The Stage

EXTRActs

In conjunction with A&C Black, The Stage is please to present a chapter from the publication 'A Dancer's Guide to Getting Work' by Jenny Belingy and John Byrne.

Permission to reproduce the material from the following title is kindly granted from A&C Black publishers

The title listed below can be purchased direct from the A&C Black website.

A Dancer's Guide to Getting Work (4th edition)

by Jenny Belingy and John Byrne
© 2005

Chapter Four: Stepping Out

Auditions and talent shows

We would love to guarantee that the information in this chapter will ensure you success in every interview, audition or talent show you go up for. There are several e-books and systems advertised on the Internet and elsewhere which promise just that: however, it's not a promise that we could make in good conscience (and in our opinion you should be careful of anyone else making such claims, too). The truth is that there will always be more good dancers than there are good jobs - and the better and more prestigious the job, the more numerous and more qualified the dancers who will turn up for it.

What one director or choreographer likes may not please another, so there is really no one 'system' that is foolproof. At the beginning of your career, the more auditions you attend, the better - just to get the experience of auditioning and the various ways in which these events are organised. One thing you will quickly learn is that while the individual details and set-up of each audition or other trial may vary, there are basic pointers and common business courtesies that you can observe which will mark you out as an employable professional. While you may not automatically be numbered among the stars, you can certainly distance yourself from the 'crowd' - the people who have a showbusiness dream but who are not prepared to work hard enough to make that dream come true.

Types of audition

As the name suggests, the open audition is an opportunity for anyone to try their luck at becoming part of the show. It would be untrue to say that professional dancers don't get decent parts from open auditions; talent will always shine out. However, you need to be aware that there may well be hundreds of other people at such an audition, many of whom are far more interested in the (so-called) glamour of showbiz or the big break than working to build a career. This is particularly true now that Pop Idol types of audition shows have become the norm on television. It is also a fact that such open auditions tend to generate a lot of publicity for live shows and forthcoming TV productions, especially in the regions, so it is not unknown for companies who have already hired their quota of principal dancers and performers to hold auditions as much to generate this publicity boost as to find extra cast members.

The nature of an open audition is such that it can be very much a 'cattle call' process. Depending on the numbers that have turned up, you may get a very short time in which to show what you can do, and the casting directors or choreographers are liable to make snap decisions. Bear in mind that while anyone can turn up to an open audition, the ads often list some general requirements such as a height or age range. This may be because of the nature of the show, or because the costumes you will be wearing will be mass-produced rather than tailored for you. If you differ radically from such specifications, spare yourself some heartache and promote your talents elsewhere.

A private or closed audition will usually be a smaller affair, and those attending will usually have been sent along by an agent. From the company's point of view, using agents means that the prospective dancers have already been pre-selected as meeting the various requirements for the job. From your point of view, you will at least know that the casting director and choreographer have expressed an interest in seeing you personally - and you will probably have a little more time to show what you can do than you would if there were hundreds of hopefuls. If the production is a reasonably sized one, the fact that they have taken the trouble to hold private auditions could also mean that the parts on offer are good ones. While it is more likely that you will end up at a private audition through the recommendation of an agent, you may also find yourself being invited to one as a result of having written to the production company with your details at just the right time (see also Chapter Three on self-marketing).

Preparing for an audition

As an actor, you would normally go to audition knowing that the people you need to impress are the director, the producer, the casting director or some combination of all three. As a dancer you may find that there is a much wider range of individuals who have a say in whether you are successful or not. For a musical or theatre show, for example, while the choice of dancers may be left to the choreographer, there may also be 'hands on' directors and producers who want their opinions taken on board. If you are auditioning for a commercial shoot, the client and the advertising agency may be after a certain 'look' which in some cases may be even more important to them than your dance prowess. Treat them the same as you would any other audience: as a dancer you can't predict, control or worry about who you have to perform in front of, you just need to focus on giving the best possible account of yourself each time. And putting that presentation together is as much about what you do before an audition - or a performance - as what you do when you get there.

We have heard various theories about how to approach auditions, from dancers and from other performers; the following advice is based on what works for us and for the people we know. But there is one attitude prevalent among performers that definitely doesn't work for us, whether we are performing ourselves or auditioning other performers - and that is the idea that it is somehow 'cool' not to make the maximum effort to get the job once you have made the commitment to turn up to the audition. Perhaps the maxim that 'a great performer holds something back at rehearsal so they can give their all on opening night' has somehow got confused with auditions in people's heads, but take it from us, if you are not prepared to put as much effort into your audition preparations as you would into opening night, you may never make it to rehearsal. (Of course, now that we are off our hobby horse, you might also note the flipside of that warning: if you do put a little extra effort into your preparation, you will be giving yourself a big advantage over quite a few auditionees before you even turn up.)

The right image

We will look in detail later on in the book at your health and general wellbeing, as they are such important elements in sustaining a successful dance career. But when you are searching for the auditions to get that career kick-started, you need to view your general health and appearance as an important marketing tool. Just as you need to keep yourself fit to be able to do whatever dance work comes your way effectively, so you need to ensure that in terms of both image and appearance, you are ready for any audition opportunities that may arise. Like a top photographer who is no good without their camera, you may not have the time to 'scrub up' in time to take advantage of an unexpected opportunity - you need to have your show 'ready to roll' at all times.

At a very basic level, you need to be conscious of keeping your appearance up to scratch even when you are not working. You are in showbusiness - which means you need to act like you are permanently on show. It doesn't mean that you have to become obsessed with your looks, but you do need to keep your hair, nails and other elements of your image in top condition at all times. And no, that doesn't involve spending large amounts of money that you haven't got: eating healthily and basic grooming should be more than enough to keep you in shape.

Your dance clothes need to be in shape, too - they are an important part of your image. While 'weathered' gear and equipment may be the mark of a seasoned professional in sports and even in music, the same definitely doesn't apply in the dance world. You have a very short timeframe in which to stand out at each audition, and a striking outfit can give you a little extra help just when it is needed. By striking we don't necessarily mean garish or over-the-top: choose something that stands out but is also compatible with your own style and skin colour. Take the same approach with make-up. On the one hand you want to avoid looking pale and washed-out - studio and theatrical lighting is rarely very kind to the beginner - but you don't want the 'plastered on' look either. As you become practised at doing auditions, you'll be able to note how certain dancers have looks and styles that make them stand out from the crowd without appearing to try too hard, and you will certainly get ideas. However, avoid copying someone's style directly, even if it is working for them. It may not work for you - and in any case you want to be distinctive as well as noticeable.

Another factor to bear in mind is the kind of audition you are going for. You may not always have much information before turning up, but if you do know that there is a certain theme to the job or show, it can make a difference if you wear something which is in the same vein - always remembering that you will probably have to dance at some point. Tight trousers may show off your great legs and terrific behind, but unless you can actually move in them, you'll be better off targeting modelling assignments than jobs which involve actual dancing. Obviously this goes double for the shoes you wear.

In addition to your clothes and shoes, the other essential item you will need to bring with you is your bag. While actors may be able to travel light ('Just me and my talent, darling!'), those of us in the musical side of the profession usually find ourselves not only having to look glamorous, but having to do so while carrying something heavy. If your bag is not quite the size of a double bass, it can certainly feel like that sometimes with the accumulation of the gear that dancers end up carrying. Besides make-up, changes of clothes and shoes, you may well find that after hanging around for long periods just waiting for your turn to audition, you make snacks, drinks and books (this one in particular, we hope!) essential parts of your kit. If you have a marketing pack (see also Chapter Three) it certainly makes sense to carry a few extra copies with you at all times - you never know when the opportunity for a little pre- or post-audition networking may arise. Also, you don't want to discover that you've left the one copy of the pack you've brought specifically for the audition on the bus. (This probably applies to open auditions more than to closed ones; for the latter you are likely to have been called in because your pack has already done its work.)

It goes without saying that with all that stuff crammed in it, your bag needs to be one that won't burst as you stumble into the dance studio (not the kind of striking entrance we are recommending). As it's also likely to see a lot of wear and tear, it's worth investing in a bag that can 'go the distance'. Looking the part applies to your accessories, too. Finally, make sure your bag can be carried comfortably, no matter how full it is. If it is properly adjusted with comfortable handles or straps, you are less likely to throw your posture out and/or damage your back. Oh, and label your bag: it may be distinctive, but when there are a couple of hundred of them strewn around an audition venue, the inevitable sometimes happens.

Be on time

It should come as no surprise that no matter what kind of audition you are attending, the number one rule is to be on time. In the world of showbusiness, time is money; when you are working, any lateness on your part will inevitably cause problems and expense not just for your fellow performers, but for entire stage and TV productions too. So it's best to establish right from the audition stage that you are a good timekeeper. Admittedly, people do turn up late for open auditions, and if they are suitably apologetic or charming or plain hard-nosed they can still get seen. However, the danger of getting into this habit is that it may also become your norm at private auditions, and that is certainly a reputation you don't want to acquire.

Even if you are normally on time for things, it is well worth putting in a little more preparation before an important interview to make sure that nothing goes wrong (and let's face it, at the beginning of your dance career every interview is an important interview). We are about to talk about some very simple steps, which you may well dismiss as too simple. Don't. We know too many people (including us) who have come to grief by taking them for granted.

Double-check the time and the venue for the audition. If possible check out one of the Internet sites such as www.streetmap.co.uk or www.maporama.com which will give you a detailed route to the venue from wherever you are starting out. Calculate the time it will take you to get to the venue - and then allow enough extra time to handle any unforeseen circumstances such as breakdowns or public transport delays.
If at all possible get a contact phone number for the venue, so that if you are running late you can call ahead and let someone know. And yes, we know that with lots of dancers lining up to do their bit your phone call may not be regarded as necessary or even important - but you are far less likely to be penalised for making an unnecessary call to say you will be late than for turning up sweaty and flustered, only to find that you have missed your slot. Instead of moving you back, the organisers may have either 'bounced' you or simply packed up and gone. (If you tend to overuse your mobile and be in frequent 'no credit/can't call out' binds, try to ration your phone use when you know you have an audition coming up - or at least save enough money for a pre-pay card.)
Don't assume, simply because you have reached the venue, that you are on time. While auditions do take place in theatres, studios and other designated performance spaces, we have also known them to be in venues as mundane as community centres and as unexpected as military barracks. If the venue is big, you may need to allow extra time for finding the actual room you are supposed to strut your stuff in. Your chances of securing a place in the latest West End show will not be helped if you accidentally end up in the middle of an expectant mums' aerobics class or a hand-to-hand combat course.

Dealing with your nerves

At last! You've made it to the venue and the audition proper is about to start. This is your moment. How do you feel? Excited? Energised? Terrified? Welcome to the club. When we work with actors, even famous and seasoned ones, coping with audition nerves is certainly a factor: after all there may be 20 or 30 other performers up for the same plum part. How much more daunting, then, to be a beginner or even an experienced dancer confronted with an audition where there may well be hundreds of dancers up for the job, each with just a few short minutes to clinch it. Those old insecurities tend to kick in, sometimes with a vengeance, as soon as you enter the audition room. There are liable to be a lot of good-looking, agile people lined up. Some of them may even be dancers you recognise, and it is not unusual to see people pulling some sharp moves as their 'warm up' that you would be hard-pressed to reproduce in full performance flow.

The truth of the matter is that no matter how experienced you are, there is a pretty good chance that several people in the room have more dancing experience and maybe even more talent than you. But take heart from the fact that the most highly qualified and experienced dancers are often far less confident than you might think. To them, even the rawest beginner can look like just as much of a threat. They don't act on this fear, though - they have learned to recognise it as natural performer's anxiety. Instead of allowing it to distract from their focus, they use it to spur themselves on to give their very best performance. You can do the same thing.

Because large auditions are such a feature of the dancer's life, not all prospective dancers are tough enough to persevere through the first year of auditioning. Having turned up to one too many auditions with no success, they decide that there are easier ways to make a living and hang up their dancing shoes, letting go of their dancing dreams. Of course, there is always a whole new wave of hopefuls to take their place - but precisely because there is such a turnover in dancers, the ones who do stay the course tend to get to know each other quickly. They will certainly become familiar faces to each other at all the big auditions: they may well have danced in the chorus together in several tours and shows, and it's possible that they may even have worked with this particular choreographer or director before and be a 'known quantity'. If you are a 'newbie' on the audition circuit it can be a bit daunting to feel that everyone else knows each other, and knows 'the form'. Don't let it get to you - as your career progresses you'll develop your own circle of friends and your own network. You'll also find that, contrary to the stereotype, there are fewer prima donnas in dance than you might think. If you are genuine and straightforward you will probably find quite a few more seasoned auditioners willing to guide you on what to do and when. If you can't pluck up the courage to ask, at least keep your eyes glued to some of the more confident-looking people and do what they do.

Above all, bear in mind that just because someone knows the choreographer or the director, it doesn't necessarily mean that they are guaranteed to be chosen. It might just be that the production needs something fresh and individual and new, and that you are just the person to give it to them. You certainly need to believe in yourself - be confident that you have talent to offer which will shine, no matter what your level of experience. And if you can't quite convince yourself of this yet, at least pretend you believe it and the actual belief may kick in later. Showbusiness is all about make-believe, remember? While you are focusing on yourself, though - hopefully on your strengths, and not your nerves - remember to keep the major part of your attention on the choreographer or whoever is in charge of the audition. A dance studio can be a very visual place, but Jenny maintains that one of the key dance skills is the ability to listen.

What happens at audition?

At some point the audition proper will be called to order. Auditions can follow different formats based on the type of show and the number of people attending, but most go something like this:

The choreographer will explain as much as you need to know about the nature of the job you are trying out for. (Details can sometimes be sketchy, perhaps because it is a high-profile show and the producers want to keep the content secret until opening night. It's not unheard of for the script of a musical to still be in progress while auditions are going on.)
There will then be a demonstration of the steps you are being asked to learn for the audition, usually on their own and then in time to the music. This is one of the reasons why we encourage you to get to auditions early if you can. In a crowded studio or confined space filled with a lot of dancers, it can be difficult to get a good look at the moves you are being asked to make. If you do find yourself stuck at the back, pray that the choreographer is the kind that will move the crowd around so that those further behind get a good look too - but be prepared to 'wing it' as best you can if not (again, it helps to have already identified some more experienced dancers so that you can watch what they do... but double-check with a few rather than with just one, in case you've picked someone who's not as good at observing as their confidence would suggest).
The next stage usually involves the assembled dancers being given some time to practise the steps for themselves. Although some people will be chatty and looking for a fun experience, the more focused beginner is going to take this time seriously and really try to get those steps locked in. Even simple steps and routines can be hard to remember when they are demonstrated quickly and when you have to learn them under pressure. Welcome to the world of professional dance.
Just to make you even more uncomfortable, we may as well let you know that while this is your private practice time, the client/judges may already be casting their eyes over the crowd: remember that these days, they are increasingly searching for the right 'look' as much as for the top dancing talent. On the other hand, be encouraged that that 'look' often has more to do with confidence, professionalism and attitude then just physical appearance. Regardless of what the panel are talking about or where they are pointing, you can't know what's going on inside their heads, so it's far more useful to focus on what's going on inside yours - and more specifically getting those steps in there. In the short space of time you will be given, it may not be possible to make them second nature. But the more smoothly you can do them, the more likely you will be able to give a 'dancing' performance rather than just a 'remembering' one.
The assembled dancers will then be given numbers and broken up into smaller groups so that the judges can get a good look (however brief) at each dancer. If there is a very big group at the audition, it may be that half those attending are sent away for a second session later. (During this chapter you'll notice that we use lots of different words, from 'judge' to 'interviewer' to 'choreographer', to describe the members of the panel which decides whether or not you get through. That's because the make-up of each individual panel is different. It's your job to give your all, no matter who is in the driver's seat.)
Showtime! The waiting is finally over - your group takes to the floor and you get to give your all in front of the selection panel and all of the other dancers (we're not sure which element is more nerve-wracking for a beginner - the dancing or the watching). If you are dancing in a small group, do try to use all of your floor-craft and spatial awareness to make sure that the judges get a good look at you, particularly if you find yourself at the back. However, do so gracefully - you don't want to look like you are pushy or not a team player, as being able to fit into the troupe is just as important a skill as the actual dancing.
Sometimes the panel will make a selection right away; sometimes your group will be asked to dance several times. After that the decision, when it comes, is liable to be swift and not necessarily painless. The dancers who fit the bill will be asked to stay; for the others it will be a brief 'thank you very much for coming' and time for the long walk to get changed. If you do make it to the second round of the selection process, congratulations. Now you'll have to go through the whole experience again as the group gets whittled down to the chosen few!

While less crowded, the closed or invitation-only audition will tend to follow more or less the same format as the open audition - although since the selectors have already expressed an interest in seeing you, there may be slightly more scope to show yourself to good advantage. On the other hand, if they are looking for a certain 'type', you may find yourself in a room full of dancers who look not dissimilar to you! (John once attended an audition and had to share the waiting room with 20 or so other balding men with Irish accents.) Your challenge then is to really communicate the spark that makes you stand out from the crowd - and in order to communicate it, you will have had to work it out and practise it long beforehand.

You may be given some indication of how you have done at the end of this kind of audition, just as you would for the open kind. Equally, though, the panel may want to do some deliberating, so you may be sent away none the wiser and only hear the result via your agent. While you may not be pleased to be dismissed with a curt 'thank you' at an open audition, at least then you know you haven't got the part. If you are waiting to hear back after an audition and don't hear back after a reasonable period of time, you can usually assume that you haven't been chosen on this occasion.

'A DANCER'S GUIDE TO GETTING WORK' is available to purchase now from the A&C Black website.

All RSS feeds are published for personal, non-commercial use. (What’s RSS?)