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Archived: 2005-2017 Company Audition Journeys


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  • Momof3darlings


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They did charge a fee--but just to clarify, the "walk" did in fact come after barre. So if you were cut after the "walk" you did barre but nothing in the center.


I think there may have been a misunderstanding about that. :firedevil:

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We'll at least they did barre. But, I still think that nuts! It really does live up to the term "cattle call" so much for training.

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Yes and it's important to remember that in some auditions there are cuts right after barre without the addition of another exercise (in this case walking) of any kind. So while the "walking" thing seems a bit different to our brain power especially after a fee, we have no way of knowing if without said walking, a cut would have just occured after barre and before center anyway. There are many auditions where a cut is after barre.

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I guess i just don't see the point of the walk. Chances are they knew who was selected from the barre, what the extra walk would possibly change their minds.

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Personality and freedom of movement, a way to look at each individual dancer without another in the way? I guess because I come from a modern background, I do see the validity in something so simple helping the AD make determinations in a room where each person is likely close enough to be "the one". And when I coached high school dance team and worked with competitive colorguards/winterguards, I always used walking as an exercise to teach personality in movement and freedom of movement that was not coached in routine performance. It worked very well and I could tell alot about the participant from it. We started it on the first day and continued with it as an exercise throughout the year and it was something the students got better and better at, but even on the first day I picked up alot from it.


Auditioning is tough. Until recently, there were some places that actually cut before barre (go to the barre and stand in first comes to mind) and then again after barre and then again, and again, and again. There was a company that I think has now folded that did a personality test before you did the physical audition, you had to pass one to go to the other. Crazy to me, but for that AD it worked. I certainly don't like the priviledge of paying for such, however, it is the dance way (not just ballet either). So I guess it no longer bothers me that what could actually happen truly does because the expectation going in was that it might happen.


I hate it for every dancer who does not get to show all of who they are to an adjudicator. But for the ADs there truly is a method to what we see as a madness.

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My dd has done about 6 company auditions this season so far. No job yet, but she is learning a lot in the process! Unlike many of your dancers, she didn't have much audition experience before now due to the requirements of her residency program. Now that she has a few under her belt, she has learned a lot and knows what she might have done differently if she had the opportunity of "do-overs." In addition, she has a better sense of where she believes she'd feel comfortable. An expensive venture to be sure, but quite a learning experience!



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mom2--you've peaked a good question to ask. How many auditions is everyone working in this year? Is there a common denominator?

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My DD has done 10 company auditions. All have been publicized "cattle calls." One was in the city of the company and the rest were in NYC. Some have been more intimate (40ish dancers in one, 20ish dancers in two others). Most have been huge. My DD says she is seeing many of the same faces at all of them, most of whom are her age (18-20), and some in their mid-to-late 20s. She paid for all of them ($20 or $25/per). So far she's received four summer offers, hasn't heard from five places (will she ever, or is this a case of "don't call us, we'll call you" - ??) and is waiting to hear from one that said they'd email within a week.

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I was at this audition and just to clarify they did NOT charge for this audition which was nice of them.

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101driver--Thanks for sharing. I think it would be interesting to track from those updating this thread how many they attended and then how many they paid for, didn't pay for, had cuts, etc. I think that is interesting information especially for those coming behind us or who might be auditioning again next year.

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I went to Chicago from some auditions this weekend. The whole audition process is getting so frustrating. So far I've auditioned for or sent packets to 16 companies, received 10 rejections, 5 summer course offers, and 1 maybe, but no job offers. Ahhhhhhhhhhhhhhhhhhhhhhhhhhh <- is pretty much how I feel.



The girls audition had about 80 dancers. They didn't even give us numbers! We went in, filled out a form, and all crammed into a studio. The class was taught by a woman, I don't remember her name. Ashley Wheater and a lady watched. We did a basic barre, while Mr. Wheater appeared to be flipping through the forms and judging people by their headshots. For center we were split into 4 informal groups and did a tendu combination. Then we did an adagio in eight groups. The adagio was long, and I was freezing by the time it was my turn. There was no formation or anything, people just stood where ever they wanted. Next was a turn combination 6-8 at a time from the back, again everyone just went whenever and where ever they wanted to. Then a petite allegro, same deal. After each group did the petite allegro, they stopped and stood there while Mr. Wheater dismissed more than half of every group. He said he was looking for something "very specific", and I could not tell at all what this thing was. It seemed like everyone he had been watching or paying attention to was cut. It was really strange. After the cut, they did a grande allegro, fouettes, and a minage. Then he said he would have evaluations with the trainees later (the joffrey trainees took the open audition.... that was weird too) and he kept only one girl to talk to.


San Jose

There was supposed to be an audition for Ballet San Jose, but due to weather conditions in New York, the director couldn't fly to Chicago, and the audition was canceled.


Ballet Austin

About 80 attended, both men and women were combined. Mr. Mills taught class and Michelle Martin watched and took notes. The audition seemed very well ran and organized, especially compared to Joffrey that morning. They just did a pretty basic class, no cuts. The class was only about an hour and 15 minutes long. Then they had all the dancers sit, and they talked about Ballet Austin, as well as the trainee and apprentice programs (on the audition form you could check if you were interested in the main company, Ballet Austin 2, or the trainee program. They said they would notify everyone and send invitations to the summer course for the people they were interested in, because the summer course is a requirement for any of their programs. They didn't speak to anyone individually after wards.

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Thank you for sharing dancininthesnow. We will keep our fingers crossed for something for you.

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DD has done 9 - 6 cattle calls, 3 classes. Four more scheduled. She has paid for all but one. Payments have ranged from $15-30. The largest had 80-100 dancers. The smallest, about 40. Cuts have been rapid and plentiful. Some maybe's, some no's, no absolute yes yet, although some are waiting till April, when company contracts are made. It's stressful and expensive. These kids are brave. If, in a job interview, an employer looked at me after five minutes and said "get out", I don't think I would ever interview again!

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These kids are brave. If, in a job interview, an employer looked at me after five minutes and said "get out", I don't think I would ever interview again!


You can say that again! :thumbsup: This is a testament to not only how brave they are but how determined, focused and of course, how much they want this. I could not do it so I'll join you on that line of not returning for a 2nd interview. Bravery is likely not my strong point.

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