Editor's Letter: Try Out the Fit

Published in the February/March 2014 issue.

Ida Praetorius photographed by Nathan Sayers for Pointe

Auditions can feel like intense, all-or-nothing contests. But the secret of being a successful auditioner is to go in looking for a good fit, not just a job or a program. It can change the whole tenor of the process. That’s what Brett Bauer discovered after he lost his contract with San Francisco Ballet, as he discusses in “You’re Fired. Now What?” Whenever an audition didn’t work out while he searched for a new job, he knew, he says, “there was somewhere else I was meant to be.” That place turned out to be Oregon Ballet Theatre, where he’s now a principal.

Pointe’s annual auditions guide lists dozens of current job and training options. Take a look with an eye to whether an opportunity suits your personal and professional goals. Companies are starting to take a similar approach themselves. “The Immersive Audition” goes inside the process as more companies ask dancers to spend several days trying out, evaluating each not just on her technique but her personality, her ability to work well with the company’s current dancers and her creative contributions. Make sure you feel confident, whether it’s an immersive audition or a traditional open call. Check out our picks in “Styled to Get Hired” for standout looks that will show you off to advantage.

And if finding where you belong gets discouraging, read “A Hard-Won Triumph,” which excerpts Misty Copeland’s new memoir Life in Motion. As a lesson in the payoff for grit and courage, it will give you all you need for the next round.


Also in this issue...
“If you only have talent, you’ll sparkle for just a short amount of time. You have to have the right training to cultivate your talent. Work isn’t enough either—you need something very special about you, to be ‘kissed by God.’ ” —Evgenia Obraztsova


“She works like a fiend, and she has a determination, a directness which is disarming. It’s so evident that this is what she wants. The cup of her dance heart runneth over.” —Nikolaj Hübbe, artistic director of the RDB, on corps de ballet member and cover ballerina Ida Praetorius