Get early access to ad-free episodes and exclusive panel discussions by joining our Patreon Fran is back for a conversation about respect in the ballet studio. We get into the mechanics of a real ballet class. A teacher giving thirty corrections in ninety minutes doesn't have room to let one go unanswered, and Fran talks about why trying a correction immediately signals something different than thinking it over first. We also press him on how a teacher decides who earns individual attention in a crowded room, and how he tells the difference between a student asking a genuine question and a student who's simply refusing to try what they were asked. Fran turns some of that scrutiny on teachers too. He admits egos flare up at the front of the room as much as anywhere else, and draws a line between authority that's been earned and authority that's being misused. We also discuss how a dancer's reputation travels through what we know is a small industry, and why character can matter as much as talent when a director decides whom to hire again. We close the conversation with Fran making the case for why the studio itself deserves to be treated seriously, calling it "sacred ground." Links: Pick Up a Year-Round Training Corrections Journal 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   Ever wonder what it actually takes to move up through the ranks at a major ballet company's school, and what happens once your dancer gets there? We sat down with Adam Sklute, artistic director of Ballet West, and Evelyn Cisneros-Legate, who runs Ballet West Academy, to find out. They walk us through how the academy trains dancers from age three all the way up, and how the trainee program Sklute built actually works day to day. We also get into mentorship: how the school handles those honest, sometimes hard conversations with dancers about where they stand before contract decisions come down. Then the conversation opens up to the bigger picture. Ballet has a postgrad math problem: way more dancers than paid contracts. Sklute and Cisneros-Legate talk candidly about that gap, the idea of getting artistic directors more direct access to watch dancers across schools, and the case for rethinking what counts as success at the postgrad level. Links: Pick Up a Year-Round Training Corrections Journal 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 Podcast ad-free on Patreon We sit down with Carter Alexander, Chair of the Division of Dance at Southern Methodist University, to find out what sets the program apart from the more ballet-specific schools. Carter walks us through the conservatory-within-a-liberal-arts structure: required training in ballet, modern, and jazz, a newly added Afro modern component, and how the school's BFA program allows roughly 60% of students double major in fields like mechanical engineering, psychology, and business. We discuss admissions and auditions, how merit scholarships get awarded, and why the program has struggled to attract male dancers in recent years. Carter also weighs in on the trainee-versus-college debate, and how he sees the trade-offs given today's job market. Finally, he covers how SMU prepares these young adults for the job market by coaching all students on how to network effectively and explains how much SMU relies on their alumni mentorship network. Links: Pick Up a Year-Round Training Corrections Journal 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 Shane Jewell, executive director of Oregon Ballet Theatre, was kind enough to sit down with us to explain how ballet companies actually run as businesses. He takes us through the nonprofit structure, including what makes up the primary revenue streams. We also discussed what goes into building a season budget and how that impacts dancer compensation, benefits and artistic programming. With funding for the arts being cut, Shane also addresses how OBT is handling these challenges through creative solutions like co-productions between companies as well as new ways of driving corporate sponsorships. The conversation closes with his advice for young dancers weighing a contract, including what to look for in a company's finances, culture, and promotion patterns before signing. Links: 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 Peter Stark, president and director of The Rock School for Dance Education, has spent 26 years running ballet schools and knows the recruiting process from both sides of the table. We talk with him about how he evaluates students for recruitment. We also cover how his approach has changed over the years, including how he now weighs student conduct and how his views on age and late starters have shifted. Stark discusses what full-time training requires of a teenager beyond technical preparation, including conversations about consent, hygiene, and roommate dynamics that families need to have before their dancer moves away from home. Stark also discusses what "fitting in" means at the corps de ballet level and why understudying matters at every stage of a dancer's career, not just early on. Links: Read Our Ballet School Summer & Year-Round Reviews Shop Summer Intensive Essentials Guide 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 Our parent panel is back for part two, picking up right where we left off. In this half of the conversation, Erin, Sarah, and Sue cover the topics that come up most for families navigating full-time residential training: how a highly competitive environment can affect a dancer's confidence, how SAB, Houston Ballet Academy, and Canada's National Ballet School each approach annual cuts, and how the academic models differ across the three programs. The conversation also gets into the pressure dancers carry during audition season, the friendships that form in competitive training environments, and what it looks like to keep family life running when your dancer is living far from home. We close with the advice each parent would offer a family just starting this journey, and the one thing they would tell themselves on drop-off day. Learn more about full-time ballet training on our website. Links: Shop 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 We are so excited to be publishing part 1 of this 2 part interview. It's something we've wanted to do for a long time. Three parents of dancers who attended some of the largest full-time training programs in North America joined us for an in-depth and candid conversation about what it was like, from the family's perspective, to allow their teenagers to head off to full-time training while they were still in their teens. Erin Miller's son, Wesley, attended Canada's National Ballet School and now dances with Boston Ballet. Sarah Borden's daughter, Charlotte, went clear across the country from their home in Washington to attend the full-time program at the School of American Ballet. And Sue McCarroll's son, Owen, left home to attend Houston Ballet Academy, where he is currently in their professional training program. We went into so much depth that we're breaking this conversation into two parts. Across both episodes, we dig into how each family made the decision to send their dancer off, what factors ultimately drove that decision, what it was like to drop their child off, and how the adjustment went, not just for the dancer, but for the siblings and parents left at home. The conversation also covers the difference between training at a company-affiliated school versus a conservatory, and pushes back on the assumption that Balanchine-trained dancers are limited to a small handful of companies after graduation. Learn more about full-time ballet training on our website.  Links: Shop 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 Riley Weber is back on the podcast. Since leaving a corporate dance brand job, Riley has been speaking more openly about how the influencer side of the dance industry actually works. In this episode, we talk about how influencer income works, from per view payouts to brand collabs, and what actually happens behind the scenes of a sponsored post. We also talk about brand ambassadorships for dance students. What it means when a brand sends a 12 year old free leotards in exchange for content, who benefits from that arrangement, and what it can do to a child's sense of self worth when it gets tied to follower counts and engagement. If you have ever wondered whether your dancer should pursue a brand deal, or whether a large following actually helps with getting hired by a company, this episode covers it. Find Riley on socials: @rileythomasweber  Links: Shop 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 Jenny and I are taking a much needed vacation with our families so we're rereleasing one of our most popular episodes. We sat down with Francis Veyette, former principal dancer with Pennsylvania (now Philadelphia) Ballet, Co-Founder of the Veyette Virtual Ballet School and Rehearsal Director & Outreach Manager for Indianapolis Ballet. In this episode, Fran breaks down loaded terms like potential, facility, and body type, offering a practical understanding of what they mean. He also shares insights into the qualities dancers need to thrive in the ballet world. For anyone who has ever scratched their head when they heard people refer to potential or facility, this interview is a must-listen! You can learn more about Fran on his website. Links: Shop 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 If you've been paying attention, you've noticed: Japanese dancers are everywhere. Winning competitions, yes, but also filling the upper ranks of major ballet companies around the world. We've been wondering for a while now what is actually going on over there. Turns out, Kenta Kura has some answers. Kura spent nearly three decades inside the Royal Ballet, first as a soloist with the Royal Ballet, then as the first Japanese permanent teacher at the Royal Ballet School. In 2023, he came home to Japan with a clear mission: bring that world-class methodology to K-Ballet Academy, and change the equation for Japanese dancers who have long had to leave the country to access professional-level training. In this conversation, we dig into how ballet training is structured in Japan from the ground up, what the Kumakawa Method is and why it matters, and how K-Ballet Academy's Pre-Professional Course functions as a direct pipeline into K-Ballet Tokyo. We also explore what it takes for Japanese dancers to build careers abroad, the mental and emotional preparation that journey requires, and what it was like for Kura to be the only boy in his ballet school in a small Hokkaido village, until he stepped onto that international stage and felt, for the first time, like he truly belonged. His advice for young dancers is as simple as it is hard: allow yourself to make mistakes. Stay hungry. Stay curious. And believe in your own potential more than anyone else does. Links: Shop 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