1..2..3..4!
So, you want to get into a new musical on Broadway, road show as a replacement or land a good role in local production? You did check your sources, didn’t you…. at your dancewear shop, local library, studio, local newspaper or made a local call to American Guild of Musical Artists. Or you asked at a stage door about replacement calls, dates and times.
And, of course, you have a resume and photo ready to hand to the assistant to the choreographer when you arrive. Remember to leave your small dog at home, leave your mother and sister at home, too. You’re on your own, but you’ve done this before when applying for entrance to your school, an apprenticeship, a scholarship. But this is the big time.
You don’t think you have a chance since you are not paper-thin, have a gorgeous face, a bag of tricks and know “somebody?” Wrong.
Not long ago, a tall dancer went to six auditions every time there was a call for a musical theater audition and each time, she was not asked back for the second call. At the seventh audition, she gave up and didn’t go to the audition. A phone call asked why she didn’t show up. The call was from the choreographer of a new show and he was looking for her…had seen her audition and had the perfect role for her. Yep, word gets around. It’s all about fitting the role, the type, height and so many other things that are not obvious.
For instance: Of course, those dancers with union cards in AGMA or Chorus Equity get the first choice, but they had to go through the audition system just as you do, which consists of performing a few combinations taught to you by the choreographer or his assistant. But once you gain that union card, you will receive preference on calls and in some cases, need not audition at all if they know your work.
The audition will consist of solo cross-overs on the diagonal in a given combination, a repeat of the given material in groups of dancers doing the combination in rows, then regrouped with other dancers to find the right “mix.”
Did you hope to attract attention with a flashy outfit? Pin that number you were given when you gave the assistant your resume and photo to the front or back of your leotard as requested. Stick to a solid color in that leotard, no net stockings or unitard. Males should wear a white top, black tights, clean, tidy shoes. Girls should wear no jewelry and little makeup. Keep hair bound.
According to Joe Tremaine in a Professional Dancers Society newsletter: “Dress tastefully, don’t overdress and always wear something very identifiable such as a simple French-cut leotard, or one-piece leotard that shows your body in one line. Wear danceable heels. Men should wear jazz pants, jazz shoes, and neither of you should hide your body.” Nor is this a time to announce that you are or are going on a diet. This is it.
Of course, you did your own warm-up before the combination was shown. Don’t add a thing to it when it’s your turn to perform the section…not a razzle-dazzle turn, a head-stand or anything else to gain attention.
Who’s watching? A director or two (although they don’t interfere with the choreographer), a producer, who is usually scowling, and a pianist who looks quite bored playing the same bars over and over again. Someone has an eye on you at all times so don’t talk or pass around your resume. Be friendly, but don’t gossip about the combination. Even if you feel that you are doing poorly, don’t make excuses, recall a phantom injury or put down any one in the room. If you feel panicky, take a few deep breaths. Keep looking confident, doing what you are asked to do, not what you think you do best.
You might get a 5-minute break before doing the combination all over again (but, since you have been watching others dance, you know the timing perfectly) and just need a piece of fruit, a water drink all kept in one bag out of the way.
You might be called aside with a request: sing a song or read a scene. Don’t panic. Choose an upbeat song. The pianist will go along with you. Ask for a minute to read the scene, and ask for guidance if necessary. Just do it.
Remain courteous, attentive, cheerful, adaptable, and willing to talk to the directors. They want to know that you can be part of a group through long hours of rehearsals, travel and quick changes of plans. If asked to leave…they won’t make a big fuss about it…..be courteous and say thank you.
Hopefully, you will be called back for another audition. Don’t loose any sleep waiting for the call. Go to your regular class. Don’t call them….they have your number. When you show up for the second or third time, during the three-day trial period, wear the same outfit and especially the same color. You will be asked to line up several times as dancers are eliminated to see how you fit into the group. Fair? Never mind. Have a substantial meal because this may take a long time. Do your warm-up barre. No matter how disappointed you are at the results, you have passed an important test and will find that auditions get easier. Really.
Excerpt from Dancer’s Survival Manual by Marian Horosko and Judith Kupersmith, M.D.