These Insights Will Help You!
Kevin Stea and dancers performing Robert Schultz's choreography.1. What do I need to know about choreographers?
2. Due to the nature of creating movement from an inner place, choreographers are likely to be intuitive. Because casting decisions need to be made quickly (those darn production costs!) intuition often plays a role in choosing dancers. How does this impact auditions? It's smart to assume that even before you dance a step, the intuitive choreographer is picking up signals and evaluating you. How you walk in the door, drop your dance bag against the wall, and start warming up is giving off impressions of who you are and what you might be like to work with. Timidity, anxiety, sweetness, confidence, or arrogance communicate even as we gather to learn the first combination. The observant choreographer doesn't miss any of it, and the savviest of dancers know it.
2. Is it a mistake to audition too soon?
Mistakes are great teachers. They show us we don't have to repeat the same mistake more than once. So. If you're chomping at the bit for the experience and are prepared to accept the consequences, go for it. The allure of auditions is powerful, especially when the job is an exciting or a glamorous one. Who's going to let "preparation" get in the way when an established choreographer wants to see new talent? Show up, dance your heart out, and pray that your lack of experience or professional savvy won't blow you out of the water.
3. What if I book the job?
Great! That means you fall into that remarkable (1%) category that gets hired the first time out! You are a dancing miracle!
4. You mean it does happen?
Of course it does. But don't walk into your first audition assuming that it's got to happen. It might be wise to exercise restraint until you've acquired a healthy share of the following work traits: The ability to follow direction and work fast, above-average retentive powers, communicational skills, respect for the needs of others, a strong work ethic, good manners, an understanding of rehearsal procedures, a commitment to the work that needs to be done, a spirit of helpfulness, stamina, a willingness to show up on time and stay late if it's needed, feeling comfortable about being in the chorus even though you're as talented as the star, a zero tolerance for bailing out after you've agreed to do the job, willingness to honor the choreographer's right to own his/her work (meaning we don't copy or teach it without permission), accepting that not being chosen in an on-going part of being a professional, and finally, bringing all of your love for dance (and for yourself) into the workplace with you.
5. How informed should I be?
Arriving at an audition armed with authentic know how puts you in a special category. As an "informed" dancer, you have the edge. If a choreographer is in a position to choose between an "informed" dancer or an "uninformed" one (of equal talent) the "informed" dancer books the job every time.
P.S... We live in the age of information. There are publications and websites like this one where you can gather info that will save you years of learning everything the hard way.
6. How do I know when I'm ready to start?
You don't. You just start. As you meet the casting experience head on, you learn about and identify your strengths aswell as your weaknesses. You comfort yourself with the strengths while you address the weaknesses. You improve and grow. You keep auditioning. As you make progress, you remind yourself that the good news (and the bad news!) about "preparing" is that it never stops. Regardless of how many years we prepare for our careers, there's always another lesson to be learned and another technique to be mastered. So. We adapt to the conditions of the marketplace. Each new employment demand becomes another learning opportunity. We welcome them. In time, if we're lucky, we begin to see that the real rewards come from staying on the path to personal and professional growth. That's where the joy is!
