photo by Gaby Cavalcanti
This season (2026-2027) at BelArts Ballet, we will be holding auditions for the Nutcracker and our Spring Production. Auditions will be one factor in how we cast our shows.
There are a lot of questions, emotions and factors that go into casting for any ballet production.
It is not as simple as choosing the strongest or most technical dancer, but involves looking at the big picture of the production. Take a look at my previous blog about casting disappointment to refresh or read some tips about casting.
Auditions have traditionally and frequently been used to cast productions in the ballet world.
I would like our dancers to experience what happens in an audition. Even though BelArts is still a relatively small ballet school and I’m familiar with all of our students and their abilities, I would like to offer this educational experience for our students.
An audition is different from just taking a regular ballet class. Some simple barre exercises will be taught at the beginning to warm up, but then dancers will be grouped together and asked to do specific combinations or phrases of choreography from the production.
Sometimes dancers have to stand in formations with other dancers so we can look at height, movement style, or just how a group looks together.
Sometimes, this can feel really boring!
Sometimes dancers feel they “did nothing” in an audition, but a big important part of the process is letting the Artistic Director think about the big picture.
So much of ballet is working together in a group dance and I need to make sure the groupings that I am thinking about actually make sense!
As BelArts grows and gains more students, this process will become even more important to ensure we have the right groups.
As the Artistic Director, I plan to go into auditions with an open mind. I do typically have some thoughts about casting in my mind as I go in– it’s part of my job to know and think deeply about our dancers.
I do really enjoy being surprised and sometimes at the audition I will notice something new about a student doing a particular phrase of choreography and I will think about how they could be a right fit for a part. Or who could be a good understudy or in the pipeline for a role if they are still a little young.
I really encourage all of our dancers to go for it and go all out in our auditions.
Another question I get a lot is “Can I audition for a specific part?” That is not usually how auditions happen in the ballet world. I want our dancers to have as many options as possible and not become over-fixated or attached to one part.
All of us need to be open-minded. I can share that I wouldn’t consider someone for the Sugar Plum Fairy if they aren’t in high school with several years of pointe training under their belt.
Part of my job though is to be open and think artistically what will work best for each production, and those parts/requirements could change from year to year.
The most important thing is that we all– myself and dancers– go into this process trusting each other, with open minds and willing to be our best.
I promise our dancers and families that I will cast everything with care and with big picture thinking.