Boston Common - Niche Media - A side of Boston that's anything but common.
Issue link: http://www.ifoldsflip.com/i/94515
Groups of young dancers from the Boston Ballet School audition before the panel of judges. I t is a sunny, late September afternoon at the Boston Ballet building on Clarendon Street. There's enough chill in the air to suggest that winter is indeed coming and the holi- days are not far away. For a group of girls aged 12 to 16 lining the wide staircase leading to the third-floor rehearsal hall, Christmas is already here. It's the day of Nutcracker auditions for the iconic role of Clara, the girl whose Christmas Eve dreams spirit her away to a land of battling mice, dancing Sugar Plums, and a reigning Snow King. The company's artistic director, Mikko Nissinen, bounds out to greet them. "Are you excited?" he asks, as his broad smile draws out the girls'. They nod and giggle nervously—for good reason. Landing the part of Clara would be a major coup, likely the showiest role of these young dancers' brief but budding careers. After a few words of encour- agement Nissinen disappears back into the studio. In their pastel-colored tights with their hair pulled into tight buns, some of the girls return to their stretches. Then all at once, they're called to perform. Inside the studio, three members of Boston Ballet's artistic staff are seated at a long table to preside over the auditions. It has a reality-show feel—think America's Got Talent or American Idol, only the judges around the table appear to be sweet-natured. They're all smiles and encouraging nods. 118 BOSTONCOMMON-MAGAZINE.COM Except for children's ballet mistress Melanie Atkins, who is visibly anx- ious for her flock. Atkins oversees all students involved in any of the Boston Ballet's company productions. She runs the audition and will assist in casting decisions. Because auditions are open only to Boston Ballet stu- dents, the girls are like her own. "I hate this part," she says. "I don't want to make eye contact because I know all of [the children]. I don't want them to think I know what the decisions are." She leads the girls through their brief audition choreography. "Fly," she implores them. "Take the entire studio and really fly, girls!" Competition is at the heart of this process, but the Ballet does every- thing it can to dilute it. "We go about it as nicely as possible," Nissinen says. "We see who handles the material in what way, and eventually we make the decision between the ability of the material, the personality, acting ability…" Their run-through complete, Atkins explains that they will audi- tion in pairs and then lines them up against the back of the studio. From the judges' table, two numbers are called. The girls walk to the middle of the room, and accompanied by a pianist situated in the corner of the hall, they dance for the staff. They do seem to fly, moving swiftly through the hall in a series of jumps and leaps—a combination of Nutcracker choreography crafted by Nissinen himself. Their arms are spread wide, bright smiles soften their faces, and