed one onto one of my old leotards himself, and when I wore it to class everyone was wowed." And so, Kreature Kulture was born.


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