In 2017, after seven hours of callbacks over two days to her dream company, San Francisco-based Robert Moses’ Kin, Elena Martins got the answer she feared: “No. ” This was her second RMK audition in two years, and it was also the second time she was rejected. “I was very upset when I didn’t get it,” she recalls. “I took a break from the company for a while. I took six months off, and I got injured during that time.
The time away gave Martins perspective and refreshed her spirits. After recovering from her injury, she auditioned again and eventually landed a coveted spot in Moses’ troupe.
Martins’ story is not unique. Today, auditioning two, three, four or more times is no longer an anomaly—it’s often the norm. “In this industry, you’re told ‘no’ all the time, so auditioning is your job,” Houston musical theater dancer Courtney Chilton said. Depending on what dance scene you’re in, “you may spend more time auditioning than signing a contract.”
Learning how to weather the emotional storm that often accompanies repeated rejection can be a challenge. But doing so can lead to fulfilling opportunities. Consider these mindset shifts as you approach your return audition.
It’s just the nature of the beast
Radio City Rocketeer Ashley Kasunich Fritz auditioned six times for the Rockettes before being accepted in 2011. Six auditions are actually not uncommon in the Rockettes world: “The choreography is amazing.” Be specific, and there isn’t a lot of rehearsal time, so you need to be able to match up with other people immediately.
“It’s the nature of the beast,” Chilton said. Acting as a performer and dance captain in regional and touring productions, e.g. south pacific, Mary Poppinsand Elf, she remembers a time when she would book about one in five auditions. “That’s great!” she said. Competition is especially fierce in musicals, where casting directors may cast hundreds of dancers for a role. When you find yourself auditioning again and again, knowing that you’re attending can help ease the frustration and disappointment.
This is not you (inevitable)
While it’s important to be as prepared as possible for any audition, realize that directors will consider many variables when making their selections, some of which have nothing to do with your dancing. A casting director may need something or someone very specific at a specific moment. That doesn’t mean you’re not a good fit for the company or gig—it just might not be the right fit for you.
“A lot of it has nothing to do with what you’re doing in the room,” Chilton said. “You have to admit, a lot of times they just want someone to be two inches taller.”
There are benefits to auditioning again.
Being a returning auditioner despite being previously rejected has its benefits: familiarity with the company or show’s personnel, process, and choreographic style; the confidence that comes with familiarity; and the opportunity to demonstrate your tenacity and dedication by coming back.
The sixth audition is the charm. Provided by MSG Entertainment.
Chilton and Julie Brannan, directors Christmas Event Starring the Radio City Rockettes, agreed that in most cases, directors are optimistic about returnees. “You’re building familiarity and building relationships,” Chilton said. Branan agreed: “I love seeing dancers come back. I love seeing a dancer really work hard, keep improving and get it.” Kasunich Fritz remembers her first Rockets appearance The girl auditioned and was eliminated in the first round, but kept getting further in the process each time, which helped boost her confidence. “The director could see where I started and where I was progressing,” she said. . “Go through this process multiple times and they really get to know you.”
Likewise, meeting with current company members and other auditioners can help demonstrate how well you work with others and provide you with some much-needed social support as you go through the audition process. “I saw other dancers auditioning multiple times,” Kasunik-Fritz said. “You start to build a community. Because the dance world is so small, it creates camaraderie and camaraderie.
protect your self esteem
It’s natural to feel disappointed when you’re told “no,” but remember, a “no” does not determine your worth as an artist or your future in dance. Acknowledge how you’re feeling and find self-care strategies that work for you.
As you get back on the horse, people in your support network, from friends and family to dance partners, can be powerful boosters, providing a perspective and affirming your talent and worth. “Find your people. Find your friends,” Chilton said. “Find someone who will go eat cookies with you after the audition.”
Finally, pay attention to what drives you to audition in the first place. “If you give up right away, you’re only going to hurt yourself,” Martins said. “It pays to keep coming back, especially when you feel connected to the company.”
Use what you’ve learned
When you’re auditioning for a company, gig, or show for the second (or third, fourth, or fifth) time, applying the lessons learned from previous rejections is key. Here are three tips to help you succeed when you audition again.
- Record yourself doing a combination in an audition. One of the most helpful strategies for Rockette Ashley Kasunich Fritz was to find a studio space and record herself with the combinations she learned while auditioning. “I would record them, watch them, check the angles, check them, and then repeat the process, just like we do now in rehearsals,” she said. “It’s all about building muscle memory through repetition.”
- Take classes in the style of a show, program or company. You may just need more time with the movement style or choreography involved. Elena Martins, a dancer who is a relative of Robert Moses, remembers how fresh and different Moses’ style made her feel when she first moved to the Bay Area Feel. “I liked the style, but I understood why he didn’t hire me right away,” she said. “It was completely different than anything I’d done before.” Over time, she grew more comfortable with Moses’ aesthetic and eventually joined his company.
- Incorporate feedback. Many companies and casting directors offer corrections and feedback during auditions. record! “Rockets” director Julie Brannan made a point of giving feedback to dancers during auditions to see how they would react. “As we get further into the audition process, we’ll give specific notes to see if they can make adjustments,” she said. “It’s part of the job. We take notes until the end of the show because that’s how we keep the show clean.
