In 2017, after a seven-hour return call over two days for her dream company, San Francisco-based relative Robert Moses, Elena Martins got the answer she feared. – No. This was her second audition with RMK in two years and her second rejection. “When I didn’t get it this time, I was pretty devastated,” she recalls. “I separated from the company for a while. I took six months off, during which I was also injured.”
The time spent gave Martins a sense of perspective and left her feeling refreshed. After recovering from her injury, she auditioned again and finally landed a coveted spot in Moses’ troupe.
Martins’ story is not unique. These days, auditioning two, three, four or more times isn’t an anomaly—it’s often the norm. “In this industry, you get told no all the time, so auditioning is your job,” says Houston-based musical theater dancer Courtney Chilton. Depending on what corner of the dance scene you’re in, “you might spend more time auditioning than contracts.”
Learning how to weather the emotional storm that often accompanies repeated rejection is challenging. But it can lead to fulfilling opportunities. Consider these mindset shifts as you navigate your comeback auditions.
It’s just the nature of the beast
Radio City Rockette Ashley Kasunich Fritz auditioned a total of six times for the Rockettes before finally being accepted in 2011. Now in her 13th season, she says six auditions aren’t really that unusual in the Rockette world nowadays. “The choreography is so specific and there’s not a lot of rehearsal time, so you have to be able to handle other people straight away.”
“It’s the nature of the beast,” Chilton says. As a cast member and dance captain for regional and touring productions such as: South Pacific, Mary Poppinsand: Elf:she recalls periods when she booked about one in 50 auditions. “And that was pretty good!” she says. In musical theater, where a casting director may see hundreds of dancers for a role, the competition is especially fierce. Knowing how to enter can help alleviate feelings of frustration and disappointment when you find yourself auditioning multiple times.
It’s not you (required)
While it’s important to be as prepared as possible for any audition, recognize that there will be many variables the directors will consider as they make selections, some of which are unrelated to your dance. A casting director may need something or someone super specific at a certain point. That doesn’t mean you’re not right for the company or the show—it just might not be your time.
“So many things have nothing to do with what you did in the room,” says Chilton. “You have to admit there’s going to be a lot of times when they just want someone two inches taller.”
There are advantages to auditioning again
Despite the previous rejection, going back to audition has its perks. knowing the people, process and choreographic style of the company or show; the accompanying confidence that comes with that familiarity; and the opportunity to demonstrate your tenacity and dedication by giving back.
THE SIXTH AUDITION WAS THE CHARM. COURTESY MSG ENTERTAINMENT.
Both Chilton and Julie Branham, director of: A Christmas performance featuring the Radio City Rockettesagree that in most scenarios directors look favorably on returnees. “You build acquaintances and you build relationships,” Chilton says. Branham agrees. “I love seeing the dancers come back. I love to see when a dancer has really worked and improves and gets it.” Kasunich Fritz remembers being cut in the first round of her first Rockettes audition, but each time she made it further through the process, which was helped boost her confidence. “The director could see where I started and how far I’ve come,” she says. “Going through the process over and over, they really get to know you.”
Likewise, spending face-to-face time with current company members and other auditionees can help you demonstrate how well you work with others and give you much-needed social support as you navigate the audition process. “I saw other dancers who had also auditioned multiple times,” says Kasunich Fritz. “You start building a community. Because the dance world is small, it creates friendship and camaraderie.”
Protect your self-esteem
It’s natural to feel disappointed when you’re told no, but remember that a no doesn’t define your worth as an artist or your future in dance. Acknowledge your feelings and come up with self-care strategies that work for you.
People in your support network, from friends and family members to fellow dancers, can be powerful boosters when you get back on the horse, offering a sense of perspective and validating your talent and worth. “Find your people. Find your friends,” says Chilton. “Find someone to go get a cookie with you after the audition.”
Ultimately, stay focused on what made you audition in the first place. “If you give up right away, you’re only hurting yourself,” says Martins. “It pays to keep coming back, especially when it’s a company you feel connected to.”
Using what you’ve learned:
When you’re auditioning for a company, show, or program for the second (or third, fourth, or fifth) time, applying the lessons learned from your previous rejections is key. Here are three tips to set yourself up for success as you audition again.
- Record how you make combinations from the audition. One of the most helpful strategies for Rockette Ashley Kasunich Fritz was to find a studio space and videotape herself performing the combos she learned at the audition. “I would videotape them, watch them, check my angles, review them, and then repeat the process, similar to what we do now in rehearsals,” she says. “It was all about building that muscle memory through repetition.”
- Take lessons in the style of the show, program or company. You may simply need more time with the movement style or choreography in question. Elena Martins, a dancer with Robert Moses’ Kin, remembers how new and different Moses’ style seemed to her when she first moved to the Bay Area. “I liked the style, but I understand why he didn’t hire me right away,” she says. “It was so different from what I had done before.” Over time, she grew more comfortable with Moses’ aesthetic and eventually joined his company.
- Include feedback. Many companies and casting directors offer corrections and feedback during an audition. Take notes! Rockettes director Julie Branham deliberately gives feedback to the dancers during auditions to see how they will react. “When we go into the audition process, we give specific notes to see if they can make the adjustment,” she says. “It’s part of the job. We take notes until the show closes because that’s how we keep the show clean.”