Becoming a professional dancer.  

Since 1993 I’ve been assisting dancers with the tools they need to become professionals. It’s been very rewarding to see talented fifteen year-old students mature to earn college scholarships and debut in their first paid performance. Although I have taught around the country, I don’t own a studio and I’m not one of those special people that teach dance day in and day out. Those teachers have my utmost respect. I have been in a position to pass on important dance information and the more I do it, the happier I am doing it. I’ve done countless interviews with dance agents, entertainment directors, producers and choreographers. Their philosophies and styles may vary greatly but they all agree on four major categories. This is not just my opinion, everyone agrees you must develop these categories to the fullest in order to have a dance career.

1. Class and Training Everyone stresses the importance of training.  If you’re dancing in your hometown and thinking about relocating to N.Y. or LA, please take this advice to heart.  Get the best training possible. Push your teachers to give you more. Absorb their expertise like a sponge. Don’t expect to learn how to dance in NY or LA. Although there are some terrific teachers in NY and LA, many classes are just hot new combinations and styles. Your teachers are best suited to help you with your technique. After you relocate, taking class is the only way to survive.  It will keep you sharp, help you learn new styles and it’s where you’ll make most of your connections.  If you’re thinking you can get by with the training you have – Forget it!  Not only is the competition severe, but the people holding the auditions can spot a well-trained dancer in a count of eight.

2. Appearance and discipline Do you have to be the most beautiful girl or handsome guy on the planet? No, but you do have to look the best you can look. Stay current on hairstyles. If you don’t know what your best look is, than ask a professional. Go to a makeup person and have them do your makeup and ask them to show you how to do it. Remember, the producer will have an opinion as to who is hired. They may know very little about dance but they’ll want good-looking dancers onstage. Weight is major! No one wants to mention this because it’s not politically correct but I must. Many choreographers have told me privately, if you are overweight you will not be hired. They won’t tell you why your not hired but that will be the reason. Work on it now but work on it sensibly. Crash diets, pills or forced vomiting will only compound your problem. Work on it slowly and sensibly. Have audition outfits. Leotards and tights that you only wear to auditions and not to class. This will keep them looking great and you will feel better about yourself when you audition. Do not wear baggy clothes to auditions. Do not tie sweatshirts around your waist. Every choreographer needs to see your line and wearing baggy clothes will make it a short audition for you. Bring all of your dance shoes. There is nothing more frustrating for a choreographer that would like to do a tap routine but can’t because you didn’t bring your tap shoes. Dance bags are made really big for this reason. Bring accessories like Band-Aids, rosin and kneepads in case the choreographer wants to do floor work. Do you see why appearance and discipline are combined in this category? Show up on time and be ready to work. You are being evaluated at this audition. If you’re late for the call you’ll be late for the show. High positive energy and paying close attention are two things that all choreographers reward. Research the show you are auditioning for. If you’re auditioning for Disney, take the nose ring out. If you’re auditioning for “Chicago”, don’t show up in white tights and ballet slippers. I’m saying this because it happens.

3. Versatility In today’s entertainment market, is anything more important?  My favorite choreographer Michael Peters would say, “Don’t limit yourself. A versatile dancer is a hot commodity.”  If you’re a street dancer, add some technique training.  If you’re a classically trained dancer, work on vocals. Work on dance, voice, acting, rollerblading, juggling, acro, and adagio. Lifts and partner work are always helpful in landing jobs. Swing and Salsa dancing are hot right now. If I were a young dancer today, I would be in Swing and Salsa classes. The dancers in the “Gap” commercial made $35.000 for a week’s work. You never know when you’re going to need it.  I’ve had to roller skate in industrials and perform stunt fighting in a Vegas revue.  Versatility is the key to making money.  Everyone agrees with Michael, don’t limit yourself.

4. Attitude How do you train for that!  A good attitude comes from knowing who you are, what you want and treating others with respect. Everyone I’ve interviewed said, “You’ll be evaluated on your attitude as much as your dance ability, sometimes more.” Every choreographer would rather hire a good dancer with a great attitude than a great dancer with a bad attitude. Attitude is not only how you treat your employer but also how you treat other dancers. Dancers love to talk and the dance community is very small.  I remember dancing in a show where the producers called a meeting and asked the cast about a particular dancer they wanted to hire.  Over half of the cast had worked with this dancer previously. They found her difficult to work with and asked the producers not to hire her.  She was never hired.  A major theme park will keep dancers waiting outside in line before the audition. Someone will travel down the line and pass out little cards, asking for your name, address and telephone number. If they hear you complaining or not getting along with other dancers, they will secretly mark your card and you have no chance of getting this job. Everyone wants to work with fun, positive people.  You’ll need a confident, positive attitude to be able to handle the severe ups and downs of a dance career. These are the four major points that everyone agrees on. They’re important! Being a professional dancer is so difficult I can’t put it into words. Tommy Tune said, “If I knew how difficult it was going to be, I would have never tried it.” Does that mean it can’t be done? Not at all, but you must at the very least have these four major points in the center of your dance soul. Work on them now!

Don Mirault