Dance Article
Dance Auditions and Casting
an excerpt from “Musical Theater Choreography”Approaching a mass of strangers as a supposed expert or, at least, an authority on dance and movement, the novice choreographer may be tense. Remember, though, that the people who have come to audition are even more nervous. For them, dance auditions are even scarier than acting or singing auditions, for while the actor/singer can prepare ahead of time with the show's script and lyrics, the dancer cannot prepare himself for the choreographer's trial material. Therefore, clarity and patience in the teaching of an audition routine is a must.
The purpose of the dance audition is to see the capabilities of the potential cast members. Be ready with material which is representative of the style of the show yet also within the scope of the candidates' mental and physical abilities. Give the candidates steps being considered for the production, but which are not necessarily in a finished state. In fact, the choreographer's combinations should not be too solidified at this point in production, unless he has done this particular show before. He will most likely have to adapt the material to suit the new performers anyway.
The routine can be structured to begin very simply and gradually become more complex as the steps progress. In this way, the choreographer can see when a prospective performer has reached his limits of execution or absorption, and he can have the candidate learn only to that point.
Each candidate should be evaluated according to the following criteria: basic comprehension; technical ability (any previous dance training); technical potential; speed of learning; grasp of dynamics (a feel for how the step should look); ability to understand and apply correction and direction, and attitude toward the work and toward others.
The importance of this latter quality cannot be overemphasized. Attitude can not only make or break a dancer's individual performance, but also severely affect the work of all others. Any production is truly a team effort, with everyone involved in the show striving toward a common goal; the only force propelling such an endeavor forward is the personal motivation of al concerned. Even a small amount of negativity can be dangerous to motivation.
Because the choreographic task ahead will be rigorous, the choreographer should keep an eye out for the slightest sign of bad attitude, be it arrogance, self-indulgence, argumentativeness, disruptive behavior, or even simple lack of attention. Unfortunately, once the problem is discovered, it can be too late to cure, in which case dismissal, while an unpleasant task, is often the only solution. It is easier to work with untrained yet motivated people than with trained people who will not participate fully.
Hundreds of musicals are staged each year in local and regional theaters, and in all of them, dance plays a vital role. Musical Theater Choreography by Robert Berkson is specifically designed for first-time choreographers and aims to tell everything you need to know about creating choreography for a musical show. A guide for dancers, choreographers and directors, this book examines all phases of the choreographic process, such as structuring the dance, creating floor plans, staging, director, costumes and styles. The sections on working with the score and structuring a dance number seem particularly helpful. Currently out of print, Musical Theater Choreography can often be found in public libraries. Also, by doing a search online, you can find used copies available for purchase.
