More Than Technique: Inside Ballet West's Open Audition
This story originally appeared in the June/July 2015 issue of Pointe.
On an early morning in March, approximately 160 hopefuls crowded the halls of New York City’s School of American Ballet to audition for Ballet West. The company typically holds two auditions per year: one in New York City and one in its hometown of Salt Lake City. With a recommendation, dancers can also audition by taking company class. “I think many dancers have a misconception that it’s better for them to take company class,” says artistic director Adam Sklute. “Actually, I have hired as many, if not more, dancers from open calls.”
Sklute prioritizes strong musicality. “I look for a really unique approach to how the person is connected to the music,” he says. “We work with a broad spectrum of composers, and our dancers can adapt to that well.” Sklute also asks women to wear their pointe shoes from the beginning. “I need to see their comfort level in pointework, and in our company most dancers take the entire class on pointe,” he says.
Due to the large turnout, the audition was split into two half-hour barres, with cuts after each, followed by center—though Sklute usually prefers not to have to make cuts in the middle. He looks for a presence and quality that goes beyond technique itself. “Someone might have the physical facility we’re looking for,” he says, “but that’s not going to matter to me if I don’t think they can bring a magic to the stage.”
“I’m looking for dancers who are assertive, so that I know they are confident. But I don’t like dancers who might push someone out of the way. I need team players,” says Sklute.
Nervous hopefuls warm up before class.
“During the audition, I tried to focus on doing what I do every day–just taking class,” says 19-year-old Rebecca Kelley (far left), who made it to the final round. “It’s important to not stress about doing everything right, so I try to stay calm, enjoy the class and show them what I am capable of.”
BW ballet mistress Jane Wood Smith leads the first round of dancers through barre. “It takes all sizes and shapes to build a really good company, so don’t stereotype yourself. don’t assume that there’s no way you could get in somewhere,” says Sklute.
Principal ballet mistress Pamela Robinson Harris and Sklute watch a combination across the floor.
Photos by Jim Lafferty for Pointe.
