College Ballet Auditions: Navigating the Job Search

The spring semester of a college dance program isn’t just about final performances and finishing coursework; it’s audition season. For ballet students, that means navigating a unique set of challenges and advantages as they pursue professional contracts. The pressure to secure a position after years of training is intense, but college dancers often possess logistical and mental tools that can give them an edge.

The process requires meticulous planning, and increasingly, a savvy understanding of the evolving audition landscape. Although in-person auditions remain crucial, the rise of online screenings has broadened the reach for both dancers and companies. But how do students balance rigorous academic schedules, performance commitments, and the financial realities of travel and application fees? And what can they do to stand out in a competitive field?

Staying on Schedule

Time management is paramount. Anderson Da Silva, a dancer with Grand Rapids Ballet who trained at Indiana University’s Jacobs School of Music, emphasizes the need for careful scheduling. He recalls filming audition videos during the fall semester of his senior year, often late into the night when studio space was available. Dance Magazine notes that sharing a studio sign-up sheet with classmates can help avoid conflicts. “I did a good chunk of my filming as late as 9 pm,” Da Silva says.

Madeline Colesano, currently dancing with Avant Chamber Ballet, began preparing as a sophomore at the University of Utah’s School of Dance. Her strategy involved a detailed planner and a spreadsheet tracking important dates. Colesano, who too worked in a restaurant, started filming class material over the summer and researching companies early in the fall. She utilized resources like Ballet Scout and social media to gain insight into companies’ styles, repertoire, and cultures. “I had one of my teachers look over my audition video in the fall,” she says. “It was helpful to have a second eye, and I had time to make changes.” By the time Nutcracker season arrived, she was ready to submit her applications, focusing on staying organized and maintaining her physical health.

Covering Ground

Since the pandemic, the increase in online screenings has made casting a wider net more feasible. However, for college dancers juggling rehearsals, classes, and tuition expenses, choosing which auditions to attend requires careful consideration. Da Silva acknowledges the financial constraints many students face. “I wasn’t in a financial situation where I could just jump on a plane,” he says. He prioritized auditions where he received a response to his initial materials or was invited to take company class. Scheduling conflicts, such as multiple top-choice companies holding auditions on the same day in different cities, often necessitate demanding decisions.

Carpooling with classmates and staying with friends can help reduce costs, but Da Silva also notes the value of having dedicated time for mental preparation. Sometimes, traveling alone is beneficial. When absolutely necessary, attempting two auditions in one weekend, or even in a single day, is possible. And, if a student has garnered interest from a company, inquiring about alternative audition dates can be worthwhile.

Audition travel often means missing classes or rehearsals. Colesano says that dance professors generally understand students’ needs and are willing to accommodate absences. However, professors in non-dance academic departments may be less flexible, so it’s important to be aware of class policies. Registering for spring semester classes that don’t meet on Friday evenings or early Monday mornings can be a strategic move. Da Silva cautions that dancers who frequently miss class or rehearsal may face stricter scrutiny from professors. “In those situations where you say ‘I’m taking a personal day,’ you want to be as respectful as possible,” he says. “But you need to vouch for yourself. Here’s your future.”

In Good Company

The demands of audition season can be exhausting. “I was constantly tired,” Colesano recalls. Rejections can be demoralizing, potentially leading to jealousy or secrecy among classmates. Da Silva stresses the importance of mutual respect and remembering that everyone is going through the same challenges. He recommends being open about audition plans to facilitate group travel and provide support. When discussing results, it’s crucial to be mindful of both one’s own feelings and those of classmates.

A concern for some dancers, particularly when traveling together, is the possibility of being perceived as part of a “college group” during the audition. Similarly, there’s a worry that résumés or letters of recommendation might appear too similar due to shared training. Kathleen Breen Combes, artistic executive director of Ballet RI, dismisses this concern. “If that [college] is at a high level, there’s a lot of clout in that,” she says. If a dancer feels separating from their group will improve their performance, Da Silva encourages them to do so, emphasizing the importance of open communication with friends.

Feeling Legitimate

College dancers may sometimes feel insecure about their lack of professional company affiliation. “We’re starting to see more college dancers enter professional ballet companies,” says Da Silva, “but one hindrance is that you don’t have that [company] name.” It can also be difficult for students to accurately assess their standing in the talent pool without direct exposure to professionals. However, college dancers may have greater access to soloist roles and more diverse training and repertoire compared to trainees or academy students. “I was lucky to get a lot of featured roles at IU,” says Da Silva. “Adding those types of videos to my performance reel gave me more confidence. If you know you’re capable of performing at that level, that helps you present yourself to the people at the front of the room.”

Breen Combes emphasizes the value of a well-rounded education. “I value a well-rounded person and have had such wonderful results hiring dancers with degrees,” she says. “I have utilized those skills in other ways within the company, and it makes them understand the organization as a full, complex organism. That’s a huge difference for a director.”

The Results and Beyond

College dancers are often a few years older than other auditionees. And, if accustomed to performing soloist or principal roles, there can be a disconnect between audition expectations and outcomes. “Most people aim for second company or corps contracts, but the hard truth was getting offered a traineeship or nothing,” says Colesano. “I felt I was too old to be a trainee, which in retrospect was not true.” College ballet programs, in many ways, function as apprentice programs themselves. Breen Combes often finds that college dancers benefit from an additional year of training directly integrated with a company. “For me, being four years older is a plus,” she says. “Those are four years of understanding what it means to be an adult. That goes far. But there’s nothing that compares to company class and five to six hours of rehearsal.”

Da Silva found that leaning on his experience was key. “I knew I was capable of performing the rep I did in college,” he says. “When someone from the main company is sick or injured, you can tap into that and be the one to step up. Reveal [directors] that you’re reliable and can still learn.” Colesano’s trainee year proved immensely helpful; she progressed to an apprenticeship for a season before joining the main company last fall. However, she wouldn’t trade her time at the University of Utah: “I grew into myself more. Knowing yourself as a dancer—and as not a dancer—can help you figure out what kind of company you’d thrive in and who you are as an artist. That comes across during auditions.”

success in the audition process requires a combination of talent, preparation, resilience, and a strong network. For aspiring professional ballet dancers, the college years represent a critical bridge between training and a career, demanding strategic planning and a willingness to adapt to the evolving demands of the industry. Dance Magazine’s reporting highlights the importance of leveraging the unique advantages of a college program while navigating the challenges of a competitive field.