Summer Intensives

Summer Intensive Strategies: How to Choose the Program That Will Bring You Closer to Your Goals

Students at CPYB's 5-week intensive. Photo by Rosalie O'Connor, Courtesy CPYB.

This story originally appeared in the December 2011/January 2012 issue of Pointe.

For preprofessional ballet dancers, the new year means one thing: summer intensive audition season. As you start thinking about which auditions to add to your calendar, consider your professional and technical goals. What do you want to achieve this upcoming year? Your dance resolutions should be at the top of your mind when deciding where to seek out summer training.

Resolution: Land A Contract
If you're going to be looking for a job soon, consider attending a summer intensive affiliated with a professional company—particularly one that you're interested in dancing for. Studying at a prospective company's studios can serve as an extended audition, since it gives the artistic staff a few weeks to observe your technique, demeanor and performance skills, and determine if you would be a good fit for the company. Skyler Lubin decided to take this approach when she was a student at Miami City Ballet School. She stayed at MCB for the summer to show her dedication to the institution—and to have an extra chance to prove her talent in the program's culminating performance. “I really wanted artistic director Edward Villella to see me onstage in the final show," Lubin says. She believes the opportunity aided in her acceptance into the company, where she is now a corps member.

This strategy can also help you learn about the company. By working with a faculty made up of current and former company members, you'll get an inside look at exactly what the dancers are like. Rehearsals and variations classes will let you discover how the company's repertoire feels on your body. You'll get a sense of the atmosphere, and be able to decide whether it's a place where you could thrive as a dancer.

Resolution: Find Better Year-Round Training


If you're still a few years away from company life but want to set yourself on a path to get there, you could use the summer to scout out a top-notch conservatory. When Joseph Steinauer discovered his love for ballet in college, he knew he needed to fast-track his ballet training if he was going to bring his technique up to par. So he spent the summer after his sophomore year at Central Pennsylvania Youth Ballet. The 5-week intensive helped him decide to leave college to study year-round at CPYB.

“I was attracted to the classicism and intensity of the training," explains Steinauer, now a corps member at the National Ballet of Canada. Although the summer is less intense than CPYB's year-round program, it gave Steinauer a good taste of what the conservatory had to offer. He felt the male training was especially strong, citing Laszlo Berdo's men's classes.

If you have specific needs, whether it's teachers who can help you with your jumps or strong modern classes to improve your versatility, use the summer as a trial period to investigate whether a particular program might fit the bill.

Resolution: Expand Your Repertoire
Do you want to grow in a particular style that your home studio doesn't offer? If you dream of joining a contemporary company but train at a Vaganova-based school, for example, prepare yourself by seeking out a program where you'll learn more modern, cutting-edge ballets. During her summer at San Francisco Ballet School, Nicole Ciapponi had a chance to receive coaching from former SFB principal Tina LeBlanc on the renowned William Forsythe work The Vertiginous Thrill of Exactitude. “I had always loved Tina's dancing and everything by William Forsythe," says Ciapponi. Most of Ciapponi's previous experience was in classical choreography, so working on a Forsythe ballet gave her a chance to challenge herself with more contemporary movement—a skill she knew she needed to cultivate before joining a company like SFB. In addition to developing a unique relationship with LeBlanc, the coaching helped prepare Ciapponi for company life: She performed Vertiginous this past year as a corps de ballet member with SFB (see “Best of The Best," page 60).

Aside from considering a program's company and school affiliations, style of training and repertoire, don't forget about the environment fostered by its faculty. As Lubin advises, “There has to be a balance of good people and good ballet." Speak to friends about their past training experiences, read dance blogs and reach out to potential programs of interest to find a summer intensive where you will be both encouraged and challenged.


Scholarship Savvy
For many dancers, the stress of summer intensive auditions is centered around getting in. But others are looking for more than that. “I wouldn't have been able to attend The Joffrey's summer intensive without a scholarship," Dara Holmes, now a member of The Joffrey Ballet, states frankly. She encourages young students to audition for programs where they believe they have a good shot at a scholarship. Think about which summer programs tend to accept dancers with your training background, style and body type—or, as in Holmes' case, programs that have already shown an interest in your dancing. Those are the ones that are most likely to entice you further by sending some money your way.

Even if you don't need the financial assistance, earning a scholarship indicates that the school is especially interested in working with you. You are bound to receive quality attention and exposure at a program that is willing to cover some or all of your summer training costs. For schools affiliated with a company, a scholarship could also mean, as it did for Holmes, that the company's artistic director views you as a potential company dancer.

Show Comments ()
Ballet Stars
Rachel Hutsell Photographed for Pointe by Jayme Thornton.

"I'm very cautious by nature," Rachel Hutsell says over herbal tea at Lincoln Center between rehearsals. You wouldn't think so from the way she moves onstage or in the studio. In fact, one of the most noticeable characteristics of Hutsell's dancing is boldness, a result of the intelligence and intention with which she executes each step. (What she calls caution is closer to what most people see as preparedness.) She doesn't approximate—she moves simply and fully, with total confidence. That quality hasn't gone unnoticed.

Even though she has been at New York City Ballet for less than three years, Hutsell, 21, is regularly cast in a wide variety of repertoire. She has already collaborated with several choreographers, including Troy Schumacher, Gianna Reisen, Peter Walker and Justin Peck, on new works. "She's not afraid to make mistakes," says Peck, who has used her in two premieres, The Most Incredible Thing and The Decalogue. "And she's open to exploring new movements."

Keep reading... Show less
popular

Looking for your next audition shoe? Shot at and in collaboration with Broadway Dance Center, Só Dança has launched a new collection of shoes working with some pretty famous faces of the musical theater world! Offered in two different styles and either 2.5" or 3" heels, top industry professionals are loving how versatile and supportive these shoes are! Pro tip: The heel is centered under the body so you can feel confident and stable!

Ballet Stars
NYCB's Miriam Miller and Unity Phelan in Côté Cour. Photo by Erin Baiano.

How do you make a leotard line stand out when there are so many options? Erica Sabatini, a former soloist with Carolina Ballet, makes it look easy with her pairing of architectural designs and bright colors. Before officially launching Côté Cour in 2015, Sabatini's interest in fashion was sparked during her Balanchine-based training at the Miami City Ballet School.

Phelan in MIA Multi Turquoise. Photo by Erin Baiano.

Keep reading... Show less
Viral Videos
Bucharest National Ballet's 2013 trailer for "La Sylphide,' via YouTube

Few things are more powerful for promoting ballet performances than captivating trailers—especially in today's visually-focused, digitally-connected world.

We've rounded up some eye-catching ads from seasons past and present that not only make us wish we could have seen the show, but also stand alone as short films.

Bucharest National Opera's La Sylphide

Magnifying the scarf which—spoiler alert—brings about the ballet's tragic conclusion, this 2013 Bucharest National Opera's trailer turns that fateful fabric into a beautiful, deadly web. Its windswept movements form a dance of its own.

Keep reading... Show less
popular
Boston Ballet in Bournonville's "La Sylphide." Photo by Angela Sterling, Courtesy Boston Ballet.

Wonder what's going on in ballet this week? We've pulled together some highlights.


Wayne McGregor Makes His ABT Choreographic Debut

Ever since Vaslav Nijinsky shocked Paris audiences in 1913 with his Rite of Spring for the Ballets Russes, dancemakers from Sir Kenneth MacMillan to Pina Bausch have tried their hands at choreographing to Igor Stravinsky's infamous score. This spring, Wayne McGregor will be added to that list. The Royal Ballet resident choreographer's first work for American Ballet Theatre, titled AFTERITE, will premiere at the Metropolitan Opera House in New York City on May 21. Known for his grounded and experimental movement style, McGregor's work will feature video designs by innovative filmmaker Ravi Deepres and sets and costumes by designer Vicki Mortimer, both longtime collaborators. Alessandra Ferri, who has collaborated with McGregor in the past, will join ABT as a guest artist.

Keep reading... Show less
via Instagram

The wait for Alexei Ratmansky's restaging of Petipa's Harlequinade is almost over! But if you can't wait until American Ballet Theatre officially debuts the ballet at the Metropolitan Opera House on June 6, we've got you covered. ABT brought the Harlequinade characters to life (and to the Alder Mansion in Yonkers, NY) in a short film by Ezra Hurwitz, and it's a guaranteed to make you laugh.

Keep reading at dancemagazine.com.

Ballet Stars
DePrince soars in English National Ballet's "Giselle." Photo by Laurent Liotardo, Courtesy ENB.

As told to Amy Brandt.

Myrtha is a role I've always loved to watch, but when Tamara Rojo asked me to dance it for English National Ballet's Giselle last year as a guest artist, I thought she was crazy. The role is usually for a tall, strong dancer. I'm strong, but I'm also very petite. I thought people might criticize me for that. I also wore brown tights onstage, since I'm a brown dancer, and I was nervous people wouldn't understand that—but I got great comments on it.

Keep reading... Show less

Sponsored

Videos

Sponsored

mailbox

Get Pointe Magazine in your inbox

Sponsored

Win It!