When Hannah Corbin first joined Peloton, the brand was little more than a startup. An Alvin Ailey–trained dancer who specialized in aerial acro­ba­tics­, Corbin performed in eclectic off-Broadway shows like Fuerza Bruta and Queen of the Night, and supplemented her performing career by teaching dance and fitness classes. A pro­ducer on a nightlife show she was doing asked her and Jess King (now a Peloton superstar) about teaching for a relatively new company that was looking for strong personalities who loved to work out and were comfortable in front of the camera.

In this month’s Dancer Diary column, Haley Hilton tries to make sense of her current “season of callbacks.”

We’re told that social media is an extension of our resumés. But what exactly are casting directors looking for?

New York City–based casting director Jason Styres offers sartorial advice for dance auditions.

What can new-to-the-industry dancers expect at auditions—and how can they cope with their unique pressures? Two experts share their advice.

It happened! I finally had my first in-person audition appointment attained through the support of my agent, Lucille DiCampli, of LDC Artist Representation. I’d heard stories of what this part of the dance journey could be like, but nearly 10 years of health setbacks kept me from experiencing it myself. Yet there I stood in […]

Instead of relying on cattle call auditions, dancers starting a professional career are increasingly using online platforms like job board sites and social media to find work in performing, as well as choreographing, teaching and arts management.

During the early days of the pandemic, the audition process was turned on its head. Traditional, in-person open calls were too much of a risk, so, instead, directors relied heavily on video submissions. Even as in-person auditions make a comeback, they don’t quite look the same as they once did.