If you made it through several cuts but didn't land a contract, you're probably wondering what went wrong. It's perfectly acceptable to ask for feedback—if you go about it the right way. Here's how company and casting directors want to hear from you so you'll be remembered for your dancing (not for nagging).


DON'T Follow Up Prematurely

If you get cut in the first round, it's not necessary to follow up. Photo by Jim Lafferty for Pointe.

If you didn't make the first cut, don't follow up. Andrea Zee, a casting director for Broadway musicals and tours, says she can't be helpful unless you've made it through several cuts. "It's just too hard with the number of people we're seeing to comment on your performance in the initial round," she says.

How you get in touch depends on what's most appropriate at that particular company, so do your homework. Some places, like Colorado Ballet, set up an online contact form, while others prefer you email the director or an administrator. At Martha Graham Dance Company, artistic director Janet Eilber says you may hear from her first. "We try to alert the final-round dancers to our recommendations—whether they need more training, if they should audition for Graham 2, and whether or not we see them ultimately joining the company—at the end of the audition, before they leave," says Eilber.

DO Get Specific

Be specific in your follow-up email. Photo Courtesy Stock Snap

If you're following up by email, Colorado Ballet artistic director Gil Boggs suggests writing something like "I made it through the entire process, and my number was 12" before inquiring about feedback. Zee says it's a joy to get a question that shows you've really thought about the role and expect to hear that there's an area where you need to improve. "Ask about some aspect of your Fosse technique or how you can bring more humor to your movement. Not 'What went wrong during the second combination?' " she says. When you do receive a response, investigate it further on your own. "If I say 'It was your port de bras,' don't email back to ask 'Well, was it my elbow?' " says Boggs.

DON'T Make Excuses

Following up isn't a chance to explain why you didn't perform your best. Eilber says she doesn't need to hear that you were sick or injured or that you'll be in better shape soon—it only tells her that you came to the audition when you weren't ready.

DO Share What's Next for You

Directors may be interested in what you've been up to since your audition. Photo by Jim Lafferty for Pointe.

"Update me on what you're dancing this year," says Boggs, "so I can think about the skills you're likely working on and if that matches up with what the company has coming up." You can also share the name of a coach or mentor. "That gives me the opportunity to touch base with someone who knows more about you than I can find out in an audition," he says.

DO Know When to Take "No" for an Answer

"I make it a point to get back to each person if feedback is appropriate," says Zee, "but sending an email every week crosses the line from proactive to worrisome." You don't want to be remembered for the wrong reasons, and casting directors keep careful files, warns Zee. But if you've kept in touch the right way, "I just might be able to call you back six months or a year later with a show you'd be perfect for."

Show Comments ()
Studio Owners
Thinkstock

Summertime is notoriously slow for dance studio owners, but bills don't take a holiday. Learn from three studio owners who figured out how to keep the buzz and cash flowing without breaking a sweat. Their secret formula? Creative summer programming too good for parents to pass up—coupled with quick and easy camps as bonus business builders. Not only do these owners keep their revenue rolling in summer, they use the season to boost enrollment come fall.

Keep reading... Show less

So you've achieved your dream of owning a studio. Congratulations! Once that initial excitement wears off, we're betting that you'll discover just how overwhelming the day-to-day operation of such an endeavor really is. When you choose to run your own business, you're bound to encounter challenges, but with a unique business model at the center of it all, studio management certainly comes with its own hurdles, creating a perpetual learning curve that keeps both new studio owners and veterans on their toes.

Although a certain amount of this difficulty is to be expected for any studio, there's no longer any reason for you to suffer needlessly through each step of the way. All you have to do is reach out for a tool you can use to take your studio to the next level, namely studio management software.

Tools like our very own acclaimed Studio Director software can make a world of difference in virtually every aspect of your business. Let's run through some key ways in which this tool can revolutionize your studio.

Keep reading... Show less
Jay Sullivan Photography, courtesy Julie Granger

Dancers crossing over into the fitness realm may be increasingly popular, but it was never part of French-born Julie Granger's plan. Though Granger grew up a serious ballet student, taking yoga classes on the side eventually led to a whole new career. Creating her own rules along the way, Granger shares how combining the skills she learned in ballet with certifications in yoga, barre and personal training allowed her to become her own boss (and a rising fitness influencer).

Keep reading... Show less

A popular and highly sought-after dancer and choreographer, Geo Hubela has worked with stars and productions all over the world from French pop star "Lorie" to the MTV show BeComing. Geo isn't just a choreography sensation. He has also danced on film, onstage, and on TV. He was worked with everyone from *NSYNC to JLo. On top of his incredible professional career, Geo owns a dance studio called Icon Dance Complex.

Owning and running a successful dance studio is not an easy task. Showstopper got together with Geo for his advice on going from a professional dancer to studio owner.

Keep reading... Show less
Dance Teachers Trending
Via Mia Michaels' Instagram

Beloved three-time Emmy Award–winning choreographer Mia Michaels returned to teach at Broadway Dance Center for the first time in a decade and brought the house down with her emotive and inspirational choreography. Set to the Harry Styles hit "Sign of the Times," her combination challenged dancers to fight their inner demons and recognize the legends that they truly are.

For the first two verses of music, Michaels asked the dancers to spell the words "I am," along with their own descriptor of choice (i.e. enough, resilient, whole), with their bodies, reminding them of their worth and potential for improvement. From there the choreography dove into swirling movement that pushed dancers off balance and out of their comfort zones. Shifting between fluid release and violent shakes she created a physical depiction of a common human experience—overcoming hardship.

Just as the group round of class was beginning, Michaels requested that the dancers be open and pour their whole selves into the choreography, citing her own history of doing so. "I've been completely open with you all. I've told my life's story through bodies around the world. That's why I'm Mama Mia."

When class finished, Michaels sat down with students for a Q&A; and book signing to promote her new book, A Unicorn in a World of Donkeys: A Guide to Life for All the Exceptional, Excellent Misfits Out There.

Check out some key takeaways from her discussion!

Keep reading... Show less
Dance Teacher Tips
Photo by Kyle Froman

The back is an essential focus of Cynthia Harvey's ballet classes, especially as a part of port de bras. Here, she offers "plain," en face port de bras, followed by the same position with épaulement, to show the difference the back (and head and neck) can add to any position. Aspirational imagery helps students find their best épaulement: "Feel as if you have a tiara on," says Harvey. "Don't look like a student—look like a ballerina."

Keep reading... Show less
Just for fun

The World Cup captivates soccer fans this time of year. But if football (as most outside of the U.S. refer to it) isn't your jam, this hybrid of disco dancing, ballet and soccer just might be more intriguing.

Keep reading... Show less
Dance Teacher Tips
Students at Steps Consevatory in NYC.

Dancers who dare to sing increase their marketability, according to voice teacher Jan Horvath.

It's one thing to master a triple pirouette, she says. It's another to be a well-rounded performer who can tackle any challenge without being discouraged.

Horvath teaches voice at Steps Conservatory, a two-year professional dance program in New York City. Once a week, she leads two groups of 10 students in a 90-minute vocal course.

"It's like a ballet barre," she explains. "We focus on one little thing of the day and perfect it and move on."

Keep reading... Show less

Sponsored

Videos

Sponsored

mailbox

Get DanceTeacher in your inbox

Win It!

Sponsored