Anything and Everything about Rejection

My very first audition was when I was 11 years old, for the School of American Ballet’s Young Dancer intensive. My teacher had recommended that I attend the audition. I had just missed the date of the Los Angeles audition, so my mom and I took a quick trip to Las Vegas to attend the audition at that location. I arrived about an hour before the audition began, wearing an extraordinarily fashionable black leotard, pink tights, and a small hairpiece, to make me more recognizable in a sea of black leotards.

To my disappointment, I was lined up first to receive my number and was handed a number 1. I remember the class being relatively simple, and I also remember how anxious I was. I recall the adjudicator being kind; making light-hearted jokes and sharing personal anecdotes to calm the apprehension of the students. I also remember feeling intimidated and scrutinized by a panel of two teachers sitting behind a small table at the front of the studio. About a week or two after the audition, my mom received a rather devastating email—a rejection. Although I wasn't expecting to get in, I still remember feeling discouraged. I remember deep-diving the internet, searching for examples of professional dancers who had been rejected from schools they had auditioned for, and found very minimal resources. This experience inspired me to write this, as I think it will be useful to anyone who is in the position I was in.

Based on my extensive experience attending auditions over many years, there are several key points to consider. First, if you are not ready to face rejection, you may want to rethink your decision to audition. The ballet world is becoming increasingly competitive, akin to the principles of supply and demand. The demand for positions in prestigious schools is rising due to a growing number of qualified dancers, leading these institutions to become more selective in their criteria. Second, particularly for young dancers, it is crucial not to let rejection deter you from striving for excellence. Rejection should be used to fuel continued hard work and foster a strong work ethic, which is necessary in ballet as well as in the real world.

Receiving a rejection from a school one year doesn't mean you can't gain admission in another year. An audition class offers just a glimpse of a dancer's skills and dedication. It's possible that adjudicators might witness an unfortunate technical moment from an exceptionally qualified dancer and decide against making an offer. For instance, when I first auditioned for PNB's summer intensive, I was rejected, but the following year I was accepted and attended the program. This experience is common among many dancers.

Next, it is extremely important not to overthink audition results. There can be such a wide array of reasons for not receiving acceptance into a desired program, some of which are unrelated to technical level and talent, such as space limitations or even stylistic differences. Many schools look for certain physical criteria, such as a high arch, which is something I have always struggled with. However, over time I worked very hard to improve my arch and my dancing in general, and received other opportunities as I improved. In summary, while natural facility could certainly be recognized when a dancer is young, I do not believe that a rejection, especially at such a young age, should be a deterrent from continuing to pursue ballet. If a career in ballet is desired, a rejection certainly does not mean that a career is not possible, or that you are a “bad” dancer. I recommend having a conversation with a trusted teacher to discuss more specific reasons for a rejection and develop a plan of action.