Wednesday 28 October 2015

Audition Advice

As the summer draws to a close and the autumn leaves begin to turn golden, many young dancers frantically consider the next step in their careers; auditions for vocational ballet school. A year ago, I too was stepping into that wonderful whirlwind of applications, auditions- and finally, a coveted ballet school place. Having frequently endured auditions and rejection letters, I thought I could share some advice regarding the audition adventure.

1. Do your research. Know what schools you want to apply to, what their requirements are, and what application photographs you will need. A spreadsheet can be handy for keeping track of things!!

2. Be realistic. Unless you're an Associate or already in vocational training, the chances of getting a place at the Royal are quite slim. But also, be realistic about finances. Consider limiting how many auditions you attend, but also, make sure you can afford your vocational school place! Some ballet schools, such as Northern and Tring, have Dance and Drama awards (DADA's) which can cover your tuition fees and maintainance costs- Lower Schools such as White Lodge and Tring have MDS (Music And Dance Scheme) funding. Other courses, such as Ballet West, and the Royal Conservatoire of Scotland, are degree accredited, so are eligible for student loans. Some schools, such as London Russian Ballet School, or Ballet Theatre UK, offer scholarships and bursaries. So consider what is affordable for you!

3. Added Extras
Most schools offer RAD exams; Northern Ballet School offer DDI teacher training, Ballet West offer a BA Honours degree. Consider what you want from your training- it's always good to have a backup plan, know what you want to do just in case you can't get a company contract at the end of your training!

4. Sort your forms and photos.
This is where organisation is key!! Make sure you know exactly what poses are required for your photos- different schools require different poses- and ask your teacher to help you to get them exactly right! Also, be aware that some schools require references from your academic and/or dance teachers- which is why it isn't a good idea to leave it until 2 days before the deadline (which I have done several times previously- whoops!!!) 

5. On Audition Day;
Try not to be nervous! Yes, I know that's easier said than done, but remember that you are well prepared, you have done as much as you can, and now it's your time to shine. Going to as many auditions as you can will help you learn to relax so that you can dance as well as possible. It helps to have a "practice run" audition, for something such as an associate scheme or youth ballet, where there is less pressure so you won't be quite so stressed! As funny as it may seem, my "practice run" audition was for Royal- I knew I wasn't going to get in, so simply viewed it as an amazing experience- which it was! 
It is natural to feel nervous before any audition, especially for the schools that you particularly want a place at. Some auditions I was quite calm about, but with others, I couldn't sleep for weeks beforehand as my mind became consumed with thoughts of the audition!!! Try not to over think it or put too much pressure on yourself! 
On audition day, make sure you leave yourself plenty of time to get to the venue. Have spare tights, hairpins, hairnets, ballet shoes, pointe shoes, plenty of water & a snack with you.
For most auditions, you have about half an hour to warm up beforehand- I found it helped to be ritualistic; have a set, familiar warmup, and listen to a calming yet motivating playlist. Think positively; you are going to succeed! Breathe deeply, and smile!!

6. In the Audition;
Listen carefully to what is being asked of you, and do your best to do it precisely, even if it is a new step, or a different way of doing something. It is normal to feel apprehensive about certain parts of the audition- I was always terrified about the adagio and pirouettes, I felt certain that I was going to fall flat on my face!!! This is where positive imagery is useful; visualise yourself doing the steps well, remember a time in class when you felt on balance and in control. You can do it!!! But at the same time, no audition will ever be 'perfect' so don't expect it to be! You will have a far heightened awareness of your mistakes than you usually would have- don't be discouraged if you make a mistake, the panel might not have noticed! Move on, focus on the next step, you can't change what has happened! 

7. The Wait for Results
If you thought the week before the audition was stressful, the few weeks after will be doubly so! (I'm joking.... I think....) instinctively you will want to analyse every tiny mistake that you made- don't! What's done is done, you can't go back and change it! And if it is a 'no' this time, don't give up! If you really want to succeed, you will stay determined, stay focussed, and try again next time! Good luck!!!

Sunday 25 October 2015

The Snow Queen

To conclude a delightful half term of private lessons, learning the advanced 1 syllabus under the meticulous tutelage of my amazing teacher Miss Kaye, I was eager to see the opening night of Ballet Theatre UK's "The Snow Queen".
I remembered seeing the company dance Snow Queen back in 2011- as a young dancer just starting out on my journey of learning ballet, I was delighted to be allowed backstage after the show, where I met Natalie Cawte and Kazuka Oike; I still have the programme that they signed for me. I knew that the company had changed somewhat since I saw them dance Swan Lake last year- Natalie, Jessica and Julia had moved on to other work- so I was eager to see how the new dancers had helped the company to evolve. Nonetheless, it was also pleasing to see familiar faces again- Clair Corrubble made an imposing Snow Queen, her effortless command of the stage and stunning facial expressions reminded me of how she dazzled as Odile in Swan Lake. 
Gerda was danced in a captivatingly playful manner by Sarah Mortimer, whose clean technique and excellent artistry made her a joy to watch.

In Act 1, the Peasant Pas de Trois was danced by Grace Carr, Emma Miller and Robert Noble- seeing it brought back fond memories of learning the solos at BTUK's summer school in 2014! Grace, a Central graduate making her debut with the company, demonstrated neat footwork and pleasant artistry, although seemed a little nervous at times. 

In Act 2, Charlotte Eades shone as a Flower Soloist, her elegant upper body and ports de bras complimenting her excellent artistry and innate musicality. She later showed a more comedic style as the mischievous Princess, working well alongside David Brewer, who likewise demonstrated stellar technical ability but also fabulous characterisation and personality. 
The costumes sparkled glamorously, ranging from Sleeping Beauty fairy-esque tutus for the Flowers, to ragged Gypsy dresses; the relatively simple yet effective set design and staging gave the ballet a definite sense of professionalism. 
There were many young children in the audience, all of whom seemed captivated by the delightful choreography and easy to understand storyline- Ballet Theatre UK are definitely succeeding in inspiring the next generation of young dancers, and I am looking forward to seeing their premiere of "Pinocchio" early next year!

Saturday 17 October 2015

Half Term!!!!

I am currently waiting in Glasgow airport, to fly home for half term! Overall, I think my first half term at Ballet West has gone well, although I have missed home a lot! The highlights for me have been repertoire classes- a guest teacher, Kate Hazelby, came to teach us corps de ballet work from La Sylphide. Also, I was chosen to participate in a photoshoot to promote Nutcracker tour- I was dressed as one of the mice, which was fun!! 
Our first choreographic assessment was yesterday; I choreographed a modern contemporary piece called "Fragments" based upon the image of a shattered chandelier- I really enjoyed being able to create work on my peers, I worked with Jordan and Joey who are both incredibly talented!