AMDA’s curriculum is designed accordingly. With classes that place emphasis on every aspect of the dance industry, from technique, performance, and choreography to administration, personal branding, and content creation, graduates emerge fully prepared to navigate the excitement, and challenges—and unpredictability—of a career in dance. 

“In 2023, you need to not only be a dancer and artist, but you also need to be your own content creator,” McHargh says. “You need to also know the business of dance—and how to produce a show. Students are gaining all of that information within the curriculum here.” McHargh adds that the majority of AMDA’s faculty are active within the dance industry, so fostering professional connections—which often lead to work postgraduation—is inherent to being an AMDA dance major.

The importance of self-care and building a sustainable career are also embedded into the curriculum. Students have access to a variety of mental and physical health resources at AMDA’s Center for Health and Performance, and teachers regularly check in with them about their well-being, helping them cultivate healthy habits they can carry into their careers. “It’s embedded in our culture to talk about those things,” says McHargh. AMDA grads know how to craft a viable work schedule consisting of a range of professional opportunities, so they are prepared to find work at any age, any stage, or in any situation.

From start to finish, AMDA’s program is designed to prepare dancers for long, healthy, and diverse careers. Check out these highlights from two alums’ 2023 in review.

Agnes Royster-Stallion

Coaching movement therapy: “I graduated from AMDA in 2017, and I did work professionally in L.A. for a year after that. I wanted to do work that I felt would be more fulfilling, so I did a specialization in movement therapy, and that’s what I’ve been focused on this past year. I started coaching clients in movement therapy, using dance and body movements with breathwork and meditation to help relieve stress, anxiety, trauma, and lack of creativity.”

Working with her Haiti-based company, WAYS: “I was in Haiti for the past three years. I started my dance company, WAYS, and we launched last year. It’s an acronym for ‘With All Your Soul.’ It’s really based on Haitian folklore, Haitian dance, and contemporary. I wanted to showcase quality work in the Haitian community to the world.”

Producing Mastered, an original dance film: “My husband, Marc Stallion [also an AMDA alumni], and I did a short dance film, called Mastered, based on anxiety. He wrote and directed it, and I choreographed and danced in it. We are submitting it to festivals. So far, we have nominations for Film Shortage and the Venice Film Festival.”

Ryan Ruiz

Company member with Diavolo: “I definitely think the push for creativity and creating at AMDA was extremely helpful for me in the work with Diavolo. A lot of the work is not necessarily choreographed steps given to me; it’s more that I’m given a task and then I create something in the moment.”

Performing in music videos: “About a year ago I did the music video ‘Something to Lose,’ by Anna Margo, and choreographed by Mike Tyus. Then I did a music video for Nieri, choreographed by Baylie and McCall Olsen.”

Performing in multidisciplinary artist Sara Silkin’s Still: “It was a weekend of small shows, and it was a very fast process to learn movements in a complicated costume of sheer fabric that is essentially two dresses attached to each other. The piece was about 20 minutes, and we did multiple shows per day, and it also ended with us creating a dance film of the piece.”

Teaching at Los Angeles–based dance studios GENESIS and The Space_LA: “My class is called Contemporary Flow, and I also teach a floorwork-based class, as well. I love referencing teachers from AMDA and giving them credit when I’m teaching.”

Teaching Contemporary Foundations at AMDA: “It was one of the first classes of the morning and it consisted of mostly delving deeper into a more technical space rather than the creative space, honing in on technical aspects of contemporary movement.”

Presenting choreography at SpectorDance’s Choreographers’ Showcase: “The piece was called This didn’t happen overnight. This was my first work presented outside of an educational space. It’s a duet that plays with the ideas of issues of stereotypes within Asian culture.”

The post The Dance Year in Review According to AMDA Alumni appeared first on Dance Magazine.

How Rigorous Is the Dance Training?

At Marymount Manhattan College in New York City, students pursuing a BFA in musical theater take dance five mornings a week. At the Chicago College of Performing Arts, musical theater BFA candidates can do a concentration in dance, which program director Tammy Mader says is “nearly a dance major, up to 12 dance classes a week.” But even in these dance-heavy departments, dance won’t be the only focus. Studying musical theater also means taking voice lessons, acting workshops, music theory and more.

When researching programs, look into not only how much dance is involved, but also whether dancers, actors and singers are placed in classes based on skill. Consider the prospect of studying in dance classes alongside peers who have far less dance experience. It’s not always a drawback: Briggs says she benefited from being in dance classes with singers and actors. “It taught me about being a team player,” she says. “In an ensemble, you’ll have members with different levels and skills.” Also, remember that theater dance is about more than technique. You must learn to move in a way that tells a story.

For more of a challenge, think about a double major, or a major in musical theater and a minor in dance (or vice versa). Ask about enrolling in an advanced class with the dance majors or taking open classes off-campus. At some schools, you may even be able to perform in dance concerts as well as musical theater productions.

The opportunity to shape his own course of study attracted­ Tommy Gedrich to Muhlenberg College in Allentown, Pennsylvania. At Muhlenberg, Gedrich double-majored in theater (with an acting concentration) and dance (with concentrations in performance and choreography); Gedrich later added courses in women’s and gender studies. “I did look at going the conservatory route,” they say, “but in the end, I wanted to focus on each discipline without having to sacrifice one or the other.”

How Much Singing and Acting Experience Is Required?

“If you want to get into a top musical theater program, you have to be able to sing,” says Lyn Cramer, a professor of dance at the University of Oklahoma’s Weitzenhoffer School of Musical Theatre. This doesn’t mean you must already be highly trained, however. “Can you carry a tune? Do you have a nice quality?” Cramer asks. “There has to be potential.”

OU’s BFA in Musical Theatre Performance program is small by design, with only 50 majors at a time. Other programs are much larger—but that doesn’t necessarily mean they’re less selective. Mader recommends booking a few sessions with a vocal coach before the audition. “They can help you pick songs, set the tempo, cut and mark your material—all things that will make your audition go more smoothly,” she says. Plus, “dancers are notoriously terrible at breathing. Getting some exercises and experience with that is vital.”

As for acting, again, the audition requires applicants to demonstrate potential. “When someone comes to us, they might not be the strongest storyteller…yet,” says Emily Clark, an assistant professor at MMC. “But if we ask why they made a choice, can they explain it? If we ask them to make an adjustment, can they take the note? It matters that a student is willing to learn and grow.”

Are Graduates Working in the Field?

“I believe that musical theater majors work more quickly and climb the ladder faster” than dance majors, Cramer says. “At graduation, our students are ready to get out there and hustle. It’s not all Broadway, or even regional theater, but they work.”
One reason for the jumpstart? “A musical theater degree makes you versatile,” says Mader. “You can dance in the chorus or get supporting or even leading roles. You can do print work, modeling, film and TV, voiceover, choreography and, of course, teaching. You can speak with poise in interviews. Theater makes you a better performer and a better communicator.”

Briggs is an example of someone who hit the ground running. While finishing the academic portion of her BFA at The New School (the AMDA NYC musical theater program where she started is a two-year certificate), Briggs did regional theater and danced in Radio City’s Christmas Spectacular, before making her Broadway debut in CATS. Gedrich, currently on the national tour of Moulin Rouge!, has also been working since graduating from Muhlenberg in 2021. Other recent credits include performing in The REV Theatre Company’s production of Rodgers & Hammerstein’s State Fair, in The Kennedy Center’s production of Guys and Dolls, and for NBC at Radio City Music Hall. They also walked in New York Fashion Week in a show that cast dancers.

In some cases, students land their first gigs as undergrads. Although MMC students must receive permission to audition and then discuss their educational paths with faculty, Clark notes one student who went on tour with Mean Girls after their sophomore year, and another who is completing his degree while on tour with The Book of Mormon. “We encourage students to audition while they’re with us,” Clark says. “We want to support them in school and as they become professionals.”

What Else Do You Want From College?

Do you want to be in a bustling city or in a more traditional college environment? Do you want to pursue an academic major in addition to musical theater? Do you play sports or participate in other extracurriculars? As you look at degree programs and their dance offerings, don’t forget to factor in other aspects of college life that will affect your time on campus.

And don’t fret if you don’t get into the most prestigious program—or if you visit your dream school and it feels like a poor fit. “In high school, I thought the only way to pursue musical theater was to actually get a degree that says ‘musical theater’ on it, and that’s really not the case,” Gedrich says. “In auditions, they’re not looking at your diploma. They’re looking at your skills.” Choose a program that will enhance your talents and broaden your horizons, and you’ll be on your way.

The post Training Triple Threats: What Dancers Need to Know About Studying Musical Theater in College appeared first on Dance Magazine.

We caught up with three alumni to hear about their postgrad roles at AMDA, their growing list of professional credits and how the school helped prepare them for success.

Riley Groot

Graduate of AMDA’s Dance Theatre Conservatory Program, Spring 2015

Industry credits: Riley Groot has been booked and busy since graduating from AMDA’s Dance Theatre Conservatory Program. Her postgrad performance credits include “American Horror Story,” the Billboard Music Awards, J Balvin’s Live Album Concert, iHeart Radio’s “Can’t Cancel Pride,” the 64th Annual Grammy Awards, CNN’s New Year’s Eve Special 2021, the 2022 MTV Video Music Awards, and the feature films Heartbeats and Summertime. She is currently dancing in her fourth Las Vegas residency, Katy Perry’s PLAY.

Notable gig: In 2019, Groot traveled to Taiwan to dance in Jolin Tsai’s 2020 Ugly Beauty World Tour. “All around, that job was everything you could ask for. And as soon as we started rehearsals, I knew that my AMDA training had prepared me well for that moment,” she says.

The schedule was intense, but she was prepared. “We were in rehearsal six days a week, eight hours a day, for two months before the tour had even started. It was super-challenging and intense, but it was very similar to the AMDA atmosphere,” says Groot. “I also loved that job because of the cast of dancers. We became like a quick family—not much different than what happens at AMDA.”

Back at AMDA: Groot is now on faculty at AMDA’s Los Angeles campus, teaching jazz classes to dance majors. She went through the program herself, so she understands the impact that teachers have on their students. “I know that the role and influence a teacher has on the development of a young artist is so, so sacred. To be able to motivate, support and mentor these students to reach their full potential is something that I take seriously and hold in the highest regard.”

In class, she shares her industry experience, covering topics like auditions and agents, even giving her students examples of job scenarios that they might encounter and how to respond. “My goal is not only to help them become better dancers, but to relay everything that I’ve learned since I graduated and help prepare them as best as I can as they take their first steps out into the industry.”

Jamal Wade

Graduate of AMDA’s Dance Theatre BFA Program, Spring 2016

Industry credits: Performer, choreographer and director Jamal Wade has gathered numerous credits since graduating from AMDA’s Dance Theatre BFA Program. He’s performed in music videos for artists including Beyoncé, P!nk and Ingrid Michaelson, and appeared in various commercial and print spots for companies like Toyota, Sprite, Adidas and Google. As a choreographer, he’s worked with artists including Josh Dean, Ari Lennox and Ambre and has directed music videos for Lady London, Willie Jones and Tinashe.

Notable gig: Recently, Wade directed Gryffin and Tinashe’s music video for “Scandalous” and brought in some familiar faces, hiring one of his teachers from AMDA, DJ Smart, as the choreographer. “On top of that, I got to hire one of the students that I worked with back when I was a camp counselor for AMDA’s high school summer program after she graduated from AMDA’s college program,” he says. Along with working with fellow AMDA colleagues, the project was extra-special for Wade, as it incorporated his first love: ballet. “Tinashe wanted to incorporate pointe into the music video, and getting to work with so many talented ballerinas was so cool.”

The AMDA advantage: Wade credits his readiness for the ever-changing dance industry to his time at AMDA: “My experience at AMDA prepared me to direct by throwing me into all kinds of things that I never thought I would be doing. I had to sing, I had to act, and I had to write for my screenwriting class,” he says. “We also had a Dance for Camera class where I had the chance to direct a few of my friends’ pieces.”

Wade also loved his Industry and Networking class, taught by Tara Nicole Hughes. The class covered everything from resumés and headshots to learning about unions and agencies. Walking out of that class, in conjunction with all of the other classes like senior-year audition technique, senior showcase, I felt so prepared for pretty much anything,” he says.

The next generation: When he’s not in rehearsals for a project or auditioning for his next gig, Wade works as part of AMDA’s traveling team as an admissions representative, talking to prospective students and their parents about his college experience and his transition into the industry. “Our love for the craft and the art shows in all the representatives, faculty and staff,” Wade reflects. “And I think that’s what attracts prospective students and makes them want to go to AMDA even more.”

Cassidy Ratliff

Graduate of AMDA’s Dance Theatre BFA Program, Summer 2018

Industry credits: “When I graduated from AMDA, I had the best foundation for the industry that I possibly could,” says choreographer and dancer Cassidy Ratliff. Over the last few years, she’s performed with FINNEAS, Sam Fischer, Arkansas Symphony Orchestra and Meghan Trainor, and has made TV appearances on “The Tonight Show Starring Jimmy Fallon,” “The Late Late Show with James Corden,” and NBC’s “Rockefeller Center Christmas Tree Lighting,” just to name a few. Her choreographer and assistant choreographer credits include MTV’s “Becoming a Popstar” finale, NBC’s “The Good Place,” AIDA: The Musical at AMDA L.A., and work with Lil Baby, Ava Max and Kendrick Lamar.

Notable gig: Out of all her performing credits, she says that the 2022 Super Bowl Halftime Show featuring Dr. Dre, Snoop Dogg, Eminem, Mary J. Blige, Kendrick Lamar and 50 Cent was, “hands-down,” her favorite. “It was in L.A. The Rams won. There were six iconic artists, and we were right there immersed with all of them,” says Ratliff. “The artists were with us throughout production rehearsals, all the way onto the stage. And it was like a family mentality, they were wanting to be great with us, and we wanted to elevate towards what they were doing.”

For TV and music video jobs, she says that AMDA’s Dance for Camera class was extremely helpful. “Having those classes to hone in on what it’s like on a live stage versus on camera was a huge deal for me because a lot of my huge goals are in the camera and TV and film world.”

Back at AMDA: In between appearing in music videos with Meghan Trainor, working as an assistant choreographer for artists like Kendrick Lamar, and teaching classes at Millennium Dance Complex, Ratliff choreographs and substitute-teaches classes at AMDA Los Angeles. Being back in those studios reminds her of how much she’s grown since her first day at AMDA. “Now being an alum, I have tools that I can give these students that they don’t see yet,” says Ratliff, mentioning that her goal is to make them feel more at ease as they work through the demanding curriculum. “Mentally it’s tough. And as a dancer, physically, it’s tough.”

Thanks to its recent accreditation with the Western Association of Schools and Colleges, AMDA is now poised to prepare more students to thrive in the dance industry. In addition to AMDA’s longtime membership with the National Association of Schools of Theatre, since 1984, this new accreditation makes it even easier for transfer students to enroll, and AMDA credits are now accepted by a larger range of schools, strengthening its place in the larger arts education community.

To learn more about AMDA Los Angeles’ Dance Theatre programs and to see upcoming audition dates, check out its website.

The post Meet 3 Industry Insiders—and They’re All AMDA Grads appeared first on Dance Magazine.

This concept is the throughline of the curriculum at American Musical and Dramatic Academy, where dance students spend all four years honing their audition skills.

“You’re always auditioning,” says Santana Trujillo, AMDA’s dance outreach manager and a graduate of its BFA program. On campus in Los Angeles and New York City, students have access to dozens of audition opportunities every semester.

For advice on how dancers can put their best foot forward at professional auditions, Dance Magazine recently spoke with Trujillo, as well as AMDA faculty members Michelle Elkin and Genevieve Carson. Catch the whole conversation below, and read on for highlights.

1. Do Your Research

Every audition, no matter the style, should start with research. Elkin, who works professionally as a choreographer and a dancer for film, television and theater, tells her students to focus on the big picture. Ask yourself: “What character am I auditioning for?” Once you’ve found your storyline, look behind the scenes: Who is choreographing? What kind of artists have they hired before, and what will you highlight in yourself to show them you’re up to the task?

Carson, who served as artistic director of the Los Angeles Contemporary Dance Company from 2016–20, says the preparation looks similar even if you’re working in concert dance. “The only way you’re going to understand the ethos of the company you’re auditioning for is by putting in the time,” she says. Just like you’d research the specific character of a commercial role, look at the artistic director’s bio. Study the movement vocabulary of the company you’re interested in and reflect on how you can demonstrate that you’re prepared to take on its rep.

​2. Know the Expectations

That said, there are still differences between commercial and concert auditions, so being familiar with each will help make the process less overwhelming. Television and film move faster than theater or concert auditions, says Elkin, “especially if you’re a union member,” because the panel may only have an hour to see people. Build your skills in learning choreography quickly, and be ready to dance at a moment’s notice. In theater, there’s “a little bit more time to see people dance longer, sing and read sides,” says Elkin. At AMDA, she teaches her students to be prepared for both situations: The more flexible you are, the more opportunities will come your way.

Auditioning for a concert-dance company will be a longer process, says Carson. “There’s a lot more than the technical prowess of a dancer that an artistic director looks for,” she says. When she directed the Los Angeles Contemporary Dance Company, Carson was drawn to auditionees who were versatile, open-minded and had a collaborative spirit. When you’re hoping to join a company, she says, you’ll want to demonstrate that you’re interested in the whole creative process—not just the final result. At AMDA, concepts like these are built into the curriculum: Carson leads classes that expose students to a range of different choreographers and working methods every semester.

​3. Use Technology to Your Benefit

Elkin, who has worked in the commercial-dance industry since childhood, continues to watch the ways that technology transforms the audition process, especially as we move through the pandemic. “A lot of the first initial calls are going through self-tapes,” she says. “The big pivot to being online created this wonderful experience to figure out how to shoot, how to be on camera, and how to slate and submit that information.”

Elkin thinks that most first-round auditions will continue to be online, even post-pandemic, but the change isn’t necessarily for the worse—dancers can save time and money by eliminating the need to travel and wait in long lines before they’re seen. Right now, she works to make sure her students at AMDA feel comfortable and confident presenting their best selves on camera.

4. Look Past the Binary

“There’s cross-pollination happening between the commercial and concert dance worlds,” says Carson. At AMDA, students are taught to “dive into each world without hesitation.” The result creates an environment where students are able to change or vary their career paths, leading to more artists who are increasingly open-minded in how they approach dance.

Trujillo, for example, started at AMDA wanting to be a Broadway-style singer, but the mentorship she found in the dance department guided her toward hip-hop and heels dancing instead. “I’m honored to be on faculty at AMDA because of the forward thinking that goes into the programs we create,” says Carson. “I feel like we’re constantly innovating.”

The post AMDA’s 4 Tips for Acing Your Next Audition appeared first on Dance Magazine.