6 working professional dancers from the commercial, musical theatre and corporate fields give fantastic advice to make the most out of your next audition.

BENJAMIN VEITCH
“The most valuable lesson I have learnt in an audition would have to be the realisation of ‘me’. You can easily get caught up in the politics and hoo-ha of the performing arts scene. I believe that your strongest asset is you. You have to show the panel what you’re all about and most importantly that you have worked it all out. Learn all the styles do all the classes, suck in as much of the world as you can but don't hide behind it because at the end of the day you have to be really good at being yourself. Stay in the guide lines of the direction and choreography whilst keeping it real.

Auditions are a tricky thing because you could be one of the best performers in the world and still not get the job. As much as the powers that be may think you’re amazing they just might not have the right spot for you. Don't worry though they will remember you and you never know you could be the inspiration for their next show! Every audition is a free class packed full of experience regardless of whether you get the job or not. Keep up the hard work be yourself no one can stop you.”

Benjamin Veitch studied dance and acrobatics under the direction of his mentor Robert Sturrock on the Gold Coast. He recently performed as a featured dancer in The Boy From Oz starring Hugh Jackman. Ben made his musical theatre debut in the Australian world premiere production of Dirty Dancing, in which he performed as part of the ensemble and understudied the role of Billy. Other stage credits include Hidden palace and Rhythm of the Night for Jupiter’s Casino. He also performed at the Luna Park Opening Concert and for Coast Italian Cruise Line and Dreamworld, for whom he has also choreographed.

MICHELLE WRIGGLES
“Auditioning is an art form in itself and is very different to performing on stage or even competing. You have to have confidence to perform a routine that you have been taught in a short amount of time. Learn as many different styles of dance as you can so that you can pick up quickly. Really watch the choreographer dance and try to get the style as well as the steps and of course use your face. More often than not you have to perform for less than 4 people on a panel and that is very different to dancing for an audience that is smiling back at you. This can be quite nerve racking and you only get used to it by practicing. The more auditions you do the easier and less scary they get.

Michelle Wriggles has worked extensively in the Commercial dance business including Baz Lahrmann’s Moulin Rouge. Michelle has also assisted many choreographers including William A Forsyth and is currently teaching for Paradise Performers on the Gold Coast as well as assisting William on the "Kath Gourley Live" gigs which include "The XXXX Angels" the hot dance group that tour around Australia promoting XXXX Beer.

OLIVIA OSTASZEWSKYJ
“I’m 27 and am only starting to hit my peak as it may be. I have danced for many different companies and shows both here and overseas and the one thing I have learnt that I truly thought valuable is that it isn't all about me. Dancers internalise everything as we are always striving to put ourselves into these boxes, and at times we just aint supposed to fit. Be as confident as one can be without being cocky, but realise if you don't get the job you still had a free class and were exposed to the industry. Be the best you can be, a role will come up, they always do....
 
Olivia O trained in Jazz, Tap, Ballet, Modern, Hip-hop, Funk in the CSTD and RAD Syllabus. She received a Bachelor of Education at WA Edith Cowan University – Dance, Gymnastics, Drama and studied with Broadway Dance Company, New York and The Edge, LA as well as vocal taining with Michael C Smith. Olivia has worjed with Marcia Hines, Princess Cruises, Bonds, Ministry of Sound, Deni Hines and numerous fashion events. You can catch Olivia’s classes at fourways.

DARREN TYLER
“Don’t take being cut from an audition personally. I’ve been fortunate to audition in front of many panels and to be on the audition panel as well, and sometimes even the best dancer, singer or actor, gets cut from an audition in the first round simply because they are just not right for the part/show. Even though to be cut from an audition can be deflating for the ego, it makes me personally want to work harder in the next audition because this is the industry I love, and nothing is more gratifying than being up on stage in front of an audience of 2000 people doing what I love. Auditions can be tough, but once you have a few under your belt (for me) it's just like going to a FREE dance class.

Darren Tyler studied Tap, Jazz, Classical and Contemporary dance with Gillian Fitzgerald & Wendi Overall as well as vocal technique with Maggie Dalgleish, Greg Mills & Phillip Gould. You have seen him perform in Musicals, Miss Saigon, Saturday Night Fever, Cats (Korean Tour), Oliver (Australian and Singapore Tour), Anything Goes, Showboat, Happy Days – The Arena Spectacular and Pan. He has understudied lead roles, been contracted in one of the toughest roles a performer could ever undertake – swing as well as the role of Dance Captain.

JULIETTE VERNE BLAIKIE
A lot of my audition experiences were while I was living in New York. I attended numerous auditions, for a huge variety of jobs from Musical Theatre to Music Videos to Corporate Events etc. I learnt that you need to be prepared, research the show/job you are going for, the choreographer, director and what is required of your role/roles. Bring your pic and resume, music and demo with you ALWAYS. Never be late, being early is always a bonus. Pack all styles of shoes, dance outfits, knee pads and wear something that compliments you and the role you are auditioning for. Always be open minded, take and apply direction and always be focused and respectful to everyone involved. Work hard, pick up quick, pay attention, don’t sit down and be yourself. While you are auditioning my dad always told me to “Hope for the best, expect the worst and do the best you can do”

Juliette runs Sydney’s Urban Dance Centre and has worked with many talented artists including Vanessa Williams, Elton John, Liza Minelli, Rod Stewart, Guy Sebastian and the Gypsy Kings. Muscals include: Grease “The Arena Spectacular” choreographed by Ross Coleman, A Funny Thing Happened On The Way To The Forum, Pan, Get Happy and The Lion King (original Australian cast).

TODD GODDARD
It sounds self evident, but as a performer whose main working environment has been music theatre and Variety, I would have to highlight the importance of ‘style’ as the most valuable lesson I have learnt from the audition experience. A sound technique, strength and good flexibility are, of course, prerequisites for the audition room, but time and time again, I’ve seen some of the most technically proficient dancers eliminated early in the audition process because they couldn’t adapt to the requirements of style and character. It was never a problem with the execution of the steps, but rather, communicating the style. So I learnt that exposure to as many dance styles as possible, and knowledge of some its better examples should become an important part of my audition preparation.

I’ve been fortunate to be involved in a couple of new Australian Musicals (SHOUT!; Dusty) where the work was created around the performers for  the very first time. In an industry where you are often told where, when and how to stand it was a ‘gift’ to be allowed into the creation of a new work. For many of the young dancers in Dusty it was a new experience. They were required to invent their own physical vocabulary for a specific character. In the audition I believe dancers were short listed not on how good they were technically (although I’m certain that was part of it), but how well they could communicate the style and character of the 1960s. The steps themselves were not challenging, so it allowed those auditioning to more readily perform. If you had familiarised yourself with the work of Bob Fosse, watched  Sweet Charity, immersed  yourself  in ‘Go Go’ and  Motown, or simply spent some time in front of mirror finding your way into the style, you were already a step ahead of the crowd. To illustrate, when we made it to the rehearsal room to stage a big Swinging 60s party number – The Who’s, ‘My Generation’ – ensemble members were simply shown a sketch of their costume; perhaps given a one word description (The Actor, The Judge, etc) and set free to create. It quickly became clear that everyone intuitively had an understanding of style and character and the rehearsal was a complete joy.

Another example I recall was the dance call for Sunset Boulevard.
The audition requirement was simply to cross the floor as a Paramount Studio character of your own choosing – Secretary, Producer, Chorus Girl, Wardrobe, etc – stop after a specified number of counts in a pose appropriate to your character; move and repeat. Sounds simple enough, almost remedial, but it soon became clear who had thought about the possibility of just such a ‘character exercise’ before they entered the room. A simple stride allowed endless possibilities for interpretation, yet more than a few very good dancers wafted across the floor and simply froze in any confused pose they found themselves in. And they were certainly not ‘open’ to interacting with any of the other auditionees who were attempting to collaborate and create tableaux. They had presumed they would be given steps. That it would be a traditional routine that tested the limits of their technique and flexibility, and demonstrated their ability to replicate set patterns. Being asked to improvise – to contribute creatively – had really caught them unawares. To complicate matters, the musical accompaniment from the show (‘Let’s Have Lunch’) was in alternating meters of 4/4, 3/4 and 2/4 so dancers were so caught up in counting that it didn’t allow much time to be instantly creative. Those that had researched the show and thought about style and character in advance distinguished themselves on the day.

So, it would seem to be self-evident, but I learned that a prepared understanding of style and character aligned with a sound technique will give you an edge when auditioning for musical theatre and Variety.

 All our professionals this issue are represented by Grayboy Agency in Sydney.