Audition Perspective - From the Resident Choreographer
Brian Burke is the Resident Choreographer and Artistic Coordinator of the Celine Dion show "A New Day" in Las Vegas. His job is to maintain the integrity of the show and that means hiring only the crème de la crème. But what if it's an invitation-only audition and 81 awesome talents show up? The selection process then becomes a little more particular.
Brian began by compiling a list of top-notch agents in New York, Los Angeles and Canada and then adding a few recommendations from current cast members. The agents responded by sending only their most accomplished dancers. Brian knew the audition would be full of stellar talent and that he needed to establish criteria to help whittle the field. He said, "I look for a seasoned, technically-trained, athletic performer. I really look for people who are the most versatile...who are very clean. People don't have to be perfect. We just want to see if they're workable. We look for a spark."
It's no problem recognizing that spark because Brian has successfully created a few sparks of his own. He choreographed for the 2002 Winter Olympics Games, Penn and Teller's "Sin City Spectacular" and the "Jay Leno Show." He performed in over 60 industrials worldwide and on Broadway in Elton John's and Tim Rice's "Aida." He toured with "Fame" and "Victor/Victoria" and has been a part of "Tap Dogs," "Inappropriate," "Steel City," "A New Brain" and the movie "Camp." His current gig as Resident Choreographer and Artistic Coordinator of Celine Dion's show evolved from his role as Mia Michaels's assistant during rehearsals for "A New Day."
Brian appreciates the spark but he also recognizes the tension propagated in a competitive environment. It can sap the creativity right out of a good dancer if it's not controlled. So Brian, rather than sit and stare critically at the men, got up from time to time and participated in the combination, offering valuable suggestions to anyone who happened to be working nearby. "There are too many people to give individual feedback so we try to work with them while we're teaching the combo."
However, when the seriousness persisted, he said, "In a minute, can we just drop the intensity in the room? Just pretend like we're in class. You can clap for people. Have fun." Although it's difficult to get 81 men to have fun when they feel like their future is on the line, Brian persisted. He wanted each dancer to feel as comfortable as possible because he knew that many had traveled long distances to participate. He didn't want anyone to leave feeling like they hadn't gotten a fair shot, as if they had been invisible.
By the time they reached the callbacks, most had loosened up and were not trying so hard to impress. That's when their true personalities emerged and Brian had a chance to assess character as well as technique. "It's important to work in the style of the choreography but we also want personality."
Technique is necessary, for sure, but it's not the sole basis for hiring a dancer and Brian said he wished more dancers understood that the choreographer wants the dancer to do well. "We want people to be good. I never understood the scary thing because we need them in the show."
So that's how he came to notice a tall 19-year-old named Matt Dorame, quietly trying to stand up straight and "think older thoughts" in an effort to look seasoned. But in the end, it wasn't a matter of looking seasoned. It was Matt's talent that put him on the short list of candidates. Brian said, "I called several dancers that we liked to discuss their availability. After talking with them, I made calls to associates of mine who have worked with them in the past to find out about their professionalism, attitude, work ethic, etcetera." And, he added, "Matt Dorame was one of our top choices for sure. The replacement we were considering him for was a tall dancer who was a good partner for our tall women. Matt also has a very unique look for the stage that would compliment the existing cast. Matt is not seasoned with his performing, but I saw his potential to be molded into our show. His lack of performing experience worked for him in this particular case."
"The three new dancers we chose are very young but are extremely versatile and excellent performers. No matter what the outcome, it is very important for every dancer to have a great audition experience." Likewise, it is very important for them to know that the choreographer is on their side, rooting for them to do well, hoping to see equal parts technique and spark.