In that case, you might be a little less likely to get in if they’re on the fence about you. The time numbers might come into play is during the last few auditions of the tour, if programs review how many students they’ve accepted and realize that they’re overextending the school’s resources. Adjudicators have specific ideas of what they’re looking for (such as alignment, personality and potential), regardless of the overall technical level in the room, and they base decisions on those standards rather than simply choosing the top 12. But most don’t accept a set number of dancers from each location, simply because the talent pool varies greatly from city to city or even from year to year. Dancers without provided housing typically rent nearby apartments.)ĭuring audition tours, schools visit upwards of 25 cities. “If we say they’re accepted into the program, they need to ask specifically, ‘Does that include the dormitory?’ ” says Spassoff. Some schools can’t offer housing to everyone. If we need to get a new class or a new teacher, we will.” (That said, numbers play a big role when it comes to scholarships and housing. “We don’t want to turn down somebody that we truly feel is a good fit. “Our school is expandable to some degree,” she says. Stephanie Wolf Spassoff, director of The Rock School, agrees. “We really don’t have a quota,” says Denise Bolstad, administrative director at the Pacific Northwest Ballet School. Getting that acceptance letter is more about whether the adjudicators see you as an ideal fit in the school. But how much do numbers play into your chances of being accepted to an intensive? Very little, if at all, say most school directors. To a degree, accepting students is about numbers-after all, summer programs can only accommodate so many while keeping classes small. If you’ve ever wondered how the admissions process works, the answers may surprise you.įranco De Vita and Lauren Bonfiglio in class at ABT’s summer intensive But there’s more to the equation-those things you can’t control, like acceptance deadlines, class sizes and limited housing. When it comes to getting into your dream program, we know that schools look for stellar technique, artistry and dancers who will fit in well. “This allowed me to focus on my remaining auditions and make a solid decision,” she says. For Lapointe, the answer was to contact the first school to ask for a deadline extension, which it granted. “Do I turn down this offer, or risk being wait-listed or not receiving another acceptance somewhere else?”
“I thought, What should I do?” says Lapointe. But she needed to give her answer in seven days and still had four more auditions on her agenda. By mid-January, she’d been accepted to a great school. When 17-year-old Rock School student Sarah Lapointe was auditioning for summer intensives, she faced a dilemma. This story originally appeared in the December 2014/January 2015 issue of
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