Competitive edge: does taking a company summer intensive mean a better shot at a job?

Asked why she chose to attend School of American Ballet's summer session, 16year-old Kristen Segin felt the answer was obvious. "SAB leads into New York City Ballet," she says. "Of course I wanted to audition." Some dancers may not be as decisive as Segin and plenty of excellent school summer programs are not company related. But summer sessions at the Boston Ballet School, San Francisco Ballet School, and SAB, for instance, have their own advantages.

With the advantages, though, come the challenges. Because of the need for companies to scout talent, students who attend company-related intensives will inevitably be considered as ongoing auditioners. The competition to be noticed is stiff. And as the term "intensive" suggests, the school schedule keeps students dancing all day long.

The fundamental rule of real estate could easily apply to company-affiliated schools: location, location, location. "You walk into this building and just feel the energy," says Boston Ballet School summer session principal Tamara King of the company/school studios in Boston's South End. A ballet company's aesthetic is reflected in its school's training, giving summer students the opportunity to absorb new technical, physical, and stylistic demands. Company dancers often teach classes to the summer students. Artistic directors often observe the first and last weeks of sessions to scout out talent and see who is improving. Students can frequently watch company rehearsals. And the competition prompts aspirants to contemplate what areas of their dancing need improvement.

"If you want to come and maybe one day get a job in San Francisco, this is an opportunity to find out what we're all about," says Gloria Govrin, who has served as associate director of the San Francisco Ballet School for six years. "If you're coming from a small school, you don't have the benefit of having different teachers, of hearing different voices."

Emily Tyra, a 17-year-old Minnesota native who has attended several summer programs, feels that she has progressed more in the Boston session, because well-connected teachers got to know her. "At this point in my training, I want people to see me so I can start networking. If you present yourself well, word will get out in the company circuit," says Tyra. "In another program, that's not necessarily going to happen." (Incidentally, it worked. Tyra was offered a scholarship by artistic director Mikko Nissinen for Boston's winter session.)

But Kay Mazzo, co-chair of SAB, stresses that, especially for younger students, summer study in a challenging environment like SAB can be a look-see opportunity. "It's five weeks, not a lifetime," says Mazzo. "They get a chance to see everybody from around the world and ask, 'Am I up to that level?'"

As a prerequisite to these programs, potential counts more than experience with a company style. Naturally, those with easy hip rotation, flexibility, and pliant feet are sought. But Mazzo also looks for musicality, King wants good placement, and Govrin likes students who can absorb corrections.

Last year, SAB hosted 200 students, San Francisco taught 234, and Boston enrolled 300 at its main center. But all try to keep classes at a reasonable size--a maximum of 27 students. The ages range from around 12-20, and the majority of students stay in well-supervised dormitories.

All the programs offer technique, pointe, variations, pas de deux, men's technique, strength conditioning, and character classes. Each school's curriculum, however, follows the company style. The Boston Ballet School, for example, gives modern and jazz classes, which reflect the versatility of Boston Ballet's repertoire.

SAB gives ballroom dance classes, because Mazzo says, "Mr. Balanchine always said nobody can waltz." Govrin insists on ballet history classes in San Francisco, to give context to the art form. "The day someone asks, 'Who's George Balanchine?' I'm going to crawl under a table," says Govrin.

Expect to learn company repertoire in summer intensive classes. Segin, who was later accepted into the SAB winter term, was taught choreography from Agon and Mozartiana last summer. Tyra took on Swan Lake and Symphonic Concertante, which she danced in the showcase performance at the end of the summer session. Neither SAB nor San Francisco's school offers summer student performances. "Mr. Balanchine felt strongly that it's five weeks of study, not five weeks of rehearsing to put on a show," says Mazzo.

A major fringe benefit of these schools' urban settings is the organized cultural and recreational field trips. SAB students attended Broadway shows and performances by ABT, while the Boston crew saw dance at Jacob's Pillow and cheered at a Red Sox game.

Pre-professional teenagers may wonder how much a company-related summer session may enhance their resume. "I think it's helpful," says King. "Whenever I'm looking at audition cards and see that someone has gone to Houston or San Francisco, that catches my eye." Keep in mind that poor attitudes and bad behavior are hard to erase. "For those who want to party, their reputation follows them wherever they go," says Govrin. "I'm in communication with every big school. We're all connected."

Above all, students can learn plenty from their summer in the city. "It's all about process," says King. "This gives them the tools they're going to use in life."

Joseph Carman, a former professional ballet dancer, is a frequent contributor to Dance Magazine and The New York Times.