It’s that time of year again: dance students and parents continually checking mailboxes waiting for audition results, wondering whether their future is about to dramatically change, and daring to imagine a life fulfilling tangible dancing dreams.
Dancers currently on the pathway or nostalgically recalling their journeys, come together to share their audition stories.
“I received an email a couple of weeks ago to say that I was through to the semi-finals. I felt so proud, and it showed progress from my audition last year,” said Grace Linehan, age 13, on auditioning for Year 10 entry at The Royal Ballet School. The semi-final round is done via a submitted video. “I prefer in-person auditions, but I just like auditions for experience and to help me progress and learn about audition processes because that is what I want to do for my life. I’m looking forward to filming developées most for the semi-final.”
Auditions, though potentially nerve-wracking not least because of their life-changing potential, are also important development experiences for learning.
Here, Dance Informa speaks with many dancers about their audition experiences.
Lara Prenzlin, 17, currently training at Bede’s Legat Dance Academy is auditioning for BA Hons courses in Musical Theatre and Dance for September 2025 entry. “It can be a very stressful process, there are a lot of forms to be completed, audition fees to be paid, and for some schools, audition tapes as well. Hopefully it will all be worth it!”
Dan, 18, is in their final year at The BRIT School and has been accepted to train at Northern School of Contemporary Dance. “[The audition] was very relaxed with all auditionees being in the same class. We had to pre-learn the technical exercises as well as perform some unseen ones on the day. This was followed by a creative session and a discussion, and I received an email to let me know I was successful.”
Eve Lewis, 20, is currently in her third and final year at Ballet Theatre UK (BTUK).
Can you tell us about your auditions?
Lewis
“I auditioned for four different schools, filled with excitement with the idea of dancing every day. My auditions varied quite a bit. One didn’t go as well as I’d hoped; I didn’t feel like I fitted in, and it made me question whether fulltime training was for me. Thankfully, I kept auditioning and when I walked into my audition for BTUK, something just clicked. I could see myself there. The audition itself involved a ballet class, including pointe work, followed by a contemporary class and an interview. What stood out was the sense of care during the audition. The teacher gave corrections mid-class, showing that they were already invested in helping me improve. It made me feel supported and reassured me that I was in the right place for me. It’s a reminder that while you might have your heart set on one school, the right one will find you. And sometimes an unsuccessful audition is a step towards finding a better fit.”
What did it feel like performing in front of an audition panel?
Lewis
“Honestly, a bit terrifying! The panel were always watching closely. I knew they wanted to see technique, lines and artistry, but they’re also looking for your joy in dancing. That thought helped ease my nerves and made the experience more enjoyable.”
Year 13 students Charlotte Seymour, Josie Pink and Sophia Baldacchino at The BRIT School had differing opinions about auditions.
Seymour
“It’s been a very stressful time, but I felt a sense of achievement once I received a letter of acceptance. You have to show them you have the determination and mindset to use their three years of training to improve yourself.”
Pink
“I haven’t had any auditions yet, but I’m looking forward to them – the thrill and excitement it gives me is like no other! I’m feeling positive for what’s to come!”
Baldacchino
“Easy and stress-free, though performing in front of an audition panel can be nerve-wracking and make you question your skill.”
Suzanne Gielgud recalls her mother bringing her a letter from The Royal Ballet School to her in her bedroom in 1987.
Gielgud
“I was unable to open it for several minutes. I couldn’t bring myself to confront the possibility that it could be a ‘no’ again. When I finally opened it and saw that it was an acceptance, I was ecstatic. I can remember looking out of my bedroom window dazed, unable to comprehend that finally my dream had come true.
I had first auditioned for White Lodge aged 11, and again at 12, when I reached the finals but wasn’t offered a place. I was heartbroken. I tried again the following year and got down to the final three. They took the other two girls, but not me. Although absolutely devastated, I refused to give up hope. I successfully auditioned for and trained very hard at Bush Davies Performing Arts School for two years and then at 16, I auditioned for and was accepted into the Royal Ballet Upper School. The moral of the story is – never give up on what you believe is your rightful destiny!”
Vivien Scully, neé Benn, also remembers clearly the moment she discovered her life was to change forever.
Scully
“Auditioning for Italia Conti in the ’60s, I remember an individual audition in front of a panel of three. I had prepared pieces of ballet, modern, an acting piece and a song. I remember I couldn’t believe I had been accepted! When it came to applying for the Royal Ballet Upper School, entry was done by sending in photos and a letter. I still have some great correspondence between my mum and the school secretary. The audition was a class with others who were applying. I was called back for a final audition, but I was ill and unable to attend. So they invited me to join a Royal Ballet School class when I was better, and from there I was accepted onto the upper school course in 1967!”
Hannah Millen, 18, is Dance Captain at Bede’s Legat Dance Academy. She’s auditioning for Musical Theatre and Dance BA Hons courses. To date, she has received an audition result by post but expects more to arrive via email.
Can you describe your audition experiences?
Millen
“All my auditions have been so different; each place wants to see different dance styles, songs and monologues from different time periods. Nerves play a huge part, and you never know what will happen on the day! In class, if you don’t do your best, your teachers have seen you dance to your full potential, whereas an audition panel only see you for five minutes and there are no second chances if you feel you haven’t done your best.”
Daniela Guillen-Hall stepped into fulltime training when she auditioned age 11, for Year 7 entry at Elmhurst Ballet School.
Guillen-Hall
“I remember feeling incredibly nervous the night before, and I had everything laid out ready for the next day. Waiting with the other girls was intimidating, as there was an element of competitiveness and dancing in front of the panel of four people where we were just a number gave me a drive to prove myself. I knew I had to stand out to make them see me as part of their next Year 7 class. My adrenalin levels were so high I can’t really remember the audition class! But when the big letter came through the door saying I’d been accepted, it was a feeling so big and incomprehensible that I just cried!”
Charlie, 17, auditioning for Urdang, Trinity Laban, Laine Theatre Arts, Chichester University and Millenium College, also felt a drive to prove themselves. “You try to push yourself more and more, hoping you have done enough, because everyone is hungry, or hungrier than you, and you can’t let your guard down.”
Guillen-Hall
“Overall, I enjoyed every second of the audition process, and it’s taught me how to handle other stressful situations in life that I’ve come across!”
Following the wealth of audition advice available, including arriving early, knowing your material, being confident, flexible and friendly, warming up properly and listening to and following instructions, may or may not result in a successful audition. But it’s worth remembering that these skills and experiences prepare dancers for a successful launch into whichever area of life, industry or business they progress to on their travels through life. Bon voyage!
By Louise Ryrie of Dance Informa.
