[Brigantine]

So, a question for those on the other side of the casting table.
I am not a good dancer. The only experience I have is what I've picked up from other shows I've been in, plus a tap DVD and a brief ballet basics class. Barring advice to get more experience or take classes (not really an option right now) what is more important in a dance audition- getting footwork right or getting upper body/arm movement right? Usually I'm not able to do both!! Is a director more impressed with what you do with the things you can pick up (arms, timing, selling it, smile) or your actual dance technique (footwork) ?

[MaryMag]

Can you give me an idea of what kind of dancing they're having you do at the auditions you go to? Is it the standard jazzy kinda thing with a double pirouette or two thrown in and an optional leap? Easier? Harder?

Anyway, these are my general tips for dance auditions:
1) Choreographers are looking for lines. I don't even know how to explain what good lines are. All I can say is you get em through ballet.
2) Counts are important. Making sure your head goes up on "1", not "3" or "4", or even "1 AND" is important when there are 20 people doing the same thing. You've gotta be precise and sharp.
3) Size matters! Anyone can do this. For example, if you're doing a lunge, don't just do a slight bend of the knees. Get halfway to the ground! If you have to stand with your feet apart, don't stand with them only 16 inches apart. Stand with em damn near 3 feet apart! If you have to circle your hips, don't do a little circle, make it BIG!
4) Figure out why you're dancing. Yes everyone says to smile while you dance, and of course a smile is better than a look of pain or confusion or fear, but act while you dance! Why are you kicking? Why are you skipping? Why are you walking to the other side of the room? Cuz you're frustrated? Cuz you wanna strut? Show the choreographers WHY!
5) Practice practice practice! I mean WHILE the choreographer is teaching you the routine! Don't just do it when the whole group does it. Repeat it while you're waiting for the music to start. Connect the previous 8 count during the 10 seconds someone is asking a question. Do as much as you can in the time it takes the rest of the group to get a drink of water. <-- this is MaryMag's secret weapon! She never stops practicing the routine, even when other people are resting or talking or getting ready for the music to start! She just repeats it repeats it repeats it!
6) Go full out WHILE you're learning. I'm realizing that not all choreographers break you down into smaller groups and watch you. When they're pressed for time, they'll let you switch rows maybe once and that'll be it. So you've gotta prove yourself WHILE the routine is being taught.
7) Lastly - make your energy continue for a few seconds after the routine is done. Don't immediately break character and start laughing or complaining about how you did. Hold character or at the very least, look like you really enjoyed yourself and that all of that was just a breeze.

My specific advice for you, Brigantine? I would learn the first 8 count and the final 8 count the best. Get those 2 8 counts down PAT, make everything big, make the movements on each count SHARP, act the hell out of em. That way you'll start with a good impression, maybe muddle through the middle, and leave em with a bang!

[lola]

Depends. Is it a dance heavy show? Then dance technique is more important. When I auditioned for CATS, I concentrated on technique more so than when I audition for say for example the Wizard of Oz. When I choreograph a show, I look for attitude first, technique second and potential to learn at a close third at auditions.

[Francois]

I'm one for whom the dance audition is notoriously a stumbling (literally, LOL) block. In fact, I'm quite sure I just lost a show I REALLY wanted because of one

One piece of advice someone told me, and which I forgot to heed in the recent dance audition that may have done me in, is:

LOOK LIKE KNOW WHAT YOU'RE DOING; LOOK LIKE YOU'RE HAVING FUN.

You may stumble on a step, you may miss a count, someone may step on your toe, but LOOK like you're doing it perfectly and that everything that happens is supposed to be that way.

God, I wish I had done that in my recent dance audition, but it was thrown at us when I didn't expect it, and I got flustered and almost certainly cost myself a part after having NAILED the singing and acting portions I got nervous, worred about the steps, and was probably looking down, not out (<--FATAL ERROR!!) when we were being watched.

It's going to be a long time before I stop beating myself in the head over this one.

[everdancing]

I'm not a choreographer or director, but I am a dancer! If you're not a dancer, and therefore not expecting to get a part with heavy dancing, I would say the upper half of your body is more important. Think about what you watch when you see someone dance, most non-dancers look at your arms, head, etc. etc. Although most dancers-the ones I know anyway-look at your feet. So if you want a heavy dance part, you pretty much need to do real good with both.
One of the main things to remember: Smile and have fun!

[Celeste_SM]

I'm also not a choreographer or a director, but as a stage manager I've worked hundreds of auditions. If you're not a dancer - and you're not, then looking good is most important. They will know that you are not a dancer, and you won't be considered for those roles. What makes you look good? Moving with confidence, staying on the beat, and clean lines. Straight arms and legs, kicking on time, etc - even if you're on the wrong food or doing the wrong step.

However if you're going for a dance role, then you need to show that you can do the right thing with your feet first. Clean spotting technique is commonly checked and used as a screening element.

[disneybeauty]

I was trying to figure out a way to define a dancer's "lines" for you. As a choreographer and former pro ballerina, the best definition I can give you for "lines" is the relationship of your head and body to the angles you create with your arms and legs. It's a complex thing really. Most ballet dancers are trying to create a false symmetry and make the legs and arms look longer than they actually are, thereby creating "lines". It also refers to how you hold your upper body; are you slouching, sitting straight, pinching your shoulders back, etc. I think the word 'epaulment' (a-pull-MON) might be a better descriptor of what the choreographer is looking for as well as looking for "lines".
As far as what I look for: I look for someone willing to gut it out and try their best. I also look for innate musicality and rhythm. I like it when a person can pick up the choreography quickly, but I would rather have someone who is more interested in working hard to perfect the feeling and mood of the choreography, rather than slop through the given movement. A good choreographer can make anyone look good dancing on stage. A bad one blames the cast for not being 'gifted' in the dance area.

[Brigantine]

thanks, everybody.
this isn't for any specific audition, but I know my husband and I will likely be moving soon, l and I'll have to build a reputation with theaters all over again. At the community theater I have been involved with, I've had a lot of lead roles so I haven't had to worry too much about dancing, but the shows I have not been cast in were because they were heavy dance shows (Chorus Line, Chicago). So, looking ahead to auditioning for new theaters, if I don't have time or resources to learn more dance, I was trying to figure out the best way to present myself at the dance portion of auditions in the future.

[Kaiana]

I officially love MaryMag. That was incredibly helpful.

[MaryMag]