Category Archives: Ballet News

Ballet Auditions – What to Wear

When it comes to auditioning for summer ballet intensives or ballet companies, the first impression is everything. Artistic Directors and ballet instructors are looking for dancers who look cleanly and neatly put together. They look for someone who catches their eye, but not in an “in your face” way. That’s why you want to make sure you look your best. Here are a few tips to help you look your best in summer intensive and ballet company auditions.

1.) Ditch the warm-ups. Unless you are injured, or want the director to think that you are injured, do not wear warm-ups in an audition. Even worse, you could give them the impression that you are hiding something. If you arrive early enough to the audition registration, you should have plenty of time to warm-up while you are waiting for your audition to begin. As soon as you enter the audition room, all warm-up attire should be off.

What not to wear- Are you going to a ballet audition or the gym?

2.) Wear an appropriate leotard. You are better off to pick a simple leotard in a style and color that flatter your body and show it in the best possible light. Many custom leotards from companies such as Yumiko may be beautiful but come off as too complicated and will distract the Artistic Director or teacher from your dancing. Also stay away from strappy back leotards or anything that cuts your back in half. School and company directors are looking for lines and I’m not talking about the ones sewn onto your leotard!

3.) Make sure it fits. The last thing you want to be worried about in an audition is your leotard falling off or riding up in the wrong places. Test out the leotard you plan on wearing to your next audition in class to make sure it is comfortable. Fidgeting will also distract both the director and yourself from the dancing.

A classic Mirella leotard in a flattering color is always best.

4.) Steer clear of bright colors but don’t wear black. Nothing will drive a director crazy like a fluorescent, striped or patterned leotard. Stick with solid colors that flatter your hair and skin tone. The only illusions being created should be through your dancing, not your outfit ;)

5.) Confidence. Nothing looks better than confidence. Wear it proudly and you will succeed!

I hope that these tips help you out in your upcoming summer intensive and ballet company auditions. If you need more advice about what to wear, how to fix your hair, and what is the best makeup, I have dedicated an eBook called The Ballet Audition Preparation Guide to answering these questions and tons more.

 

Ballet Strength Interview with Callye McCollum

Oklahoma City Ballet Dancer Callye McCollum.

Professional ballet dancer, Callye McCollum is catching the eyes of Oklahoma City dance critics and audience members alike. As a member of Oklahoma City Ballet (once Ballet Oklahoma) since 2006, she is rising to the challenges presented to her both on and off the stage. I have had the pleasure of watching her grow and mature as a dancer from her years as an apprentice with the company to today where you can catch her onstage performing principal and soloist roles.  Callye is a true respect to her talent, focusing on Ballet Strength cross-training programs in the off-season to continue her growth as a dancer. Here is an interview with Callye McCollum;

Where are you from and when did you start dancing?
I am a native of Lima, Peru, which I am very proud to say, but I was raised in Luther, Oklahoma, which is located about 45 minutes outside of Oklahoma City. I began dancing as something to do after leaving the world of competitive gymnastics age 10. When I was 12, I started taking ballet more seriously and decided to enroll at the School of Ballet Oklahoma (now The Dance Center of Oklahoma CityBallet).

When did you realize that you wanted to become a professional dancer?
I don’t remember necessarily ever consciously choosing ballet as a career path, I really just loved to perform. There was a principal dancer with the company that I looked up to very much that I loved watching perform and I was determined to be like her when I grew up. It probably wasn’t until my junior year of high school that being a professional dancer started to become a true possibility and something that I began to taking even more seriously. I received an apprenticeship at 17 and was promoted to a company position the following year.

What struggles or injuries did you encounter along the way?
Transitioning from gymnastics to dance, especially ballet, was very hard. Not only did I have to work to reshape my musculature, but I had to learn how to use my turnout which was difficult since I had only ever worked turned in. Aside from minor ankle tweaks and pulled muscles, I have no history of injuries that have hindered my ability to perform. I have been very VERY lucky in that sense.

Callye McCollum in OKC Ballet's Paquita.

How has Ballet Strength helped you as a professional dancer?
I primarily use Ballet Strength during the summer when I am not performing with the company. It is fantastic for keeping my muscles in shape and preparing me for the upcoming season. I have on multiple occasions used Ballet Strength to prepare for demanding roles. Last season, I performed a pas de trois in “Phantom of the Opera.” It was a very high endurance piece with lots of jumps. I decided to incorporate some Ballet Strength leg exercises into my daily routine and soon noticed a difference in my stamina and my ability to make it through the piece without cramping or suffering from extreme fatigue.

How do feel that Ballet Strength could help a young aspiring professional dancer?
We have reached a time in ballet where dancers cannot go with cross-training, or muscle tone for that matter. Contemporary ballet is becoming much more prominent and as dancers we must be physically ready for anything. Ballet Strength will give you an edge, no matter where you are in your career. I personally wish I would have had access to something like Ballet Strength as a student, so those of you that do are very lucky!

As Clara in OKC Ballet's The Nutcracker.

What has been your favorite role to perform and why?
This past December, I had the opportunity to perform as “Clara” in Robert Mills’ “The Nutcracker.” There were two pas de deux that were both different in dynamic but equally as enjoyable to perform. What made it extra special is that I had performed Clara when it was a student role and I was able to recall the pure joy that I felt at the age of 13. I was also cast in Robert Mills’ “Touchstones” which premiered in April 2010. There is a section in the ballet that represents maturity and being in love, in which I performed a short pas de deux with my boyfriend and fellow company dancer, Josh Crespo. To be able to share with the audience such an intense emotion, one that I already felt so naturally, was a very memorable moment in my career.

Any last words of inspiration or encouragement for young dancers?
NEVER take yourself too seriously. We’re human, we make mistakes. That’s something we sometimes forget as ballet dancers. Most importantly, know your own body and be good to it.

Choosing the Right Ballet Auditions

Now that Nutcracker season is over and it’s the New Year, chances are, you are gearing up for your ballet summer intensive auditions. With summer intensive auditions, there can be hundreds of different schools to choose from. How do you know which schools are right for you?

Make sure you start doing the research before the audition to make sure you don’t waste your time, energy, and your parent’s money. If you live in a city such as New York or San Francisco, where pretty much every Summer Intensive holds an audition, I recommend going to as many auditions as possible for experience. If you don’t live in a city where schools typically hold auditions, you will have to travel, which is something you and your family may need to discuss and take into consideration.

What style are you trained in? While it is always fun to attend a school that trains dancers in a different style than you, you want to make sure that style suits you. School of American Ballet, for example, typically looks for dancers who are trained in the Balanchine technique whereas a school like the Kirov looks for a Russian trained dancer.

Remember, your ultimate goal is to be accepted into a professional company, right? So this means you want to choose which summer intensive you attend wisely once you are accepted.

Also consider your family’s budget should you get accepted into the school. Does the summer intensive offer scholarships?

For your first summer intensive program, I recommend going to a school that isn’t too far away from home. When I went to my first summer school, Chautauqua, at age 11, I was very homesick. Luckily my family was only a few hours drive away and came up to visit me on the weekends.

As you get older, you want to look for summer intensives that have schools which feed into a professional company. The last summer program that I attended, for example, was Ballet Austin where I was offered a professional contract prior to the programs end.

Be a smart auditioner and you have the potential to get in to the summer intensive of your dreams…and possibly the professional ballet company in the future!

For more audition tips be sure to check out Nikol’s book, The Ballet Audition Preparation Guide at www.balletaudition.com.

Complexions Contemporary Dance Review

As a professional dancer in San Diego I do not get many opportunities to see truly great dance companies perform without having to travel to another city. It has been a long time since I have been excited to see a company as I was when I purchased tickets to see Complexions Contemporary Dance perform at the Birch North Park Theatre in San Diego on Saturday, May 7, 2011 at 8:00 pm.


The evening started off with a piece called Moon Over Jupiter choreographed by Dwight Rhoden set to classical music by Sergei Rachmaninov. From the moment the curtain opened I knew that this one was going to knock my socks off. The Women wore nothing but leotards, showing off their tight and toned legs that even the best body builders would be envious of. The Men were shirtless sculptures of art that definitely showed off the demands of the intricate leg and foot work displayed in Rhoden’s choreography. I was wowed by this piece like I haven’t been in years. The choreography embodied the technical athleticism and intelligence that the dance world has not seen since George Balanchine. The “slides” which may have looked like mishaps or slips to uneducated audience members very much reminded me of the hip thrusts in the ballet Concerto Barroco (Balanchine). This was my favorite piece of the evening because of the stunning athleticism and stamina required by the dancers who are so lucky to work for such an amazing choreographer. Notable dancer was Sabra Perry who’s fluidity of movement shocked me. At first sight, this gorgeous long limbed dancer is awkwardly tall and very Darcy Bussell like. I have never seen long limbs move so effortlessly and Rhoden’s choreography clearly suits her well.

Moon Over Jupiter

After the first intermission three pieces were presented, none of which I was particularly fond of. Moody Boot Blues started off fabulously but I wished that it was longer. Desmond Richardson’s solo, Moonlight, was amazing and emotional of course but I would have liked to have seen a more dancy solo. This was a great break from the technical pieces though and I feel that the audience received it well. My least favorite piece of the evening was On Holiday which reminded me of being at one of my Dad’s ( a Jazz Musician) Jazz clubs as a kid. Great choreography, great concept but a bit boring and slow to watch.

Moonlight

The highlight of the evening was Rise, a piece choreographed to music by U2. The feel was automatically one of a rock concert with music blaring, smiling faces, and a feeling that dared the audience to get up and start head-banging. This piece was so much fun to watch and looked like even more fun to dance. It reminded me of one of my favorite ballets Brand New Day by Kevin O’Day, which was a ballet done to the music of Sting. Notable dancers were Patricia Hachey who’s flawless training and technique truly shined as the song lyrics radiated from her being and Natalia Alonso who’s gorgeous physique continued to amaze me throughout the evening.

Rise

Overall this was an amazing evening that refreshed my opinion of dance. I feel that Rhoden’s choreography is truly the way that the dance world should be headed with the athleticism, long lines, and organic movements that aren’t tastelessly contemporary nor too safe like much ballet choreography these days. This was the perfect blend of everything that you would want from a truly great dance performance.

Black Swan – Take a Bow

Photo from perezhilton.com

I have waited quite some time to give my take as a professional ballet dancer on the movie Black Swan. Recent press regarding the controversy involving Sarah Lane (a beautiful American Ballet Theatre Dancer) as Natalie Portman’s “stunt double” has prompted me to break my silence. Having both experience on film and as a professional dancer I’m going to offer my perspective on the whole thing and how the dance world is so different from Hollywood.

After reading an Entertainment Weekly article written by Adam Markovitz, (you can read it here) it is clear that Ms. Lane is a bit upset over her role in the movie Black Swan. It seems that the producers didn’t properly define her role as a stunt double in the film. Unfortunately, being a stunt double is a very thankless job when it comes to academy awards.

Just as Lane is quoted as saying that Portman’s portrayal of a dancer is “demeaning to the profession (ballet),” I feel that Lane’s primadonna attitude in these articles doesn’t make the profession look much better. This primadonna attitude is exactly the reason why dancers have such a (excuse my language) bitchy reputation.

Could legal issues follow these accusations? Lane claims that though she was “told not to talk about her work to the press” there was no non-disclosure clause in her contract. So who advised Ms. Lane to speak up? Surely she has an agent. Surely someone went over the contract with her. I understand the work that Lane put into the few dance scenes that were in Black Swan, but I do not think it is right for her to slam Portman and the movie. This is something that should have been advised against, and if this is merely a business issue, why is it being aired out publicly?

On to the Oscar Controversy:
Whomever did the dancing in the movie is not the reason why it won an Oscar. I understand that some in the dance community feel that Natalie Portman won the Oscar for her “upper body” portrayal of a dancer, but if you truly watch the film you will see that it is far more than that. Natalie Portman received a much deserved Oscar for her work as an actress, not as a dancer. In fact, if you watch the movie again you will see that there really isn’t much dancing in the movie at all. Has Lane seen the movie?

So why the controversy? One thing that us dancers have is pride. Our profession feeds off of acknowledgment (think bows at the end of a performance) and acceptance. I think that Lane feels the need for a bit of closure since she didn’t get to take a “bow” after her performance as Ms. Portman’s stunt double. Slamming the movie you worked on and the actress who’s “acting” awarded her an Oscar is hardly applause worthy.

I have yet to read a response to this controversy by the ever poised Natalie Portman’s who’s dancer fiance Benjamin Millepied has spoken up saying that “85 percent of that movie is Natalie.” Will we hear a reply from her? Also, please do not see this as an attack on Ms. Lane or her dancing, rather a look into the business side of things. I am looking forward to seeing how this one unfolds.

This Blog post was inspired by the Entertainment Weekly Article “Black Swan double claims Natalie Portman only did 5 percent of full body dance shots in the movie” Written by Adam Markovitz. http://insidemovies.ew.com/2011/03/25/portman-black-swan-double/

Ballet Strength Pointe Magazine debut

It has taken me a while to share this article with you and I finally got a chance to scan it to my computer today. I reformatted the look of the article a bit to make it easier to read. (there was a dreadful photo right in the middle of the page that I got rid of ;) and added one of myself, of course) Although I was inaccurately quoted on several occasions, I still feel that it is a huge accomplishment for myself and Ballet Strength to be part of the elite few who have had the opportunity to share their wisdom in Pointe and am extremely thankful for the opportunity.

If you are interested in having your questions answered by me on my blog or by video blog, send your questions to nikol@balletaudition.com. I look forward to helping you!

Ballet Strength DVD Secrets

I am pleased to announce the launch of my new Ballet Strength DVD. I have been working hard over the past few months to carefully choose and design exercises that will help dancers improve their jumps, turns, core stability, and most importantly help with injury prevention.

You can learn more and get your very own copy by clicking here >> I want a copy of the Ballet Strength DVD

Here is a video preview of some of what the Ballet Strength DVD has to offer!

Ballet Strength on Alex Wong’s Injury

A photo of Alex gives me great insight as to where his injury prone areas may be.

My heart was broken last night watching So You Think You Can Dance for Alex Wong, an extremely talented dancer who captured the dance world’s attention this season. I’m not an avid So You Think You Can Dance viewer, but I do catch the show about twice per month. Being that Alex was a ballet dancer and had left his position with Miami City Ballet to be on SYTYCD, there was quite a story and a passion behind his presence on the show. It kept me watching…

As a Ballet Strength and cross training coach for dancers, I immediately started to think of ways that this injury might have been prevented. Gorgeously arched feet and super tight calves like Alex’s usually mean short Achilles Tendons in my experience working one on one designing plans injury prevention plans for professional dancers. (I could go into more details about his anatomy, but I’ll spare you.)

In my spare time this morning I did my best to find out how Alex Wong “ruptured his Achilles Tendon” to further investigate how something like this could have been prevented. Had his spring nearly sprung? Is it the result of improper technique? Or did he merely land wrong? The articles that I found were quite vague in their description of the incident so I am hoping that there will be more to come in the next few days.

My next thought: was Alex in pain prior to the Achilles rupture? Did he have chronic Achilles Tendonitis, a nagging long-term injury that some dancers suffer with their entire careers? Many dancers push through injuries in order keep their status in companies thinking that the injury will heal itself and get better. Us stubborn dancers think that we can change the reality that rest is the only thing that will truly heal an injury.

In my ballet summer studies at Chautauqua I remember hearing stories about New York City Ballet Dancer Jean-Pierre Bonnefoux rupturing his Achilles, but I don’t know for a fact if he returned to dancing after the injury. I am confident that Alex will dance again.

I guess my message in this blog post is this: Dancers, be smart. Take risks, but don’t risk your career thinking that you can triumph over pain. You cannot mask injuries. Trust me, it will bite you in the behind. Not to say that I know 100% that this is the reason for Alex Wong’s injury, but I have a sneaky suspicion that it may be the case. Hopefully more details will be available to the public soon.

Happy Dancing,

Nikol Klein Professional Ballet Dancer/ Author/ Fitness Expert

Ballet Strength in Pointe Magazine

Ballet Strength is becoming a popular topic of discussion throughout the ballet community. With this being said, I was pleased to recieve a call last week from Pointe Magazine asking for my help and expertise on Ballet Strength for their advice column for dancers.

The question I was asked to answer was in regards to a young dancer looking to slim out her bulky legs. I was happy to hear someone ask this. It is good to know that dancers are finally starting to realize that there are ways for them to transform their bodies through cross training. The truth is that most ballet teachers are unequipped to offer advice on this once tabu subject.

This is where my Ballet Strength methods come in handy. With proven programs like Beginning Ballet Strength (www.balletstrength.com), dancers can now be confident that cross training works and with my expertise now being referenced by Pointe Magazine.

I am honored and flattered to work with Pointe Magazine and look forward to the future opportunities that are on the horizon.

Happy Dancing,

Nikol Klein Professional Ballet Dancer/ Author/ San Diego Personal Trainer

Introducing Beginning Ballet Strength©

I am pleased to finally announce the release of my new program, Beginning Ballet Strength©. Now you can have all of the advantages of top professional ballet dancers and be in peak condition year round!

Beginning Ballet Strength is a strength training program geared towards helping you become the best, strongest dancer possible. In this digital eBook, you will be coached step by step through strength training exercises specifically designed by a dancer, for a dancer. Each exercise is illustrated and described to make sure your form is correct.

Benefits of Beginning Ballet Strength include:

★ Improved Balance
★ Injury Prevention
★ Stronger Jumps
★ Improved Stamina
★ Partnering Strength
★ Increased Confidence
★ Heightened Jumps
★ Better Turns
★ Tighter Core
★ Stronger/ Slimmer Appearance
★ Increased Range of Motion
★ and much, much more!
Any young dancer who is thinking about becoming a professional or any professional dancer new to strength training must read this book!
Be sure to check it out at www.balletstrength.com.
The content on this website is © copyright protected.

The reproduction or use of any content found on this website is strictly prohibited by law.

Follow

Get every new post delivered to your Inbox.

Join 812 other followers