Latest / Making The Impact - A Dance Competition Podcast / A Day in the Life of a Pro Dancer

Transcript

A Day in the Life of a Pro Dancer · Making The Impact - A Dance Competition Podcast

• 0:07
  SPEAKER_00: Have you ever wondered what goes on behind the table at a dance competition?
• 0:10
  SPEAKER_00: Exactly what are the judges looking for anyway?
• 0:13
  SPEAKER_00: This is Making the Impact, a dance competition podcast.
• 0:15
  SPEAKER_00: Each week we'll cover a different topic related to the world of competitive dance from the perspective of the judges behind the table.
• 0:23
  SPEAKER_00: If you've ever dreamed of what it would be like to be on Broadway, dance in movies, or be on tour with the major musical app, this is the episode for you.
• 0:31
  SPEAKER_00: This time on Making the Impact, we take a look at the day-to-day life of two professional dancers and hear the inside scoop on their performance career, what they do in between gigs, and so much more.
• 0:43
  SPEAKER_05: Hey everybody, welcome to this week's episode of Making the Impact.
• 0:46
  SPEAKER_05: I'm your host, Courtney Ortiz, and I'm here with my fabulous co-host, Leslie Mueller.
• 0:52
  SPEAKER_05: What's up, Courtney?
• 0:53
  SPEAKER_05: How are you doing?
• 0:53
  SPEAKER_05: I'm doing so great.
• 0:55
  SPEAKER_05: How are you doing in January?
• 0:57
  SPEAKER_05: It's January.
• 0:58
  SPEAKER_00: It's still January.
• 0:59
  SPEAKER_00: It's lasted forever.
• 1:01
  SPEAKER_00: It's very cold.
• 1:02
  SPEAKER_00: Yes.
• 1:03
  SPEAKER_00: But yeah, we're doing good.
• 1:04
  SPEAKER_00: And we just, Courtney, you and I just celebrated 14 years of friendship.
• 1:09
  SPEAKER_00: I know.
• 1:10
  SPEAKER_00: Facebook told me.
• 1:12
  SPEAKER_00: Facebook always tells you.
• 1:14
  SPEAKER_00: Tells you everything.
• 1:15
  SPEAKER_00: It does.
• 1:16
  SPEAKER_00: So yeah, Courtney and I have been friends for 14 years and counting.
• 1:20
  SPEAKER_05: That is crazy.
• 1:21
  SPEAKER_05: And those photos.
• 1:22
  SPEAKER_05: Oh my god, we were baby.
• 1:24
  SPEAKER_05: True in those photos that were posted on that Facebook memory.
• 1:27
  SPEAKER_05: And that was me tan.
• 1:28
  SPEAKER_05: So yes.
• 1:29
  SPEAKER_05: Yes.
• 1:33
  SPEAKER_05: Well, I love that you walked into my life 14 years ago and look at us now.
• 1:37
  SPEAKER_05: We're podcast hosts and doing the darn thing.
• 1:40
  SPEAKER_00: Doing it.
• 1:41
  SPEAKER_00: Well, and I think it's awesome because today we're talking about a day in the life of a professional dancer, and that was our first professional job.
• 1:48
  SPEAKER_05: I love that so true.
• 1:50
  SPEAKER_05: Yes, that is so true.
• 1:52
  SPEAKER_05: And yes, that is the topic today that we are chatting about.
• 1:55
  SPEAKER_05: So for all of the aspiring professional dancers, young dancers who are aspiring to be professionals one day, we are going to give you the rundown on what that life and journey is like.
• 2:08
  SPEAKER_05: Whoa, because it's a journey for sure.
• 2:10
  SPEAKER_05: And oh, there's a lot to cover in this episode in a short amount of time, and I can't wait to dive deep into that.
• 2:16
  SPEAKER_05: But before we do, I have something that I am beyond proud to share with all of the listeners out there.
• 2:24
  SPEAKER_05: I still can't believe it, truly, but we were featured.
• 2:29
  SPEAKER_05: Our podcast was featured in Podcast Magazine, you guys.
• 2:35
  SPEAKER_05: What?
• 2:36
  SPEAKER_05: That's a real thing, by the way.
• 2:37
  SPEAKER_05: It is a real thing.
• 2:39
  SPEAKER_05: And our little tiny baby dance competition podcast was recognized by actual podcast people.
• 2:46
  SPEAKER_05: Like my mind is blown.
• 2:49
  SPEAKER_05: We were featured in podcast magazine in the under the radar section for the arts category in their January 2022 issue.
• 2:58
  SPEAKER_05: How cool is that?
• 3:00
  SPEAKER_00: It's so cool because we got 4.5 out of five mics as a rating.
• 3:05
  SPEAKER_00: Which, you know what, kind of coincides with how our our Apple podcast ratings are.
• 3:10
  SPEAKER_00: Like, yeah, we've got we've got almost 4.5 out of 5.
• 3:12
  SPEAKER_00: So I think we're doing pretty good.
• 3:14
  SPEAKER_05: Oh yeah.
• 3:15
  SPEAKER_05: And to have that rating come from someone that listens to podcasts on the that's their job, is to listen to podcasts and not just dance podcasts, all types of podcasts and the arts.
• 3:24
  SPEAKER_05: And they think that our podcast is very professionally produced with excellent sound quality.
• 3:31
  SPEAKER_05: And that was a quote from the review.
• 3:33
  SPEAKER_00: Yes.
• 3:34
  SPEAKER_00: And they also said that we shine in our clarity of intention with the subject matter as well as our intended audience.
• 3:41
  SPEAKER_00: So there's another quote for you.
• 3:43
  SPEAKER_00: We're super psyched because I think we do do that and we strive to do that.
• 3:47
  SPEAKER_00: So the fact that that was recognized in a print magazine, guys.
• 3:50
  SPEAKER_00: This is like a legitimate you can pick it up and hold it.
• 3:53
  SPEAKER_05: Yes.
• 3:54
  SPEAKER_00: I'm gonna frame my copy.
• 3:55
  SPEAKER_05: Me too.
• 3:57
  SPEAKER_05: And my favorite quote, which ends out the review, says For anyone with a child who dreams of dancing in any style and entering into competitions to hone their craft, this show is a must listen in all caps to get deep insider information and practical guidance for the journey.
• 4:15
  SPEAKER_05: Wow.
• 4:16
  SPEAKER_05: Oh my gosh.
• 4:17
  SPEAKER_05: I'm just still in shock.
• 4:18
  SPEAKER_05: So thank you so much to Podcast Magazine for featuring us in the under the radar.
• 4:24
  SPEAKER_05: We're up and coming, y'all, and we're being noticed, and it's so exciting.
• 4:28
  SPEAKER_05: And obviously, we couldn't do it without every one of our fans listening to us and tuning in and subscribing week after week.
• 4:34
  SPEAKER_05: So please keep sharing.
• 4:36
  SPEAKER_05: Please keep listening.
• 4:37
  SPEAKER_05: We love you all.
• 4:38
  SPEAKER_00: And special shout out to our audio sound people, uh Courtney's boyfriend, Jake and Mars, and our actual editor, um, Osama.
• 4:47
  SPEAKER_00: We appreciate you.
• 4:48
  SPEAKER_00: We truly, literally, really, really couldn't do this without you guys.
• 4:52
  SPEAKER_00: Yes.
• 4:53
  SPEAKER_00: Thank you so much, Jake.
• 4:54
  SPEAKER_00: Love you.
• 4:55
  SPEAKER_05: He's in the kitchen making dinner.
• 5:00
  SPEAKER_05: All right.
• 5:00
  SPEAKER_05: And another fabulous part of our podcast are our sponsors that we really couldn't make this possible without because it's not free to run a podcast, y'all.
• 5:10
  SPEAKER_05: We gotta pay those editors and we have to pay for these awesome mics that we that produce our beautiful sound quality.
• 5:16
  SPEAKER_05: So our sponsors help us do that.
• 5:18
  SPEAKER_05: And we love and support all of our sponsors.
• 5:20
  SPEAKER_05: We believe in the products that they are offering to the dance world.
• 5:25
  SPEAKER_05: And we are happy to have Dance Costumes by Urzua and Urzua Dancewear back sponsoring season three of Making the Impact.
• 5:33
  SPEAKER_05: So if you are still on the hunt for a custom costume or need that perfect outfit for convention classes, then I'd love for you to check out Dance Costumes by Urzua and Urzua Dancewear.
• 5:43
  SPEAKER_05: They offer high-end custom and semi-custom dance wear and costumes for dancers around the world.
• 5:49
  SPEAKER_05: Choose from a wide variety of fabrics, styles, and designs when creating your custom costume for competition.
• 5:54
  SPEAKER_05: And we're so happy to have partnered with Urzua Dancewear to create an exclusive Making the Impact Dancewear line, which features sports bras, leggings, bikers, jackets, and more in our signature ombre colors.
• 6:06
  SPEAKER_05: And now until February 15th, you can receive 30% off Making the Impact shorts and bikers from Urzua Dancewear.
• 6:14
  SPEAKER_05: Don't miss out on this great offer, so head on over to DanceCostumesByerzua.com now to view all of their designs.
• 6:21
  SPEAKER_05: All right, everybody, and all of our listeners out there.
• 6:25
  SPEAKER_05: I'm so excited to welcome our very special guests who are joining us on today's episode.
• 6:31
  SPEAKER_05: They are both talented and fabulous professional dancers in the industry, current pros, who have had beautiful careers that I can't wait to hear more about.
• 6:40
  SPEAKER_05: And they are both brand new guests to our podcast as well.
• 6:44
  SPEAKER_05: I'm excited to welcome a very old friend of mine who I have been hustling and grinding with in the New York City biz for a very long time.
• 6:53
  SPEAKER_05: We've shared many jobs together and danced along each other in steps on Broadway classes, and she is just awesome on the IDA roster as well, which is new as of last season.
• 7:06
  SPEAKER_05: And I'm so happy to welcome her onto the roster as a judge.
• 7:09
  SPEAKER_05: But I'm very excited to welcome Miss Jessica Walker to the podcast.
• 7:13
  SPEAKER_05: Welcome.
• 7:14
  SPEAKER_01: Well, hello.
• 7:15
  SPEAKER_01: Thanks for having me today.
• 7:17
  SPEAKER_01: What a treat.
• 7:19
  SPEAKER_01: Of course.
• 7:20
  SPEAKER_05: I'm so happy to have you.
• 7:21
  SPEAKER_05: And I knew this would be the best episode for you, Jess, because you I've just admired your career for so many years.
• 7:28
  SPEAKER_05: You've been in New York with me since I came to New York, and we've just been in that darn audition room 24-7 together.
• 7:36
  SPEAKER_02: So Yeah, sure have.
• 7:40
  SPEAKER_05: So if you wouldn't mind sharing with all of our listeners out there a little bit more about you, where you're originally from, and what your journey has been like in New York, any career credits you'd like to share and what you're up to now.
• 7:52
  SPEAKER_01: Okay, well sounds good.
• 7:53
  SPEAKER_01: I actually grew up in Los Angeles.
• 7:56
  SPEAKER_01: So I was a jazz kid out here and did some work, but I I didn't actually have great training to start and I didn't start till a little bit later.
• 8:05
  SPEAKER_01: And then I went to New York and I did the Ailey Fordham BFA program.
• 8:10
  SPEAKER_01: So I was definitely on the concert dancer track and I kind of just fell into theater and never left because I discovered my true passion and being on stage every night.
• 8:22
  SPEAKER_01: So yeah, I kind of got really lucky and I booked moving out on Broadway right out of school.
• 8:29
  SPEAKER_01: So I got to dance my face off on Broadway.
• 8:32
  SPEAKER_01: I had no idea how good I had it.
• 8:34
  SPEAKER_01: So I st I started high.
• 8:37
  SPEAKER_01: And then from there I went and I opened Phantom of the Opera in Las Vegas back when they were bringing a lot of the Broadway productions there.
• 8:44
  SPEAKER_01: And then I went on tour with Wicked.
• 8:48
  SPEAKER_01: Then I decided to go back to New York and I danced at the Met Opera for a little bit and then kind of I booked Smash season two and was a recurring dancer on that.
• 8:57
  SPEAKER_01: I did some dance films in between there.
• 9:00
  SPEAKER_01: So I've been really lucky that I've kind of been able to do Broadway, do films, do TV, kind of get a little bit of everything.
• 9:07
  SPEAKER_01: And then I was back on Broadway a couple years ago in Cirque du Soleil's first Broadway endeavor, which was Paramour.
• 9:14
  SPEAKER_01: So yeah, that's kind of like yeah, in a nutshell.
• 9:18
  SPEAKER_01: And um I find myself right now I'm in Los Angeles.
• 9:22
  SPEAKER_01: I spent the first year of the pandemic in New York, and then I decided to come out here and kind of help family and maybe try the LA scene.
• 9:31
  SPEAKER_01: We'll see.
• 9:32
  SPEAKER_01: Um and but I then, you know, I was like, oh, I'm gonna live in LA.
• 9:36
  SPEAKER_01: And then I ended up back in New York for the Radio City Christmas spectacular this past season, which has uh been a great gift to me.
• 9:44
  SPEAKER_01: It's something that I've been able to kind of come back to time and again here and there.
• 9:49
  SPEAKER_01: So great place.
• 9:50
  SPEAKER_01: We work really hard, we dance really hard.
• 9:52
  SPEAKER_01: So did that, and now I'm back in LA.
• 9:56
  SPEAKER_05: Yes.
• 9:57
  SPEAKER_05: Oh my gosh, I love your career.
• 10:00
  SPEAKER_05: It's a dream.
• 10:01
  SPEAKER_05: I mean, you've just like you said, you hit so many different aspects of it from stage to screen, and it's so exciting.
• 10:08
  SPEAKER_05: So congrats on all of your achievements, and I can't wait to talk about the professional dance world with you more on this discussion today.
• 10:16
  SPEAKER_05: All right, and our next guest is a dancer who I have personally been admiring from a distance for a very long time.
• 10:27
  SPEAKER_05: And fun fact, I actually grew up competing alongside this dancer when we were literally like competitive dancers at 15 years old.
• 10:38
  SPEAKER_05: Like, what?
• 10:39
  SPEAKER_05: Whoa.
• 10:39
  SPEAKER_05: And now I've been following her journey thanks to social media and watching all that she's accomplished in her beautiful career.
• 10:46
  SPEAKER_05: And I knew she'd be a great fit for this episode.
• 10:49
  SPEAKER_05: So I'm very excited to welcome Amanda Claycorn to the podcast.
• 10:53
  SPEAKER_05: Welcome, Amanda.
• 10:55
  SPEAKER_02: Hello, thank you so much for having me.
• 10:57
  SPEAKER_02: I'm so excited to talk with you.
• 11:00
  SPEAKER_05: Of course.
• 11:00
  SPEAKER_05: Yeah.
• 11:01
  SPEAKER_05: I am so excited to get to know you even more on the podcast episode today and hear about your career.
• 11:08
  SPEAKER_05: So please feel free to share with the world a little bit more about who you are, where you're originally from, and what took you out to Los Angeles, since I think that's primarily where you've been based for your career and any credits that you'd like to share.
• 11:22
  SPEAKER_03: Sure.
• 11:23
  SPEAKER_03: I would love to uh tell you about my how I grew up and everything.
• 11:28
  SPEAKER_03: I grew up in Toronto, Canada.
• 11:31
  SPEAKER_03: I started dance at around four, the age of four, and I followed in the footsteps of my sister Michelle.
• 11:39
  SPEAKER_03: I've always loved the camera.
• 11:40
  SPEAKER_03: Whenever my dad had the camera on me, whenever we were doing home videos, I just wanted to be the center of attention.
• 11:46
  SPEAKER_03: And I I just loved it.
• 11:48
  SPEAKER_03: I loved performing, I loved entertaining, and I made my own shows.
• 11:53
  SPEAKER_03: Some of those shows had an audience of zero, but I always I always made my own shows.
• 11:59
  SPEAKER_03: I was classically trained growing up in a competitive dance studio, and I had a few professional jobs when I was younger.
• 12:07
  SPEAKER_03: I did Honey, the movie with Jessica Elva, and then I did Camp Rock 2 with the Jonas Brothers and Demi Lovato.
• 12:16
  SPEAKER_03: And I auditioned for a show that kind of created this wonderful platform for me.
• 12:21
  SPEAKER_03: I worked with exceptional choreographers that exposed me to so much of the professional dance world, and that was So You Thinking In Dance Canada, and I did season three on that show, and it it allowed me to finish first runner-up on the show, and that's kind of skyrocketed everything for me.
• 12:40
  SPEAKER_03: I started and it led me to assist Mia Michaels, and we I assisted her all over North America, and I I got to connect and make relationships with her, which was so incredible, and she got my dancing to a whole different level.
• 12:57
  SPEAKER_03: I respect her so much artistically, and she just pushed me in such an amazing way.
• 13:02
  SPEAKER_03: And I was super lucky right off the start because I I truly don't know how it happened.
• 13:07
  SPEAKER_03: I like to say it's good timing and a lot of hard work, but I went out to LA, I got my 01 visa and I auditioned for the Taylor Swift Thread Tour.
• 13:16
  SPEAKER_03: I got to go on tour with Taylor Swift, and I still I I still can't believe it.
• 13:21
  SPEAKER_03: At 21 years old, it was it was a dream come true.
• 13:24
  SPEAKER_03: I remember sitting in front of the TV and just watching her and thinking one day I I really want to dance for her.
• 13:30
  SPEAKER_03: And I I couldn't believe in that moment that it actually happened, like just seeing all those people, 80,000 people that are not there for you, but for for her.
• 13:39
  SPEAKER_03: And it just was such an incredible, incredible feeling.
• 13:42
  SPEAKER_03: So I I did that and then I branched off into doing TV shows, you know, uh lip sync battle, mass singer, dancing with the stars.
• 13:50
  SPEAKER_03: And one of my favorites, I think, is the last job that I did.
• 13:54
  SPEAKER_03: It was a film with Will Farrell and Ryan Reynolds that's supposed to be coming out in later in 2022, which I'm super excited about.
• 14:03
  SPEAKER_03: And you know, just having that was really, really incredible in that experience.
• 14:07
  SPEAKER_03: But and then now in 2022, I just launched my own business, which I'm super excited about.
• 14:14
  SPEAKER_03: It's all about professional dancers, it's all about aspiring professional dancers.
• 14:18
  SPEAKER_03: So, listeners, if you are aspiring to be a professional dancer, it's a one-on-one exclusive program that is built on passion, on my passion for the performing arts.
• 14:31
  SPEAKER_03: And I'm excited to make dancers better in all facets of a professional dance career from creating, you know, a stellar pro portfolio or building confidence and in interviews or standing out in an audition, being able to have that that professional feedback and analysis and just helping them in any way that I can to achieve their goals and make their dreams come true.
• 14:54
  SPEAKER_05: Wow.
• 14:54
  SPEAKER_05: That's awesome.
• 14:55
  SPEAKER_05: And where can people learn more about your new business?
• 14:59
  SPEAKER_03: They can go to uh ClegformCreative.com.
• 15:02
  SPEAKER_03: So that's my website.
• 15:03
  SPEAKER_03: I also have an Instagram, it's just Claycorn Creative.
• 15:06
  SPEAKER_03: And yeah, if they're if you're interested, anyone in professional dance, I I love coaching and I love kind of trying to assess and analyze and see what we can do in order for you to do that.
• 15:17
  SPEAKER_05: Yeah, that's great.
• 15:19
  SPEAKER_05: It's so important to have different opportunities like that to connect with an a working professional and get guidance.
• 15:27
  SPEAKER_05: I knew you were the perfect person for this with your new company and being able to help guide young dancers and having the opportunity to speak to someone who is currently living it because I think that, and we can kind of almost start getting into the discussion right now, but I think that for a lot of dancers who want to pursue it, sometimes they don't really know anybody that's currently doing it in the biz, or maybe their dance teacher, you know, was a pro 30 years ago, but now it's different.
• 15:57
  SPEAKER_05: So, like having different services like yours, Amanda, where where dancers can go and get the guidance that they need and learn how to build their portfolio and learn how to make their resume and find an agent and just any type of networking tools like that to get their feet off the ground in this professional dance world is super important.
• 16:15
  SPEAKER_05: So I love what you're doing.
• 16:16
  SPEAKER_05: That's great.
• 16:18
  SPEAKER_03: Thank you so much.
• 16:18
  SPEAKER_03: Yeah, I'm super excited about it.
• 16:20
  SPEAKER_03: I wish I had someone.
• 16:21
  SPEAKER_03: So that's why I developed this program.
• 16:23
  SPEAKER_05: Absolutely.
• 16:23
  SPEAKER_03: It's what I kind of wish I I had.
• 16:25
  SPEAKER_00: Well, and I mean, back when we were all pursuing this for the first time, there wasn't, there just wasn't.
• 16:31
  SPEAKER_00: I don't know if any anybody that was doing anything like what so many creatives are doing now and like mentoring the next, the next generation coming up.
• 16:40
  SPEAKER_00: And even something as simple as like, you know, even 15 years ago when we were starting out, your resume was just your resume.
• 16:47
  SPEAKER_00: Maybe you had a pretty font for your for your name.
• 16:51
  SPEAKER_00: But like, you know, there's Canva now.
• 16:53
  SPEAKER_00: There's all kinds of design tools that are free, easy, you know, some just something to make you stand out a little bit more that like nobody, nobody's gonna tell anybody that.
• 17:02
  SPEAKER_00: Like you have to approach somebody like you with, you know, with a background in, I know how to do this, and I'm currently doing this, and this is what's gonna get you noticed now, as opposed to 15 years ago.
• 17:11
  SPEAKER_00: I would have been like, well, you can have a nice font on your resume.
• 17:15
  SPEAKER_03: And well, just give it's giving them the chance to basically have the best chance at becoming a professional dancer, and that's ultimately what the goal is.
• 17:24
  SPEAKER_03: Totally.
• 17:25
  SPEAKER_05: Yeah, and even like as you were saying that, Leslie, and saying like 15 years ago with the resume, but like now there's that whole social media aspect where your Instagram is your resume.
• 17:34
  SPEAKER_05: That's your resume.
• 17:35
  SPEAKER_05: Yes.
• 17:35
  SPEAKER_05: That's so crazy to think that how that's changed.
• 17:39
  SPEAKER_05: That's a whole nother layer to the I mean, I just got an email like or before we logged on here that said, if you have a huge TikTok following, be sure to include that in the submission.
• 17:48
  SPEAKER_05: And I was like, you know, I uh that's that's where we're at these days.
• 17:51
  SPEAKER_00: That's where we're at.
• 17:52
  SPEAKER_00: And there's no getting around it, you know, either.
• 17:54
  SPEAKER_00: And so that's the crazy thing is like things happen so quickly in the world, but then you just pull it down into the microcosm of the dance and performing arts world.
• 18:03
  SPEAKER_00: It's like, oh no, this is even more important in our industry, obviously.
• 18:07
  SPEAKER_00: You gotta do it.
• 18:08
  SPEAKER_03: I want to be a replic going, delete it.
• 18:10
  SPEAKER_00: I know I'm one of those people who doesn't have social media.
• 18:15
  SPEAKER_00: I don't think it's going anywhere though.
• 18:17
  SPEAKER_03: You know, yeah, it's exactly it's such a great asset right now.
• 18:21
  SPEAKER_00: Yeah.
• 18:21
  SPEAKER_00: It is.
• 18:21
  SPEAKER_00: And you know, I I bet it's gonna evolve just like everything.
• 18:25
  SPEAKER_00: So it'll it will be interesting to see how it evolves and like will it ever turn back into, you know, you're unique and interesting and and more hireable if you don't have social media.
• 18:35
  SPEAKER_00: Like I'm sure it's gonna swing that way eventually for some people.
• 18:38
  SPEAKER_00: So let's dive right in, Courtney, about I want to know.
• 18:41
  SPEAKER_00: Well, I don't want to know because I was I lived it too.
• 18:44
  SPEAKER_00: Uh what let's just let's give the people, the people who don't know, a little bit of insight into what just sort of an audition, like audition season.
• 18:55
  SPEAKER_00: Speak about that a little bit in terms of pre-pandemic, because I think we we'll talk about that in another little world.
• 19:01
  SPEAKER_00: But you know, what was the norm like in New York during audition season?
• 19:05
  SPEAKER_00: When is it?
• 19:06
  SPEAKER_00: What was happening on any given day?
• 19:08
  SPEAKER_00: How many auditions were you going to, Jessica?
• 19:10
  SPEAKER_00: And obviously Courtney and I can speak to this a little bit too.
• 19:13
  SPEAKER_00: But I like specifically, let's focus on New York for a second.
• 19:16
  SPEAKER_01: Okay, yeah.
• 19:16
  SPEAKER_01: And obviously, you know, things are are different now, but pre-pandemic, like you said, you know, there used to really be two big audition seasons, at least for Broadway and theater contracts, you would have your fall and your spring audition season.
• 19:31
  SPEAKER_01: And I found through the years that fall got much smaller, and spring was really where it was at.
• 19:39
  SPEAKER_01: And, you know, depending on if you had an agent for representation, yes, it was great because then you would be able to get into an invited call, which would be a smaller group of dancers.
• 19:53
  SPEAKER_01: But the great thing is with actors equity, you could go on and see what the auditions were and you know, kind of represent yourself.
• 20:02
  SPEAKER_01: And I mean, there were days I feel like I was at three auditions, and then you know, we'd do the first round, and then you'd like get kept past your ballet combination.
• 20:11
  SPEAKER_01: You're like, yes, nailed by double.
• 20:13
  SPEAKER_01: I'm coming back for tap later.
• 20:14
  SPEAKER_01: And then you'd run to another audition across the street, right?
• 20:18
  SPEAKER_01: And then you know, you have a quick lunch break, and then you're back here, and then you're back there.
• 20:22
  SPEAKER_01: I mean, there were days where it was just wild.
• 20:25
  SPEAKER_02: Yeah.
• 20:26
  SPEAKER_01: All day long.
• 20:26
  unknown: Yeah.
• 20:27
  SPEAKER_01: And then there wasn't a lot of work, maybe for your, you know, what your strengths were or your type, or so it's, you know, it's really kind of run the gamut through the years, but I found that the dance industry kept me very busy in New York City.
• 20:46
  SPEAKER_05: Yeah.
• 20:46
  SPEAKER_05: I totally I know those days that you're talking about, and they feel like 10 years ago when it was literally just like three years ago pre-pandemic, of those like crazy audition days where you're like, How am I going to get to all these different appointments at the same time?
• 20:59
  SPEAKER_05: And like Luckily in New York, a lot of the auditions live in like the theater district area.
• 21:05
  SPEAKER_05: So they're usually at like the three or four main audition studio spaces that some no longer exist after the pandemic, sadly.
• 21:13
  SPEAKER_05: Crazy to think.
• 21:14
  SPEAKER_05: But like you we would be around bouncing around, and I don't think just you really had the opportunity to live that non-equity life, but woof, me and Leslie in the trenches, man.
• 21:25
  SPEAKER_05: We lived that non-equity life for a very long time, and we would get up at six in the morning and do sign on the list and wouldn't even get acknowledged.
• 21:34
  SPEAKER_00: And so, listeners, so in the dance and theater world, there is such a thing as a union.
• 21:40
  SPEAKER_00: Much of dance and theater is non union, some of it is.
• 21:43
  SPEAKER_00: And when we speak about equity versus non equity, pretty much the difference is an audition, like speaking just to auditions, is that as an equity member, you can only like you can go to an equity audition.
• 21:55
  SPEAKER_00: As a non equity member, you cannot go to an equity audition unless they say you can go to an equity audition.
• 22:00
  SPEAKER_00: Which is sometimes determined after you show up to the equity option.
• 22:04
  SPEAKER_01: It's very four to six hours.
• 22:07
  SPEAKER_01: And then they decide, oh, we don't have time to see non-union today.
• 22:11
  SPEAKER_01: Or they'll take your headshot and type you out.
• 22:14
  SPEAKER_01: And you're like, wait, but you haven't even seen anything I can do.
• 22:17
  SPEAKER_00: Anything at all.
• 22:18
  SPEAKER_00: So yeah, it's it was it's a lot.
• 22:20
  SPEAKER_00: It still is a lot.
• 22:21
  SPEAKER_00: And I'm interested to hear what LA's audition life looks like.
• 22:27
  SPEAKER_00: Is there an audition season?
• 22:29
  SPEAKER_00: And I guess it, you know, with LA, you're doing a little more film and TV work too, even with dance.
• 22:34
  SPEAKER_00: So like what is that like?
• 22:36
  SPEAKER_00: What was that like?
• 22:37
  SPEAKER_03: I feel like before the pandemic, it wasn't necessarily a certain season.
• 22:42
  SPEAKER_03: So, like you were saying, Jess, your fall and spring, it's very sporadic.
• 22:48
  SPEAKER_03: It depends on the season, it depends on what production is going on.
• 22:51
  SPEAKER_03: And of course, like you were saying, Leslie, it is more TV film and there's also theater.
• 22:55
  SPEAKER_03: So we have a little bit more offered in terms of, I guess, auditions or the exposure to auditions and whatnot in a different way.
• 23:03
  SPEAKER_03: But I would find that maybe a summer would there would be a lot of a lot of jobs that that we'd have to audition for.
• 23:11
  SPEAKER_03: And then around the holidays and that time is is pretty much a dead zone.
• 23:16
  SPEAKER_03: And then you come back in February and it picks up again.
• 23:19
  SPEAKER_03: You have the Super Bowl, then you got you have certain big events, award shows that go on.
• 23:25
  SPEAKER_03: So those are almost guaranteed auditions or jobs that you have or that you can have a chance to have.
• 23:32
  SPEAKER_03: Doesn't mean you're gonna get them.
• 23:34
  SPEAKER_03: But so it is a little different.
• 23:36
  SPEAKER_03: I I think Jess probably in New York City you probably have a lot more auditions.
• 23:41
  SPEAKER_03: It's a little more spread out.
• 23:43
  SPEAKER_03: It's kind of like the city.
• 23:44
  SPEAKER_03: LA is very spread out.
• 23:46
  SPEAKER_03: That is kind of how how auditions, whereas New York City is a little more packed, you know, you have that, so it's a little crowded.
• 23:53
  SPEAKER_03: But with in terms of LA, I mean, even the season, it's it's competitive.
• 23:57
  SPEAKER_03: I'm sure in New York it's very competitive, but in a in a healthy way, of course, in a way that, you know, it makes you level up in a different way.
• 24:04
  SPEAKER_03: And you know, audition season with anything is is tough in a way because of the rejection that you you deal with.
• 24:11
  SPEAKER_03: And you know, that rejection, I always say rejection builds character and it kind of builds the fuel and the passion that is behind your dancing, is behind your acting, is behind the passion you have for the an art form.
• 24:24
  SPEAKER_03: And with that, in those lulls, you kind of create those.
• 24:28
  SPEAKER_03: But yes, LA is a little bit more sporadic.
• 24:31
  SPEAKER_03: There's lulls in between of everything.
• 24:33
  SPEAKER_03: But I mean, if you have four auditions on a day, I want to know who your agent is.
• 24:38
  SPEAKER_03: Who is your agent?
• 24:41
  SPEAKER_03: I would love to know that, but we don't necessarily have that many.
• 24:45
  SPEAKER_03: But um, yeah, it's a little more spread out.
• 24:47
  SPEAKER_00: Well, and during, you know, for us, the height of audition season in the spring is a lot of times auditions for seasons of theaters whole entire season.
• 24:56
  SPEAKER_00: So those to me are the days I remember of like Ogunkwitz auditioning, the Fulton's auditioning, you know, every major theater company in the country is somehow happens on the same day.
• 25:08
  SPEAKER_00: You're like, why would you do this to us?
• 25:10
  SPEAKER_00: And you truly are.
• 25:11
  SPEAKER_00: You're making a not Jenga, what is it, Tetris puzzle out of your schedule, just trying to be like, okay, could I get to Chelsea Studios by 10?
• 25:18
  SPEAKER_00: And then I have to show up over here at Ripley Greer.
• 25:21
  SPEAKER_00: It's just, it's a hot mess.
• 25:22
  SPEAKER_01: I'm glad I don't do it in the like the heaviest dance bag of your life.
• 25:27
  SPEAKER_01: Because you never know if you like I I'm one of those.
• 25:30
  SPEAKER_01: Like, I always have three pairs of heels because I just don't know what the floor is gonna be like.
• 25:35
  SPEAKER_01: And then, you know, your music book, and then you know a change of outfits in case I'm just not feeling this look, or it's just taps shoes.
• 25:41
  SPEAKER_05: Oh, the worst when you gotta lug the tap shoes around.
• 25:44
  SPEAKER_01: Or you have rollerblades just in case they have to be like scalable.
• 25:48
  SPEAKER_03: Maybe it's gonna do.
• 25:50
  SPEAKER_01: Right.
• 25:51
  SPEAKER_01: But at least in LA, you can like put your stuff in your trunk, right?
• 25:54
  SPEAKER_01: You're not having it on your back.
• 25:56
  SPEAKER_05: I'm jealous.
• 25:57
  SPEAKER_01: That's very true.
• 25:58
  SPEAKER_05: That's always been what I've been jealous of about Los Angeles is the fact that their car is their dance bag, where like our dance bag is on our back all.
• 26:06
  SPEAKER_05: It's our car.
• 26:07
  SPEAKER_05: Yeah.
• 26:09
  SPEAKER_05: Something that's important to think about that you kind of touched on a little bit, Amanda, and I'm curious to hear more, but we can kind of dive into the agent versus no agent talk really quick, because I think that you mentioned, Amanda, that like I mean, well, you didn't really mention this, but I feel like in Los Angeles, you need an agent more than you do in New York City.
• 26:33
  SPEAKER_05: And I've heard a lot of I've I've never really done the LA scene, I've but I've heard about like the crazy cattle calls that are like open calls or even crazy agent cattle calls in Los Angeles, which aren't yeah, it's like an agent call, but there's still 700 people that show up.
• 26:51
  SPEAKER_05: Right.
• 26:51
  SPEAKER_05: And you're like, how is this an agent call?
• 26:53
  SPEAKER_05: But it's just they do exist.
• 26:55
  SPEAKER_05: Yeah.
• 26:55
  SPEAKER_05: So I know.
• 26:56
  SPEAKER_05: So tell me more about like we'll talk about New York agent too on the New York side, but like LA agent, how has it helped you?
• 27:04
  SPEAKER_05: Is it necessary?
• 27:04
  SPEAKER_05: Did you have one right away?
• 27:06
  SPEAKER_05: How did it work for you?
• 27:07
  SPEAKER_03: So when I branched off into LA, I immediately got an agent.
• 27:11
  SPEAKER_03: The reason why, I do think it is imperative at first to have an agent, just because they get you in the room, they get you in the rooms that suit you best.
• 27:21
  SPEAKER_03: They have the connections at first, and then once you kind of gain a reputation, you from there are accountable for getting the other jobs that you you want.
• 27:29
  SPEAKER_03: But I do, I love my agents.
• 27:31
  SPEAKER_03: I really think, you know, I I think it's important to for someone to have your back.
• 27:35
  SPEAKER_03: It's important for someone to be the bad guy in certain situations to kind of fight for things that you know you want in a contract and whatnot.
• 27:44
  SPEAKER_03: But they also get you those direct direct calls or direct books or close calls that you were talking about.
• 27:50
  SPEAKER_03: There are cattle calls that are thousands of people.
• 27:53
  SPEAKER_03: I will say Taylor Swift, that audition was my first audition in LA.
• 27:58
  SPEAKER_03: And I looked at the amount of people that were at that audition.
• 28:03
  SPEAKER_03: I think there were thousands, like I'm not even lying, I think thousands.
• 28:06
  SPEAKER_03: And they were looking for six girls.
• 28:09
  SPEAKER_05: And you were one of them.
• 28:11
  SPEAKER_03: Which I don't know how, but yes.
• 28:13
  SPEAKER_05: Like truly to this day, you're still like, how in the world did I book this job?
• 28:16
  SPEAKER_03: And you freaking met.
• 28:19
  SPEAKER_03: Oh, thank you.
• 28:20
  SPEAKER_03: But I I thought I was like, is this what every audition is like?
• 28:24
  SPEAKER_03: I don't know if I can do this.
• 28:25
  SPEAKER_03: It was eight, eight hours later.
• 28:27
  SPEAKER_03: You're thinking, oh my gosh, I need to go home and get more food.
• 28:30
  SPEAKER_03: I don't have enough in my bag.
• 28:32
  SPEAKER_03: But it is like that, and that's why castings are lovely when you just go in a room and you can just be with a casting director and it goes for two minutes.
• 28:42
  SPEAKER_03: It's kind of like an actor.
• 28:43
  SPEAKER_05: So you're saying like casting is more like for TV film stuff, and that's not like the big dance auditions.
• 28:50
  SPEAKER_03: No, that's more uh just for commercials, TV, whatever it may be, but there might be dancing involved in it, and that's just a two-second or two-minute process where you just kind of go in, show your hands, turn around and do a little dance, and then you go out.
• 29:04
  SPEAKER_03: But whereas dance auditions can go upwards, of course, like Jess was saying, even in New York, you know, eight hours, six hours, whatever it may be.
• 29:11
  SPEAKER_03: So you're there for the long haul.
• 29:13
  SPEAKER_03: Wow.
• 29:13
  SPEAKER_05: Yeah.
• 29:14
  SPEAKER_05: And all right, so agent helps you get jobs in LA.
• 29:18
  SPEAKER_05: Agents definitely help you get jobs in New York.
• 29:21
  SPEAKER_05: But thoughts on the New York agent versus not having one.
• 29:25
  SPEAKER_05: Because I personally, like I mentioned, I personally feel like you don't need an agent in New York.
• 29:31
  SPEAKER_05: I like you said, Jess, you can go to the actor's equity website.
• 29:34
  SPEAKER_05: There's backstage.com, there's playbill.com, where a lot of these auditions, equity or non, like we talked about with the unions, are available to view on the internet.
• 29:45
  SPEAKER_05: Whereas it's not as exclusive as LA, I feel like on certain sides of the industry in New York, where you can kind of find out about auditions yourself.
• 29:53
  SPEAKER_05: So what do you need an agent for and giving them 10% when you could just go to the audition yourself?
• 29:58
  SPEAKER_05: You know what I mean?
• 29:59
  SPEAKER_05: So, like, what's tell me about New York agent life.
• 30:02
  SPEAKER_01: Well, I think, you know, Amanda was talking about you just having somebody to represent you and get you in the right rooms.
• 30:10
  SPEAKER_01: I mean, if you have the choice of having an agent or not having an agent in New York, I would definitely sign with an agent because you're gonna have somebody to do some of the groundwork for you.
• 30:22
  SPEAKER_01: Don't I mean, listen, just because you have an agent doesn't mean you get to sit back and just wait for the auditions to come in.
• 30:28
  SPEAKER_01: It's not like that.
• 30:29
  SPEAKER_01: You have to continue to show up.
• 30:31
  SPEAKER_01: You need to get yourself in those rooms because sometimes, you know, there's only so many people that they can see for an audition.
• 30:37
  SPEAKER_01: And because that casting director doesn't know you, you don't get the call, even though you're perfect for it.
• 30:43
  SPEAKER_01: So you need to show up to the open call so to possibly get yourself a spot in that invited call, or you need to be, you know, in the classes of the working choreographers.
• 30:53
  SPEAKER_01: So I mean, just because you have an agent doesn't mean that there's not a lot of work that still goes into it.
• 30:58
  SPEAKER_01: But I think that in terms of having more opportunity, an agent is definitely going to help you out there and in the film TV world in New York.
• 31:09
  SPEAKER_01: Because there's actually a lot of filming that takes place in New York now, much more so than before.
• 31:14
  SPEAKER_01: You're gonna need an agent to be able to go in for those sorts of projects.
• 31:20
  SPEAKER_01: It was interesting.
• 31:21
  SPEAKER_01: I just want to share this because I'm in LA right now, and I got really lucky.
• 31:25
  SPEAKER_01: And when I came here uh last year, I ended up working on a really big movie.
• 31:31
  SPEAKER_01: And the choreographer brought me in as the associate and had his agent negotiate my contract for me because I didn't know the LA uh workings, and so that's how I kind of just I got really lucky I got here and I just got an agent in LA.
• 31:46
  SPEAKER_01: And I it was interesting talking to the agents here.
• 31:49
  SPEAKER_01: I was asking about a project that I had self-tage for, and the agent in LA was an agent in New York for many, many years, and now she's out here, and so you know, I was like, I felt this like connection with her because she would understand as I'm trying to transition and it's so different, you know, New York versus LA.
• 32:08
  SPEAKER_01: And she was like, Well, you know, in New York it's just such a smaller pool, so it's so much easier to get feedback.
• 32:14
  SPEAKER_01: And I was like, What?
• 32:15
  SPEAKER_01: Smaller pool.
• 32:17
  SPEAKER_01: I never thought New York was a small pool of dancers.
• 32:20
  SPEAKER_01: You would show up to open calls and there would be, I mean, at my moving out open call, there was over 400 people.
• 32:26
  SPEAKER_01: That was back in the day.
• 32:27
  SPEAKER_01: Like it was three flights of stairs and around the corner, like kind of like what it looked like when cats came back to Broadway.
• 32:34
  SPEAKER_01: Do you remember all those pictures?
• 32:35
  SPEAKER_01: I mean, down the street.
• 32:37
  SPEAKER_01: It was wild.
• 32:39
  SPEAKER_01: You know, and she was like, Yeah, it's much more intimate in New York.
• 32:42
  SPEAKER_01: And I was shocked to hear that.
• 32:44
  SPEAKER_01: That's kind of just like a side note.
• 32:46
  SPEAKER_01: Like, if you're gonna do the LA thing, I mean, it's there's some stiff competition here.
• 32:52
  SPEAKER_01: There's a lot of people really going for it.
• 32:55
  SPEAKER_03: So there are a lot of people.
• 32:57
  SPEAKER_03: Just to add to what you were saying, Jess, I will say with an agent, if you are, let's say, a veteran in the industry, you maybe don't need an agent.
• 33:06
  SPEAKER_03: You do have those connections.
• 33:07
  SPEAKER_03: And I, you know, like you were saying, Courtney, the 10%, you know, you would rather kind of keep yourself.
• 33:14
  SPEAKER_03: But I also think there's something said about being loyal to someone and them kind of fighting for you because you're being loyal to them.
• 33:23
  SPEAKER_03: So I think that in that in itself, you know, you're helping each other.
• 33:27
  SPEAKER_00: Yeah.
• 33:27
  SPEAKER_00: And I think the other thing to think about too is that like, you know, I think the conversation sometimes centers on, I just want to get in the room.
• 33:35
  SPEAKER_00: Certainly an agent will help me get in the room.
• 33:38
  SPEAKER_00: But that's just step one.
• 33:39
  SPEAKER_00: The agent also, like you guys are saying, negotiates for you, can be the bad guy, can be the guy who's or girl, whoever, who says who pushes for you, you know, even if you already have a relationship with a casting director.
• 33:51
  SPEAKER_00: And that's, you know, what I found when I was working with an agent.
• 33:54
  SPEAKER_00: Like, I already did all my background work and I had connections with casting directors who already liked me.
• 34:00
  SPEAKER_00: And then my agent was able to say, if, you know, they didn't for some reason call me in for something I was right for, or we felt strongly that I was right for, he was able to be like, listen, you know Leslie, you know me, you trust Leslie, you trust me.
• 34:12
  SPEAKER_00: Will you please see her?
• 34:13
  SPEAKER_00: And like there were times when that worked.
• 34:15
  SPEAKER_00: And so, like to have that person in your corner, not only just to get into the room, which is I think the be the first thought everybody has is like, if I just had an agent, you know, but they they do do a lot more on the back end after you've gotten into the room.
• 34:28
  SPEAKER_05: I think especially for negotiations, like once you get the job, that's when your agent really kicks in and make sure that that contract lines up and you're getting the rate of pay and you're getting all of those things that, you know, if there's something that you need to request, I can tell you from experience, negotiating is really hard and it's not easy to do on your own.
• 34:49
  SPEAKER_05: You don't know the logistics.
• 34:50
  SPEAKER_05: Like your agent has the experience in this industry and negotiated thousands of contracts for clients previously.
• 34:56
  SPEAKER_05: They know what's possible in a contract negotiation instead of just requesting, I want steak dinners every night and I want$150 per DM every day, and I want my suite at every hook, you know.
• 35:09
  SPEAKER_05: You're not gonna get those things, probably.
• 35:11
  SPEAKER_05: Your agent's gonna push back and be like, Well, you I can get you this, this, this, take it or leave it type of thing.
• 35:16
  SPEAKER_00: Right.
• 35:17
  SPEAKER_00: Yeah.
• 35:17
  SPEAKER_05: So I've I've definitely found, and I can also call my agent when something's going wrong on a job, and that they can be the middleman that kind of handles that.
• 35:27
  SPEAKER_05: So I think that they're super helpful.
• 35:29
  SPEAKER_05: I also think that we were considering having an agent episode at some point on the podcast, Leslie.
• 35:34
  SPEAKER_05: I think this season, actually.
• 35:35
  SPEAKER_02: Oh, great.
• 35:36
  SPEAKER_02: Oh, that's great.
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• 36:27
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• 36:39
  SPEAKER_05: So now we talked about agents a little bit.
• 36:41
  SPEAKER_05: We'll keep talking about that later down season three with some agents on the pod.
• 36:46
  SPEAKER_05: Should we talk about like what audition life is like now?
• 36:50
  SPEAKER_00: Yes, I would love to talk about that because listeners, let me tell you, I I it's probably light years different than what it was three years ago.
• 37:00
  SPEAKER_05: Literally.
• 37:00
  SPEAKER_00: I can I mean only hearing from people and seeing on social media, like that's just a snippet probably of what it what it really has changed.
• 37:08
  SPEAKER_00: So I'm so curious to hear, you know, the differences between the before times and now.
• 37:14
  SPEAKER_03: So I I feel like there's no there's no feeling that can replicate or mimic the feeling of having an audition in person, or there's nothing like an in-person audition.
• 37:26
  SPEAKER_03: So unfortunately, now there's pros and cons to having everything virtual.
• 37:31
  SPEAKER_03: There's a lot of Zoom auditions, there's a lot of self-tapes.
• 37:34
  SPEAKER_03: The positive of having that is being able to tune in from wherever in the world.
• 37:40
  SPEAKER_03: So I could be in Toronto and I'm auditioning for something in LA, or I could be in LA and I'm auditioning for something in New York.
• 37:47
  SPEAKER_03: So it gives you a lot of opportunity.
• 37:48
  SPEAKER_03: And I think that's that's beautiful because a lot of a lot of times, you know, that flight cost is very expensive to get to that audition and you don't have that that experience.
• 37:57
  SPEAKER_03: So I do think there are positives.
• 37:59
  SPEAKER_03: I also think, you know, in Zoom auditions, they it's a little tougher because you're a little you're a box and you have to stand out from all the other little boxes, but but I do think you learn how to work a camera, you learn how to show your personality when you're dancing, you learn filming dancing, and how you have to change and develop your dancing in order to, you know, show the energy that you want to exude while you're dancing.
• 38:26
  SPEAKER_03: So there's so many positives of it.
• 38:27
  SPEAKER_03: I will say though, in person trumps all.
• 38:30
  SPEAKER_03: I do, I love, I'm a little weird.
• 38:32
  SPEAKER_03: I love auditions, I love the challenge.
• 38:34
  SPEAKER_03: I love I I do.
• 38:36
  SPEAKER_03: I I really do.
• 38:37
  SPEAKER_03: I I love the pressure, like the one moment that matters.
• 38:41
  SPEAKER_03: That to me is so exhilarating.
• 38:43
  SPEAKER_03: It's scary, but it's exhilarating.
• 38:45
  SPEAKER_03: And I think, you know, some people dance their best.
• 38:48
  SPEAKER_03: I dance my best when I'm under pressure.
• 38:51
  SPEAKER_03: So I think that is why I do like them.
• 38:52
  SPEAKER_03: But it is very different, of course.
• 38:54
  SPEAKER_03: Like I wish, you know, seeing the energy of other people.
• 38:57
  SPEAKER_03: I love getting inspired by dancers in front of them, watching them.
• 39:01
  SPEAKER_03: I miss that.
• 39:02
  SPEAKER_03: That's what I miss.
• 39:03
  SPEAKER_03: Being able to kind of level up because Jess is beside me, you know, or all of you are beside me.
• 39:08
  SPEAKER_03: I miss that.
• 39:09
  SPEAKER_05: Yeah, me too.
• 39:10
  SPEAKER_01: Yeah, that energy exchange.
• 39:12
  SPEAKER_01: There's nothing like it.
• 39:13
  SPEAKER_05: I feel like something that's that I feel in regards to the self-tape audition world right now, I would say baby is a pro for a lot of people, is the fact that in a real live audition, you get it's one and done.
• 39:27
  SPEAKER_05: You get one shot.
• 39:28
  SPEAKER_05: That's it.
• 39:28
  SPEAKER_05: You have to know how to pick up choreography fast.
• 39:31
  SPEAKER_05: You don't get a lot of time to figure it out, and then you get one chance, possibly two if they let you switch lines, to do the audition in the room in front of a panel of people who are judging you.
• 39:42
  SPEAKER_05: Now we switch to self-tapes.
• 39:44
  SPEAKER_05: They send you a video and they ask you to learn choreography.
• 39:47
  SPEAKER_05: You can take as long as you need, obviously, there's a due date, but as long as you need to learn that choreography.
• 39:53
  SPEAKER_05: If you're a slow learner, you're already winning.
• 39:55
  SPEAKER_05: This is where you succeed because you might be epic failing in the room when you're under pressure and you have to pick up choreography fast.
• 40:03
  SPEAKER_05: Now you have all the time in the world to learn to choreography.
• 40:06
  SPEAKER_05: And next, now you can take as many takes as your little heart desires of this video to send the perfect version of you out to the casting.
• 40:14
  SPEAKER_05: In the audition room, like I said, one and done.
• 40:17
  SPEAKER_05: You don't get it.
• 40:18
  SPEAKER_05: If you messed up, that's it.
• 40:19
  SPEAKER_05: Sorry, you you cut.
• 40:20
  SPEAKER_05: Bye.
• 40:21
  SPEAKER_05: You're not cast.
• 40:21
  SPEAKER_05: Yeah, you're cut, you're done.
• 40:23
  SPEAKER_05: Like, that's it.
• 40:24
  SPEAKER_05: And I think that's the hard part that even casting is trying to navigate when casting people, because everyone can look exceptional when they're sending in those self-tapes.
• 40:34
  SPEAKER_05: And then you get them on the job and they're slow learners and they're not picking up fast and they're not paying attention to details.
• 40:39
  SPEAKER_05: And it's just like, how can you tell that from a self-tape?
• 40:42
  SPEAKER_05: So I think, like you said, Amanda, there's definite pros and cons.
• 40:45
  SPEAKER_05: The other pro that I do love is the whole you don't have to be in that part of the world to audition, and you can still be considered for opportunities from anywhere.
• 40:55
  SPEAKER_05: I think that this virtual self-tape world isn't going anywhere.
• 40:59
  SPEAKER_05: And I think that I have been to a few like in-the-room auditions since the pandemic, and they've been like final, final, final callbacks, like very exclusive private invited auditions.
• 41:10
  SPEAKER_03: And I think that's how this kind of got like six feet apart.
• 41:14
  SPEAKER_03: Yeah.
• 41:14
  SPEAKER_00: Well, Courtney, can you?
• 41:15
  SPEAKER_00: I mean, Jessica, I don't know if you've done any of this, if you've when you were still in New York, like in the beginning of the pandemic.
• 41:21
  SPEAKER_00: But Courtney, I know you've had to go do multiple tests, COVID tests, at the theater for some of these auditions before you even head back over to Ripley Greer, blocks and blocks away in the winter to Bingo audition.
• 41:34
  unknown: Right.
• 41:35
  SPEAKER_00: It's like, man, I just had to take a COVID test and I got cut.
• 41:37
  SPEAKER_00: Like, none of this is good.
• 41:39
  SPEAKER_00: Did you have to pay for those?
• 41:40
  SPEAKER_00: No, they paid for it.
• 41:41
  unknown: Oh.
• 41:42
  SPEAKER_05: Which is good.
• 41:43
  SPEAKER_05: But that's like the new world is like you have to be vaxxed, you have to get a COVID test to even step foot into an audition.
• 41:49
  SPEAKER_05: And the other problem that has been kind of being discussed in the professional dance world, and I don't know if you have the same issue, Amanda, but like now that we're all doing self-tapes, we have to have somewhere to film self-tapes, and dance auditions involve space.
• 42:04
  SPEAKER_05: So now dancers in New York City at least, and probably Los Angeles, are renting studio space, which costs at least$50 an hour to film self-tapes and then spending time to edit them.
• 42:15
  SPEAKER_05: So like they felt they take a lot of time and money.
• 42:18
  SPEAKER_03: I remember actually, so the past two jobs that I've done have been self-taped.
• 42:23
  SPEAKER_03: And it's worse for me.
• 42:25
  SPEAKER_03: I think I'm that person that will do will stay in the studio eight hours and will do it and just continuously do it, which is insane.
• 42:34
  SPEAKER_03: But I wanted to make sure that I that I got the movie that I auditioned for, but in that case, eight, like eight hours in an like what?
• 42:43
  SPEAKER_03: No, it should be more like one moment.
• 42:45
  SPEAKER_03: So I understand, Courtney, what you're saying is you can, you know, you can fabricate or kind of make it look like you can pick up really quick and you can perform it, but that's not necessarily the case.
• 42:56
  SPEAKER_03: So I understand that.
• 42:57
  SPEAKER_03: I just I'm laughing, thinking about now that you said that, how I was in a studio thing that was paid eight hours of studio space, so it it costs me, but it's expensive audition.
• 43:08
  SPEAKER_05: I hope you booked it.
• 43:10
  unknown: Right.
• 43:10
  SPEAKER_02: You can I did, I did that is one thing I had, yeah.
• 43:17
  SPEAKER_01: And like early on, I was same, like hours and hours, take after take.
• 43:23
  SPEAKER_01: And eventually I was like, Jessica Lindsay is my middle name.
• 43:26
  SPEAKER_01: And when I'm stern with myself, the middle name comes out.
• 43:29
  SPEAKER_01: And I said, You can't do this.
• 43:30
  SPEAKER_01: You're a professional, trust yourself, like no more, like all weekend long retaping and retaping.
• 43:37
  SPEAKER_01: Like, you can't, this is too much time and too much energy.
• 43:40
  SPEAKER_01: And it's been interesting too because I've lived alone.
• 43:44
  SPEAKER_01: So not only am I the on I'm the in front of the camera talent, but I'm also the director and the camera person and the lighting person and the sound person.
• 43:53
  SPEAKER_01: So you quick press play on your computer, and then you run to get into frame and try and like make sure that you're there before the music's.
• 44:00
  SPEAKER_01: starts where you need to be and it's just like and then making sure you can still see your feet right and then I was just trying to do it in the living room and but then there was all this furniture in the background.
• 44:08
  SPEAKER_01: So I was like, well it doesn't look professional.
• 44:10
  SPEAKER_01: And you want to be able to stand out when there's so many tapes because like one of the positives is it's opening up opportunities to dancers everywhere, which is amazing.
• 44:21
  SPEAKER_01: So when there's hundreds of tapes, how do you set yourself apart?
• 44:26
  SPEAKER_01: And so it led to me filming and filming and refilming and I said okay this is not gonna work forever.
• 44:33
  SPEAKER_01: You're gonna have to figure this out.
• 44:35
  SPEAKER_01: So it's been it's been challenging.
• 44:38
  SPEAKER_01: It's good and it's bad.
• 44:39
  SPEAKER_01: I'd much prefer to be in a room and self-tape me too.
• 44:42
  SPEAKER_01: But listen it's it's not going anywhere.
• 44:45
  SPEAKER_01: It's not it's really cost efficient and it's great for them to kind of like narrow it down to who they really want to see later on in person.
• 44:54
  SPEAKER_01: And it's just that is one of the things from the pandemic that I don't think is changing.
• 44:58
  SPEAKER_00: Mm-hmm.
• 44:59
  SPEAKER_00: Well and you know Courtney we did that self-tape episode back last season.
• 45:02
  SPEAKER_00: Yep.
• 45:03
  SPEAKER_00: So maybe if anybody is you know listening now and hasn't listened to that episode head on back there and take a listen because we gave some pretty good tips about exactly like you said like if there's furniture and how many takes should you allow yourself because I mean you could drive yourself crazy.
• 45:16
  SPEAKER_00: Taking take after take after take after take.
• 45:20
  SPEAKER_05: And we still have like I feel like a lot to cover and not a lot of time but I do kind of want to cover a little bit talk a little bit about when you're in between jobs.
• 45:31
  SPEAKER_05: Because I think that's the hardest part personally I think that's the hardest part about navigating being an adult and having a career as a pro when you haven't booked a job for a while.
• 45:42
  SPEAKER_05: How do you stay afloat financially and what does your day-to-day look like how are you finding time to train as well and take class when you also need to make time for auditions and then pay your bills.
• 45:56
  SPEAKER_05: So what have some of those times in your life been like I know I have had many and I think that that's always one of the biggest questions that people have is well what happens when you're just auditioning and you don't have that job or you're waiting for the call?
• 46:11
  SPEAKER_01: Well I mean it's hard and I just want to say like when you were talking Courtney I was listening and it just made me think you know that's the times when it's hardest to be a dancer is the in between.
• 46:21
  SPEAKER_01: It's really easy to fall into that I am Jessica Walker and I'm in this show.
• 46:27
  SPEAKER_01: And it it becomes a part of our identity and we need that validation which you know we're human we do.
• 46:33
  SPEAKER_01: But it's the times in between where it's it can be difficult.
• 46:37
  SPEAKER_01: You know I always found side jobs a lot of teaching jobs.
• 46:42
  SPEAKER_01: A I love it watching a student's light bulb go off it's it's almost I enjoy teaching just as much as I do performing which is amazing.
• 46:52
  SPEAKER_01: I'm really lucky that they both fill me in very different ways.
• 46:56
  SPEAKER_01: So I would teach a lot.
• 46:58
  SPEAKER_01: I also like like now I teach at Equinox.
• 47:01
  SPEAKER_01: So like I have a great gym membership.
• 47:03
  SPEAKER_01: It keeps me in shape and I'm I'm teaching at USC I'm an adjunct professor there.
• 47:08
  SPEAKER_01: I was at Ja4U Ballet in New York I'm at a dance studio here in LA now um kind of all over but teaching kept me in the dance studio during the pandemic which was amazing and I will never take for granted again getting being in a dance studio.
• 47:23
  SPEAKER_01: So just trying to put myself in class situations.
• 47:27
  SPEAKER_01: So obviously it's the class isn't for me.
• 47:30
  SPEAKER_01: It's their class but at least like I you know I'm doing a plie and a tondu so um trying to keep some of the technique up it's it can be challenging and I think especially in New York but actually LA too it's they're expensive cities to live in you know and so you have to make sacrifices and so like for me personally well a manicure was$18 or it used to be right I don't know what it is now.
• 47:56
  SPEAKER_01: I was like well that's a ballet class at steps.
• 47:58
  SPEAKER_01: No it's more than that.
• 48:00
  SPEAKER_01: But um so I you have to make you have to make choices you know but it's I think it's really important to stay in shape and you gotta stay in the studios and that's how you meet people and you form relationships and you meet people to you know kindred spirits to have you know your friends that's where you meet like minded individuals and that's where you get in front of the working choreographers.
• 48:23
  SPEAKER_01: So it's just a really important part and of it all so side jobs that are within the business it's also really smart to maybe do some marketing because these are all skills that you're gonna need for yourself as a dancer because back when I started you could just audition and be talented and and book the job.
• 48:46
  SPEAKER_01: And now there's this whole other side of it with the social media and TikTok and YouTube and all the things and I'm I'm playing catch up as I'm gonna say a seasoned dancer, i.e older dancer uh wow it's changed so maybe learning some editing skills side jobs that aren't always physically demanding are great to have because you can save your body as you you know get older.
• 49:15
  SPEAKER_00: That's very important just to you know know what you physically want to put out into the world if you've already spent your day auditioning and taking class and then after that you have to go do a job.
• 49:27
  SPEAKER_00: Like I babysat a lot because if you babysit a baby you're gonna feed that baby you're gonna rock that baby you're gonna change that baby and you're putting that baby in bed at eight o'clock and then their parents you know maybe who work for the Met Opera that's who I used to babysit for.
• 49:40
  SPEAKER_00: And when those kids were little I had three hours you know from eight o'clock on to be like oh okay now I'm gonna zen out.
• 49:47
  SPEAKER_00: Now I'm gonna watch my TV show I'm gonna journal I'm gonna, you know, look at my lines for tomorrow's whatever like physically undemanding jobs are really probably what you want to find, you know, unless you're doing a fitness instructor situation or a dance teacher thing.
• 50:00
  SPEAKER_03: Yeah I'm trying to think I I I do agree with Jess.
• 50:03
  SPEAKER_03: I think it's part of finding ways to evolve yourself as a human.
• 50:09
  SPEAKER_03: I feel like it's so important to find different creative outlets that will enhance you as a human, as a person, as an artist.
• 50:17
  SPEAKER_03: And it is hard.
• 50:18
  SPEAKER_03: The lulls I think are the moments where I question everything I question whether this is the right move, whether I should do it, whether I should move whether I should become an astronomer something completely different.
• 50:32
  SPEAKER_03: But at the same time I feel like those are the moments that humble me that ground me.
• 50:38
  SPEAKER_03: And I think that's the the drive and that's what I was talking about before that passion and you know that that way of finding creative ways to let the time pass in a in a positive way and try to figure out the next and that's the same as Jess was saying yeses saying yes to events to seeing people to socializing and all those those ways are super important because those relationships and especially in LA and I'm sure it's the same in New York relationships and networking in that way is so important.
• 51:08
  SPEAKER_03: And that's where you really book the jobs is you know meeting someone that has a that has a job and you don't even know it.
• 51:15
  SPEAKER_03: And then the next you're in a room you're with a phone in a film set and you don't know how it happened and that's how it it truly happened.
• 51:22
  SPEAKER_03: So in those moments kind of controlling what you can control instead of you know focusing on maybe what you don't have in the moment and teaching has been an outlet that I I mean I absolutely love as well.
• 51:34
  SPEAKER_03: You're right Jess I seeing their faces and the light bulb and being able to really impact I like where you're going I said it really impact the younger generation and dancers into doing what they love because I feel like right now as much as you know this there's this whole concept of you know building your resume on Instagram building your resume or building your reel on Instagram and everything and it's overwhelming for dancers.
• 52:08
  SPEAKER_03: And so just kind of finding the light and the playfulness and the curiosity again and finding things that they love will help them through it because it is it is overwhelming in moments but we all have been through it and it's it's a long game right and it's you stick it out and if you can there are so many beautiful rewards within that and it's all worth it.
• 52:29
  SPEAKER_00: Yeah it's all worth it all worth it.
• 52:31
  SPEAKER_00: And I mean I don't know I think out of the group of us I had the most lulls in my career.
• 52:36
  SPEAKER_00: Like I've retired from performing several years ago but I had more lulls than I had jobs.
• 52:41
  SPEAKER_00: And so I mean talking to some of the dance parents out there who are listening if you're nervous about your kid going off into trying to be a professional dancer not everybody's gonna have job after job after job.
• 52:53
  SPEAKER_00: Plenty of people do and I have friends with many of them, you know, but for me I'm almost 37 and my parents are still asking me when I'm come home, all right, is everything okay?
• 53:03
  SPEAKER_00: Like do you need do you need anything?
• 53:05
  SPEAKER_00: Like parents are going to ask that question.
• 53:07
  SPEAKER_00: And if you as a dancer all my dancers out there can say no I have all these gigs.
• 53:13
  SPEAKER_00: I have all these other ways of making a living I have these editing skills like Jessica was talking about I have this teaching background.
• 53:20
  SPEAKER_00: I have a studio who will let me come in and out and that was always the problem I had with teaching because the the minute I got a studio job who wanted me to commit to nine months with your kids, I booked a tour and I had to get a sub for those six months of the year that I was going to be gone.
• 53:35
  SPEAKER_00: And you know so that that kind of job can be great because it does fill your cup.
• 53:39
  SPEAKER_00: It does allow you to tondue and plie until you book a job and have to leave.
• 53:44
  SPEAKER_00: You're leaving those kids an alert.
• 53:46
  SPEAKER_00: So you know I worked at a dancewear store for five years who was thank God allowed me in and out privileges and I could come back after a tour.
• 53:53
  SPEAKER_00: I could come back after a job and still have a job.
• 53:56
  SPEAKER_00: I was a personal assistant again very flexible job, not mindless work, but it was like I was getting this woman's groceries.
• 54:02
  SPEAKER_00: If somebody will pay you to do something that is not horrible to go do, you know, like if somebody needs me to pick up your groceries from Whole Foods and you're gonna pay me$20 an hour to do it, I will absolutely do that.
• 54:13
  SPEAKER_00: And then I will go to my audition.
• 54:15
  SPEAKER_00: You know, find finding the ways that you can support your life if you don't book, book, book, book, book, book, book, you know, I think that's important for a lot of listeners to hear is that, you know, your life as a professional dancer could be job after job, but it could also be a couple of jobs in 10 years and that's still that's still a professional dancer, you know?
• 54:36
  SPEAKER_03: There are options as well for you know classes and such I know classes are so expensive now, but just go on YouTube, look at someone's combo, learn it in a slow pace and that's your class.
• 54:49
  SPEAKER_03: Like finding those ways you have to just get a little creative with how you're learning and everything.
• 54:55
  SPEAKER_03: Yeah.
• 54:55
  SPEAKER_00: And you know steps in BDC and I'm sure plenty of places in LA still have like internship options where you can or work study.
• 55:03
  SPEAKER_00: And so you go and you work at the front desk for a certain amount of hours a week and then you get free class or discounted class.
• 55:08
  SPEAKER_00: And yeah, I know that.
• 55:10
  SPEAKER_00: So I wish I did I wish I did that.
• 55:12
  SPEAKER_00: Right.
• 55:12
  SPEAKER_00: And then that that's another way you can get in the room with those choreographers and get your name out there because you know that really is we've talked about it so many times kind of the name of the game.
• 55:22
  SPEAKER_00: It's who you know it who know it's who knows your work.
• 55:25
  SPEAKER_00: And if you can get into that room for free, like even better.
• 55:28
  SPEAKER_00: Exactly.
• 55:28
  SPEAKER_00: Perfect.
• 55:29
  SPEAKER_01: Yeah especially last year when we first entered the oh my it wasn't last year, it was the year before that.
• 55:34
  SPEAKER_01: When we first went into the pandemic and everyone was doing virtual classes for free.
• 55:39
  SPEAKER_01: It was amazing how the community showed up for each other.
• 55:43
  SPEAKER_01: But if you go on a lot of these choreographers and teachers' Instagrams and their websites they have saved their classes.
• 55:50
  SPEAKER_01: And so you have access to free classes all over the internet right now.
• 55:55
  SPEAKER_01: And it's a great way to do your homework and learn their styles and learn their musicality and their dynamics before you have the opportunity to go dance for them in person one day hopefully.
• 56:05
  SPEAKER_00: Yes.
• 56:06
  SPEAKER_00: Great advice fingers crossed I love all of this.
• 56:09
  SPEAKER_05: And I think that we as we're rounding out the episode just a little bit more I think that something that will be exciting to hear is kind of like what life is like once you get the job.
• 56:21
  SPEAKER_05: So you're a pro.
• 56:22
  SPEAKER_05: We've talked about auditioning a lot in this episode in that I actually say it all the time when I teach and I just like to tell dancers that yes I'm a professional dancer but I actually consider myself a professional auditioner because I audition more than I work.
• 56:37
  SPEAKER_05: And that's the the sad reality of this industry is that you're going to audition for a lot more jobs than you're actually going to book kind of like what you were just saying Leslie I mean it's the sad truth and that's just what it is.
• 56:48
  SPEAKER_05: So as a sign up for it.
• 56:50
  SPEAKER_05: Yeah you sign up for it.
• 56:51
  SPEAKER_05: Yeah and I think that all the hard work that you put into audition after audition is then comes to when you get the job it's like it all paid off like it doesn't even matter if it was the job it's any job.
• 57:06
  SPEAKER_05: When you get any job no matter what you just have to sit back and be like they picked me like I I earned this I got this job.
• 57:14
  SPEAKER_05: Someone wants to hire me for you know this commercial or this TV show or this musical whatever it is.
• 57:21
  SPEAKER_05: And it's such a rewarding feeling I mean it really is.
• 57:25
  SPEAKER_05: So let's talk about getting the job and I know that you you all have we all have different experiences in our in our performance careers but what's it like on let's say what's it like on a Broadway show so we'll start with Jess versus what's it like being on set for a movie.
• 57:43
  SPEAKER_05: So let's like give a quick little like rundown on what your life is like on like as a day of a Broadway dancer.
• 57:50
  SPEAKER_00: Yeah on a on a Tuesday.
• 57:52
  SPEAKER_01: Yeah on a Tuesday afternoon um it's so funny.
• 57:56
  SPEAKER_01: Yeah and you just I want to like add that that one yes erases 500 no's in that moment you just like you it's worth everything and when you do book a job allow yourself to feel the win because it's monumental and it's huge and it's a lot of work and it's very exciting.
• 58:17
  SPEAKER_01: So then you get the job you're like yes okay amazing so if I'm working on a Broadway schedule most shows are Tuesday through Sunday with a Monday off.
• 58:27
  SPEAKER_01: Like some of the shows rotate you know it's for the patrons but normally it's eight shows a week depending on the show um like when I did moving out the ever all the ensemble would do seven shows and the principals just did the evening performances so they did six.
• 58:45
  SPEAKER_01: They never did matinees because it was such a physically demanding show and I was a swing in that show.
• 58:51
  SPEAKER_01: I was 22.
• 58:53
  SPEAKER_01: Bless your heart I had no idea but I was fearless.
• 58:57
  SPEAKER_01: I was like what do you need me to do?
• 58:59
  SPEAKER_01: Great I'm like doing solos on Broadway what year were you in it?
• 59:02
  SPEAKER_01: I did the last year on Broadway.
• 59:04
  SPEAKER_01: So it would have been 2005.
• 59:07
  SPEAKER_00: Okay man I saw it I saw it a couple years before that and so good.
• 59:12
  SPEAKER_01: Oh it was remarkable I like peaked at 22 um and I got the job two days before Christmas like the casting director called and said just call me Santa and I've just gotten off a plane so the first person to know I was gonna be on Broadway was the stranger next to me at baggage claim.
• 59:28
  SPEAKER_01: Oh my god it was just like one of those moments I'll never forget it I mean you you know you never forget your first big job but so when I'm in a show especially something like that where you're dancing as hard as you are you still have to train there's such a thing as show shape and that is not the same thing as being in real shape and especially when you're doing the same choreography eight times a week if it's heavy on one side versus the other you're gonna get your muscle imbalances and you'll be more subject to injuries.
• 1:00:01
  SPEAKER_01: So I don't think that the training stops for me personally I would mostly just go to ballet class and a lot of yoga just to you know really line my body up skeletally and also the yoga provided a a nice moment for me to kind of quiet my brain which can be difficult at times.
• 1:00:21
  SPEAKER_01: So it was like a two for one situation.
• 1:00:23
  SPEAKER_01: I'm all about a multitask.
• 1:00:25
  SPEAKER_01: So you're still training you're still going to your singing lessons you're still going to your acting classes and you're still auditioning.
• 1:00:32
  SPEAKER_01: So yes you have your big show which is amazing but the everything else that we've been talking about thus far in the in this episode still applies.
• 1:00:42
  SPEAKER_01: So you want to be able to celebrate the moment and be in the moment and enjoy this amazing job that you have and you absolutely should but you also do have to be thinking about what the next job is because we there's not a guarantee that that show's gonna run forever.
• 1:00:58
  SPEAKER_01: You just don't know and so you need to be prepared for the next thing and especially when you are making money dancers set aside a fund and start saving and provide yourself like a cushion just side note.
• 1:01:11
  SPEAKER_01: No one ever talked to me about money.
• 1:01:13
  SPEAKER_01: I was like yeah I'm gonna be a dancer wait I have to how much is life right wow okay didn't know so I think you know if if you're in shows you're still kind of I think it's probably the same Amanda for you right like that really is the same.
• 1:01:31
  SPEAKER_01: Yeah.
• 1:01:31
  SPEAKER_03: I feel like with you're still doing all I mean staying in shape trying to stay ready.
• 1:01:36
  SPEAKER_03: I feel like it's a little different with the amount of time and their duration because I feel sh like shows go on a lot longer but with let's say TV or film set you're maybe on for a week a couple days and then you don't have a job again.
• 1:01:50
  SPEAKER_03: So that's when you know you're training you're training or you think that you're never gonna have a job again.
• 1:01:55
  SPEAKER_03: That always happens you know what you're in the lull you're like this is the moment of my life now I'm down I don't know what to do.
• 1:02:02
  SPEAKER_03: So it's a constant like mood swing up and down high highs low lows.
• 1:02:06
  SPEAKER_03: Totally exactly but it's the same thing I do agree with you.
• 1:02:09
  SPEAKER_03: It's kind of staying ready all the time and putting in the work and that's what matters and that's what's gonna you know make you stand out in the long run is just kind of pushing through and being smart with your body and making sure you know physio and doing things that feel good for you.
• 1:02:24
  SPEAKER_03: But with film and TV you do have obviously long days and there's a lot of sprints.
• 1:02:30
  SPEAKER_03: I would I will say it's a sprint after sprint after sprint just doing you know 30 seconds 30 seconds 30 seconds again and again and again until they get the shot and then the next one let's do it again 30 seconds 30 seconds 30 seconds but that's kind of like a self tape.
• 1:02:43
  SPEAKER_03: There you go so it's kind of prepping you for it.
• 1:02:48
  SPEAKER_03: So in that way it's a little it's a little different.
• 1:02:50
  SPEAKER_03: Once you kind of get the job I mean I always love the the getting ready getting your makeup hair that's always so much fun trying to take on a character my favorite part of dance is acting and I kind of still feel like I need to be an actress but I I think I'm a little too late.
• 1:03:06
  SPEAKER_03: But I but no I know I know it's never too late.
• 1:03:11
  SPEAKER_03: But I do I love that part I love that you get to create this world and seeing the props and everything the set development come together with the director there's so many so many people that make this this production come to life and you don't think about it it like you think the wardrobe the hair the makeup the director the producer the dancers the choreographer the like there's so many people there the list goes on and on but to make one minute happen one minute and that's the same with the show Jess like I'm I'm sure to make that that show happen there's so many people but it is it it you know you train before before you go to set after you go to set.
• 1:03:55
  SPEAKER_01: And so you're always constantly trying to stay on top of it because you know you never know when your next job is going to be it's just kind of like this like set schedule that you have as a performer and then just sometimes it's like the dessert it's like the icing on the cake you actually get to like go do it professionally but all the other stuff like it's just kind of like constantly there.
• 1:04:16
  SPEAKER_01: I just I don't know why I was thinking Amanda like when you're working on set like that hurry up and wait.
• 1:04:20
  SPEAKER_03: Oh quick and then yeah and then just let's wait and then wait five hour hours and then it's one o'clock in the morning and you have it dance the scene in hours and all of a sudden the choreographer's like stretch your hamstrings we're about to come and you're like it's one o'clock in the morning I got here at seven oh my gosh we're gonna dance and then that's the shot that makes it in right I I I got a taste of that at the beginning like my first ever I guess audition for So You Think I thought it was cruel at first because I was sitting down you're cold you're freezing and then they're like go perform and dance for your life and then I would go out and I'll be like oh my gosh I can't I can't like my hamstrings everything's gonna break but at that time you know you're fearless.
• 1:05:06
  SPEAKER_03: It's your superpower because you have a fresh pair of eyes and you see the world in a different way.
• 1:05:10
  SPEAKER_03: So I just would do it very young.
• 1:05:13
  SPEAKER_03: Yes exactly but yeah it's it's uh it's funny just with um you know being able to do it in the heat of the moment and for one moment that truly matters and there's so many different like with film and television there's so many cameras there's so many things to you have to dodge you know the steady cam operator if you push them out of the way actually I would love to tell you the story really quick okay so this is I love stories.
• 1:05:42
  SPEAKER_03: I was on set for this show and the choreographer just told me and my partner you know you're gonna jump off the stage really simple you're gonna dance and jump off the stage.
• 1:05:52
  SPEAKER_03: So I was like okay amazing perfect we rehearse with a camera it's a jib crane so you know that big long camera So we rehearse with the camera, everything was good, and then we're like, okay, rolling, action, go.
• 1:06:06
  SPEAKER_03: And we are dancing, and I'm jumping into complete blackness.
• 1:06:10
  SPEAKER_03: You can't see anything.
• 1:06:12
  SPEAKER_03: Nothing is going on.
• 1:06:14
  SPEAKER_03: We jump and a camera.
• 1:06:16
  SPEAKER_03: The camera, like the jib crane, I couldn't see it right there.
• 1:06:19
  SPEAKER_03: I had, yeah.
• 1:06:21
  SPEAKER_03: I'm sorry, listeners, if you can see my face, I'm my head is bashing into the camera.
• 1:06:27
  SPEAKER_03: But I had a goose egg for the rest of the TV show.
• 1:06:32
  SPEAKER_03: Just on my face.
• 1:06:35
  SPEAKER_03: And all I can think of was how expensive that camera is.
• 1:06:39
  SPEAKER_03: Not your head.
• 1:06:41
  SPEAKER_03: Not my head.
• 1:06:41
  SPEAKER_03: I'm just like, oh my gosh, the camera.
• 1:06:43
  SPEAKER_03: But I have it.
• 1:06:44
  SPEAKER_03: I have it on the phone.
• 1:06:45
  SPEAKER_03: And it's on my Instagram.
• 1:06:46
  SPEAKER_03: And I will send it to you.
• 1:06:48
  SPEAKER_05: We'll link it in the show notes, everybody.
• 1:06:49
  SPEAKER_03: All you hear is like, boom.
• 1:06:52
  SPEAKER_03: Yes.
• 1:06:53
  SPEAKER_03: It's my favorite video.
• 1:06:54
  SPEAKER_03: Actually, that's one video I did show Will Farrell.
• 1:06:58
  SPEAKER_03: I know I'm not trying to put out a big name there, but I uh showed Will Farrell and he was like, oh my gosh, you're the girl that hit her head.
• 1:07:05
  SPEAKER_03: So now I'm officially the girl that just hit my head on the camera.
• 1:07:08
  SPEAKER_03: Yes.
• 1:07:09
  SPEAKER_03: I'm forever going to be known.
• 1:07:11
  SPEAKER_00: Yeah, that's it.
• 1:07:11
  SPEAKER_05: That's how Will Farrell knows you now.
• 1:07:13
  SPEAKER_05: Exactly.
• 1:07:13
  SPEAKER_02: Exactly.
• 1:07:14
  SPEAKER_02: I know.
• 1:07:15
  SPEAKER_05: I love that story.
• 1:07:17
  SPEAKER_05: And I I love hearing both of those different types of worlds that you live as a pro.
• 1:07:23
  SPEAKER_05: And I think that another like just final little thing to mention for the listeners out there talking about like, how do I pick which way to go?
• 1:07:32
  SPEAKER_05: Like, ooh, TV and film sounds fun, cameras and lights and quick jobs.
• 1:07:36
  SPEAKER_05: And oh, Broadway sounds fun.
• 1:07:37
  SPEAKER_05: I get to do eight shows a week.
• 1:07:39
  SPEAKER_05: I think that when you are looking at which path to go, if you're there's a lot of people in adults, actually, like once you become an adult, you realize that stability and uh consistent income is really nice.
• 1:07:54
  SPEAKER_05: And as dancers, you don't get that often.
• 1:07:56
  SPEAKER_05: And it really truly depends on the contract and the type of job that you're going for.
• 1:08:00
  SPEAKER_05: So if you are interested in having like stable income and a weekly paycheck, then those Broadway musicals types of shows like tours or or Broadway productions are going to give you that, at least, you know, until the show closes.
• 1:08:14
  SPEAKER_05: But you know, most of the time it's usually for months at a time.
• 1:08:17
  SPEAKER_05: Or even cruise ships, long time out at sea, you're gonna make a lot of money, you know the duration.
• 1:08:23
  SPEAKER_05: Then speaking on Amanda side of the things with the TV and film industry in Los Angeles, those are short, sweet, quick jobs usually.
• 1:08:29
  SPEAKER_05: Unless you're working on a long movie that you're casted for.
• 1:08:31
  SPEAKER_05: But even if it's a movie that's filming for seven months, you as a dancer might only get hired for two weeks.
• 1:08:38
  SPEAKER_05: And you know, they're doing the dance scenes and that's it.
• 1:08:40
  SPEAKER_05: And then you're back to square one looking for the next job.
• 1:08:43
  SPEAKER_05: So if you really like the hustle and bustle of auditioning all the time for those short gigs in LA, which when you book, do Penny really cute.
• 1:08:51
  SPEAKER_05: They're good, they're good paying jobs, and they'll help you live on the in-between because you made enough money on that gig to live on the in-between until the next one comes.
• 1:09:01
  SPEAKER_05: Or there are some people that like the consistency, they like that that schedule that's the same every single day.
• 1:09:06
  SPEAKER_05: I know I'm gonna wake up, I'm gonna go to the take class, I'm gonna go to my show at night, have rehearsal today, whatever it is.
• 1:09:11
  SPEAKER_05: So just to kind of give you like an idea of everybody's different.
• 1:09:15
  SPEAKER_03: Those residuals are really nice when you're sitting down.
• 1:09:19
  SPEAKER_03: Plenty money.
• 1:09:20
  SPEAKER_03: Plenty money.
• 1:09:20
  SPEAKER_01: It makes those lols much better.
• 1:09:23
  SPEAKER_01: Absolutely.
• 1:09:24
  SPEAKER_01: And the shows are gonna give you health insurance.
• 1:09:26
  SPEAKER_01: Yes, another good point.
• 1:09:27
  SPEAKER_01: Good and bad.
• 1:09:28
  SPEAKER_00: Yes, there's pros and cons everywhere.
• 1:09:30
  SPEAKER_05: And like young dancers listening, you're like health insurance and stable income.
• 1:09:35
  SPEAKER_05: Who cares?
• 1:09:36
  SPEAKER_05: But you will care.
• 1:09:37
  SPEAKER_05: I'm letting you know you really care.
• 1:09:39
  SPEAKER_05: You will care.
• 1:09:39
  SPEAKER_00: Especially if in your you're in New York or LA or Chicago or Atlanta or Nashville or literally anywhere anymore, because nothing is cheap.
• 1:09:47
  SPEAKER_00: You can't find a city to live in that you can afford, you know, you're gonna have seven roommates, it's fine.
• 1:09:54
  SPEAKER_00: At least at the beginning.
• 1:09:55
  SPEAKER_00: Two-bedroom apartment, right?
• 1:09:56
  SPEAKER_00: Short-term sacrifice.
• 1:09:58
  SPEAKER_03: It's okay.
• 1:10:00
  SPEAKER_05: Well, y'all, this was such a great and informative, so informative episode.
• 1:10:04
  SPEAKER_05: I wish that it had something like this when I was breaking into the industry to listen to and just have like an idea of what in the world to expect.
• 1:10:13
  SPEAKER_05: So thank you for sharing your knowledge and experiences with us from your professional journeys.
• 1:10:20
  SPEAKER_05: But how I would love for us to finish out this episode is for both of you to just share one final tip or advice to any of the young dancers out there who are looking to be pro one day, whether it's in New York, LA, or wherever they'd like.
• 1:10:36
  SPEAKER_05: Any advice you'd like to share?
• 1:10:38
  SPEAKER_01: Work hard, be kind, be bold, be fearless.
• 1:10:42
  SPEAKER_01: It's an amazing, incredible journey.
• 1:10:45
  SPEAKER_01: It's a total ride, it's worth it.
• 1:10:47
  SPEAKER_01: Every like every it's all worth it.
• 1:10:50
  SPEAKER_01: No, it's not gonna be easy, but just be kind, be a good person.
• 1:10:54
  SPEAKER_01: And like I said, be kind, work hard, be bold, be fearless, and just be yourself.
• 1:11:01
  SPEAKER_03: Yeah, just be you.
• 1:11:02
  SPEAKER_03: I agree, Jessica.
• 1:11:03
  SPEAKER_03: I think the work will show for itself, and if you just demand more of yourself every day, your development will show over time.
• 1:11:11
  SPEAKER_03: You know, don't compromise your your morals or your values for instant gratification in a world that that concept is so strong right now.
• 1:11:20
  SPEAKER_03: Try to know and understand that small sacrifices will lead to later gain, and that's the most important part.
• 1:11:29
  SPEAKER_03: And try try not to fit into any anyone's box.
• 1:11:32
  SPEAKER_03: I think there's so many boxes that we want to fit into, and you are perfect just the way you are, and the job that is right for you, you will get, and the people that you're supposed to attract will come to you.
• 1:11:44
  SPEAKER_03: So just believe in yourself, put in the work, and that's all you can do.
• 1:11:50
  SPEAKER_05: We hope you enjoyed this week's episode all about a day in the life of a professional dancer.
• 1:11:55
  SPEAKER_05: Be sure to follow our guests on social media.
• 1:11:58
  SPEAKER_05: You can find Jessica at JessicaWalker83 and Amanda Clayhorn at Amanda Clay.
• 1:12:05
  SPEAKER_05: Also, to learn more about Amanda's new service and consulting business for aspiring professional dancers, you can check out Clayhorn Creative on Instagram or visit their website at ClayhornCreative.com.
• 1:12:18
  SPEAKER_05: Be sure to check out IDA affiliated competition, Diva Dance Competition.
• 1:12:23
  SPEAKER_05: Diva Dance Competition is America's live judging competition.
• 1:12:27
  SPEAKER_05: Their live judging format is extremely unique in the industry.
• 1:12:31
  SPEAKER_05: Dancers are asked to stay on stage following their routine.
• 1:12:34
  SPEAKER_05: Each of the judges, provided exclusively by Impact Dance Adjudicators, will provide immediate feedback live over the microphone.
• 1:12:42
  SPEAKER_05: This format allows for a very personalized and educational experience where the dancers are able to apply their critiques immediately to their next routines with the purpose of improving as the day goes on.
• 1:12:53
  SPEAKER_05: Something else that makes Diva different is that they are a competition with the cause.
• 1:12:57
  SPEAKER_05: Diva was born as a way to raise awareness for the CBLS Foundation, a rare genetic syndrome that Jack, one of the owner's sons, was born with.
• 1:13:06
  SPEAKER_05: Jack was the inspiration for Diva, and you may be lucky enough to meet him at one of their upcoming events.
• 1:13:12
  SPEAKER_05: And last but not least, Diva provides all routine photos and videos absolutely free.
• 1:13:18
  SPEAKER_05: For more information on Diva Dance Competition, head to their website now to register for an upcoming event in their 2022 season at divacomps.com.
• 1:13:29
  SPEAKER_05: Our next QA with Courtney live episode recording is coming your way next week.
• 1:13:34
  SPEAKER_05: Mark your calendars and join us on Facebook on Tuesday, February 1st, from 2 to 3 p.m.
• 1:13:40
  SPEAKER_05: Eastern Standard Time for a live podcast recording where you can interact with me and our special guest, IVA Judge, to help answer your questions all about the competitive dance world.
• 1:13:51
  SPEAKER_05: Get those questions prepped or send them in ahead of time now, and we hope to see you at the live event.
• 1:13:56
  SPEAKER_00: Season 3 just keeps them coming with new episodes every Thursday.
• 1:14:00
  SPEAKER_00: Stay tuned for Winning versus Losing, the February edition of the QA with Courtney Live and developing a ballet program for competitive studios.