"Should I give it a try?" are the words that often run through the minds of young dancers poised at the brink of relocating. When the excitement of the west coast dance scene or the lights of Broadway beckon, packing up and making the leap instantly becomes a big deal. A VERY BIG DEAL. Of course, it's easy to board the bus, the train, plane, or whatever. But it's what happens after we get there that becomes the challenge.

"Survival" issues like housing, transportation, part-time jobs, getting an agent, training, paying bills, and developing business relationships raise their heads, demanding answers that we don't always have. Where do we turn? Who's going to help us? It's simple. No one knows more about "year one in the biz" than the dancers who are living the experience right now!

Here's the scoop on survival issues from six "fresh faces" : Ashley Roberts from Phoenix, AZ, Paco from Kansas City, MO, Tonya Kay from New York via Chicago, via Indiana, via Michigan, Angel Reed from Reno, NV, Brandon Barton from Kingston, GA, and Jesus Solorio from Central California. Read on.

Fresh Faces in Hollywood by Suzy Miller Fuentes Suzy Miller Fuentes met Reed Kelly when she was covering the Cher audition for Grover Dale’s answers4dancers.com. According to Suzy, Reed has the face of an angel with the ultimate Gumby body and shines when he dances. Just 19 years old, Reed moved to L.A. from Minnesota, where he trained at Larkin's Dance Studio. Here’s Suzy’s conversation with this promising young dancer.    Suzy’s camera catches Reed in action at Cher’s audition Suzy Miller Fuentes: How do you feel about auditions? Reed Kelly: I go in and do my personal best, and that's all that matters to me. The reasons why you might or might not get the job are endless. I can’t let them bother me. SMF: Good for you, so many people don't understand that. RK: The Cher audition was an example, it was amazing for me, I did everything I could possibly do, and I didn't get it. SMF: I don't think you could have given a better audition. RK: Thank you. Every audition you go to is another audition experience under your belt. Each one is a learning experience. SMF: How did you learn that? RK: You know, I've grown up in politics and you learn a lot of interesting things that way. My Dad has been in the legislature for 30 years as a State Representative, a State Senator and currently the Mayor of St. Paul. Every four years he had to run for office again, which is basically a big audition. SMF: Ha! I never thought of it that way! RK: Yup, every four years Dad, was running again, and we'd be out there putting up lawn signs, campaigning, fund raising... all the hoops you have to jump through. Just like all the things you have to do for auditions, whether it's going to class, working out, getting the right outfit for what they're looking for, getting your headshots done - everything that adds up to whether you get the job or not. Also, my Mom is amazing. I've always known regardless of whether I get the job or not, as long as I tried my hardest, my parents are behind me. As long as you do the best you can, that's really all you can do. SMF: When did you start dancing? RK: I was 11 years old. Growing up in Minnesota where it's cold, everybody plays hockey, so I was skating as soon as I could walk. I played hockey and looked up to my older brother Ryan who played, and eventually I was on a travel team. Then I got a head injury and they said I couldn't play contact sports. They said I had temporary brain trauma, and everything would be fine but there was a risk if I got hit the wrong way that something permanent could happen. So there I was, 11 years old and crushed, devastated because my entire existence revolved around hockey. My Mom wanted to get me into something, and I've always loved music, had lots of energy and liked to move around, so she asked if I wanted to take some summer dance classes. Well, I said "Me dance? What am I gonna tell my friends?!" But I had nothing better to do, so, why not? I did a two week summer program at Larkins and that was it. It just clicked. I believe everything happens for a reason, and I look at that injury as one of the greatest gifts I've ever been given. Without it, I never would've danced.. SMF: It guided you to your path. RK: Right. Of course, I'm still a work in progress ... but isn’t everybody? SMF: You're quite the old soul! Has LA changed you in any way? RK: It's just a different perspective. The atmosphere here in LA is different than NY. SMF: Are the audition styles different? RK: Ha. It's sunnier outside and you don't have to sing! They might wear something a little tighter and more form fitting in NY, and you wouldn't be doing as much hip hop, but I think auditions are auditions wherever you go. SMF: Can you tell me a little bit about your financial situation? RK: My situation is that I don't work another job but I do assist. I don't do a civilian job; it's all sort of involved in dance. I do some teaching and some assisting - basically I just ration out my money from this job and that job. Occasionally I get a little help from my parents if things get really slow, but I try to be as independent as possible. SMF: Any financial advice to newcomers? RK: Win the lottery! I really couldn’t give financial advice because trying to make money is where I'm at right now, so winning the lottery would be my best advice! SMF: What do you see as your advantages and disadvantages as a dancer out here in LA? RK: I'm so fortunate that I got great training. Larkins was amazing, one of the best in the country. I have a great family, great training and great friends. That's all so important because if you don't have that support behind you, it's all so much harder. I had great technical and stylistic training, ballet ballet ballet, diversity with jazz and hip hop, and I was lucky to do all the conventions and train in LA and NY, all of which made me a well rounded dancer. I've worked really hard on my stretch which is also an advantage. SMF: Yes, I noticed. What are your goals? RK: Here come those unrealistic expectations! No, I don't necessarily have specific "I want to dance for this person or do such and such;" I do want a successful dance career where I can support myself comfortably. I'd like to branch out and do some teaching; I think it's important to give things back. I was so blessed to have such good people who gave things to me, and I believe it's one big cycle and you have to give back. I'd love to work here and in NY and everywhere and beyond. SMF: Any advice for dancers ready to give LA a try? RK: Hmmm. I think it's important when you're in school to really focus on your education along with your art because it's important to have a backup plan. Also do as much as you possibly can in your hometown. When I was dancing my Senior year, I danced 50-75 hours a week while going to school. I was in school till noon, then Minnesota Dance Theater for ballet from 12:30-5:30, an hour in traffic, Larkins till 11 pm, then home to do homework. I just wanted to get as many experiences to make me as well rounded as possible before I got out here in the real world. And then when you get out here, get into class, keep working, don't succumb to the temptation of "Okay, it's beautiful and sunny and I'm gonna hang out at the beach with my friends." You really have to stay focused because once you're living away from home. You don't have that structure anymore; it's not like school with 7 periods. You have to make your own structure and organize your own life. (Laughs) Words from he who has yet to book any substantial jobs! SMF: Your ship is coming, I have no doubt of that.   JESUS SOLORIO JESUS SOLORIO, like so many other dancers in L.A., was a home town studio star who is now learning the hard realities of L.A. Correspondent Suzi Miller Fuentes first met him several years ago at Class Act Studios in Central Clifornia. Jesus settled in Hollywood two months ago. Suzi: Tell us how you came to LA. Jesus: I first came out here a year ago and while taking classes, I went to Janet Jackson’s audition just for the experience, and I made it to the second cut. But from that audition, I got called by an agency. SMF: They saw you at the audition? J: Yes, they gave me a card and asked me to call. But I didn't .... SMF: Why on earth not? J: I needed to find out some things first - I wasn't really ready yet. I went back home to Paso to figure it all out, and then I got a call from Doriana Sanchez who was putting together a circus. SMF: How did you know Dori? J: She came and taught a dance class at my home studio. This was years and years ago. and my teacher, June Greenwalt, mentioned me to her. So, she was putting together a Latino Cirque du Soleil and she thought I might be good for it because I'm Hispanic....not the circus itself, but a promo for it. That was a two day job, and the next day, I went to the formal audition for the actual circus. There were about 20 people - it was by invitation only. Then I got the call and she said I was in, I got the job! SMF: How did you feel? J: Very, very happy! It was called Circo Fantastico. Dori told DDO Agency about me and they came to the circus and signed me. This time, it was right. They started sending me out as soon as the circus ended. SMF: What auditions did you do? J: Men In Black, Disney Cruise Lines, Pepsi, Radio City Music Hall ... SMF: How many auditions do you usually have? J. On a good month, maybe four a week, on a slow month, maybe one every two weeks. SMF: How do you deal with it when you don't get the gig? J: I just know it wasn't meant for me. I don’t put myself down or take it personally. I know there’s something out there that will be right for me, and I will shine in that. SMF: How do you support yoursef in L.A.? J: I work a regular job ushering at Mann’s Chinese Theater. SMF: What an historically exciting place to work! How did you get the job? J: After the circus ended, I moved into an apartment with my friends. I looked in the papers but didn't find anything. So I went out on my own to different theaters and stores asking to fill out applications. I just kept submitting applications for things I knew I could do well. Mann’s called back the same night I turned in the application. It was good timing. SMF: How do you have time for auditions? J: Right now, I work nights so it gives me free time in the day for auditions. It's hard though because requesting a schedule doesn't mean I'll get it. SMF: What do you like about LA? J: There are a lot of opportunities here. It's also that you're free; it's a big space and I feel free when I go out because I'm on my own. I walk down Hollywood Boulevard all by myself just thinking and feeling free. SMF: What do you think are your advantages here? J: Well, I can dance .... some people say I have a good look ... my sense of humor and hyper energy can be an advantage; sometimes people like to be around that. Hmmm. I'm nice, which can give people a good feeling, the feeling that I'll be a good person to work with. I'm very cooperative and I like giving energy out to others. SMF: Your disadvantages? J: I'm short. Usually choreographers want taller dancers. SMF: Do you see any way your height could ever be an advantage for you? J: Some singers are shorter, and my height could work for me in that situation. Having shorter dancers behind them makes them look taller. Also for commercial purposes I can read younger. SMF: What are your goals? J: I'm going for a lot of goals at one time and they all connect. Right now I'm considered a dancer, but I want to become a dancer/choreographer as well as an actor. Since I'm out here, I'm pursuing it all. I'm coming up with choreography ideas to try to put together a reel and I’m writing down all my ideas. I don’t want to sound full of myself, but I have a good feeling about jmy choreography because I’m blessed with a strong imagination. I’m also writing a script and sending it to a director I found in Backstage. SMF: What advice would you give young readers who are thinking about coming out to L.A.? J: Know that you have the strength to come out here and make it happen. Know that you’re ready to commit to your dreams. Know that you’re strong enough to be put down and not take it personally. Know you have the confidence and the ability to believe in yourself and what you’re doing. Just be smart. Also, it’s good to have an attitude where you know you’re good, but don’t let it look or feel cocky. Just know it and show it in your dancing. Try to develop an attitude of love. Show love in dance to let who you are shine through. SMF: Any financial advice? J: Learn to budget your money VERY well. You might find yourself at some point with a bunch of money because a job just paid, but don’t think, OK, I’ll pay rent and then go shopping...don’t think about the money you have left as spending money; spend it on food and resources you really need. SMF: What about finding a living situation? J: It's very expensive. In the paper there are always people looking for roommates, but I think the best thing to do is go to dance studios because there are always signs posted by dancers looking for roommates. SMF: What did you do at your hometown studio to prepare for LA? J: I thought a lot about how I would budget my money, and how I could prepare myself for this other world. I made a list for myself, it was Be Confident, Always Smile so your inside can shine through your outside, Budget your money, Get a job right away, Be prepared for put downs and rudeness, and just think and don't worry. ANGEL REED In this column, I usually write about dancers who are new to L.A.  Angel Reed is an exception - she hasn't actually made it to L.A.... yet.  It's not that she didn't have everything in place - the agent, the roommate, her earthly belongings packed and ready to go - it's just that Angel got a job before she could actually make the move. Grover: I understand work found you before you had a time to go look for it! Angel:  Yes, that's true!  I moved from Reno to Las Vegas years ago, where I grew up and auditioned for Saturday Night Fever.  I made the final cut, but never heard from them.  I've always believed that the best thing to do with auditions is put them out of your mind when they're over, so, that's what I did.  I made plans to move to L.A.  I auditioned for and was accepted by KSA. I even found an apartment and a roommate! GD: And then? AR: Then I heard from Saturday Night Fever!  They wanted me to move to New York to start rehearsals.  I had to change all my plans in one day!  The hardest thing, of course, was calling the person I was supposed to be sharing an apartment with, and telling her I wasn't coming, after all. Everything was packed and ready to go...to the wrong side of the country. GD: Lets back track a little.  I understand you didn1t have a whole lot of dance training. AR: That's right.  I didn't do anything until my freshman year in high school.  A friend of mine who's a professional dancer now, Adam Cates, asked me to dance in a show with him.  It was great performing, but I still didn't get the bug.  Then, I made the decision to become a dancer and went from one hip hop class a week in my sophomore year to 12 classes a week when I was a junior.  By the time that year was over, I was dancing at the same level as the kids who had laughed at me when I said I wanted to be a professional. GD: I see from your resume that you also sing. AR: Yes.  My Grandmother was an opera singer and my Mom's a singer and pianist.  After the SNF tour, I want to study acting as well.  I think it's important to be a triple threat. GD: Do you play a role in SNF? AR: Yes.  My character is Maria, part of the Puerto Rican couple that does the dance-off with the leads. GD: When did you get your first job? AR: When I was 18.  It's been so great - every job's been a blessing. GD: Really?  Even the Fruit Bat? AR: Absolutely!  I was a fruit bat in the VEE Corp. national tour of Sesame Street Live.  The costume weighed between 35 and 40 lbs.  But it got me my Equity card! GD: What other jobs have you had? AR: A really great one was the Passport to Las Vegas European tour for Armed Forces Entertainment.  We traveled all over Europe.  I've also done industrials with Karen Burns Productions and, when I'm not performing, I teach dance at home in Reno. GD: How did you hear about dance jobs? AR: Answers4dancers.com!  There's tons of auditions on there.  I got jobs and also found my agent on there.  I also learned a lot from reading your writing.  A4D is an incredible tool for dancers. GD: Thanks.  I wasn't expecting such positive feedback. What advice would you give to young dancers worried they may not have the training to make it in the dance world? AR: A friend of my Mom's has said that I have an "innocent blindness." It's not that I don't see the challenges.  I know that this is the toughest business, but I also know that if you want something, you have to go for it. I feel that, if I only have one life, I"m going to go after what I want most, and that's the advice I would give other dancers. GD: Well said... AR:  Thank you. GD:  ...and coming from someone who's  making a success of it! BRANDON BARTON One of the most popular questions that comes in to A4D goes something like this:  "I love to dance.  It's what I want to do with my life, but I'm in high school and I've never had any training.  Is it too late for me?" Well, our latest Fresh Face, Brandon Barton, stands as an example of what can happen for late-starters who have the grit, determination and faith to follow their dreams.  He didnít have the advantage of childhood training...and is, today, having a very busy dance career. We reached Brandon Barton as he was taxiing home from a shoot with choreographer Neisha Folkes.  Brandon's been so busy working since he moved to L.A. in February, getting a few minutes with him on a cell in a cab was a treat.  Some of the choreographers he's worked with in the past year are Dan Karaty, Marty Kudelka, Hi-Hat, Fatima, Rosero & Jamal and Michael Rooney.  Plus, his agent at bloc, Brendan Filuk, and everyone he's worked with, notes that Brandon is a really nice, humble guy.  His story is remarkable, especially since he didn't dance until he was a senior in high school! Grover: What got you started dancing at such a "late" age? Brandon: I did gymnastics in high school in Kingston, Georgia.  Then, in my senior year, well, I joined the dance team mostly as a joke.  What I found out was that I could pick up choreography really quickly. GD: Did you have any training at all? BB: I'd taken a few jazz and ballet classes to support my gymnastics, but never took it seriously. GD:  Until? BB: I moved to Los Angeles. GD: You up and moved with no training? BB: Yes.  I know it sounds crazy.  I had no job prospects in L.A. and had saved just enough to cover my moving expenses.  My friends and I found a house to rent together, and I managed to stay in L.A. for a year.  It was a struggle, but I got myself into classes at the Millennium. GD: Heavy duty? BB: Real heavy duty. GD: Any auditions? BB: I went to any and every audition I could, even if I - sort of - crashed, you know, snuck in. Somehow, the choreographers liked to see me there. GD: What was it like for you auditioning?  You were, after all, very new to everything. BB: Well, at first, I went to the big, cattle call auditions.  I had never seen so many dancers who could really dance!  After a while, I got an agent.  He wasn't really up for sending me out, so I just kept bugging him. GD: What about free styling?  A lot of the dancers who have less training tell us they like those auditions best. BB: I like to free style but I also enjoy learning choreography. GD: Did all this auditioning land you a job? BB: I booked with Sisqo. GD: Great! BB:  ...and it was cancelled!  I went back to Atlanta to regroup, then moved back out to L.A. last February. GD: And...it was a different story? BB: Very.  I worked on Aaliyah's "We Need a Resolution" video for Fatima and that really got a buzz going.  Then I went on a world tour with Mary J. Blige. GD: So, for a year you've been really busy.  Did you enjoy touring? BB: I missed being home, but a consistent pay check is great. GD: How are your finances? BB: It was a struggle when I first moved back out here, but I've never had to take a regular, non-dancing job.  And I've learned to save my money! GD: What are your plans now? BB: I'd like to move into acting and I want to do some choreography. One thing I've learned in the past couple of years is to be both patient and humble.  Everything comes in its own time. GD: What kind of advice would you give to dancers like yourself, who started late in life to realize their dream? BB: You have to believe in yourself and you can't be scared.  I mean, if you fail, it's still not the end of the world! GD: Yeah, you pick yourself up and start all over again, right? Ashley Roberts Ashley moved to L.A. a little over a year ago from Phoenix and had the great good fortune to get an agent the first week she was here! A4D: How did you swing getting an agent right away? Ashley Roberts: My agents saw me dancing in a show for choreographer Dee Caspary the Summer before I moved here.  They said to call when I moved here.  I did and they remembered me. A4D: What was your first big L.A. audition? AR: Janet Jackson. A4D: Oh, the big one!  How did you do? AR: I made it to the end of the day, but wasn't called back after that. A4D: That's still a pretty good start.  What was the first job you got? AR: The 2001 Aaron Carter Promo Tour. A4D: Do you like touring? AR: I love it.  It's definitely something I want to do more of. Seeing the world and getting paid for it is great! A4D: Let's talk about your training. AR: I had a lot of good training growing up.  I started dancing when I was three.  My school went to a lot of conventions and I definitely believe they helped me, especially because they give out scholarships. A4D: With all that experience behind you, the move to L.A. must have been easy. AR: Oh, it's still pretty intimidating.  You go to an audition and everyone's all ‘glammed out.'  I didn't know how I was supposed to look.  That's where my agents at bloc really help me a lot.  They don't try to make me look like something I'm not.  I have more of a ‘sporty' look and they helped me find a photographer and get the pictures that truly show who I am. A4D: So you've got your look together.  Is bloc sending you out frequently? AR: Yes, about three a week and sometimes they also send me out for non-dancing gigs. A4D: How are you holding up financially? AR: Well, I still have some savings from the Aaron Carter tour but I'm looking for a part time job.  After all, it's not steady work and you have to keep to a budget and be prepared for the slow times.  I have a roommate and we're both very careful with our money. A4D: Are you able to take class? AR: Yes, that's one of the necessities!  I study with teachers like Mandy Moore, Andre Fuentes, Jayson Wright and Alex Magno. A4D: What kind of a future do you see for yourself? AR: In a year's time, I want to be working steadily as a dancer and I'd love to do more touring.  After that, I'd like to go back to school and eventually be a dancer/choreographer/teacher. Paco Paco and his brother danced in clubs when they were growing up in Kansas City, MO.  While his brother went on to a professional career, Paco stayed behind, got a certificate in design and a job working for an engineering firm. A4D: So there you were, working in an office, dancing in your free time.  Were you happy? Paco: No!  I kept saying, ‘I can't be in an office!  I've got to dance!" A4D: How did you make the leap? P: I asked my brother for advice.  He said to audition for a show called "Country Tonite" in Branson.  I got the job and it lasted for three years. A4D: Then you came out to L.A.? P: Right.  I didn't know anything about L.A., so I asked a friend what to do.  He said, ‘the first thing you do is buy a copy of Dance & Fitness Magazine.'  I did, and there was this list of dance agents.  I got some pictures and resumes together and started making the rounds. A4D: What happened at the agencies? P: You only get as far as the front desk.  But, I found out from the first agency I went to, BBA, that they observe a certain class at the Edge.  I went to that class, not knowing if the agents were even there and I got a call inviting me to take another class, this time at Millennium. A4D: And you met the agent? P: Right.  Kat Lowell from BBA.  She invited me to attend an open audition. I though there would be maybe 20 people there - instead, there were about 400!  And all of them seemed to know each other!  I danced like mad!  Afterwards, I got a call from them saying, ‘we would like to represent you for hip hop and jazz.' A4D: That's great!  How long had you been in L.A. when all this happened? P: Two months!  That's why I'm always thinking, ‘I have no idea what I'm doing!' A4D: How is it going with BBA? P: Great!  I had about six auditions the first month with them, and I booked a Miller Beer commercial.  I think it's really important to stay in touch with the agents.  I call almost every day, and I sent them a thank you card when I booked the job. A4D: Do you live on a budget? P: ‘Oh my gosh, yes!'  I've still got some savings from Branson and a show I did in Las Vegas but I don't go out partying.  My money goes for essentials and classes.  And I'm really lucky to have family out here.  I live with my cousin, Phillip, who's one of my biggest supporters. A4D: Where do you see yourself in a year's time? P: Dancing and also expanding into print work and acting.  I'd like to be an example for other kids like me.  And if I don't make it, at least I know that I tried. Tonya Kay Tonya grew up in Michigan, where the only studio in town taught tap. A4D: When did you leave home and where did you go? TK: Well, I was class valedictorian when I graduated high school, so everyone expected me to go on to college.  Instead, I moved to Indiana and did musical theatre and national tours.  I'd been doing musical theatre since I was 15, so it was a natural next step. A4D: How did you support yourself between shows? TK: I worked in factories to support myself, 13 of them, in fact. A4D: Thirteen? TK: Well, I wasn't the ideal employee!  On the other hand, those are the last straight jobs I've had.  I've been supporting myself performing and teaching ever since. A4D: OK, so what came after Indiana? TK: Chicago and more musical theatre, and after that, New York, where I got into concert dance.  I was a "flagger" with Axis Dance.  I also danced in Peggy Spina's tap company.  That was the first time I danced with a live jazz band.  It was great, a whole different kind of connection.  I felt the music creating the dance through me.  It was really rewarding. A4D: Sounds like your career was taking off! TK: Literally!  I auditioned for De La Guarda (aerial theatre) and was one of 13 people chosen from a group of 1,000. A4D: What was the audition like? TK: Well, first they had to see if we were afraid of heights.  They had us doing a sort of stomping routine on a ten foot platform.  It was a great audition.  They actually gave notes to people.  Then there were two weeks of callbacks.  The final challenge was to run sideways up a wall, wearing a harness. A4D: Wow.  Anything else before we talk about your L.A. experience? TK: Yes.  I wrote and produced a show called "Xtreme Rhythm Theatre" and put it on in my home town.  I came to L.A. about five months ago. A4D: Did you get an agent right away? TK: I auditioned for BBA three months ago.  It was the most intense audition I've ever been to.  I mean, getting an agent means a whole lot more than getting just one gig!  Luckily, I'm really good at picking up choreography. A4D: Let's backtrack for a moment.  I know you trained as a tapper.  How did you get the other stuff? TK: I studied! A4D: How's it going with the agency? TK: I adore them.  I know they're looking out for me. A4D: Are you auditioning a lot? TK: Yes, and I've made an important discovery.  At first, I tried to look as individual as possible.  Then I realized that they're not going to hire someone who stands out more than the star! A4D: Do you have a technique for getting through auditions? TK: I do a centering technique.  Whatever happens, I know I did my best. A4D:  How are you getting along, financially? TK: I'm living off savings and the grace of the Universe! I'm also doing some gigs on my own.  In fact, in April I'll be rehearsing with Stomp in New York City! A4D: Where would you like to be in a year's time? TK: If I try to imagine it, it means I'm putting limits on it.  I'd rather say, ‘surprise me, life!' "This is a great site! I'm so glad I found it!" - Matthew D. Hollywood, CA "I'm an A4D member and have gotten several jobs through your audition listings! Thank you!!! It's great to be a professional with an outlet like yours." - Ashley Y., member "I am writing to let you know that I have had success using your site! I just wanted to say thank you, and that I have been a loyal member for six months now. And I have told all of my friends about your site!" - Maya H. Jackson, MISS, member