Ballet Help Desk

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk American Reportory Ballet Artistic Director Samantha Dunster and Executive Director Julie Diana Hench join us for a conversation that gets refreshingly honest about the post-graduate pipeline, the job market, and what it means to truly prepare dancers for professional life.  We dig into the structure of Princeton Ballet School from youngest students through the trainee program, how the school and company function as a single organization, and what actionable feedback actually looks like in practice. We also get into ARB2, the tricky math of a large trainee cohort and a tight job market, and a genuinely moving conversation about hunger, artistry, and what it means to inspire an audience. Links: Summer Intensive Essentials Guide Buy Summer Corrections Journals Read Our Ballet School Summer & Year-Round Reviews Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok: @BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI    

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk The corrections never stop. The casting is always uncertain. And somewhere along the way, many dancers learn to keep all of it behind a smile, because showing weakness feels like handing someone a reason to replace you. Josh Spell, Kari Brunson Wright, and Rachel Coates have all been in that studio. As former professional dancers (Josh and Kari at Pacific Northwest Ballet, Rachel at Kansas City Ballet), they understand this from the inside. Now, as licensed therapists and coaches, they've built the ILUMN Collective, an app and platform designed to give dancers the kind of mental and emotional tools to help navigate the often stressful times that inevatably arise during ballet training. In this conversation, the three founders get specific about what's actually happening in the minds of pre-professional dancers: the perfectionism that hardens into an inner critic, the body image challenges that develop quietly, the disembodiment that can take years (sometimes decades) to recognize and reverse. They talk about why gratitude culture in ballet can become a mechanism of control, what it looks like when a wellness program is real versus when it's just a sign on a door, and why giving dancers mental health tools without also educating teachers and directors is a little like handing someone a TheraBand and calling it physical therapy. For parents, there's a lot here too. How do you talk to a kid who's been trained not to show struggle? What's your role when the school has the authority and you're just the ride home? And what does it actually mean to be part of the care team, not just a spectator? Intrested in trying the ILUMN Collective's app? Check out our Summer Intensive Essentials Guide for an exclusive discoount. Links: Summer Intensive Essentials Guide Buy Summer Corrections Journals Read Our Ballet School Summer & Year-Round Reviews Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok: @BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk Every ballet company's tax return is public record. Most dancers have never seen one. Liza Yntema, founder of the Dance Data Project, and Griff Braun, National Organizing Director at the American Guild of Musical Artists, walk us through what the numbers reveal. We start with the 990, how to read it, and what a company's revenue structure tells you about its priorities. From there we get into the funding landscape, leadership compensation, and why the gap between what artistic directors make and what dancers make is worth paying attention to. On the contract side, Griff breaks down what's in a collective bargaining agreement, what dancers should look for when they sign, and what generations of dancers have fought to put in those documents. We also get into the one-year contract cycle, the psychological weight it puts on dancers, and how the U.S. compares to countries that fund their arts institutions in a meaningful way. We also address the pay-to-play question directly: the trainee model, sponsored dancers, and the financial barriers that quietly shape who gets to have a professional ballet career. Plus: board governance, leadership training, and what would need to change for ballet companies to function differently. Links: Summer Intensive Essentials Guide Buy Summer Corrections Journals Read Our Ballet School Summer & Year-Round Reviews Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok: @BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI  

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk What does ballet training look like when it's housed inside a 100-year-old university, with the Semperoper Ballet as your next-door neighbor? We sat down with Rector Prof. Katharina Christl and Vice-Rector Prof. Juliana Sabino Wilhelm of Palucca University of Dance in Dresden, Germany, for a close look at one of Europe's most distinctive training models. Students can enter as young as 10, earn a bachelor's degree by 18, and perform side-by-side with professional dancers at Semperoper Ballet while still enrolled. We covered how ballet training works in Germany versus the U.S., what the BA program looks like day-to-day, how Palucca approaches student wellness and injury prevention, and what the European job market really looks like right now. Plus the audition process, what international students need to know before applying, and the one thing both professors want every ballet parent to hear. Links: Summer Intensive Essentials Guide Buy Summer Corrections Journals Read Our Ballet School Summer & Year-Round Reviews Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok: @BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI  

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk What happens when a dancer who traded pre-professional ballet training at the John Cranko School and the Joffrey Ballet Studio Company for a Harvard degree? Or when a dancer who received offers from the training programs at Joffrey, Colorado Ballet, and Philadelphia Ballet decides that college was always the plan? We sat down with Clara Thiele and Melinda Wang, co-directors of the Harvard Ballet Company, to explore one very compelling way to keep ballet in your life without a professional contract and the decisions that brought them to Cambridge and what they found when they got there. We talk about the moment Clara knew she was done auditioning, the very real grief of walking away from something you've built your identity around, and why Melinda is still grappling with the what-ifs even as a junior. We also dig into what the Harvard Ballet Company actually is: a 60-to-80-person, audition-based, collegiate ballet company that brings in choreographers from NYCB and SF Ballet, performs on a 500-seat stage, stages Balanchine repertoire, and somehow manages to keep ballet feeling joyful again. We also discuss the Ivy Ballet Exchange and the Beyond the Barre mentorship initiative. Links: Summer Intensive Essentials Guide Buy Summer Corrections Journals Read Our Ballet School Summer & Year-Round Reviews Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok: @BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI  

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk Jason Beechey has spent his career shaping pre-professional ballet training. After 18 years as rector of Palucca University of Dance in Dresden, he now serves as Director of Zurich Dance Academy and Head of Dance at the Zurich University of the Arts. He walks us through how Zurich Dance Academy actually works: the rotating teacher model, the health team, and how mental resilience, nutrition, and career management are woven directly into the curriculum as graded work, not afterthoughts. He also talks honestly about what happens after graduation, and how the school is helping students reframe auditions, develop self-awareness, and think beyond the same five companies everyone else is chasing. The conversation also touches on the cultural shifts reshaping the profession, and what ballet parents should know about sending a child to train at a European ballet conservatory. Links: Summer Intensive Essentials Guide Buy Summer Corrections Journals Read Our Ballet School Summer & Year-Round Reviews Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok: @BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI  

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk What happens when a dancer skips the postgrad route entirely and still lands a professional contract? Paityn Lauzon, now in her fourth season as a company artist with Nevada Ballet Theatre, did exactly that. She grew up at a small competition studio in Arizona, turned down a spot at Joffrey New York at 14, and later chose Indiana University so she could study astrophysics alongside ballet. She dropped out during COVID, moved back home to Arizona, and used the year to fall back in love with ballet before returning to finish her degree. In this conversation, Paityn gets brutally honest about audition season (she emailed 50 companies), the mental toll of never hearing back, what a $350-a-week apprentice contract actually looks like, and why she holds four or five jobs simultaneously to make it work. She also talks about the surprising calm of professional company life, what it was like to sit at the AGMA negotiating table, and why she thinks the transition from "fix your technique" to "just be an artist" catches so many young dancers off guard. Links: Summer Intensive Essentials Guide Buy Summer Corrections Journals Read Our Ballet School Summer & Year-Round Reviews Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok: @BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk Timothee Chalamet said no one cares about ballet anymore. Fran Veyette disagrees. He's back on #NoThirds, and this episode goes deep into one of the most debated questions in the ballet world right now: are the classical, full-length ballets still relevant? Swan Lake. Giselle. Sleeping Beauty. Romeo and Juliet. These are the stories that have filled theaters for over a century. But in a world where audiences have shorter attention spans and higher expectations, do they still have something to say? Fran, a former principal dancer, choreographer, and rehearsal director who has actually danced these roles, makes a passionate and detailed case for why these ballets are not just beautiful spectacles but stories with real symbolic depth. Giselle is not a ghost story. It is about forgiveness and redemption. Sleeping Beauty is not about a princess being rescued. It is about the danger of naivete and what it means to wake up to the world. Romeo and Juliet is not a love story. It is a story about the consequences of your actions. Swan Lake is not just about swans. It is about captivity, tyranny, and the power of choosing your own path. Fran has built backstories for these characters, wrestled with their motivations on stage, and performed them in front of thousands of people. The way he talks about them may make you see these ballets differently the next time you sit in a theater. We also dig into the bigger industry debate around classical ballet programming, new works, ticket sales, and what audiences actually want. Not everyone agrees, and this conversation does not pretend otherwise. These stories can be timeless in their symbolism and still feel out of step to a contemporary audience. Both things can be true. Fran's take is but one point of view, and we know there are lots of opinions out there. That is exactly what makes this conversation worth having. We would love to hear where you land on this. Find us on Instagram, Facebook, and TikTok at Ballet Help Desk, or leave us a review wherever you listen to podcasts. Links: Summer Intensive Essentials Guide Buy Summer Corrections Journals Read Our Ballet School Summer & Year-Round Reviews Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok: @BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI    

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk How long can your dancer stay home before it starts to matter? It's one of the most common questions ballet parents face, and one of the most consequential. Jen Sommers, Director of Houston Ballet Academy, joins us to talk through exactly that, along with everything else families need to understand about the road from pre-professional training to a professional dance career. Jen is refreshingly direct about how much a company-affiliated environment matters, and it goes well beyond technique. We talk about what dancers gain from being adjacent to a professional company every day, from learning to pick up repertoire quickly and navigate casting to understanding what it actually feels like to be a working company member before they ever sign a contract. Pas de deux training, performance volume, and learning to function as part of an ensemble are all pieces that are hard to replicate outside of that environment. She doesn't sugarcoat where the gaps tend to show up when dancers arrive later than they should have, and she gets honest about how often dancers coming from local or regional programs actually end up in HB2 and what that picture really looks like. We also get into how HBA is structured from its youngest students all the way through HB2, what short-term stays are and what they mean for families navigating the admissions process, and what the pipeline from Pro 2 to HB2 to company really looks like. Links: Summer Intensive Essentials Guide Buy Summer Corrections Journals Read Our Ballet School Summer & Year-Round Reviews Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok: @BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI  

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk Author, teacher, and former principal dancer Gavin Larsen has spent her post-performance life doing something she loves just as much as dancing: drawing stories out of other people. Her new book, Infinite Steps: 33 Dancers and Their Lives in Ballet, grew out of a collaboration with longtime ABT staff photographer Gene Schiavone, who wanted the dancers behind his archive of images to be truly known, not just catalogued. In this conversation, Gavin sits down with us to talk about what surprised her while interviewing 33 dancers across generations and companies, why she thinks the Plan B conversation puts unfair pressure on students, and what she believes is the real cost of a ballet career that doesn't get talked about nearly enough. Hint: it's not the blisters. She also shares her take on the job market then versus now, what parents consistently get wrong, and why she finds it genuinely hopeful that kids keep walking into plain rooms, leaving their phones outside, and putting their ballet shoes on. Infinite Steps is available now wherever books are sold. Links: Read Our Ballet School Summer & Year-Round Reviews Buy Summer Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok: @BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI  

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk What does it really take to go from pre-professional student to professional ballet dancer? Charlotte Junge, a company member with Madison Ballet, shares the unfiltered version of her journey from competition dance roots in Houston to training at Boston Ballet School through the height of COVID, to landing her contract via an Instagram DM from Artistic Director Ja' Malik. But the conversation doesn't stop at the audition story. Charlotte gets refreshingly honest about the financial realities of dancing at a smaller non-union company, the side jobs it takes to make rent, and the performance anxiety that caught her completely off guard once she turned professional. She also talks about how becoming a certified Pilates instructor gave her a second career path, a deeper understanding of her own body, and something she didn't expect: a sense of identity outside the studio. Charlotte's story is a masterclass in resilience, self-awareness, and figuring it out one season at a time. Links: Read Our Ballet School Summer & Year-Round Reviews Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok: @BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk Madison Ballet's Ja'Malik didn't arrive to tinker around the edges. He came to change things, and four years in, it's working. He shares a journey that started with Michael Jackson's Thriller in his front yard and led him through the Joffrey Ballet School, the Ailey school, and North Carolina Dance Theater before landing him in the director's chair in Wisconsin. He talks about what it was like to grow up in ballet without seeing anyone who looked like him on stage, what finally changed that, and why he's determined to make sure the next generation doesn't have the same experience. We also dig into the harder stuff: the culture of fear in the studio, what it means to actually lead with mental health in mind rather than just put it on a poster, the very real challenge of getting boys through the door, and why ballet companies cannot survive on the same loyal audience forever. Oh, and he's also running the school, the marketing, and the development. The man does not sleep. Links: Read Our Ballet School Summer & Year-Round Reviews Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok: @BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI    

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk In the final episode of our four-part bullying series, we're joined again by Kelsey Fyffe, a therapist who works with pre-professional dancers, and Suzette Takei, a veteran academic school administrator and educator, as we get into the messy stuff. Lobby politics, ballet parents behaving badly, peer conflict between students, nepotism at the dance studio, and yes, that one kid who thinks the entire barre belongs to her. We also tackle some bigger questions: how do you know when a ballet training environment has turned toxic? What do you do when your dancer is being bullied by a classmate, a teacher's pet, or even another parent? And what does any of this have to do with your own stress and mental health? The conversation we didn't expect to have and couldn't stop having was about you, the ballet parent, and the stress that quietly leaks onto everyone around you without you even realizing it. If you're new here, start with Parts 1 through 3 first as this series builds on itself. Links: Read Our Ballet School Summer & Year-Round Reviews Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok: @BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI  

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk What does it actually feel like to train at the Vaganova Academy, the school that produced some of the greatest dancers in history, and then go on to perform at one of Russia's most storied companies? Elena Kunikova has lived that story, and she's generous enough to share it. In this episode, we talk about what serious Vaganova method training actually looks like from the inside, why character dance matters more than most ballet training programs realize, and how the pandemic turned her into one of the most sought-after online ballet coaches working today. We also get into the questions ballet parents of pre-professional dancers tend to lose sleep over: when to start thinking about a professional path, whether early specialization in one style helps or hurts, and what it actually means to teach a student how to work. Elena has been in ballet for, as she puts it, about 300 years. She has the stories to prove it. Interested in working with Elena? Learn more here. Links: Read Our Ballet School Summer & Year-Round Reviews Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok: @BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI  

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk In part three of our bullying series, we tackle some of the toughest conversations ballet parents face: what to do when teachers make harmful comments about weight, body image, or use abusive language in class. Psychotherapist Kelsey Fyffe and educator Suzette Takei give parents the exact roadmap for addressing these issues at ballet schools and pre-professional programs. Kelsey, who specializes in eating disorders and works with Houston Ballet Academy, explains why pre-professional students should never be put on diets, what questions to ask about a studio's approach to body image, and how to tell the difference between giving corrections and promoting disordered eating. She shares specific language for approaching ballet teachers and administrators, starting with curiosity instead of accusations. We dig into the real fears ballet parents have about speaking up. Will your kid get blackballed from summer intensives or trainee programs? How do you know when to stay and when to run? Suzette and Kelsey walk through scenarios and discuss cultural and generational differences that can complicate conversations with non-native English speaking faculty. The episode covers handling abusive language from ballet instructors, including when teachers single out students in class. We talk about how bystander parents can step in even when it's not their kid being targeted, how to teach young dancers to set boundaries around body comments, and why building supportive lobby culture matters. Suzette and Kelsey also address why anxious, perfectionistic ballet students struggle to speak up and how therapy can help dancers build their mental toolkit before problems escalate. If you've ever felt paralyzed about confronting a problem at your ballet studio or pre-professional program, this episode gives you the questions to ask and the confidence to advocate for your child's physical and mental health. Links: Read Our Ballet School Summer & Year-Round Reviews Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok: @BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI  

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk We sit down with Michelle Martin, Associate Artistic Director of Ballet Austin, for a refreshingly honest conversation about their complete training pipeline: the tuition-free Butler Fellowship program, Ballet Austin TWO, and the path into the main company. Michelle doesn't sugarcoat anything. She talks about why Ballet Austin kept their academy as an after-school program instead of going the full-time route, how the rise of post-grad programs has changed the industry, and what families need to know when they're researching trainee programs. Spoiler: not all programs are created equal, and some are designed more as revenue drivers than genuine training opportunities. This interview gets into the practical stuff parents want to know. Do dancers really need full-time day programs in high school? What's the actual difference between Butler Fellows (focused on training) and Ballet Austin TWO (focused on performance)? How many dancers move up through each level, and where do they go if they don't? Michelle shares the numbers and the reality behind them. We also talk about things you don't usually hear artistic directors discuss openly: why they do phone interviews before auditions, what they're actually looking for when they cast, how to be a good understudy, and why normalizing different definitions of success matters. Plus, Michelle shares what Ballet Austin learned from a major Wallace Foundation grant about building audiences for contemporary work. Interested in auditioning for Ballet Austin? Ballet Austin recruits dancers for the Butler Fellowship Program through their online Company Audition portal and through our Summer Intensive Program.   Ballet Austin recruits dancers for Ballet Austin TWO through their online Company Audition portal. Links: Read Our Ballet School Summer & Year-Round Reviews: Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok: @BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZC

div]:bg-bg-000/50 [&_pre>div]:border-0.5 [&_pre>div]:border-border-400 [&_.ignore-pre-bg>div]:bg-transparent [&_.standard-markdown_:is(p,blockquote,h1,h2,h3,h4,h5,h6)]:pl-2 [&_.standard-markdown_:is(p,blockquote,ul,ol,h1,h2,h3,h4,h5,h6)]:pr-8 [&_.progressive-markdown_:is(p,blockquote,h1,h2,h3,h4,h5,h6)]:pl-2 [&_.progressive-markdown_:is(p,blockquote,ul,ol,h1,h2,h3,h4,h5,h6)]:pr-8"> _*]:min-w-0 gap-3 standard-markdown"> Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk LeeAnaca "Lee" Moore (Pacific Northwest Ballet) and Natalie Bowman (St. Louis Ballet) are the duo behind Tights Under, the popular social media account showcasing the realities of pre-professional and professional ballet life. In this episode, Lee and Natalie get candid about their journeys from training to landing their first professional contracts. They discuss the pivotal moments that shaped their careers, including their transformative (and humbling) experiences at PNB's Professional Division program — where pointe shoes at the barre at 8:30 AM became the new normal. The conversation covers the biggest adjustments from student to professional life, from navigating company class dynamics to finally having a "place" instead of constantly fighting for your spot. They're refreshingly honest about early career finances, the reality of needing parental support, and what it takes to make a dancer's salary work. Lee and Natalie also share the origin story of Tights Under — how boredom backstage during Swan Lake sparked what became a brand — and what it takes to maintain their content while dancing full-time. They offer practical advice for aspiring dancers interested in building their own social media presence, emphasizing authenticity over perfection. From memorable mentorship advice like "dance like you smell good" to their ballet Mount Rushmores, this conversation offers an honest look at what it really takes to go pro. Links: Read Our Ballet School Summer & Year-Round Reviews Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok: @BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI    

div]:bg-bg-000/50 [&_pre>div]:border-0.5 [&_pre>div]:border-border-400 [&_.ignore-pre-bg>div]:bg-transparent [&_.standard-markdown_:is(p,blockquote,h1,h2,h3,h4,h5,h6)]:pl-2 [&_.standard-markdown_:is(p,blockquote,ul,ol,h1,h2,h3,h4,h5,h6)]:pr-8 [&_.progressive-markdown_:is(p,blockquote,h1,h2,h3,h4,h5,h6)]:pl-2 [&_.progressive-markdown_:is(p,blockquote,ul,ol,h1,h2,h3,h4,h5,h6)]:pr-8"> _*]:min-w-0 gap-3 standard-markdown"> Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk Lynne Charles, Artistic Director of English National Ballet School, discusses the school's new Graduate Artist Programme (GAP), a postgraduate program that combines performing with English National Ballet and continued education. Unlike traditional programs where students serve as "free labor," GAP dancers perform with the company while continuing ballet, repertoire, strength training, and audition prep. Lynne shares how ENBS prepares students for professional life, from teaching them to research companies and understand the difference between repertory and choreographer companies, to building sustainable careers through community over competition. She also discusses creating the 4 Pointe method, a holistic approach to pointe work that's reduced injuries by 48% at BYU, and her stance against early competition culture and starting pointe before age 12. Lynne offers refreshingly direct advice on honest teaching, helping dancers showcase their strengths in auditions, and finding companies where they'll thrive. Plus: the school's robust health and wellbeing protocols, the "no phones in the studio" policy, why repertoire class builds community better than variations class, and why being in the corps de ballet is a rite of passage, not a punishment. KEY TOPICS: ENBS Graduate Artist Programme structure and opportunities Understanding different company cultures and contracts 4 Pointe method and injury prevention Audition strategies and company research Building community over competition Safeguarding and student wellbeing protocols LINKS: Read Our Ballet School Summer & Year-Round Reviews: Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok: @BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI            

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk Listeners asked, and Fran Veyette answers! We're bringing back this fan-favorite #NoThirds "Fran's Mailbag" episode, now combined into one extended conversation. Fran breaks down how casting really works, whether principals dance less, what happens when dancers date (and break up), the truth about dogs in the studio, how respect and awareness shape auditions, why community matters, and what young dancers should know about contracts and career readiness. We've combined Parts 1 and 2 into one LONG episode, so settle in for the full Fran experience. Interested in working with Fran at Veyette Virtual Ballet School? Check out our Back to Dance Guide for an exclusive discount. Links: Read Our Ballet School Summer & Year-Round Reviews: Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok: @BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI  

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk CiCi Houston-Sudholt, Rehearsal Director at Saint Louis Ballet, discusses the organization's unique approach to dance education that puts students at the center. From integrating all levels of training to tailoring performance opportunities based on individual goals, Saint Louis Ballet adapts to each dancer's needs and aspirations. In this conversation, CiCi explains the structure of the trainee program and how it prepares dancers for professional careers. We discuss what makes Saint Louis Ballet's second company unique: dancers are part of AGMA and receive full union protections, which sets this program apart from many other post-graduate options. CiCi also discusses how the school balances academics with intensive training, their evolving recruitment and audition processes, and what they look for in prospective students. We explore performance opportunities available to students, how the school encourages dancers to find their own balance between dance and other commitments, and the emphasis on communication and accountability throughout the training process. If you're trying to understand what post-graduate pathways look like or evaluating whether a student-centered training environment is right for your dancer, this conversation offers practical insight into how Saint Louis Ballet structures their programs. Links: Read Our Ballet School Summer & Year-Round Reviews Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok: @BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI  

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk We asked you to tell us what you love about the Ballet Help Desk Podcast, what needs to improve, and what topics you want us to cover. And you delivered honest, thoughtful, sometimes tough feedback. In this episode, we share what you told us: what's working (our honest questioning, insider information, and ballet parent perspective), what we're fixing immediately (audio quality, ad transitions, and tighter editing), and what topics you want more of (younger dancers, international training, and financial transparency). We're also introducing new formats like Q&A episodes and expanding our content for parents of younger dancers just starting the journey. This is a transparent conversation about what we're doing well, what we're changing, and what's coming next. Thank you to everyone who participated. This podcast exists because of you, and we're committed to making it better. Links: Read Our Ballet School Summer & Year-Round Reviews Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok: @BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI  

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk Jayda Hazelett didn't follow the traditional pre-professional boarding school path to a ballet company. The  Ballet Hartford corps member grew up in Fort Wayne, Indiana, trained locally at Project Ballet, attended summer intensives, and chose to pursue college at Indiana University's Jacobs School of Music before entering the professional world. In this Dancer Story, Jayda shares why she chose to stay home for training, how summer intensives supplemented her education, and what the college ballet experience gave her. We also discuss the challenges of pursuing a professional career, the importance of mentorship, pivotal moments that shaped her path, mental health in ballet, and her future aspirations including dreams of Broadway. After graduating in 2024, Jayda joined Ballet Hartford as an apprentice and was recently promoted to the corps for the 2025-2026 season. If you're wondering whether staying local or choosing the college route means giving up on a professional career, Jayda's story proves there's more than one path forward. Links: Read Our Ballet School Summer & Year-Round Reviews: https://reviews.ballethelpdesk.com/ Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok: @BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI  

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk What does it mean to train dancers without "training them out of being natural"? For Paulo Arrais, founder of Arrais Ballet School in Boston, that question shaped his entire approach to teaching. A former principal dancer with Boston Ballet, Paulo saw gaps in traditional ballet training: rigidity over artistry, pressure over presence. He decided to build a school that addressed them. In this episode, he walks us through his journey from student to performer to educator, the core values that define his school, and how he helps students navigate everything from technical growth to postgraduate ballet training decisions. We also dive into the unique challenges boys face in ballet, how independent schools fit into the larger training ecosystem, and what Paulo believes needs to change in ballet education. This is a candid, grounded conversation about preparing dancers for sustainable, meaningful careers. If you're exploring pre-professional ballet programs, preparing for ballet auditions, or curious about career pathways in classical ballet, this conversation offers insight into what thoughtful ballet education looks like today. Learn more about the 2026 Summer Intensive here. Read reviews of Arrais Ballet School here. Links: Read Our Ballet School Summer & Year-Round Reviews: https://reviews.ballethelpdesk.com/ Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok: @BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI      

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk Joshua Beamish and Crystal Costa are building something new in the ballet world. Ballet Vancouver is launching as a fresh company with a unique vision, and in this episode, they share the story of how it all came together. Joshua talks about starting his first company at just 17 years old and the 20-year journey that led him here. Crystal shares how she got involved and her work helping dancers understand the realities of a professional career through her workshop, Dance as a Profession. We cover their personal dance journeys, the hardest parts of their training, and the fork-in-the-road moments that shaped their paths. They also open up about what they'd change about ballet training if they could, and things they wish all ballet students knew about pursuing this career. Looking ahead, Joshua and Crystal reveal what will make Ballet Vancouver different from other companies, their plans for a summer intensive in 2026 and what they're looking for when hiring dancers. They also discuss their innovative structure combining guest artists, guest companies, and local performers and explain how they're funding this ambitious new venture. If you're curious about what it takes to start a ballet company from scratch, or you're a dancer wondering what artistic directors look for, this conversation offers a rare behind-the-scenes look at building the future of ballet. Links: Read Our Ballet School Summer & Year-Round Reviews Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok: @BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI  

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk We're rereleasing one of Ballet Help Desk's most popular episodes! Peter Stark from The Rock School discusses the ballet job market, choosing post-graduate ballet programs, and audition strategies for pre-professional dancers. Learn how to approach ballet auditions, what trainee programs look for, and how to stand out as you transition from ballet student to professional dancer. Links: The Rock School Read Our Ballet School Summer & Year-Round Reviews Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok:  Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI  

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk A rerelease: In our first episode of Dancer Stories, Jenny and her daughter Abbey share how Abbey got her first ballet contract. Tune in to hear how a meeting about dorm policy violations at a summer intensive turned into an apprenticeship offer with Pittsburgh Ballet Theatre. After a last-minute decision to attend the Pittsburgh Ballet Theatre Company Experience, Abbey's unexpected journey underscores the importance of seizing opportunities—you never know where they might lead! Learn more about Pittsburgh Ballet Theater on their website. Interested in following Abbey's career? You can find her on Instagram @abbeyahuang Links: Read Our Ballet School Summer & Year-Round Reviews Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok:  Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk Raymond Rodriguez, Dean of Pittsburgh Ballet Theatre School, breaks down their Company Experience program and why they created it. Unlike traditional summer intensives, the Company Experience simulates professional dancer life through repertoire-heavy training and direct interaction with Pittsburgh Ballet's artistic staff. Raymond explains what a typical day looks like, the types of choreography students work on, and who mentors participants throughout the program. The conversation covers how the program helps dancers understand company realities, what discussions happen around professional life expectations, and who should consider attending. Raymond also addresses opportunities for students to be observed by artistic staff and how often participants transition into Pittsburgh Ballet's postgraduate levels or main company. He shares what sets Pittsburgh Ballet's approach apart from similar company experience programs and offers guidance on whether this type of specialized training is the right next step. If you're considering programs that go beyond traditional technique-focused intensives, this episode explains how Pittsburgh Ballet prepares dancers for professional life. Links: Read Our Ballet School Summer & Year-Round Reviews Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok:  Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI Takeways The Pittsburgh Summer Company Experience started in 2014 with 30 students. The program has grown to accommodate around 70 students, split into cohorts. Students learn a mix of classical, contemporary, and new works during the program. The daily schedule mirrors that of professional company artists, with extensive rehearsal hours. Auditions are held on the first day to determine casting for the performances. The program emphasizes the importance of versatility in dance training. Students are encouraged to support each other in learning choreography. Eligibility is limited to students aged 16 and older, based on their readiness. The program offers opportunities for students to be seen by artistic directors for potential contracts. PBT's program is designed to provide a nurturing and supportive environment for dancers.    

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk Davit Karapetyan and Laura Bowman Goldstein from Philadelphia Ballet break down three focused summer programs designed for dancers considering specialized training: the Pas de Deux Intensive, Variations Intensive, and Company Experience. They start with partnering, an essential skill that many students cannot get in their local schools. Davit and Laura talk about how much partnering really matters in today's job market, what experience dancers need going in, and how this intensive tackles the challenges students struggle with most. Next, they dive into the Variations Intensive, where dancers receive targeted competition coaching and individualized feedback. They explain why dedicated variation work matters, how pieces are chosen, and what dancers can expect from the final showing. Finally, the Company Experience offers a taste of professional life, with daily training and direct access to Philadelphia Ballet's artistic staff. The conversation covers schedules, repertoire, and how often students move from this program into trainee, second company, or even the main company. Davit and Laura also share guidance for dancers and parents trying to decide which program makes the most sense, and what sets Philadelphia Ballet's summer training apart. If you are looking beyond a traditional summer intensive, this episode lays out three distinct options and who each one is really for. Learn more about Philly's summer programs. Links: Read Our Ballet School Summer & Year-Round Reviews: https://reviews.ballethelpdesk.com/ Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok:  Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI    

div]:bg-bg-000/50 [&_pre>div]:border-0.5 [&_pre>div]:border-border-400 [&_.ignore-pre-bg>div]:bg-transparent [&_.standard-markdown_:is(p,blockquote,h1,h2,h3,h4,h5,h6)]:pl-2 [&_.standard-markdown_:is(p,blockquote,ul,ol,h1,h2,h3,h4,h5,h6)]:pr-8 [&_.progressive-markdown_:is(p,blockquote,h1,h2,h3,h4,h5,h6)]:pl-2 [&_.progressive-markdown_:is(p,blockquote,ul,ol,h1,h2,h3,h4,h5,h6)]:pr-8"> _*]:min-w-0 standard-markdown"> Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk Durante Verzola, resident choreographer for Miami City Ballet School, breaks down their Summer Choreographic Workshop, a specialized program that simulates professional dancer life for students as young as 14. Unlike traditional summer intensives, this program focuses on preparing dancers for the quick turnaround and varied repertory demands of company life. Durante explains why they created a separate choreographic track, how company artistic staff are involved, and what types of mentors and choreographers work with participants. The conversation covers the balance between new and existing works, whether students learn to choreograph themselves, and what the final performance looks like. Durante discusses why younger dancers benefit from this experience, how often participants transition into Miami City Ballet's year-round program, and what common growth areas he observes. He also addresses why specialized programs like this are growing in popularity and what sets Miami City Ballet's approach apart from similar workshops. If you're considering programs that go beyond traditional technique training, this episode explains what makes the choreographic workshop format valuable for pre-professional dancers. Learn more on the MCBS  website. Links: Read Our Ballet School Summer & Year-Round Reviews Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok: @ballethelpdesk Takeaways The Choreographic Intensive is a two-week program at Miami City Ballet School. The program aims to develop students' artistry and professional skills. Students experience a daily routine similar to that of professional dancers. Artistry is emphasized alongside technical training in ballet. The program includes creating original works specifically for the students. Students are encouraged to take ownership of their choreography. Performance opportunities are crucial for developing confidence and skills. The program fosters a supportive environment for students to grow. Choreography is created in response to the dancers in the moment. The intensive prepares students for the realities of a professional dance career. Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI  

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk Oliver Till, Artistic Director of Kansas City Ballet School, walks us through ChoreoLab, their unique summer program that pairs aspiring dancers with emerging choreographers. The program runs two tracks: Movers (dancers 17+) and Makers (choreographers 18-24). Instead of traditional technique classes, participants collaborate on original work, learning about lighting, costume design, and tech rehearsals along the way. The focus is on the creative process, not just the final product, with dancers exploring new movement styles they wouldn't encounter in standard training. Oliver explains the application process, including in-person auditions for dancers and portfolio-based selection for choreographers. He discusses why the program culminates in a ticketed performance to raise the stakes, and how they've incorporated mindfulness sessions to support mental well-being during the intensive creative process. If you're interested in choreography, want to understand how professional work gets made, or are looking for a summer program that goes beyond technique, this episode breaks down what makes ChoreoLab different. Links: Read Our Ballet School Summer & Year-Round Reviews Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok:  Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI Takeaways: The Mover track is for aspiring dancers aged 17 and up. The Maker track is for aspiring choreographers aged 18 to 24. The program emphasizes collaboration between dancers and choreographers. Participants learn about lighting, costume design, and tech rehearsals. The focus is on the process of creation rather than just the final product. Dancers are encouraged to explore new movement styles and techniques. The application process includes in-person auditions for movers. Makers are selected based on their choreographic ideas and experience. The culmination performance is a ticketed event to enhance accountability. Mindfulness sessions are introduced to support dancers' mental well-being.  

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk Erica Fischbach and Sean Omandam from Colorado Ballet Academy break down two of their specialized summer programs: the Choreographic Workshop and the Young Dancer Intensive. The Choreographic Workshop immerses older students in a professional-style setting where they learn to pick up choreography quickly, work with mentors, and develop their artistic voice. Artist talks expose participants to what life is like as a professional ballet dancer. The location? You'll want to hear where this program takes place -- it's an environment that enhances creativity in a way most studios can't match! The Young Dancer Intensive is designed for younger students, balancing quality training with fun activities outside the studio. What sets it apart? It's one of the only programs like it that offers housing where parents and kids can stay together, providing comfort and support for younger dancers taking their first step into intensive training.  Learn more about these ballet summer intensives on their website: https://coloradoballet.org/Academy-Summer-Programs Links: Read Ballet School Summer & Year-Round Reviews  https://reviews.ballethelpdesk.com/ Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok:  Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI Takeaways: The Choreographic Workshop lets students experience what it's like to be a professional ballet dancer. The location of the Choreographic Workshop provides a unique and inspiring environment for creativity. Mentorship is a key component of the programs.  Students learn to pick up choreography quickly, simulating a professional setting. Artist talks provide insights into various career paths in dance. The Young Dancer Intensive is designed for younger students, focusing on fun and quality training. Parents can accompany younger dancers, providing comfort and support. Activities outside of dance enhance the overall experience for students. Both programs emphasize both technical skills and artistic expression. Students leave with a stronger sense of self and confidence.  

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk Katie Sopoci Drake and Zoica Tovar from the Washington School of Ballet break down their Junior and Senior Repertory Week programs in this episode. The two programs serve different levels of dancers, and our guests explain how each one works and what participants can expect. They discuss the school's teaching methods, how they work with different learning styles, and what it takes to move from student training to professional dancing. The conversation covers mentorship structures, choreography opportunities for participants, and performance requirements at each level. Katie and Zoica also share what traits they look for in successful dancers and how artistic director Edwaard Liang's involvement shapes the training experience. If you're researching summer intensives or want to understand how pre-professional ballet training works, this episode provides a practical look at what happens during these programs and why the school structures them the way they do. Learn more about The Washington School of Ballet's Summer Programs here: https://www.washingtonballet.org/nw-summer-intensives/ Takeaways: The Junior Repertory Experience is designed for aspiring dancers aged 12-17. The Senior Repertory Experience mirrors a company training week for dancers aged 15-22. Both programs culminate in a performance for family and friends. Edwaard Liang's involvement enhances the quality of training and choreography. Dancers learn to adapt quickly to different styles and choreographers. The programs focus on building stamina, artistry, and technical skills. Students are encouraged to ask questions about their future careers. Choreography and composition classes are integral to the training. The audition process is open to video submissions. The programs aim to develop well-rounded artists, not just professional dancers. Links: Read Our Ballet School Summer & Year-Round Reviews: https://reviews.ballethelpdesk.com/ Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok:  Music from #Uppbeat:https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk Audition season is here again, and we're revisiting one of our most requested conversations. In this episode, Jess Spinner, founder of The Whole Dancer, breaks down how dancers can create an audition approach that actually works for them. She shares strategies for choosing auditions, tailoring a plan to the type of job you're pursuing, and managing the mental, physical, and emotional pressure that comes with this time of year. Learn more about Jess here: https://www.thewholedancer.com/audition-coaching/   Schedule a  free consultation: https://calendly.com/jess-spinner/complimentary-dancer-coaching-blwc-clone?month=2025-11   Links: Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok: @BalletHelpDesk

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk In Part 2 of our #NoThirds series on bullying in ballet, we dig deeper into accountability, emotional health, and what it actually looks like to navigate harmful dynamics inside dance environments. Our guests explore how parents, students, and schools can recognize the signs of toxic training, respond to concerning behavior, and create space for honest conversations about what dancers are experiencing. As we address listener questions, we discuss the importance of listening closely to children, understanding the emotions behind their reactions, and knowing when a parent needs to step in. We also look at how communication with school leadership can resolve issues, why empowering dancers to speak up matters, and how consistent check-ins at home help identify problems early. The episode touches on the influence of social media and the value of reviews in pushing programs to improve. Part 2 continues the conversation parents and dancers need right now. Learn more about Kelsey Fyffe: https://www.livemindfullypsychotherapy.com/dancers-athletes Interested in working with Fran at Veyette Virtual Ballet School? Check out our Back to Dance Guide for an  exclusive discount: https://ballethelpdesk.com/backtoschool/ Links: Shop Our Back to Dance Guide: https://ballethelpdesk.com/backtoschool/ Buy Corrections Journals: https://ballethelpdesk.com/corrections-journals/ Support Ballet Help Desk: https://www.paypal.com/donate/?hosted_button_id=JBTG3G2W77EJ8 Instagram: @BalletHelpDesk Facebook: BalletHelpDesk Key Takeaways • Accountability is essential for healthy dance environments • Understanding a child's behavior helps address bullying • Open conversations about feelings support emotional awareness • Toxic training situations can affect long-term mental health • Parents need to recognize when intervention is needed • Communication with school administration is part of the solution • Parents should stay proactive in protecting their child's well-being • Encouraging dancers to use their voices can reduce bullying • Regular check-ins at home help identify problems early • Reviews and feedback can drive meaningful change in schools Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI

Before you listen, we'd love your help. Please take a minute to fill out our short podcast survey so we can keep making this show better for you. Link: https://forms.gle/Uf3Xx3XyEUzBtQw69 In Part 1 of our #NoThirds series on bullying in ballet, we sit down with two experts to unpack what bullying looks like in today's dance world. Dr. Suzette Takei, a longtime middle school principal with a PhD, and Kelsey Fyffe, a licensed therapist who works with high-performing dancers and athletes, offer clear, grounded insight into how bullying is defined, how it develops, and how it affects young people. Fran Veyette adds his perspective from inside the ballet studio and helps frame how these issues can show up in day-to-day training. Together, the conversation explores the difference between bullying and abuse, the influence of social media, the roles parents and teachers play in responding to problems, and the importance of emotional awareness in preventing unhealthy environments. This episode sets the stage for understanding how bullying takes root in ballet settings and how families, teachers, and students can work toward building a more supportive studio culture. In part 2, we begin to address the listener questions we received. Learn more about Kelsey Fyffe: https://www.livemindfullypsychotherapy.com/dancers-athletes Interested in working with Fran at Veyette Virtual Ballet School? Check out our Back to Dance Guide for an  exclusive discount: https://ballethelpdesk.com/backtoschool/ Links: Shop Our Back to Dance Guide: https://ballethelpdesk.com/backtoschool/ Buy Corrections Journals: https://ballethelpdesk.com/corrections-journals/ Support Ballet Help Desk: https://www.paypal.com/donate/?hosted_button_id=JBTG3G2W77EJ8 Instagram: @BalletHelpDesk Facebook: BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk In Part 2 of our conversation with Troy Schumacher, Sara Mearns and Annie Sundberg, we pick up as opening night of The Nutcracker at Wethersfield draws near. From a massive snowstorm that nearly shut everything down to the emotions that swept over the dancers once the curtain finally rose, Troy shares what it took to bring this extraordinary production to life in the middle of a pandemic. The Nutcracker at Wethersfield documentary has its world premiere at DocNYC on November 16th and 20th, followed by a theatrical release at select cinemas, including a special screening and Q&A on December 13th at the New Plaza Cinema in New York. Find out if the film is screening near you at nutcrackerfilm.com. Dance companies and schools can also request to host their own screening via the site. The film will be available to stream on the GATHR app for a special holiday window from December 21 through January 5. Links: Shop Our Back to Dance Guide Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok:  Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk What would you do if, for the first time in forever, Nutcracker got canceled? This is what hundreds of thousands of ballet fans and thousands of dancers were faced with in the Winter of 2020. Covid had shut down the world and it was particularly bad in New York City. Enter Troy Schumacher, a soloist with the New York City Ballet and the founder of the Ballet Collective. Troy found a way to stage a Nutcracker, attract an audience and keep a bunch of dancers employed. Tune in to our two-part episode to hear all about how Troy pulled this off, why Sara Mearns got involved and how Emmy nominated filmmaker, Annie Sundberg captured all of it in a documentary that airs in November 2025.  The Nutcracker at Wethersfield is having its world premiere at DocNYC on November 16th and November 20th, followed by a theatrical release at select cinemas with a special screening and Q&A on December 13th at the New Plaza Cinema in New York.    To find out if the film is screening near you this holiday season, please visit nutcrackerfilm.com If you're a dance company or a school and you wish to hold a screening you can reach out via the film website. The film will be available to stream on the GATHR app for a special holiday window 12/21 – 1/5.   Links: Shop Our Back to Dance Guide Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok:  Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI  

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk There's no such thing as a perfect path in ballet, and few people know that better than Francis Veyette, Co-Founder of the Veyette Virtual Ballet School. In part 2 of this episode of #NoThirds, Fran continues to discuss the ups and downs of a dance career, how setbacks can create unexpected growth, and why parental support and trust are critical along the way. He also explains how dancers can better navigate feedback, understand company dynamics, and use peer networks to stay informed. It's a candid look at the messy, unpredictable reality of building a career in ballet, and how to make the most of it. Interested in working with Fran at Veyette Virtual Ballet School? Check out our Back to Dance Guide for an exclusive discount. Links: Shop Our Back to Dance Guide Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk Avant Chamber Ballet is redefining what a regional ballet company can be – performing with live musicians, championing diversity and dancer wellness, and connecting with audiences far beyond traditional theaters. In this episode, Artistic Director Katie Puder and School Director Madelaine Boyce share how they've built a company that's both artistically ambitious and community-minded. They discuss Avant's mission to make ballet more accessible across Dallas, why live music matters, and what makes their trainee program unique. You'll also hear their honest take on college vs. trainee paths, the realities of running a small company, and what today's dancers need to know about navigating the professional ballet world. Tune in to hear what it takes to start, and sustain, a ballet company that does things differently. Learn more about Avant Chamber Ballet on their website Links: Shop Our Back to Dance Guide Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok: @BalletHelpDesk  

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk There's no such thing as a perfect path in ballet, and few people know that better than Francis Veyette, Co-Founder of the Veyette Virtual Ballet School. In part 1 of this episode of #NoThirds, Fran talks about the ups and downs of a dance career, how setbacks can create unexpected growth, and why parental support and trust are critical along the way. He also explains how dancers can better navigate feedback, understand company dynamics, and use peer networks to stay informed. It's a candid look at the messy, unpredictable reality of building a career in ballet, and how to make the most of it. Interested in working with Fran at Veyette Virtual Ballet School? Check out our Back to Dance Guide for an  exclusive discount. Links: Shop Our Back to Dance Guide Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk Oğulcan Borova, Head of the Trainee and Studio Company Programs at the Grainger Academy, joins us to explain how the school is structured. The Conservatory provides intensive training, while the Trainee and Studio Company levels serve as postgraduate bridges to professional careers. Borova also discusses Winning Works, the academy's program where guest choreographers set new creations on students, offering them invaluable real-world experience. He also shares how mentorship, performance experience, and financial support combine to help dancers bridge the gap between the classroom and company life. Learn more about the Grainger Academy on their website Links: Shop Our Back to Dance Guide Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok: @BalletHelpDesk

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk Ballet Memphis is redefining what it means to be a ballet company. In this conversation, Artistic Director Steven McMahon and Academy Co-Directors Virginia and Brandon Ramey discuss how they've built a company that belongs to its city, one that reflects Memphis's energy, diversity, and creative spirit. They also talk about the realities of running a regional company, the importance of representation on and off the stage, and their belief that ballet's future depends on connection to community. Learn more about Ballet Memphis on their website. Links: Shop Our Back to Dance Guide Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok: @BalletHelpDesk

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk Eva Stone believes every young woman in ballet should learn to choreograph, and she is on a mission to make that happen. In this episode, the Pacific Northwest Ballet faculty member shares why she sees choreography as essential to developing artistic confidence, voice, and agency in female dancers. She talks about her New Voices program, which gives young women the opportunity to create their own work, and how the experience transforms the way they approach dance, creativity, and leadership. Eva also reflects on her own unconventional path to PNB, the importance of building resilience through rejection, and why empowering dancers to think and create for themselves is key to the future of ballet. Learn more about Eva on her website. Links: Shop Our Back to Dance Guide Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok: @BalletHelpDesk

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk Dancer Daria Breslin shares her path from early training in Maryland to professional life with City Ballet of San Diego. She talks about the lessons learned at Pittsburgh Ballet Theatre and Nashville Ballet, the importance of mentorship and community, and the realities of auditions and feedback. Daria's story offers an honest look at what it takes to stay grounded, grow as an artist, and find your place in the ballet world.  Learn more about Daria on her Instagram: @daria.ballerina18/ Links: Shop Our Back to Dance Guide Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok:  Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk Eugene Ballet has grown from a small regional company into a thriving school and professional ensemble. Founder Toni Pimble, Artistic Director Jennifer Martin, and School Director Sara Lombardi discuss the company's journey, their approach to dancer training, including how dancers in their Aspirant program move into the company, as well as how they're shaping ballet's future in Oregon and beyond. Read reviews of Eugene Ballet Links: Shop Our Back to Dance Guide Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok:  Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk In this episode of #NoThirds, we sit down with Fran Veyette, co-founder of Veyette Virtual Ballet School, to talk about the realities of ballet training and the role parents play in a dancer's journey. Fran shares why training smarter is more important than training harder, what families should consider when choosing summer intensives, and how experiences in a company setting can shape a dancer's future. We also look at the parenting side of ballet, including how to support your child while letting them face disappointment, why every child needs a different approach, and the life skills dancers should build early to prepare for a professional career. For parents and dancers, this episode offers practical insights into navigating the highs, lows and big decisions of pre-professional training. Interested in working with Fran at Veyette Virtual Ballet School? Check out our Back to Dance Guide for an  exclusive discount. Links: Shop Our Back to Dance Guide Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk Davit Karapetyan, Director of The School of Philadelphia Ballet, joins us to talk about how the school is structured and how dancers move through its levels, from the pre-professional program to PBII and beyond. He explains how auditions are evaluated, what adjudicators look for, and the common mistakes dancers should avoid. We also dig into how scholarships are awarded and renewed, the housing available to students, and what families should consider when deciding if it is time to move to a company-affiliated school. Karapetyan discusses the realities of career planning at the postgraduate level, how many dancers transition into PBII and the main company, and the skills students need both inside and outside the studio before leaving home for residential training. Finally, he shares his perspective on navigating the financial realities of ballet, managing expectations in a competitive field, and what he wishes young dancers and parents better understood about the path to a professional career. Read Reviews of The School of Philadelphia Ballet Links: Shop Our Back to Dance Guide Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok:  Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI  

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk Deanna Seay, Training Coordinator at the School of Richmond Ballet, joins us to talk about how dancers move through the school, from early training to the pre-professional program, trainee level, and second company. She explains what adjudicators look for in auditions (and common mistakes), how scholarships work at different levels, and why not all of Richmond Ballet's trainees come from full-time training backgrounds. We also cover when families should consider a company-affiliated school, the culture Richmond Ballet aims to foster, and how students are prepared for both company life and a sustainable professional career. Read Reviews of The School of Richmond Ballet Links: Shop Our Back to Dance Guide Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk TikTok:  Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI  

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk This is the first episode in our new Dancer Stories series, where professional dancers share their training paths their move into company life. Jaya Dhand talks about her experience at Indiana University, how she got hired by Ballet West 2, and her recent promotion to the main company. She explains the choices that shaped her training, what the audition process was like, and how she adjusted to professional life. Jaya also shares what she wishes she'd known as a student, the realities of dancer finances, and her advice for those preparing to go pro. Links: Shop Our Back to Dance Guide Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI

Listen to Ballet Help Desk ad-free on Patreon: https://www.patreon.com/BalletHelpDesk Former Pacific Northwest Ballet principals Sarah and Seth Orza share their training backgrounds, the hardest parts of becoming professionals, and the advice that shaped their paths. They talk about company moves, the realities of life onstage, and the transition into founding Orza ballet shoes. The conversation covers prototyping, manufacturing, and the role of their ballet network in building the business, as well as how their experiences as dancers continue to guide their work today. If you want to try out Orza brand shoes, find exclusive discounts on our website. Links: Shop Our Back to Dance Guide Buy Corrections Journals Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI