All About My NYC Dance Auditions

Mia Michaels' Master Class

2008-01-16T10:06:00.000-08:00

Broadway Dance Center held a master class with Mia Michaels last night, January 15, from 9-11 PM. The master class was posted both at the studio and online at bwydancecenter.com. The class was $35. When you arrive at the studio, you visit the information desk to get a wrist band for class admission.

Her classes are always held in studio 1, and as a rule it is usually good to show up at least an hour early if you want to get a good "spot." Any later than an hour and dancers are lined up down the hall to get into the studio. The benefit of taking her classes at Broadway Dance Center instead of at a convention such as The Pulse is that the class is very intimate - there are far few dancers than at a convention, and you can really tune into what Mia is looking for.

It was my second master class with Mia and, as usual, I had a great time. The studio was packed! Jamie and Sabra from So You Think You Can Dance came to take class. Ivan was also at the studio, but he didn't take Mia's class. Mia's assistants were amazing, as usual.

The combination she did was to the song "Because," by Dana Fuchs, from The Across the Universe motion picture soundtrack.

Mia brought up some really great concepts during the master class. During the warm-up, she had us move in two different ways: "Bony," which seemed to be like moving from your joints and very rapid and free, and "Muscle-y," which seemed to be like using resistance in your muscles. She also talked about how taking dance class is an opportunity to get inside of the person teaching or choreographing. Mia said that the class was an opportunity for us to explore her and to experiment with moving in new ways. Mia also talked about how dancing is about making smart choices with your body and the movements you make - she said that making smart choices is especially important with improv and matching your improv movement style to the tone of the piece.

In conclusion, Mia's class was an amazing and spiritual dance experience!

For more information about Mia Michaels, visit her web site at http://www.miamichaels.com/

Upcoming Auditions: Gus Giordano Jazz Dance Company

2008-01-10T06:35:00.000-08:00

Upcoming Auditions:

Giordano Jazz Dance Chicago, reproduced from http://www.giordanojazzdance.com/

NEW YORK AUDITION

What: Giordano Jazz Dance Chicago is seeking male and female dancers for the Company and Giordano II Company positions. Dancers must be at least 19 years old and have strong ballet and jazz technique. Salaried non-union contracts available. Must be willing to relocate to Chicago. GJDC consists of ten dancers, five men and five women. The company tours nationally and internationally. Company members receive worker’s comp., dance classes, physiotherapy, performance shoes, and health club memberships

When : Sunday, January 13, 2008 – 10:00am - 1:00pm
Registration begins promptly at 10:00am (No appointments necessary)
Audition will begin at 10:30 am. No warm-up will be given.

Where : The Ailey Studios
The Joan Weill Center for Dance 405 West 55th Street at 9th Avenue, New York, NY 10019
Bring :• 8 x10 headshot with resumé & references• Ballet and Jazz Shoes

CHICAGO AUDITION:
What: Giordano Jazz Dance Chicago is seeking male and female dancers for the Company and Giordano II Company positions. Dancers must be at least 19 years old and have strong ballet and jazz technique. Salaried non-union contracts available.

When: Saturday, March 1, 2008– Registration 3:00 - 4:00 pmAudition begins 4:15 pm(No appointments necessary)

Where: Giordano Dance Center614 Davis Street, Evanston, IL 60201Bring: • 8 x10 headshot with resumé • $10.00 fee• Jazz and Ballet Shoes

America's Next Top Model Casting in NYC

2006-08-27T07:05:00.000-07:00

I attended the America's Next Top Model Cycle 8 casting call at the Park Central Hotel in New York City on August 26, 2006. I arrived at 9:30 AM, and the line was already wrapped around an ENTIRE New York City block.

I waited in line until about 12:15 before I was let into the building. A few interesting things from the line:

The writers for the show were on strike and were outside the building protesting.

There was one lady who was a particularly good line cutter and incurred the wrath of many-a-auditioner.

This line was the only audition line I've ever stood in that was advertised too. I received several advertisements from photographers and beauty consultants and even coupons to the nearby Subway restaurant.

Anyone wishing to tryout for Cycle 8 of America's Next Top Model must be over 18 (bring a photo ID with you, it will be checked at the door), over 5'7" tall, and have a valid US Passport.

According to the advertisement in Backstage Magazine, the show is shooting from October to November of this year.

After waiting hours to be admitted into the building, I was given a cute little CW11/ANTM mirror and fan. We were also given a "Scout Sheet" with a contestant number on it (by the time I got into the building, I was in the 900s). We were brought to a room full of 300-500 chairs and filled out the scout sheets (Identification information, plus a few questions to get to know you). A little advice: Bring your own pen!

Also, I had not eaten lunch before entering the building. Big Mistake! Eat lunch, or bring food with you in your bag.

There is an application form available online from America's Next Top Model. I had printed it out and brought it with me, along with the three pictures they ask for (headshot, bodyshot clothed, bodyshot swimsuit) although several people around me had not. I heard a rumor later in the day that people who did not bring applications were no longer being admitted to the audition.

After waiting in the ballroom until about 3:15, we were led upstairs to a small (very hot) hallway where we all had to squish together. As a note, you are required to bring your belongings with you everywhere you go. Also, you must turn your cellphones off while in the audition areas. So, pack lightly. We waited in the hallway until about 4:00, and then we were brought into a medium-sized room with the casting director, her team and a cameraman. We were lined up from the back corner of the room, to the front corner, along the front wall, and down the other side. All in all, I believe that they squished about 150 of us into the lineup (chest to back, your toe to someone else's heel). We were instructed to look into the camera and say our Name, Age, Height and Weight very quickly (to save time). I do believe that the way you say this information can get you cut or get you into the next round. The casting directors are looking for people who are going to be articulate on camera with good presentation skills, so try to sound excited and strong. The camera man videotaped each one of us as we spoke in succession. Many ladies were instructed to turn their body's to the camera. In other words, you need to make sure that your shoulders are square to the camera.

Out of the approximately 150 girls in the room, 4 were asked to say. I heard that, out of the nearly 2,000 people that auditioned that day, 200 ladies moved on to the next round. Things I noticed about the ladies who were chosen: They were very tall and very thin (130 lbs or less) with very pretty, symmetrical faces.

Many of the girls at the audition had never tried out for anything before. They had stars in their eyes, and desperately wanted to make it on the show. It was very sad to see them leaving the building in tears because they are not used to the rejection that comes with showbusiness.

The casting directors also plucked a few girls from the group to audition for their new Pussycat Dolls series, a reality show that is going to chronicle the making of the Pussycat Dolls' 7th bandmember.

The other rumor is that ANTM is choosing 50 girls from each city and then whittling it down to the final group.

As a note, it was rumored that Miss J was present for the morning's auditions.

A little advice to those who are going to show up later in the day: If you are not in line by 4 o'clock (or when the audition is advertised to end), you will not be seen! They give out numbers to everyone in line until 4 o'clock. If you do not have a number, you will not get into the building!

All in all, I left the audition at about 4:45 PM (over 7 hours from the time I arrived).

And that was my experience at America's Next Top Model!

Radio City Christmas Spectacular Rockette Audition #4

2006-08-01T06:34:00.000-07:00

This audition for the Rockettes was my fourth audition with Radio City Music Hall (I auditioned for the Rockettes twice last year and, now, twice this year). The audition format for the Rockettes is just about always the same, so I have reproduced one of my entries from a past audition below the dotted line.

A few tid-bits that I haven't included before or just learned at this audition:
1. I was told by a dancer in line that the Rockettes only take dancers who look mature - basically, if you look young you won't be chosen. I don't know if this is true or not, but its an interesting possibility.
2. If you are not from America and you do not have a work visa, you will not be permitted to audition (you may be allowed to take the first combination as a class). An auditioner found this out the hard way.
3. When you enter Radio City Music Hall at the stage door, you take the elevator to the seventh floor and then walk up to the ninth floor to audition.
4. There are restroom facilities on the ninth floor. However, there are only about 8 stalls total for ALL the girls who audition (including the men's restroom that is converted to a lady's room). However, all of us still manage to get changed in time for our audition. So, if you don't want to travel around the city in your dance clothes, you should be able to change.
5. I've found that auditions for the Rockettes are usually held twice a year. Most dancers in New York City go to both auditions. The same combination is used at both auditions. Therefore, if you only go to the second audition you will be one of very few people that don't already know the combination!
6. Auditions for the Rockettes pop up very quickly - the best way to find out about them is by staying tuned to their web site (radiocityauditions.com), calling their audition hotline, or by getting a subscription to Backstage East.
7. Black and white headshots are "out" now. Color headshots are "in."
8. A large amount of graduates from Oklahoma City University's Dance Performance program go on to become Radio City Rockettes.

------------------------------------------------------------------------
The Rockettes cast for two different segments of their production - The NYC Production that is staged at Radio City Music Hall, and several satellite productions (Christmas Across America, or CAA) that are staged in cities across the country. I believe that there may also be one touring company.

To audition for the Rockettes, you must at least 18 years old, between 5'6" and 5' 10.5" in height, and proficient in tap and jazz.Radio City Music Hall is located on 6th avenue between 50th and 51st streets. You will be admitted into the audition at the stage door, which is on 51st street. Radio City is a very short walk to Rockefeller Plaza.Have your resume and headshot ready to hand to the audition staff. They had a stapler on hand, but it might be wise to staple it yourself at home. There is typically little to no walking room in the small rehearsal studio, so they try to keep you there as little as possible. They will call segments of names to be measured for height. They will also call segments either into the large audition hall or into the red room (holding area).

Attire:
Most girls wear a colorful leotard (flattering cut - I saw a lot of halter tops this year. French cut leotards make your legs look longer) with nude fishnet tights. Tan LaDuca Character shoes (high heeled) were the most popular for footwear. No matter what, make sure you bring high heeled character shoes and tap shoes! You want to present yourself as a Rockette, and you can't do that without the proper footwear. The management staff says that some girls have become Rockettes without the proper footwear, but be sure to tell the audition director the reason you don't have proper footwear. Most girls wore their hair down or in a pony tail with classic make-up.

THE AUDITION

They will bring 30-50 people into the audition room and teach a short Rockette Jazz Combination. No Jumps, No Spins, maybe one Kick. Mostly just straight arms and legs. After teaching the combination, the room will be split into two groups and each group will get to try the combo to the music 2 or 3 times. Then they call names 3 at a time to perform the piece in the center of the room. There are three Xs on taped on the floor. The X you stand on wkill depend on whether you are called first, second, or third. Pay attention! Your ability to follow directions factors into whether you will make the next cut or not.

The two most important aspects of dancing in the Rockette Audition are 1) Precision and 2) Performance. The choreographer is very picky about where she wants hands and bodies. Pay attention to angles. Learn to hold your hands on your hips with your thumbs on the front of your hip and your elbows out. Break your wrists. Smile Smile Smile! Also, make sure that you remember the combination! Often times, they will use the same combination for the first cut in a few auditions a year.This was my second year auditioning, and they used a different combination with pretty much the same elements they used in my first year of auditioning. So, you will see the same themes and moves repeated year after year. In my first year of auditioning, they took far more people from the first cut then they did this year. We auditioned for both the director of the NYC show (Linda Haberman) and the Christmas Across America director.I'll let you know about the rest of the cuts when I get to them! Good Luck!Visit RadioCityAuditions.com for frequent Audition updates.

So You Think You Can Dance

2006-06-24T10:34:00.000-07:00

If you are looking for the latest information about So You Think You Can Dance, visit Etchings Dance Web Site at http://www.etchingsdance.com.

For all music used in the top 20 show, for the latest information about the Top 20 dancers, and for the latest information about judges -

Top 20 Dancers: Musa Cooper, Travis Wall, Stanislav Savich, Benji Schwimmer, Ivan Koumaev, Jaymz Tuaileva, Dmitry Chaplin, Ben Susak, Ryan Rankine, Jason Williams, Donyelle Jones, Natalie Fotopoulos, Joy Spears, Allison Holker, Ashlee Nino, Jessica Fernandez, Erin Ellis, Martha Nichols, Heidi Groskreutz, and Aleksandra Wojda.

Radio City Musical Hall Rockettes Audition

2006-06-24T10:27:00.000-07:00

The Rockettes cast for two different segments of their production - The NYC Production that is staged at Radio City Music Hall, and several satellite productions (Christmas Across America, or CAA) that are staged in cities across the country. I believe that there may also be one touring company. To audition for the Rockettes, you must at least 18 years old, between 5'6" and 5' 10.5" in height, and proficient in tap and jazz.

Radio City Music Hall is located on 6th avenue between 50th and 51st streets. You will be admitted into the audition at the stage door, which is on 51st street. Radio City is a very short walk to Rockefeller Plaza.

Have your resume and headshot ready to hand to the audition staff. They had a stapler on hand, but it might be wise to staple it yourself at home. There is typically little to no walking room in the small rehearsal studio, so they try to keep you there as little as possible. They will call segments of names to be measured for height. They will also call segments either into the large audition hall or into the red room (holding area).

Attire: Most girls wear a colorful leotard (flattering cut - I saw a lot of halter tops this year) with nude fishnet tights. Tan LaDuca Character shoes (high heeled) were the most popular for footwear. No matter what, make sure you bring high heeled character shoes and tap shoes! You want to present yourself as a Rockette, and you can't do that without the proper footwear. The management staff says that some girls have become Rockettes without the proper footwear, but be sure to tell the audition director the reason you don't have proper footwear. Most girls wore their hair down or in a pony tail with classic make-up.

THE AUDITION
They will bring 30-50 people into the audition room and teach a short Rockette Jazz Combination. No Jumps, No Spins, No Kicks. just straight arms and legs. After teaching the combination, the room will be split into two groups and each group will get to try the combo to the music 2 or 3 times. Then they call names 3 at a time to perform the piece in the center of the room.

The two most important aspects of dancing in the Rockette Audition are 1) Precision and 2) Performance. The choreographer is very picky about where she wants hands and bodies. Pay attention to angles. Learn to hold your hands on your hips with your thumbs on the front of your hip and your elbows out. Smile Smile Smile! Also, make sure that you remember the combination! Often times, they will use the same combination for the first cut in a few auditions a year.

This was my second year auditioning, and they used a different combination with pretty much the same elements they used in my first year of auditioning. So, you will see the same themes and moves repeated year after year. In my first year of auditioning, they took far more people from the first cut then they did this year. We auditioned for both the director of the NYC show and the Christmas Across America director.

I'll let you know about the rest of the cuts when I get to them! Good Luck!Visit RadioCityAuditions.com for frequent Audition updates.

New B-Boy Dance Show Led by Bad Boy

2006-05-28T15:55:00.000-07:00

From "Diary of a Dance Mom" Blog:

"'MTV and Bad Boy Entertainment, Sean “Diddy” Combs’ production company, are teaming up as dance partners for an as-yet-untitled series that will center on street dance troupes across the country. Combs will executive-produce the pilot episode.'

http://www.broadcastingcable.com/article/CA6337533.html?title=Article&spacedesc=news"

New England Patriots Cheerleaders Auditions

2006-05-01T09:46:00.000-07:00

For complete audition information, visit http://www.patriots.com/cheerleaders.

Preliminary Auditions for the New England Patriots Cheerleaders were held on Sunday, April 30, 2006 at the Dana Farber Field House (at Gillette Stadium) in Foxborough, MA. The Field House is affectionately referred to as "The Bubble." Since this blog is about Dance auditions, you may be confused as to why a cheerleading audition is included here. The Patriots Cheerleader audition is a nearly 100% dance-based audition. The style of dance may be more drill team/cheerleading team in nature, but it is still primarily a dance audition.

I arrived at Gillette Stadium quite early in the morning. We were instructed to wear an aerobic outfit and sneakers, and to bring warmups, a good lunch, a photo ID, an optional photo/resume, and the $15 registration fee.

You must be over 18 years of age to audition for the Patriots Cheerleaders.

This is a good time to note that it is usually a good rule of thumb NEVER to pay to audition in dance. If you have to pay to audition, you are usually being scammed or will not get your money's worth. However, the Patriots are a reputable organization. I do not know why they charge an audition fee, but I chose to pay it and everyone must make their own decision.

Attire

There were a variety of dress styles at the audition. We were instructed to wear an aerobics outfit and to dress in a "glamourous" fashion rather than "sporty."

I'm still not 100% sure about what was meant by "aerobics outfit." Some girls were wearing aerobic-style bottoms (basically, black or decorated bikini bottoms) with tan tights underneath them and colorful, sports-bra style tops. Some girls had very flashy attire, while others did not. Some were wearing shorts, or long pants.

The most important thing is to wear clothing that you feel comfortable in and clothing that will compliment your shape.

Most everyone wore their hair down. The Patriots Cheerleaders usually dance with their hair down, and I think that it adds a little extra pizzazz to a movement that allows the movement to be seen "in the 300s"... a tuck or head roll is accentuated and becomes sharper when you have to toss your hair. Straight or neatly curled were the hair styles of choice.

Facilities

The Dana Farber Fieldhouse contains an indoor astro-turf field. You WILL be dancing on astroturf! I danced in dance sneakers and was perfectly comfortable. Other girls were wearing regular sneakers and also coped fine.

There are adequate restroom facilities at the fieldhouse. However, it does get chilly when you're not dancing!

The Audition

All auditioners (approximately 250-300 ladies) were brought onto the astroturf field at the same time for a warmup and to learn the first audition routine. Tracy Sormanti, the cheerleader director and choreographer, conducted the warmup and taught the first audition routine from atop a platform using a microphone.

The first combination was very easy. There were no kicks, jumps, or turns. It was simply team-style dance, and was very basic. Emphasis was placed on using spotting when pivoting from front to back, accurate use of rise and fall (plie and releve) and making movement clean + big. The routines were taught at a fairly slow pace, and we were given several chances to try the dance with the music. It was easy to become overtired!

We performed the routines 4 people at a time (in numerical order) for the eight judges. Numbers 1-8 performed the routine again after all the other contestants had danced.

While the judges tabulated the scores and prepared for the first cut, we were given a brief lunch break and then returned to the field to learn the second audition routine. The second audition routine was more complicated than the first. It was still a team-style dance - without jumps, kicks, or turns - but it repeated twice and was much more winding than the first dance. Again, it was taught slowly and we were given several chances to try it with music.

Then, the judges returned and the first cut was announced. After the first cut was finished, we were given 5 more minutes to practice the routine. Then the remaining dancers lined up once more and performed the routine, four at a time, for the judges. The first eight dancers performed for a second time after the other contestants had danced.

Once more, the judges left to tabulate while we learned the third dance. The third dance was a bit more urban in nature, but it was still basic and was taught slowly. The second cut was made, and the remaining dancers performed high kicks and the third combination before final cuts for the day were made.

Dancers that made it through all three cuts were asked to return the following weekend for an interview, swimsuit modeling, and further auditioning. Approximately 50-75 dancers were asked to return the following week.

New Talent Competition on NBC

2006-03-27T17:15:00.000-08:00

New Talent Competition
Simon Cowell & FremantieMedia, the producers from AMERICAN IDOL, team up with NBC in the search for the hottest variety & novelty acts from across the country! Are you talented? Audition at one of our open calls for the chance at being Simon's next big discovery and a huge cash prize!
Talents of all kinds are invited to try out. Individuals and groups welcome, singers, dancers, animal acts, bizarre novelty acts, magicians, comedians, belly dancers...all ages...the sky's the limit!! The series is scheduled to premiere this summer on NBC. Don't miss your opportunity to perform before a panel of celebrity judges on television and to prove to America YOU have what it takes to be the next big star!
Attend An Open Call—Here's How:
Please Note: Pre-book your audition time by e-mailing your confirmation and get on the VIP LIST! email: americantalent@aol.com to confirm your audition reservation! OR CALL: 323-782-0430. Just let us know WHAT CITY you are coming to!
Let us know if you have an elaborate set up, such as bands, illusionists, animals...so we can give you time to set up. Also, call us if you have animals or are performing physical and/or dangerous stunts as there is paperwork we need you to fill out before. Production reserves the right to refuse an audition to any individual or act, in its sole discretion.
A photo ID is required in order to audition.
Applicants under the age of 18 need to be accompanied by a parent or legal guardian and must have parental permission.
Please come to the audition dressed in as much of your costume as possible.
Candidates must be either a US citizen, legal permanent resident of the US, or possess a current legal visa allowing you to seek employment freely in the US.
Animals: must have proper immunization papers*
Singers: prepare a second number
Open Call Dates/Locations
Doors scheduled to open 10AM
Thurs. April 6, Fri. April 7, Sat. April 8
Sheraton Lost Angeles Downtown Hotel711 South Hope St. (south side of Wilshire)LOS ANGELES, CA 90017
Wed. April 12 & Thurs. April 13
The W Hotel Chicago City Center172 West Adams St.CHICAGO, IL 60603
Mon. April 17
The Westin Hotel Time Square270 Est 43rd St.NEW YORK CITY, NY 10036
Wed. April 19
The Crowne Plaza Hotel-LaGuardia Airport area104-04 Ditmars Blvd.EAST ELMHURST, NY 11369
Sat. April 22 & Sun. April 23
America's MartBuilding #2-Atlanta Gift Mart230 Spring St.ATLANTA, GA 30303

Casting Call from MTV.com

2006-03-05T11:02:00.000-08:00

"Are You MTV's Most Talented Singer, Dancer or Actor? How About a Triple Threat?Are you ready to be discovered on MTV?MTV and three celebrity judges are looking for 10 talented, show stopping newcomers to compete in the areas of singing, dance and acting for the ultimate title of MTV's Most Talented.We are searching for confident and eager aspiring idols to show their undiscovered talent and appear on MTV's Most Talented!The search begins in Los Angeles so if you have what it takes to compete, MTV's Most Talented wants you!If you live in the Los Angeles area and appear to be between the ages of 18-24, send an e-mail to newshows@mtvstaff.com, ASAP, and be sure to include:Your nameCity you live inYour Phone #Attach a recent picture of yourselfAnd tell us whether you're a singer, dancer, actor or a triple threat!"

So You Think You Can Dance - NYC Auditions

2006-03-04T05:13:00.000-08:00

On Thursday, March 2 I attended the NYC So You Think You Can Dance auditions. Unfortunately, I can't tell you a lot about it because we all signed a confidentiality contract! But I can tell you that it was absolutely FREEZING, I made it to the second day of auditions before getting cut, and you are going to see some AMAZING dancers this season.

Check out the SYTYCD web site at http://www.fox.com/dance/ for audition cities and dates.

The Drowsy Chaperone - Broadway Audition

2006-03-04T04:40:00.000-08:00

Equity auditions for the Drowsy Chaperone were held on Wednesday, March 1, 2006 at Stepping Out Studios (37 W. 26th street, 9th fl., btwen Broadway & Sixth Ave.)

The Backstage Magazine Casting Ad was as follows:

Bernard Telsey Casting is casting future replacements for the Broadway production of The Drowsy Chaperone, a new musical. Casey Nicholaw, dir.-choreo. (at auditions); Bob Martin & Don McKellar, book; Greg Morrison, music; Lisa Lambert, lyrics. Rehearsals begin early to mid-March; previews in April; ongoing run begins in May.

Seeking -- Ensemble Dancers Who Sing: mid-20s to late 40s, male and female, unique dancers to play various charactgers and possibly understudy principal roles, seeking an ethnically diverse ensemble, all are encouraged to attend.

Auditions will be held March 1 at 10 a.m. (males) & 2 p.m. (females) at Stepping Out Studios, 37 W. 26th St., 9th fl. (btwn. Broadway & Sixth Ave.), NYC. Be ready to dance wit sneakers for men and heels for women. After dancing, you ma ybe asked to sing 16 bars of a 1920s style song. Bring sheet music for your song, a piano accompanist will be provided. Bring pix & resumes, stapled to gether. Equity chorus procedures are in effect. $1,422 min./wk. Equity Production Contract. (First posted 2/16/06).

I arrived at Stepping Out Studios a little after 2 PM. As usual, I had to show I.D. at the door to enter the building. I liked Stepping Out Studios because the facilities appeared to be clean. Its amazing what a coat of paint and some mardi gras decorations can do for atmosphere. There were two studios on the 9th fl. (I'm not sure if there are more floors), a large hall where the auditions were taking place, and a smaller but still large hall. Dressing facilities were adequate. As a note, it WAS necessary to walk through the audition studio to get to the second studio for registration and also to the dressing rooms. If you ever experience this, make sure that you avoid unnecessary trips in and out of the audition hall. Always be quiet, courteous, and stay out of the way of the dancers!

Since I am non-equity, I was not given the opportunity to audition (See "Chicago Audition and Equity v. Non Equity" for reasoning) but I was able to leave a headshot and resume.

Out of interest, though, I still observed the audition through an open door.

Wardrobe: First of all, let me mention that all the equity ladies were in VERY good shape. There were multicolored leotards, half tops, fishnets, tights, and tiny skirts. Flattering makeup and hair half back were a norm. EVERYONE was wearing Laduca character shoes.

Laduca character shoes nearly deserve an entry of their own. They are the most flexible, comfortable and professional character shoe in the biz. In addition to their in-store line, they custom make shoes for Broadway shows. Anyone who goes to a Broadway audition and is wearing a brand other than Laduca shows that they're a newbie, in my opinion. Of course dancing always counts the most, but its also important to appear professional and experienced. Visit http://www.laducashoes.com/ to get your own pair.

Dancing/Choreography:

Casey Nicholaw was the choreographer and director at auditions (I am not sure whether he is choreographing the entire show or was simply responsible for auditions.) For those of you unfamiliar with Casey's work, he was the choreographer for Broadway's Spamalot.

The word that best describes the choreography at the audition is ADORABLE. The ladies were performing 1920s style moves that seemed to be inspired by the style of the Charleston and the Lindy Hop. There were a lot of free swinging leg movements, where one had to use momentum to make the leg swing freely in the hip (creating an almost paper-doll like effect.) I'd say that the most important thing in the Drowsy Chaperone audition was performance, followed by choreography retention. In the first cut, I didn't see any technically challenging steps.

That about sums up my observance of the Drowsy Chaperone Audition!

-L-

Holland America Cruise Line / Stiletto Entertainment Audition

2006-02-24T07:12:00.000-08:00

On Thursday, Feb. 23 I attended the 12 noon audition for for Holland America Cruise Line dancers (one of three calls in NYC this week). A few perks about working for Holland America, as described in their add: "300 openings a year, 13 luxury cruise ships, 6 month contracts, worldwide cruises, competitive wages, officer status, family cruise prvileges, medical/dental benefits, no cruise staff duties, rehearsal travel and accomodations provided." Needless to say, working for Holland America seems to be quite nice. Dancers must be 18+ and have a valid passport. For more information about casting for Holland America, visit the web site of their casting company, Stiletto Entertainment: http://www.stilettoentertainment.com.

The auditions were held at Nola Rehearsal Studios, 250 W. 54th St. 11th floor.

As a side note that I've been meaning to address, make sure that you always bring your photo ID with you to auditions (although you should really bring it EVERYWHERE) because most New York City buildings require that you show a Photo ID for admittance.

I had never been to Nola rehearsal studios before. For those of you used to the luxuries of, say, Broadway Dance Center, the smaller rehearsal studios are the equivalent of a motel (vs. The Hilton). At Nola, I found out-of-whack room temperatures, dirty floors, and less-than-ideal surfaces for dancing. The bathrooms on the 11th floor are down the hall and past some other offices in a dark and desolate corner.

At sign in, the Stiletto Entertainment staff asked us to fill out an Availability form, Application for Employment form, and a Costuming Form and return the forms with headshot and resume. Female performers must be between 5'4" - 5'9" and dress size 2 - 8. Male performers must be between 5'7" - 6'3" and suit size 36 - 42. On the day I attended, male performers had a separate audition from female performers.

About 70 girls attended the audition. The staff asked that we wear only form fitting clothing. Nearly everyone was wearing a flattering, colorful leotard and tights or jazz pants. Hair was either down and half back, or completely back. We were instructed to wear flat jazz shoes. Usually, they audition in character heels. However, the floor at Nola was too slippery to wear heels.

The first (big) cut was all about technique. An 8 count set of high kicks, followed by right side fouettes (enter and exit with a double pirouette), a tap combination (time steps), and "showgirl walks." You may consider some of the first cut to be typecasting, too.

I would say that they narrowed the group down from 70 to about 30-4o girls in the first cut.

The remaining dancers were taught an extremely detailed, fast paced combination. To make it even more challenging, the combination was taught at lightning speed. Stephanie (the dance caster) said that, during actual rehearsals for the show, extremely large chunks of choreography are taught at once and very quickly. The entire show is learned in 2-3 weeks. So, they will only hire dancers who absorb choreography very quickly and very well.

The combination included: Isolations, double pirouettes (inside and outside), lots of changing directions, three point turns, chaine axel jumps, tilt kicks, lots of battements, and a split leap.

After we had learned the choreography and had practiced to music, we were taken into the studio 2 at a time to perform for the camera. We had to say our name (spell the last name), height, and original home town. Then we performed the combination from the first cut and the new combination we had learned.

That's all, folks!

Remember to visit StilettoEntertainment.com for more information. The cruise entertainment casting department is really wonderful about getting information about auditions out to dancers. They did a great job of running a top notch audition.

Open Call for a Chorus Line

2006-01-17T09:59:00.000-08:00

An Open Call for casting of "A Chorus Line" on Broadway was held in NYC on Saturday, January 14th (for women.) I did not attend the call, but heard about it from a friend: For the first cut, the women were asked to step out of line and perform a double pirouette.

If anyone else has any other info about how this call was, please post a comment!

Broadway Dance Center Needs Your Help!

2005-12-21T08:50:00.000-08:00

After reading this blog, please link it to your blog or sent it via e-mail to people who may be interested in this topic. Speading the word is the best help I can provide to this cause. Thanks. Here is an article from Backstage and other links.

Dancers Rally for NYC Center
December 01, 2005

Dancers rallied Thursday morning in support of the Broadway Dance Center, which is in the midst of a legal battle to retain its space on West 57th Street in Manhattan.

About 150 people gathered at the facility, said Bruce Cohen, press representative for the center, on Thursday afternoon.

For two decades the center has served the rehearsal, training, and conditioning needs of thousands of dancers, according to Cohen.

"More [than] 40,000 members, including Rockettes and Broadway chorus line dancers, consider the Broadway Dance Center their professional home and the place to stay in shape," said a press release announcing the rally.

The New York Times reported on Nov. 23 that the dance center might lose its home, a victim of Manhattan's "heated real estate market," which "is squeezing arts groups in the city."

The center is involved in a legal battle with its landlord, the Extell Development Company, to keep its space at 221 West 57th St.

Extell purchased the building and an adjacent site in June for a reported $67.5 million, according to the Times story, which added that the Broadway Dance Center's lease expires in 2012. Allison Ellner, chief executive officer and director of the center, told the Times that Extell had offered her $1 million to leave the space but that she had declined and that she had estimated the relocation cost at $3.4 million.

Franklyn Snitow, an attorney for Extell, told the Times that the company was prepared to operate the building "while there are existing valid leases for the premises." He would not comment on negotiations for relocating the dance center, except to say, "We were not willing to accept the dollar figure they presented."

-- Roger Armbrust

http://www.backstage.com/bso/news_reviews/stage/article_display.jsp?vnu_content_id=1001613074

Also visit the new BDC Support site: http://www.supportbdc.org/

Chicago Audition and Equity V. Non Equity

2005-10-26T10:37:00.001-07:00

I decided not to go to the Broadway Musical Chicago Audition due to possibilities of inclement weather. This turned out to be fortunate for me because, according to a friend, there were so many people at the audition that no non-equity dancers were seen.

For those of you who don't know, dancers who are members of the Actor's Equity Union are called equity dancers. Being a member of equity (that is, receiving the coveted "Equity Card") allows you certain perks - you get paid more, you can get free healthcare, the union monitors your contracts and working conditions, and so on. While dancers can me members of equity, so can shows, theatres and production companies. When a show is a member of equity they must abide by the rules of Equity.

All shows are required to hold an equity casting call once per year, whether they need replacements or not. Non-equity dancers can attend these calls, but they might not get seen at all. If they are seen, they will be seen after all the equity dancers have been auditioned.

Article from Backstage Magazine: Dancers: Getting Cast in Today's Musicals On and Off Broadway

2005-10-24T13:14:00.000-07:00

You have great dance technique, a strong singing voice, solid acting chops, and a burning desire to dance on Broadway. But is that enough to get you a job dancing in a musical today?

So many different kinds of musical theatre are being producted both on and off Broadway, it can be difficult to figure out exactly what kind of performer a show requires and which of your skills and qualities you should show off at an audition. You can't appraoch auditioning for "The Producers" in the same way you would audition for "The Phantom of the Opera." Are you even tall enough for "The Producers" or enough of a ballerina for "Phantom"? Are you old enough to perform in Chita Rivera: The Dancer's Life"? Earthy enough for "The Pirate Queen"?

To help dancers sort out what's going on in musical theatre dance today and develop strategies for being hired, Back Stage spoke with the choreographers (or those currently in charge of dancing) for 21 musicals now playing or soon to open in Broadway and Off-Broadway theatres. You'll find information about the specific dance needs of each show and details on exactly what performers are expected to do at each show's dance audition.

You'll also find out which shows have auditions currently scheduled. But check out all listings: Actors' Equity requires that all Broadway Musicals hold semiannual chorus calls and annual calls for principals. In addition, most shows maintain casting files and schedule auditions whenever replacements are needed. It's important to check Back Stage Regularly to find out who is casting what and when.

-- Lisa Jo Sagolla.

FROM PREVIOUS SEASONS: 14 SHOWS

The Phantom of the Opera
Broadway Opening: Jan 26, 1988
Auditions will be held in November for a sit-down Las Vegas production. Required Equity calls are held annually and additional replacement auditions are scheduled as needed. There is one national tour out.

"The most important requirement for dancers in 'The Phantom of the Opera' is that they all have wonderful classical ballet technique," says Denny Berry, the show's production dance supervisor. "All of the girls have to dance on pointe and everyone has to have an understanding of the line and style of the period -- that romantic, classical era of the late 1800s." Although the ballet lines of that period are markedly different -- much more rounded -- than the contemporary 21st-century look, "in this show's choreography [created by Gillian Lynne], we do try to meet teh aesthetics of today's line while reflecting upon the style of that foregone era," she explains. "We've learned a lot in ballet over the last century, particularly technically, and we want all of that to be contained in our dancing. So there's not an absolute sense of only the roundess of that period; there's length and angularity as well."

When casting the women for "Phantom," Berry looks for "small-sized performers, because they're playing a group of young dancers and if they're small, they tend to look younger from afar. We like to keep teh women below 5'6", but we like the gents to be around 6 feet."

All the dancers in this show need to sing well enough to be able to "contribute to the chorus," says Berry. But most importantly, she stresses, this show is a "hybrid" and both the singers and the dancers must be totally comfortable with classical technique, not just possessed of musical theatre abilities: "What we often end up with are performers who are making the transition from the classical world to musical theatre. It's very different doing eight shows a week on Broadway versus being in a ballet company. And this show is a great jumping-off point for those performers."

--LJS

Beauty and the Beast
Broadway opening: April 18, 1994
A required call will be held in early November. There is no tour out. Send photos and resumes to Jay Binder Casting, Attn: Beauty and the Beast, 321 West 44th St., Ste. 606, NYC 10036.

"We're looking for a wide range of physical types for this show, but everyone must be a really strong ballet-trained dancer," says the associate choreographer of "Beauty and the Beast," Kate Swan. "All the men have ballet-based specialties and the women have to be good ballet turners."

At dance auditions for the show (which was choreographed by Matt West), the first thing the women are asked to do is a series of pique turns -- and the first cut is based on their execution of those spins. "And the men have to be able to do ballet grand allegro steps," says Swan. There's one man who needs to do 13 coupe jetes in a cirlce and there's one man who is a tumbler. I would describe all the choreography in this show as ballet-baed theatre dancing. There's no tap or pointe work."

The dancers in "Beauty and the Beast" must all be able to sing very well. "The show was trimmed down by six cast members a few years ago," explains Swan, "so now everybody has to sing extremely well. Plus, many of the ensemble dancers also understudy leading roles."

When selecting dancers, Swan finds that all else being equal, she will choose the dancer who exudes the greatest "enjoyment level." "I want to hire people who are fun to watch on stage," she says,"performes who are having a good time otu there. In my auditions, taht'st he most important thing. I watch the the dancers' faces. I look for some kind of cahracter development and look to see what hey can bring to the table that will draw my eye to them on stage."

-- LJS.

Rent
Broadway Opening: April 19, 1996
Replacement auditions are held as needed. There is no national tour out.

Every so often, a show comes along i n which dancers ahve to make sure their training doesn't get in the way of performing choreography. It may sound strange, and dance captain Owen Johnston knows it can be difficult to hide technique, but "Rent" needs dancers who can properly execute the complicated choreography (by Marlies Yearby), yet make it appear "common in nature," as though anyone off the street could do it. "People with less training often get our steps better," he acknowledges.

"Rent" has become a legendary succes, with a nine-year run on Broadway and a movie due outshortly. Johnston says performers "come and go" with regularity, and the company is always looking for new faces. Selecting replacements from a list compiled at auditions is not always helpful, because those dancers may not fit the character being replaced at the moment. It's better to hold open calls. "Hundreds of people still show up," he says, "and every size, shape, and ethnicity are welcome." A strong voice is the primary requisite, followed by acting ability, as the characterizations are of utmost importance: "I come in after the performer has the passed the acting and singing to give the dance audition."

"Rent" is looking for performers with an edgy quality, youngish (between 20s and early 40s), with specific traits dictated by the script. "Marlies did not want the choreography to look like choreography," Johnston says. "Her vocabulary is modern and the choreography has a weighted, close-to-theground feel. It comes from a series of gestures relating to the lyrics, designed to look as though anyone off the street could do it. However, that's not entirely true," he assures us. "In reality, if you're in the wrong place at the wrong time, injuries can occur. This is why the training has to be there."
- Phyllis Goldman.

Chicago
Broadway opening: Nov. 14, 1996.
No auditions are currently scheduled, but an EPA will be held in early 2006. There is one nat ional tour out. Send pictures and resumes to Howard Cherpakov, National Artists Management Co., 165 West 46th St., Ste. 1202, NYC 10036.

" 'Chicago' has been a staple on Broadway for nine eyars," says dance captain Bernard Dotson. "National and itnernatioanl tours are always being structured and sent out. Shuffling dancers between eisting companies and Broadway is frequent. Despite the fact that this show has a backlog of cast members, and they often return and are welcomed back, new people are always needed." he advises dancers to consult Back Stage for audition dates and to definitely come in. Send a picture and resume to the casting office listed above; don't drop it off at the stage door, as it could be misplaced.

"We give excerpts from the 'All That Jazz' number to see if the dancer has his own take on it," Dobson says. "People think Chicago is all about sexuality. True, it is a sexy show, but it's about your own personal sexuality. Dance is a great form of language, and dancers have the privilege of using their bodies to say many things. They need to strip themselves of inhibitions and let their personalities come through in teh studio at the audition. This is qutie different from seeing someone who just gives back the choreography we teach."

Bob Fosse's technique is alla bout shapes, with legs turned in, knees bent, moving with the languid feeling you might get underwater. The dancers are dressed in black: "The girls wear what are essentially negligees, and the boys are in tight pants and shirts. Every inch of the body shows. The costumes are unforgiving."

"Our cast changes a great deal," Dotson notes, "and it's always nice to see people bringing something new and real to the choreography. Above all, we like our candidates to enjoy themselves at our audition."

--PG

The Lion King
Broadway opening: Nov. 13, 1997
A dance call will be held in Los Angeles in November. The next EPA for the Broadway and national touring companies will be held in late 2005. Auditions are held yearly in both New York and Los Angeles and, on occasion, in cities where a touring production is located. There are two U.S. touring companies out (the "Cheetah" company and the "Gazelle" company, both of which will continue until at least the end of 2009).

"It's very hard to find male dancers who have enough classical ballet training to perform in this show but who are also good tumblers. So if there are any men out there who can do real flips and aerial work and are classically trained, they should come and audition for 'The Lion King,'" says the show's associate producer, Aubrey Lyunch II, who was an original cast member as well as teh show's original dance captain and later dance supervisor. "And over time," he explains, "the show's choreographer, Garth Fagan, gave me the job of associate choreographer, which means that I had the ability to change the choreography, if needed, to suit replacement dancers of different sizes or whatever.

For "The Lion King," Lynch feels that the best kind of background includes a strong ballet foundation combined with modern-dance training and perhaps some experience with Katherine Dunham's Haitian dance style. Dance auditions for the show always begin with teh performers being given a combination that is technically ecclectic. "Their performance of this combination tells us immediately what kinds of training they have," he explains, "because what's important in 'Lion King' is that a dancer can move seamlessly through one kind of dance style ot another. We also look to see what sorts of energies they bring to the choreography, if they're intimidated by movements, and how they interact with one another."

Although the show's performers all need to be able to sing, Lynch advises dancers not to be discouraged from auditioning just because they feel they can't sing. "You don't need to sing like Whitney Houston," he says. "We just need the dancers to be able to sing on pitch and blend with an ensemble."

--LJS

The Producers
Broadway opening: April 19, 2001
Replacement auditions are held as needed. There is no national tour out. To be considered, send photos and resumes to Tara Rubin Casting, Attn: The Producers, 311 West 43rd St., 5th floor, NYC 10036.

"The women dancers in this show have to be 5'8" or taller and the men have to be at least 6 feet," says Courtney Young, resident choreographer of "The Producers," which was directed and choreographed by Susan Stroman. Ballet technique is required of all the show's dancers and everyone must tap as well. "But what's most important is acting," she explains, "because in this show the dancers play many different characters, and these characters must have full lives. Although there are a couple of technical tricks in the audition combinations we give, it's largely about personality. The dancers are really given a chance to show who they are during the auditions. If you're a brilliant technical dancer but there's nothing going on behind your eyes, then you won't be interesting to watch and you won't be hired."

A movie musical version of "The Producers" is coming out in December, and as it was directed and choreographed by Stroman, Young feels that performers interested in auditioning for the stage show would find the film well worth watching. "It gives you a real sense of the style and the time period of the show, and a lot of the choreography is exactly the same, while some if it is just similar."

Perhaps the most distinctive characteristic dancers must demonstrate in order to be cast in "The Producers" is humor. "This is a Mel Brooks comedy, after all," says Young. "And if you think of our show versus a show like '42nd Street,' in which the ensemble has that youthful, naive, eager, innocent energy, there's something a little more knowledgeable to the energy of the people we cast in 'The Producers.' I don't mean it's an older cast; it's just that the energy is a little more mature, more worldly, and more knowing."

-- LJS

Mamma Mia!
Broadway opening: Oct. 18, 2001
Auditions will be held in Los Angeles and Chicago in November. agent calls are held frequently in New York and replacement auditions are usually held at least twice a year in different cities throughout the country. There is one natioanl tour out and a sitdown production in Las Vegas. To be considered, send photos and resumes to Tara Rubin Casting, Attn: Mamma Mia! 311 West 43rd St., 5th floor, NYC 10036.

"It's not so much about techynical dance skill as it isa bout presence," says Janet Rothermel, the dance supervisor for "Mamma Mia!," choreographed by Anthony Van Laast. "We're looking for people wh ocan hold the stage by themselves and are an event on their own. Although this show has an ensemble, everyone in it covers one of the roles. I can probably teach anybody at all to do the dancing for this show, but what we really look for is an essence that sparks and is slightly edgy, not traditional musical theatre."

"Mamma Mia!" doesn't have the constraints that many shows have when casting replacement performers because, as Rothermel explains, "all of our costumes are made for the people we hire, so nobody has to fit into sobody else's costume. I can pick any performer who I think will bring something new and exciting to the production. No one has to replace the look of someone who's leaving."

At a dance audition for th show, the men are asked to do a combination based on 'street style" movement. "While there are the typical double pirouettes and slit jumps in it," she says, "other than that, it's not hugely technical. And its basically the same idea for the women. The combination I give them is pretty simply because I'm more interested in seeing what they can bring to it."

All the show's performers fall into one of two age categories: They are contemopraries of either the young female lead, age 19 to 20, or her mother. "But aside from meeting those age requirements, performers can be of any physical type whatosver," says Rothermel. "What we most want are performers who like real people -- not dancers, but hip, edgy street people."

-- LJS.

Hairspray
Broadway opening: Aug. 15, 2002
The next round of EPAs will take place in late fall. Auditions are coming up for a sit-down Las Vegas production (a projected four-year run). There is one national tour out.

At auditions for "Hairspray," choreographer Jerry mitchell looks for a youthful teenage presence, even though many of the show's current dancers are in their 20s: "I have a certain picture in my mind when I attend auditions. If the dancer firts into that picture, he is seriously considered. I need the energy of a 16-year-old who wants to do nothing but dance. Our leading lady, Tracy, dreams of being on 'The Corny Collins Show' on Baltimore TV. She's not a great dancer and she's not a beauty. But she moves with determination, aggressiveness, and has a great spirit. I want my dancers to have those qualities too."

Mitchell has put together a rpaid, high-steping romp based on the dance styles of the early '60s -- like the Chicken, the Pony, and the Twist -- and recommends that dancers review them; they will be part of the audition: "I want to generate on stage the impetus for the audience to stand in teh aisles and dance at the end. The dancers must show high energy, speed, accuracy, and control of the body, even though it may look like they're out of control.

"Before the Kennedy assassination, there was an innocence in teenagers," Mitchell reflects. "Integration was only a small thought. In 'Hairspray,' integration is part of the plot." The cast includes Caucasians, who dance with a style involving a bouncy upper torso, arms, and head, and African Americans, who employ a lower, into-the-hips style. Mitchell searches for both at auditions, but he cautions that dancers will be moving like crazy while also having to project the songs.

The boys and girls who surround the overweight Tracy should be thin and attractive, but height is not important.

-- PG

Wicked
Broadway Opening: Oct. 30, 2003
No auditions are currently scheduled. There is one national tour out and a sit-down company in Chicago.

All the action in "Wicked" is focused on the storytelling, says choreographer Wayne Cilento. Bsed on Gregory Maguire's prequel novel to "The Wizard of Oz," the show is filled with unusual characters, and the ability to flesh out those characters is something Cilento looks for at his auditions: Can this person fill the shoes of someone who has been wearing them for almost three years? But he doesn't have preconevived notions, he emphasizes: "The look of the show is all shapes and sizes -- heavyset women, tall men. This show doesn't call for a dance-ensemble look."

"I'll usually give them a section of the flyimg monkey choreography, which is very athletic. This tells me if they can jump, turn, and tumble. I never give a ballet combination because I don't feel it's a true test of whether they can do the show. Sometime I'll see them od a movement in the audition that impresses me in an unusual way, and it tells me they're strong dancers who can carry the demands of the show." One of those demands is flying, so if you're afraid of heights, look somewhere else.

"Wicked" is one of the few Broadway shows with dance track for four women and four men: They do the heavy dancing. The rest of the cast carries the singing and acting demands, though the dancers must sing reasonably well. If you're a feisty dancer, challenged by risks, and want a steady gig, auditioning for "Wicked" is worth a try. Cilento is a popular choreograopher and may well remember you for another of this shows.

-- PG

Altar Boyz
Off-Broadway opening: March 1, 2005
Auditions may be held in November or December for the production that will open in Des Moines, Iowa, in January 2006. This will be either a new production or performed by the company currently playing in Detroit.

"The dancing in this show is boy-band, hip-hop-esque choreography -- anything 'N Sync or the Backstreet Boys woudl do," says Christopher Gattelli, choreographer of "Altar Boyz." "If performers come with technique, that's terrific, but for the most part we adjust the chorography to suit them. For example, if they tumble, that's great, and we'll use it. There's no tap or ballet in this show, specifically because the dancing is largely hip-hop, but there is some tango -- sing this is musical theatre, we do liek to throw in some otehr styles."

There are five characters in "Altar Boyz" and "they're on stage for almost the whole 90 minutes," Gattelli explains, "playing an 'N Syunc - like Catholic boy band." While the show's choreography is firmly set in terms of the ensemble, each performer's solo dance can vary depending on who is playing the role. "Although they function as a group," he says, "at some point in teh show each actor has a solo and gets to take the stage as the lead vocal, and their dancing is based on wahtever they can do. For example, the character Luke does acrobatics and break dancing during his solo, but if the perormer we cast in that role can't do all of that kind of stuff, we'll retailor the choreography of the number for him."

Gattelli advises performers auditioning for the show to "be as specific as you can be when learning and dancing the combination. My philosophy with boy-band choreography is taht anyone can learn it. Most boy bands aren't technically trained. So as long as peple have the right feel, they'll do fine. But what will catch my eye are people who are very specific in how they do each move."

--LJS

Dirty Rotten Scoundrels
Broadway Opening: March 3, 2005.
Auditions for replacements and a Las Vegas sit-down production will be held this month. Auditions for an ational tour will be held in April 2006.

"Dirty Rotten Scoundrels" tells the story of clever con men who scam the million-dollar-necklace women at French Riviera casinos. The dancers need to have that Riviera style -- men and women who have been there and one that. "We need mature-looking dancers," says choreographer Jerry Mitchell. "Those who can projuect elegance, wealth and style, and can really sing the show's tough lyrics. bottom line: The dancers must appear 'full of themselves.' Otehrwise It's no fun to see them get ripped off."

In this production, members of the ensemble (six men, six women, and four swings) cover the principal roles, and auditioning dancers will be asked to do scenes, so good acting ability is an added essential.

Like most Broadway choreographers, Mitchell may gather a group of dancers he knows and trusts in a studio to work out the choreography before holding auditions, but they're not necessarily shoo-ins. He attends all auditions and keeps piles of photos and resumes. "Never forget that a choreographer is often working on other projects simultaneously," he says. Mitchell divides the photos according to the projects he is working on and often finds dancers he thinks may fit better into another show. He will also recommend a dancer to another choreographer. "Go to all calls," he advises. "lLeave your credentials. You never know." He cuations young dancers to be aware of the first impression they make. "If you show an amazing attitude, you are remembered."

At an audition for the show, Mitchell may give choreography from the number "The More We Dance," so seeing the show beforehand and being familiar with its music is always an asset. "Remember, I am only a part of the final decision. Everyone must pass the director and composer as well."

-- PG

Monty Python's Spamalot
Broadway Opening: March 17, 2005
Replacement auditions will be held as needed. A national tour will be going out in March 2006 and a sit-down production will open in Las Vegas in about a year. To be considered, send headshots and resumes to Tara Rubin Casting. Attn: Spamalot, 311 West 43rd St., 5th Floor, NYC 10036.

"This is definitely a big dance show, but it's fun dance and is more about the performer's personality than actual dance technique," says Casey Nicholaw, choreographer of "Monty Python's Spamalot." "To me, it's really about people who have a sense of humor, and in the end it all comes down to the acting. The tricky thing, you see, is that all of the six men in this show's ensemble must cover principal roles. So that knocks a lot of people out right away."

Nicholaw is very concerned, however, that perfromers interested in auditioning for "Spamalot" not be discouraged from doing so by the show's strict casting needs. "Because you never really know who's going to end up getting cast. I had two peple I know call me at the beginning of this project and ask me if they should audition for it," he explains. "I told them I didn't think they were really right for the show, but in the end they both wound up getting cast."

The dance auditions for the show's women begin with a "jazzy combination" and for the men with a tap combination. But, Nicholaw empahsizes, "I wouldn't want someone not to audition for us just because they're not strong tappers or jazz dancers. They might have a really special quality, a great energy, or something else very unique that will make us want to hire them. With six weeks of rehearsal, they can always be taught to tap." At the dance auditions, performers are also asked to do a "character combination" from the show's "Finland" number. "And it just needs to be playful," he says. "That's what the dancing in this show is all about -- being playful and buoyant and having a good time."

-- LJS

Chitty Chitty Bang Bang
Broadway opening: April 28, 2005
A required equity call will probably be held sometime within the next month. There is no tour out. Hedshot sand resumes can be mailed to Jim Carnahan Casting. Attn: Chitty Chitty Casting. 231 West 29th St., Ste. 1200, NYC 10018

"Get on the treadmill and sing! that would be a good preparation for auditioning for this show," says Joanne Manning, the dance cptain for "Chitty Chitty Bang Bang," which was chogreographed by Gillian Lynne. "The singing for the ensemble is just as demanding as the dancing, so everyone must be very strong vocally, but because you're singing while you're dancing, it's teh stamine that becomes most important. The dance numbers in this show are exhausting. You have to be in really good shape to do them."

The show contains several specialized dance roles, so getting cast can depend on which tracks the production is looking to replace at the time you audition. for example, one of the women dancers must be an acrobat and one of the men does a lot of partnering. "He must be big and strong and able to lift the ladies over his head," explains Manning.

At dance auditions, the men are typically asked to do a combination from "Me Ol' Bamboo," a highly aerobic number performed with bamboo sticks as props. Women are asked to perform a sequence from "The Bombie Samba," the show's fancy, stylized samba number.

When Lynne selects dancers, she typically looks first for technique and line. "If you've been taking ballet classes religiously, it will really help you here," says Manning, "so that you're on your center and you're strong. And high leg extensions are important for both men and women. There are a lot of high kicks in this show."

--LJS

Sweet Charity
Broadway opening: May 4, 2005
No auditions are currently scheduled. The next required EPA will be held sometiem in 2006. There is no tour out. Send photos and resumes to Jay Binder Casting. Attn: Sweet Charity, 321 West 44th St., Ste. 606, NYC 10036.

How do you step into an icon's shoes, creating a new show long associated with an award-winning choreographer and an acclaimed star, and make it work? That was the challenge facing choreographer Wayne Cilento in taking on the revival of "Sweet Charity" and auditioning dancers who may have never seen a Bob Fosse whow. Cilento, one of Fosse's dancers, was well aware of his responsibilities and had certain specifics in mind from the get-go: "I needed people who could pull of material with reverence to the original, yet deliver a new spirit to new steps."

Cilento is never interested in typecasting, he says. all sizes and shapes are considered. He prefers that each dancer display his or her own talent and personality. Catch his eye and he will work to include your specific skills and style in his choreography. Invariably, he says, he finds the good dancers without having to test their technique: "At the audition, we dive right into sections of 'Rich Man's Frug' and 'I'm a Brass Band.' Through watching them perform the material, I'll have uncovered the dancers with strong technique. Preliminary ballet combinations do not necessarily point out to me who can perform this sort of stylized choreography. Each one of my dance hall girls has her own story, her own character."

Cilento goes straight to the material because "Sweet Chairty" has characters to develop, a strong story line, and astyel all its own: "I give the steps; you do the rest. Let me see what you do with this material. Even if you make a mistake, something will come off the stage that's unique, and often I can build around it." If possible, auditionees should see the show and be familiar with the music, because everyone auditioning will have to sing.

-- PG

NEW THIS SEASON -- 5 Shows

Jersey Boys
Scheduled opening: Nov. 6, 2005

No auditions are currently scheduled. There is no tour out. to be considered, send headshots and resumes to Tara Rubin Casting, Attn: Jersey Boys, 311 West 43rd St., k5th Floor, NYC 10036.

Sergio Trujillo refers ot his choreography for "Jersey Boys" as "enhancing the story rather than the mainh ingredient." He does ahve three "real" dancers who carry most of the dance chores, but all the singer-actors must move extremely well because the musical staging is integral to teh story. "I challenged the dancers at the audition to see how far I could push them," he says. " That way, I knew what resources I had to work with and would not feel constricted. I could thorw in a new step without worrying they might fall apart.

"Because 'Jersey Boys' is a new show, we often rehearse a new number in the afternoon and perform it at night. Dancers must assimilate new material quickly. This ability has a high priority when I make decisions." Trujillo suggests that dancers go to class every chance they get, stud ya variety of styles and steps, adn see how well they can remember combinations from different teachers. For "Jersey Boys," knowledge of the dances of the period -- like the Mashed Potato, the Monkey, the Madison, and the Twist -- is vital. Trujillo has researched the period extensively, and dancers would be wise to do a little of the same before they're asked to eprform those moves at the auditions. Dancers will also have to sing and sing well in this show, which is based on the songs and story of Frankie Valli and the Four Seasons.

Trujillo believes in open calls: "I love discovering a new dancer with whom I can work and perhaps begin a new career. But I must stress, for me it's always about good training and solid technique. This permits a dancer to create a character and use abilities he may enver have sued before. I look to see if the dancer has the capacity to become a fine actor as well." -- PG

The Color Purple
Schedule Broadway Opening: Dec 1, 2005.
No auditions are currently scheduled. There is no tour out.

"I alwasy like to give talent a cahnce to show it," says Donald Byrd, who will be making his Broadway debut as a choreographer with "The Color Purple." I teach them two combinations from the show -- the juke joint number adn totally different style from the African scene. How will they handle black vernacular dance? Since those are the two dance driven numbers, if they can absorb them, it'a good bet they'll pass my criteria.

"When we came to the second part -- uncovering a quality in the AFrican scene -- the dancers had a bit more trouble." Byrd spoke reverently of the dancers Carol Haney and Eleanor d'Antonio, who both have that recognizaqble but indefinable qu8ality he can see instantly from his seat in a darkened theatre: "Neither had perfect technique, but they did hae that special something."

Byrd's long years of experience come from directing and choreographing for his own concert dance company. "Yes," he laughs, "I'm used to being the final word on which dancers I want. On Broadway, other people have a vote. Fortunately, our director leans a lot toward dance driving the story, and I do have a fine cast of superb dancers to do just that." He always expects to see a certain amount of ballet training, though he doesn't ask to see ballet at the audition. And as with virtually all Broadway show today, the dancers need to sing.

"The Color Purple" calls for intriguing personalities: big, hyandsome men, and tall women who have a softness in their hand gestures and defined articulation in their legs. There are also some gymnastic mometns for the men. "I watch the whole person, all these attributes that add up to one great theatrical personality," he says. "I give a very difficult aduition, but be sure you will have fun. My auditions are like a party." -- PG

Chita Rivera: The Dancer's Life
Scheduled Broadway opening: Dec. 11 2005.
Replacement Auditions if Needed.

"This is a heavy dance show. It stars Chita Rivera and everyone in the show dances, but you have to be 30 or older to be in our dancing ensemble," says Madeleine Kelly, the associate choreographer and dance captain of "Chita Rivera: The Dancer's Life." "The choregraphy in this show is real old-school jazz. I mean, we're talking Jack Cole, which of course requires strong ballet technique. There's a lot of partnering in this show, and some of the numbers have very fast footwork."

While directed and choreographed by Graciela Daniele, the show also features re-creations of Jerome Robbins' choreography from "West Side Story" (Restaged by Alan Johnson) and two numbers choreographed by Bob Fosse for "Chicago" (restaged by Tony STevens). There are parts for four men and four women in the dance ensemble, plus two children, aged 10 to 12, and a specialty male. "He does all the tangos with Chita and plays her father," kelly explains. In addition "and it's true tango, because that's Graciela's specialty. It's the real deal and is absolutely fabulous."

Kelly advises dancers interested in auditioning to remember that while ev eryone in the cast needs to be very physically fit, the show really calls for seasoned, mature dancers, "because the young dancers today don't really know those styles of dance taht the choreography demands. They're not learning that old musical-theatre style of jazz dance anymore, because nobody's teaching it. And for this show, you really need to have that pure jazz-dance training. We're not just doing tricks here. We're dancing. We're telling stories." -- LJS

The Seven
Scheduled Off-Broadway opening: Jan 17, 2006.
Auditions will probably be held in October or November. to be considered, send headshots adn resumes to Attn: The Seven Casting, New York Theatre Workshop, 79 East Fourth St., NYC 10003. No phone calls.

"I'm not interested in the MTV variety of hip-hop," says Bill T. Jones, choreographer of "The Seven," a hip-hop musical reteling of Aeschylus' "Seven Against Thebes" slated for New York Tehatre Workshop this season. "I'm looking for something else. The dancers we're looking to cast in this show should have some familiarity with hip hop dance, but hopefully, they'll also have some knowledge of my work and of modern dance or ballet. And some experience in martial arts wouldn't hurt."

There are absolutely no predetermined physical requierments for the dancers in "The Seven." "I simply want the most interesting and adventurous performers I can find," says Jones, "because I will ask them to actually work with me to create a lot of the choreographic material and a lot o fthe dancing will come directly out of them. The partnering work, for example, will probably be generated by the dancers, under my direction."

Jones is also looking for what he describes as "odd types, people who are unexpected as dancers, be it in terms of age or body type or whatever. I'm really open about all of that."

His advice to performers interested in auditioning for the show is to "step out adn take a chance. You may be surprised by how open we are about what the stage can look like for this show. Don't maek assumptions about what you can or can't do. If you don't have ballet or modern training, you should still come in and audition. And please ome and audition for us if you have any experience in physical theatre or any kind of avant-arde dance forms. Remember, what we're really looking for is the unexpected person."

The Pajama Game
Scheduled Broadway Opening: Feb. 23, 2006.
Equity open calls are finished. Callbacks will be held within the next month. Headshots and resumes can be mailed to Jim Carnahan Casting, Pajama Game Casting, 231 West 39th St., Ste. 1200, NYC 10018.

"The Pajama Game," due at Roundabout Theatre Company's American Airlines Theatre in early 2006, has not yet been cast, though Equity open calls are complete. The performers who received a callback will meet up with those from the invited call within the next few weeks. From that group, the ensemble will be cast.

"We happened to have ahd auditions before I created the chreography for the show," says Kathleen Marshall, who will also direct this revival. "So I made up about 10 phrases of 'Hernando's Hideaway' -- just enough to tell me if they can dance. I used the show music and gave them some story line to play with." Hernando's Hideaway is an after-hours club where the workers in the pajama factory go to relax. " 'Just knock three times,' which makes it kidn of private, a bit risque, a place where you have to be recognized, not unlike the downtown clubs of today," she says. From these few dance phrases, with some turns and jumps thrown in, Marshall was able to set an attitude for the dancers and find what she was looking for.

Final auditions will cover acting and singing - both are of utmost importance - with some technical combinations as well. Familiarizing yourself with the show's music -- by renting the film, for example - can be helpful. The classic "Steam Heat" number alone can give many clues as to tbe style of the show's choreography. Marshall advises dancers to have fun with the dance phrases and the story line. - PG

COMING NEXT SEASON - 2 Shows

Princesses
Scheduled Broadway opening: Spring 2006, or something during the 2006-07 season. An out-of-town tryout at Seattle's 5th Avenue Theatre closed on Aug. 28.
Auditions will be held in the future for swings, understudies, and replacements (if needed). To be considered, send photos and resumes to Tara Rubin Casting. Attn: Princesses, 311 West 43rd St., 5th Floor, NYC 10036.

"The great thing about this show is that it takes place in a high school full of young ladies of all different shapes, sizes, and everything else. And we like that. We encourage and want great physical diversity," says Rob Ashford, the choreographer of "Princesses." "The only requirement is that they be able to play high-school age."

"Princesses" is a musical retelling, set in a contemporary upstate New York girls' boarding school, of the Frances Hodgson Burnett tale "A Little Princess." The schoolgirls are putting on a musical based on Burnett's story, so "for the contemporary scenes," explains Ashford, "the choreography is very current, MTV-style dancing, and for the show-within-the-show the dancing is typical musical-theatre-style choreography. So you need to have a hip, contemporary sense of style, as well as the musical theatre chops to be able to pull of the ballet-based numbers in the 'Little Princess" story, in which we try to re-create a mid-19th-century sense of period."

All of the girls in the show lay specific personalities. "Every one of them has speaking lines," says Ashford, "and each one's character is unique." In addition to the girls, the show has a middle-aged female teacher and tow male characters: the leading man, a "Harrison Ford movie-star type of guy," and a young, up and coming star in his late teens. "And everyone in this show dances," he says, "although the older male character doesn't need to do any of the contemporary-style choreography."

When casting dancers, Ashford says he always looks first for some kind of basic technique and then for energy, commitment and excitement: "And I always look carefully at a performer's acting choices within the dancing -- particularly for this show, when what we're really looking for is not dancers, but actresses who can dance." -- LJS

The Pirate Queen
Scheduled Broadway Opening: Late 2006.
Auditions are currently ongoing. to be considered, send headshots and resumes to Tara Rubin Casting, Attn: The Pirate Queen, 311 West 43rd St., 5th Floor, NYC 10036.

"We're not looking for typical show-dance-looking people. You know, boys with streaked blond hair and girls with real long legs, false eyelashes, and high kicks. For this show, we want get-down dirty types who can dance in the mud and seem like people of the earth," says Mark Dendy, choreographer of "The Pirate Queen," the newest musical from the "Les Miserables" team of Alain Boublila nd Claude-Michel Schonberg. "We need real men and real women. They're living next to the sea in 16th-century Ireland and they're running a ship. They hoist sails and have huge fights with the British army. The dancing in this show i very athletic. There's floor work, multiple turns, and big jumps. But in addition to being the soldiers and the priates," heexplains, "the dancers also play various characters from the village and people of the court. So they wind up doing everything from English court dancing to real, physicalized, kick-ass modern dance."

Although the show is still in development, Dendy predicts it will contain between eight and 11 different dance numbers. There will also be lots of acrobatics, flying and fighting, as well as Iris hstep dancing, "But I reall ywant to make it clear," he says, "that the dancers in this show don't need to be steppers. We'll hire specialty dancers to do that."

Dendy invites eprformers who want to become familiar with his choreographic style to take the classes he teaches at Steps on Broadway: "I'm teaching phrases from 'The Priate Queen' in my classes there." But most emphatically, he advises dancers interested in auditioning for the show to really work on theri singing: "So many great dancers get tossed aside in musical theatre auditions nowadays because they're afraid of their voice. And it's the saddest thing in the world, because usually they're the best dancers I see." -- LJS

Hott Feett on Broadway Audition

2005-10-20T12:38:00.000-07:00

""HOTT FEETT," B'WAY. Seeking talent for "Hott Feett," for Broadway production. Dancers: 18-25, all ethnicities, athletic jazz & hip-hop. No tap (acro a plus)" - Backstage.com

The Hott Feett on Broadway Audition was held at Chelsea Studios last week. The auditions were set to begin at 10 AM, with callbacks at 4 PM.

The show is a collaboration between legendary choreographer Maurice Hines (brother to the late Gregory Hines) and Maurice White, one of the original members of the music institution Earth, Wind, and Fire. I HIGHLY recommend listening to Earth, Wind, and Fire music before the audition. Knowing the beats of the songs and the stylistic feel of the music will help you to perform the choreography better. Also, Mr. Hines and Mr. White were in the audition, so I hope you're good under pressure and don't get star struck!

Mr. Hines was looking for high-energy, athletic dancers. According to Mr. Hines, the show is nearly non-stop, high-energy dancing with a ballet segment thrown in (Alvin Ailey modern/ballet is the second dance cut). He also needs people to be very focused. He speaks quickly, so you have to listen well. If you go to the audition with a friend, make sure that you separate from each other. Don't talk to your buddies! Mr. White was looking for performers who appeared to enjoy his music.

Also note that dancers who make it past the dance cuts were asked to sing 16 bars of an Earth, Wind, and Fire song. This is generally the case with all Broadway shows. So, if you aspire to performing on Broadway you should learn to sing. In fact, many available dancing jobs that are cast in NYC require some form of vocal training.

Over 300 people showed up to this audition. I arrived at 10 AM, and was numbered in the 190s. My group was not brought in to audition until a little after 1 PM. So, BIG LESSON: Show up to a Broadway audition as early as possible and set aside your entire day. The facilities are Chelsea Studios are NOT large, and usually there are several production rehearsals, classes and auditions in progress at the same time. Be quiet and courteous.

There was a stapler available at Chelsea studios for resume and headshot stapling. However, if you reached the registration table and your resume was not stapled, you had to go staple it and go to the back of the line.

The casting advertisement says that Hott Feett is an Alvin Ailey-inspired jazz + hip-hop show. Although it is advertised as "urban" dancing, it is not straight hip-hop. The first cut is Jazz, and requires a good deal of technique.

You should wear funky jazz clothing to this audition. Make sure that your attire is very easy to move in and is fairly form fitting. I recommend Dance sneakers or jazz shoes (Mr. Hines' assistants were wearing jazz shoes.)

Dancers were brought into the audition room 20 dancers at a time. Mr. Hines' Assistants placed dancers into very specific lines. They did this because they wanted to see who could stay in a group formation and who could not. Mr. Hines said that space is limited on stage so he needs precise dancers.

The combination was taught very quickly. The music was "September" by Earth, Wind, and Fire. Mr. Hines makes corrections and expects them to be made immediately. There were jazz pirouettes (both right AND left side). The preparations for these turns were either extremely quick or non existent. Learn to pirouette from any position without any set up. There were a couple segments of chaine turns and soutenu turns, chasse turns (the turning jumps of which I cannot remember the name at this moment...) and a battement.

Many different shapes, sizes and styles of dancers received callbacks. There was no set mold.

Disney Cruise Lines Audition

2005-10-20T06:47:00.000-07:00

From the Disney Careers Web Site:

"All applicants must be at least 18 years of age, and willing to relocate to the location of their contract. Disney Cruise Line provides competitive salary, bonus, all travel and housing. Some roles receive single on-board cabins. Please bring a non-returnable photo and resume. All auditions begin at the times listed; please arrive early to sign in.

DANCERS: Should be strong in Musical Theatre Jazz. Some roles require tap, and vocal ability. Additionally, seeking Male dancers with muscular, athletic build. Please wear appropriate dance attire & shoes, and be warmed up and ready to begin at the listed time. A dance combination will be taught."

If Memory serves me well, this audition was held at Ripley Grier Studios at 520 8th Avenue (between 36th and 37th Streets). This audition wasn't as packed as the Rockette audition, but the staff had to split the dancers in half due to numbers. Bring headshot and resume, as usual.

The combination was a musical-theater combination to be performed in flat jazz shoes. Everyone was wearing a motley array of clothing. I felt like this was a much more casual audition than the Rockette audition.

The musical theatre combination requires, above all, performance and musicality. The music is very Frank Sinatra-esque. There are a few turns and kicks, but mostly footwork and arms. You will be arranged in a group of 5 to perform for the casting director.

It is VERY important to stay in your space. They don't just place dancers in positions so that everyone gets seen. They place them there so they can see who knows how to dance with a group.

Oh yeah... don't screw up! ;o)

When the audition was over, the casting director informed us that their decisions were not only based on dancing ability but also on who would fit into costumes. They were doing a lot of type casting. The director said that they were even looking at eye color!

Just goes to show that you never know what you're going to find at a dance audition!

It may be a good idea to examine the different shows that are performed on Disney Cruise Lines. You can see them at: http://disneycruise.disney.go.com/dcl/en_US/onboard/entertainment/landing?name=LiveShowsLandingPage

Rockettes - Christmas Across America Auditions #1

2005-10-20T06:11:00.000-07:00

The Rockettes cast for two different segments of their production - The NYC Production that is staged at Radio City Music Hall, and several satellite productions (Christmas Across America, or CAA) that are staged in cities across the country. I believe that there may also be one touring company.

To audition for the Rockettes, you must at least 18 years old, between 5'6" and 5' 10.5" in height, and proficient in tap and jazz.

Radio City Music Hall is located on 6th avenue between 50th and 51st streets. You will be admitted into the audition at the stage door, which is on 51st street. Radio City is a very short walk to Rockefeller Plaza.

I arrived at 8:30 AM for a 10 AM audition and the line had already formed well down the street. Prior to 9 AM they began to distribute paperwork and audition numbers throughout the line. They admitted groups into the building 50 dancers at a time.

Once admitted into the building, you must take the elevator and then a few flights of stairs before you reach the audition level. There are usually signs posted to direct you.

Have your resume and headshot ready to hand to the audition staff. They had a stapler on hand, but it might be wise to staple it yourself at home.

There is typically little to no walking room in the small rehearsal studio, so they try to keep you there as little as possible. They will call segments of names to be measured for height. They will also call segments either into the large audition hall or into the red room (holding area).

Attire: Most girls wear a colorful leotard (flattering cut - I saw a lot of halter tops this year) with nude fishnet tights. Tan So-Danca Character Shoes (high heeled) were the most popular for footwear. No matter what, make sure you bring high heeled character shoes and tap shoes! You want to present yourself as a Rockette, and you can't do that without the proper footwear. The managemetn staff says that some girls have become Rockettes without the proper footwear, but be sure to tell the audition director the reason you don't have proper footwear.

Most girls wore their hair down or in a pony tail with classic make-up.

THE AUDITION

They will bring 30-50 people into the audition room and teach a short Rockette Jazz Combination. No Jumps, No Spins, No Kicks. just straight arms and legs. After teaching the combination, the room will be split into two groups and each group will get to try the combo to the music 2 or 3 times. Then they call names 3 at a time to perform the piece in the center of the room.

The two most important aspects of dancing in the Rockette Audition are 1) Precision and 2) Performance. The choreographer is very picky about where she wants hands and bodies. Pay attention to angles. Learn to hold your hands on your hips with your thumbs on the front of your hip and your elbows out. Smile Smile Smile!

Also, make sure that you remember the combination!

Often times, they will use the same combination for the first cut in a few auditions a year. I'll let you know about the rest of the cuts when I get to them!

Good Luck!

Visit RadioCityAuditions.com for frequent Audition updates.

Mission Statement!

2005-10-20T06:08:00.000-07:00

I have created this blog for the purpose of remembering the dance auditions I have attended in NYC. I will include a lot of interesting information... sometimes the location, clothing worn by auditioners, what the casting staff was looking for, combination and style details, and so on.