by Chris Peterson
I would love for someone to explain why an actor has to survive a dance combination they’ll never be asked to do in the show to prove they belong in it.
I’m not a dancer. I’ve attended enough dance calls to know where I stand on that subject, usually somewhere in the back hoping we’re going to review that last section again. I respect the hell out of people who can watch a combination once and then do it. My brain and feet need a longer conversation.
So when I saw a TikTok from Chloe Wendler about choreographers making dance calls harder than the show requires, I had some feelings.
(The video below has no sound, but the captions work.)
Of course a choreographer needs to know what people can do. If I audition for a dance-heavy show and can’t handle the choreography, fair enough.
But I should be able to look at what you’re asking me to do and understand how it relates to the production.
If the role requires basic movement, why am I being evaluated on advanced technique? What have you learned about my ability to play that character by watching me struggle through something the character will never do?
You may have a terrific actor in that room who needs a little more time to learn the steps. Once they have them, they can perform the hell out of the number. And if the rehearsal schedule gives you that time, I’d hope you’d want to know that before cutting them.
I also wonder how often “I want to see what people can do” becomes an excuse to teach whatever combination the choreographer happens to find exciting. I understand wanting to stretch people. But someone came to that audition hoping to be considered for a part. They deserve a reasonable opportunity to show you they can do it.
And yes, sometimes I think ego gets involved. I’ve worked in theatre long enough to be suspicious when an audition starts looking like a demonstration of the person running it.
There’s plenty to evaluate in choreography that actually fits the show. I’d be interested in the actor who misses a step, stays in character, and finds their way back. I’d want to see what happens when I give them a correction. Depending on the role, that could tell me considerably more than whether they nailed the turn.
Actors already spend enough time ruling themselves out of opportunities. I hate the thought of someone leaving a dance call convinced they aren’t good enough when they were perfectly capable of doing the job.
Make the call as demanding as the production needs it to be. I just think you should be able to explain why.