Ariel McCarty's training was predominantly classical until, at 15, she auditioned for Boston Ballet's summer intensive. The audition class was in more of a Balanchine style, and the teacher corrected her right away. "She wanted me to accent the arm opening out quickly in my pliés, rather than through the whole phrase," says McCarty, now a Colorado Ballet apprentice. She could have panicked, but, instead, she met the correction with a smile. "I tried it, and it felt not quite right. But the instructor said, 'That's the idea.' " After that, McCarty was able to let go of trying to be perfect in an unfamiliar style. "It opened me to a new idea of musicality. It's exciting to try new things."
The stress of summer intensive auditions is real: You're in a strange place, taking a strange class, and pressure is high to show yourself at your best. But, as McCarty discovered, shaking off a bit of that pressure might be the best way to have a good audition. Two school directors agree, and explain why you should leave behind these common audition worries.