Speed auditioning

Nick Len gets a job in record time.

I graduated from Patrick Studios Australia in 2012. My last audition was for the Broadway transfer of The King and I to the West End in London. This audition was a little different to most as there was a very quick turnaround time. Normally, auditions are spaced over a few weeks/months, but I received a call from my agent saying they were casting the entire show within one week!

My first round was a dance call where we learnt a few sections of the big ballet number, one straight after another. People were then cut and asked to come back to dance later in the day. They were so specific with what they wanted and there was no time for niceties – you either had it, or your didn’t.

We came back to dance a second time (joined with the others who were kept from other rounds) and had to do the same routines again straight-away. They did another cut and asked a few people to then sing their own song. I’m normally a nervous wreck when it comes to singing but I had worked with one of the music directors before – familiar faces on the panel will instantly make you feel more comfortable! I was then given material to learn from the show and went in one final time two days later. I then received a call from my agent the next day!

I do prefer these types of auditions as it doesn’t give you time to second guess yourself or overthink; sometimes you need to wait weeks for a response and I received mine not even one week from my first round.

Advice I would give is to really listen to the small details they give, and when it comes to freestyle be confident and smart (it’s not all about how many fouettés you can do…) and have at least one strong trick/tumble pass under your belt.

This article was published in the June/July 2018 of 'Dance Australia'.