Save For Rainy NYC Days...

One of the big questions lots of people have, when they are considering a NY relocation, is how much money should I have saved. The easiest answer would be AMAP, As Much As Possible. I don't need to tell you that New York is insanely expensive. In fact, lots of people joke about the "air tax," every time you walk out the door, you mysteriously lose $20...it is just an expression, but it really does feel like that. But the more important issue, is really the purpose of your move...are you coming here to train temporarily, or are you looking to come for professional, performing opportunities. The reason I ask is simple, if you are coming to train at BDC or STEPS, and are going to be here for a set period of time, it is much easier to pencil in a set amount. Generally, I would recommend about $2000 per month, and a work study position(see my blog "I Want To Take Class But...") However, if you are looking to move here to pursue a professional career, it is far more important to have a built-in, revenue generating plan in place before you get here. This is because you have no idea how long you are going to be waiting for a spot to open on Broadway. Since you have no way of knowing the time frame, its very difficult to pin down an exact dollar amount that you need to have saved. But since, it does take a little while to get situated in the city, upon arrival, I would say your starting savings should be around $5000, to cover apt costs, furnishings, etc. But again, the key is to have something to offer, BEFORE you get to New York, that will allow you to start making money immediately, outside of the Broadway circuit. My next blog will focus on a couple ideas to get you prepped!

Power of Networking...

Everyone knows that NYC dancers have to be on the top of their game...this is no place for mediocre, sub-par, performers. Generally speaking, everyone who ends up making the "big move," has put in hours and hours of sweat, practice, and tears(or they have the intention of doing so at a NYC studio). But when it comes to dancing professionally, I cannot stress how important it is to network among the dance community. At first, it may seem a little strange and hop skip jump outside your comfort zone, but I always encourage people to introduce themselves to the the people to the right and left of you at the barre. If you are going across the floor and see someone with amazing turns, ask their name, tell them yours, and let them know that you appreciate watching their technique. When you go to auditions and you are number 37, you should know the names of 36 and 38 before you walk back to the subway. Don't worry about coming off as creepy or "stalker-ish," in fact, its just the opposite. Look at it this way, you and the unknown, intimidating, "competition" actually have A LOT in common. You both have given a large percentage of you life to this thing called DANCE, which you both love passionately. You both know what its like to walk into an audition and feel judged and inferior. And oddly enough, once you get over your case of "weird-itus," you'll probably discover you have mutual friends you didn't even realize. Business people give and get lectures all the time on the power of networking, the notion that success comes from building connections with other people in your field. And yet, so many dancers in the city have this isolated, me-against-you mentality, which...OK, I'm just going to come out and say it...IS DAMN STUPID. But until you start taking pro-active steps like the ones I've outlined above, you are cheating yourself from seeing the results first hand. WOW, I never thought I would actually quote High School Musical for ANYTHING, but look people, "We're all in this together." As cheesy as it sounds, it makes no sense to foster the cut-throat atmosphere, especially when NYC casting is laser point specific. So get out there, let people know that you are new to the city, and offer to help them reach their dreams...in the process, you might just end up with some unexpected surprises and adventures of your own!!

"no man is an island...(even though Manhattan is an island)"

Extra Work...

So, one of the reasons I wanted to start this blog, is to illustrate different ways to make money while you are waiting to book that big Broadway Show! Now, I KNOW that everyone is familiar with the "move-to-NY-starving-artist-slash-restaurant-waiter" scenario. So I am always looking for legitimate alternatives to the mundane. (not that waiting tables can't be fun, and all the props in the world to waiters and bartenders, you can actually make great money) But, for me, table service wasn't really all that attractive, especially since I moved to the city to be an entertainer. Second to Hollywood, NYC has an immense motion picture and TV industry. In addition to feature films and prime time shows, NYU and Columbia both have extensive student film programs. Even if you are not an aspiring actor, working as an extra on films and TV shows can be a fun and enlightening experience. Not to mention, the one day extra rate starts at $150 plus overtime. Catered meals are included, and for the most part, you will be required to simply sit and wait until they need to use you. While waiting in "holding," I usually read, choreograph, give myself barre, and a couple times, I have even taught class to other extras who wanted class. Don't be mislead, however, this is NOT an "acting" gig, although there a frequently gooby goobs who think extra work is their "big break" into the movie industry-"honey, don't flatter yourself." But that aside, it is easy money, and for a trained dancer, the connections and networking opportunities can be especially lucrative. The best online sites for NYC extra work are http://www.castingnetworks.com/ or http://www.actorsaccess.com/ (both of these sites require a minimal fee to submit you headshots to casting directors) Or you can contact info@extramilenyc.com and submit to casting directly. See you at the movies!!

One bit of warning: Don't necessarily expect to get your extra checks quickly, you may have to wait until the movie wraps to get paid. The longest I've ever had to wait for a check was one month, but typically you will see your money within two weeks.

"No Risk, No Reward, Know Risk, Know Reward"

The Agent Advantage...

A friend who recently moved to NYC ask me whether or not an agent was a necessity in the city. Since she is a more of a singer/actor who moves well, I told her that on the acting end of things, an agent would definitely be something to look into. An agent, in and of itself, is not going to guarantee work. Many times, you will still be required to put in the footwork, hustle around town, and attend open calls. The bigger the gig, or more high-profile the job is, the less of an effect agent representation might actually have. When Beyonce auditioned in NYC for her world tour last year, there were close to 800 people at the open calls. And yet the agent call wasn't much better, probably around 300 or so. My point is, for a job that big, having your agent get you into a closed audition isn't much of an advantage. YOU are still the one who has to step up and out dance hundreds of other dancers.(and at that stage in the game, 300 looks pretty much like 800 or 1000) It is still a whole lot of people. The idea of agent representation, is that you are going to auditions that have been tailored to your type. So if anything, it can be a time-saving mechanism(nobody who is blond, blue-eyed needs to wait three hours to be seen, if the producers are only looking for one dark, African dancer) But many times, the producers themselves are unsure as to exactly what they are looking for. So your agent might submit you, the casting agent passes on it, and you should still go to the open call. So many times, I have gone into an agent call, only to be cut right off the bat. But then, I will go to the open call the very next day and make it all the way to the end. In the end, an agent/client relationship should be beneficial to both. They get you into smaller audition situations, you book the job, and everyone gets paid. But all this agent talk should reaffirm another point, if you do not currently have an agent, or have gotten cut at an agent audition...don't freak out. In many ways, you will be in the exact same boat as the people who have agents...everyone has to audition, everyone has to impress the producers. Just remember, there are many different routes to the same destination, you might get cast in a video because your favorite teacher has just been asked to choreograph something...that is the crazy thing about New York, your next big adventure could literally be waiting for you around the corner.

I Want To Take Class, But...

Hey everybody,
wow, I got a little sidetracked over the new year, but I'm back...and I promise I'll be more regular in 2008. So one thing that aspiring NYC dancers need to realize, is the city is chock full of catch 22s. Seriously, people, Keller would have loved this place. For example, to get an agent, you need to show experience and the ability to book a job...BUT, you need an agent to get into the really good, resume-building, jobs...hmmmmm, doesn't sound like a reasonable progression, does it? But that's the way the business is, and you can either throw your hands up in frustrated desperation, pack your bags and head back to the mid-west, OR, figure out how to make the game work in your favor. I will address the whole agent dilemma later, but for now, I want to discuss the importance of regular class attendance. Since we're talking Catch 22s here, class presents an especially difficult pickle for many dancers. We all know that dancers need to attend class regularly to be on top of their game when auditions come up. Unlike singers and actors(someone will probably hate me for saying this), maintaining your dance technique, requires constant class and attention. But(Catch 22 alert) dance classes in NYC are not cheap, for that matter, neither are gym memberships. Right now, class at BDC(Broadway Dance Center) is $18, STEPS is $15.50, and NDG is $14. Suffice it to say, taking class 5 or 6 times a week can really put a strain on your budget. So what can you do? Well, the easy option, if you are serious about keeping your technique on point, is to enroll in a "work study" program at one of the studios. If you are concentrating more on Hip Hop or commercial dance, I would recommend the BDC program, which allows you to take one $5 class for every hour worked. The STEPS program is better for dancers looking to further their classical ballet and traditional jazz, and they offer unlimited $3 classes to those enrolled in their work study. So in addition to your outside employment, audition schedule, one five hour shift on a Saturday could greatly benefit your pocketbook.

For more info on the STEPS work study program, contact Kristi Sutton at 212-874-2410 ext. 15 (or email at kristi@stepsnyc.com) and for BDC, contact Dawn Rumbaugh at 212-582-9304

"The point is not whether you are failing, everyone fails. But those who succeed, are the ones who are failing forward"