I’ll always remember my audition for the Western Australian Academy of Performing Arts (WAAPA).
I had never done an audition before but I was feeling reasonably calm. When I arrived at WAAPA and saw all those other limber and capable looking bodies in the foyer, however, I wanted to turn and run away.
I suddenly realised I that I only had a sketchy idea of what to expect from the day.
As with me, auditioning for a dance course may be your first audition experience. Even if it isn’t, it’s useful to have some tips about what to expect and what is expected of you.
To get the lowdown, I spoke to Jason Coleman, chief executive officer of Jason Coleman’s Ministry of Dance; Maxine Kohler, principal of the McDonald College; associate professor Gene Moyle, head of dance at Queensland University of Technology, and Christine Walsh, director of the Australian Conservatoire of Ballet.
The first step in auditioning for any course is to find out how to apply. This information is generally available online. Remember that your success at the audition starts with your application and it may be more complicated then you expect, so it’s worth getting started as early as possible.
In addition, deadlines for applications may be well in advance of audition dates, which in turn may be well in advance of course commencement dates.
Some courses may have academic pre-requisites and minimum schooling requirements. Others might require an assessment by a physiotherapist. Some may include a written component in which the applicant has to explain why they wish to take this particular course.
All this can be time-consuming, hence the recommendation that you start your research well in advance.
And so to the day of the audition. As with the application process, the structure of the audition can vary enormously from institution to institution and course to course.
While some kind of dance class is the common denominator, auditions range from being a single class to a whole day event. Students auditioning for a Bachelor of Fine Arts (Dance Performance) at the Queensland University of Technology, for example, may take up to four classes at the audition.
“People come along and register for the day,” says Gene Moyle. “Then they do a written task. They have time to warm up, and then they do a ballet class and a contemporary class. Then we have a discussion about both of the courses – just to clarify what the differences are. So that’s the first round.
We put up a list to let them know who has made it through that round, and then we start the second round. That would be a more advanced ballet class, with girls bringing pointe shoes if they have pointe experience, and contemporary class.
“At the end of the day we see candidates’ solos in whatever genre they want, to give them the opportunity to show us what they can do that might not have come across within a ballet or a contemporary class.”
It’s a reasonably big day, stamina-wise, and anyone considering this kind of audition process would want to be thinking about that when preparing. As Moyle points out, though, a typical day in the Dance Performance course, which prepares students for specifically for a performance career, would involve at least that much physical activity.
QUT also offers a BFA (Dance), which has a slightly different audition process because the course is aimed at preparing students for a range of dance-related careers, such as teaching dance at primary and secondary level.
“The candidates for the BFA follow the same morning as the Dance Performance audition, with a short jazz class in addition to ballet and contemporary,” explains Moyle.“The round two people don’t do an extra class after lunch, they do their solos and they have to give an impromptu talk as well.”
Although the focus of an audition is, obviously, on dance, that impromptu talk raises an important point – you should be prepared to speak.
For Jason Coleman, hearing what candidates have to say is crucial. “The most important part of the day, for me, is the interview process,” he remarks. “We sit down and learn about the young person, what their aspirations are, where they want to go, what they want to get out of the course, what they’ve got to come into the course with, where they see themselves going in the business.”
Then there’s the million-dollar question. What are they looking for?
All the people I speak to for this article mention dance technique and/or natural ability as being a base requirement for any course. “On the day of the audition we’re looking for physical and artistic potential for a career in dance, musicality, the ability to pick up choreography quickly, and a basic strength and understanding of classical ballet technique,” says Christine Walsh.
Maxine Kohler, who is auditioning students as young as 10 for the McDonald College, also emphasises the importance of potential. “While we like to see them having had some experience, depending on age, we want to see that they’re willing to get in and have a go, particularly if they’re auditioning for Year 5 and only 10 or 11 years old,” she comments.
“We’re not so interested in whether they can do a triple pirouette, but more that they’re willing to have a go at it. Physical ability is important, that’s a given, but past experience is not essential.”
That idea that potential is more important than experience is echoed by Coleman. “We’re looking for people who are open to learn,” he says. “You don’t have to be finished – this is a finishing school.”
For Moyle, it’s important that the physical capacities the candidate demonstrates at audition align with their goals. “We’re looking for solid foundation levels within alignment and technical ability. We’re looking for people that bring something and some artistry. It’s tied with what they put in the written application – whether their technical ability lines up with what they want to do.”
Coleman also mentions the importance of a candidate’s goals being realistic in relation to his or her ability. “In the interview we check that a candidate’s dreams and aspirations match the facility and aptitude that we’ve seen [during the audition],” he notes.
So, it’s clear that what you write in your application and say in an interview may play a crucial role in the outcome of your audition.
You need to sure that your aspirations are realistic in relation to your ability. You should also put some thought into the written components of your applications, and into how you might respond to questions about your goals.
Like the other teachers to whom I spoke, Moyle says that the experience of a candidate is not always an issue. “Sometimes there might be someone, particularly amongst the boys, who hasn’t had as much ballet training as the girls usually do, but if we can see that they have an understanding of alignment and how to work their body, and they can pick up things quickly, we do look at potential and how that aligns with their goals when considering whether to take them into the course.”
While all the teachers talk about basic levels of physical competency, whether it be in terms of technique or potential to learn, don’t be tricked into thinking that’s all they’re considering when auditioning.
“On the day of the audition, first and foremost I’m looking for performers,” says Coleman emphatically. “I’m looking for people who look like performers, who stand like performers, who present like performers, walk, talk and dance like performers. When people walk in I’m looking for life. I call it ‘Judy Garland eyes’.”
Kohler wants to be able to see the candidates desire to dance. “We’re looking for someone who has a real passion for performance, a hunger behind eyes, someone who is excited to be there,” she says.
“Of course they’re going to be nervous, but just showing that passion [is what we look for].” Moyle echoes Kohler’s comments. “We look at the candidates and ask ourselves, are they really interested in being there or not? Are they demonstrating a love and enjoyment of what they do? Do they really want it? Are they really committed?” Walsh remarks, “We look for intelligence, respectful confidence and commitment.”
Besides the audition itself, most institutions auditioning for students are interested in the personality, brain and background of the students as well.
“When applying to QUT, candidates have to include their academic transcript and CV,” says Moyle. “It’s not just valuing what they’ve done dance-wise. We’re looking at those other things, like part-time jobs they might have done, that demonstrate their ability to be successful within a university environment.”
Any extra-curricular activities may strengthen your application. “It’s always interesting to see whether candidates have had leadership positions at their school – depending on their age of course – if they’ve been a prefect of their primary school, or been in the school orchestra, or something like that,” says Kohler.
Lastly, here are some tips for young dancers who are auditioning for full-time or part time courses:
Walsh: Be willing to learn and take on new advice.
Moyle: At any audition be conscious of how you present yourself. We’re looking for people who care about their appearance, who are applying themselves, who are interested and engaged in the process. We look at how are they interacting within the group…all those things about putting themselves first but being respectful of other people.
I often say to both professionals and students, why did you get into dance in the first place? Usually because you love it! So show it!
Coleman: Work out what’s different and unique about you and exploit it – and on audition day try to let that panel know who you are as a person. Show all of yourself, all of your personality.
Kohler: Be attentive, be engaged in what is going on and be willing to have a go at anything. If someone says, ‘have you done something-or-other before?’ and you haven’t, say, ‘No but I’m willing to have a go!’ Don’t be pushy but don’t hold back either.
Happy auditioning!
And furthermore . . .
“The Ettingshausens full time course structures its auditions to cover a range of genres. This is a deliberate decision to attract students that want to become ‘all round’ versatile performers. We aim to produce performers that can consider commercial jazz, cabaret or contemporary as a career pathway. By studying all genres, they keep their options open.
“On the audition day, students will audition in the styles of classical ballet, jazz, tap, hip hop and possibly contemporary. They will also present a solo in the style of their choice to showcase their strengths. They will be asked to present a brief monologue, sing a verse and a chorus of a song and share any other talents we need to be aware of.
“As Ettingshausens is a boutique course, it is important that the ‘right students, with the right attitudes’ be selected. The learning experience is so much more productive if those in the course bring positive attitudes and energy to the room everyday. Therefore the final selection criteria is an interview with the principal.”
– CEO Natalie Ettingshausen
Killara, Sydney
“I look for facility above all else when auditioning for the Elite Programs and a body that is suited to the rigours of a career in dance.
“When holding auditions for our full time performing arts dance course we look for a mix of established technique, facility and individual style and performance. We do full physical tests with pilates instructors as well as the normal dance rounds in ballet, jazz and hip hop to really establish the auditionees athleticism.
“A professional demeanour is an incredible giveaway as to an auditionee’s motivation and general respect for the industry and its teachers. Andrew Hallsworth [our director of music theatre] looks for a confident and capably vocal ability, naturalistic acting in style, basic understanding in dance, co-ordination (you can teach anyone to dance), strong work ethic with open minded and
willing personalities!”
– Todd Patrick
Director, Patrick Studios,
Port Melbourne
“Candidates do two classes –, ballet class which includes pointe work for girls, and a contemporary class. Within the contemporary class they do improvisation. That gives us the opportunity to consider the aesthetic and their physical appropriateness to sustain a career in dance. It also gives us the opportunity to assess musicality and coordination, and whether they are courageous in how they present themselves in
the space.
“Then we shortlist and the successful candidates go on to interview. The interview is an opportunity for them to introduce themselves to us while we ask questions surrounding their motivation and their aspirations. There are some logistical and financial aspects discussed and any concerns raised through the orthopaedic assessment, e.g. any injuries and their status.
“The audition environment requires a leap of faith from both sides. You have a short time in which to assess the people you will potentially be working with for the next two to three years. As a teacher you need to be confident there is a good match between the school and the student’s expectations. We are looking for the hunger – an innate desire to train at the school.”
– Garry Trinder
Director,
New Zealand School of Dance
“On the audition day the candidates take part in a contemporary dance class, a classical ballet class and present a one minute solo that they have created themselves. Some auditionees will be required for an interview on the day.
“Students auditioning for the Advanced Diploma in Dance take in a classical ballet class (with pointe work for women) and a contemporary dance class.”
– Justin Rutzou
Co-ordinator Contemporary Dance, WA Academy of Performing Arts
“The students participate in both a pointe and classical open class that gives the director an opportunity to see their full potential. We are looking for the basics of very sound technique from which we can work. We opt to stick to class formats so we can throw different things at the students, we don’t want to see something that has been prepared already, we want to see how they pick up exercises and how quickly they can take corrections on board during class.
“During the meeting we try to get a feel for the ambition, drive and dedication of an auditioning student. This is not an easy program and they want diligent, passionate and enthusiastic students.”
- Sinead Vidler
Director, Academy Ballet, Alexandria, Sydney.
Institutions:
The Australian Conservatoire of Ballet (Vic) offers nationally accredited full-time and part-time training in classical ballet, including an Advanced Diploma of Dance (Elite Performance), Diploma of Dance (Elite Performance) and Certificate IV in Dance.
The McDonald College (NSW) is an academic and performing arts college, offering specialist training in acting, classical ballet, dance, music and musical theatre together with academic studies through to the NSW HSC. The college includes primary school (years 3-6), junior secondary (years 7-10) and senior secondary (years 11 and 12). Performing arts classes are also offered to students after school hours.
Jason Coleman’s Ministry of Dance (JCMOD - VIC) encompasses all things dance, performance and entertainment, including a full time course (now a nationally recognised qualification), dance school classes and tailored workshop programs. January sees a week-long summer school delivered by industry professionals. JCMOD also houses a specialist talent agency and production house.
Queensland University of Technology (QUT) offers two undergraduate courses specialising in dance practice: the Bachelor of Fine Arts (Dance Performance) – designed for aspiring dancers wishing to transition into a professional performance career; and the Bachelor of Fine Arts (Dance) – designed for individuals who aspire to careers in dance education (primary, high school, tertiary and/or studio teaching), choreography, community arts practice and arts management.
Japanese candidates audition for the Australian Conservatoire of Ballet.
This article was first published in the August-September 2013 issue of Dance Australia magazine.