Landing a gig in L.A.: insider advise from pro dancers, choreographers, and agents at Grover Dale's career power workshop on how to stand out.

Many young dancers migrate to southern California to fulfill their dream of dancing onstage next to their favorite pop star. But as dance agent Julie McDonald explained to a group gathered in a Beverly Hills dance studio one Saturday last September, commercial dance in Los Angeles is a breed unto itself.

"In New York there is Broadway, which offers long contracts and the security of a weekly paycheck. The same is true in Las Vegas," McDonald said. "But in Los Angeles, commercial dance encompasses a lot of short-term jobs in file music, film, and television industries. You can be a backup dancer in a music video one day and in a TV commercial the next."

And while landing a plum gig such as dancing at the SuperBowl or touring the world with a superstar can translate into big money--as much as $50,000 to $60,000 a year--these opportunities are few and far between, and competition for them is stiff. "There's a top echelon of maybe 50 dancers earning in that range," McDonald warned. "And there are hundreds or thousands of dancers in Los Angeles."

This means that dancers in L.A. are continually auditioning for their next job. Knowing how to audition well is vital if a dancer hopes to carve out a career in the commercial field.

McDonald, who established the first agency for commercial dancers in 1985 after a career as a dancer and teacher, offered her expertise as part of a workshop on making it in the entertainment industry sponsored by Grover Dale's Answers4 Dancers. Her comments came at the end of a long day during which participants, some of whom had come from across the United States and Canada, had listened to the advice of--and had the chance to dance for--Gil Duldulao, Janet Jackson's choreographer, and Jeri Slaughter, Christina Aguilera's choreographer. Three of Jackson's backup dancers--Melanie Benz, Nick Flores, and Stephani Kammer--also were on hand to offer their first-hand accounts about the preparation, professionalism, and perseverance that are crucial to succeed.

Here's a roundup of the tips that Dale and his all-star team offered. Most important is that the whole package--technical skills, style, and attitude--is being closely watched. How you act in an audition translates for the choreographer (or video producer or superstar) into what you will be like to work with in intensive rehearsals or on an extended tour.

COME PREPARED

Bring a headshot and resume. A black-and-white eight-by-ten photo is fine when first starting out. If you don't have professional experience, list your background training.

Be versatile. Hip hop may be the hot thing right now, but choreographers still want dancers who are adept at a range of idioms. Slaughter said, "I would rather hire someone who knows their ballet terms than someone who is just street." Kammer said she makes sure to pack her pointe shoes because, "You never know what they might ask you to do."

Do your homework ahead of time. Find out which choreographer and production you will be auditioning for and dress accordingly. Bring a backup outfit just in case.

Make sure your outfit is "dance-proof." Will it work for a range of movement? A choreographer doesn't want to watch you fiddle with your hair or adjust your clothing.

PAY ATTENTION

A choreographer wants to see how fast you pick up a phrase, how accurately you can perform it, and how well you retain it.

Be attentive to changes in levels, directional facings, and movement qualities--from lyrical to percussive, for example. Also listen for rhythm changes in the music and where the physical punctuation points are in a phrase.

Pay close attention to how, as well as what, the choreographer is doing in the movement when she/he demonstrates. A choreographer will be evaluating your ability to "get" his or her individual style.

Listen to the music closely. Many choreographers purposely don't count out a phrase because they want to see how well you can feel the phrasing in relation to the music. Don't be surprised if they change the music as well.

ACT PROFESSIONAL

Be on time to the audition. Once there, be willing to work hard.

Be courteous and respectful to the choreographer and all of his/her team. You never know which one is the producer or who has final say over whether you get picked.

Treat the other dancers at the audition with respect. Duldulao was insistent on this point. "How you treat people in an audition indicates to me how you will treat other dancers during a rehearsal. And we notice something as simple as not moving to the back of the studio when asked to switch lines."

Don't draw attention to yourself while waiting on the side. Let those who are "on" have their chance to shine. If you want to go over a phrase, do so in your head.

Be confident. Don't wander when asked to begin. Walk directly to a spot on the floor. Perform as if for an audience. Don't look to the choreographer for validation.

Maintain a positive attitude. Don't let it show if you're tired or upset. No matter how many times you may be asked to repeat a phrase or whether you feel you're being overlooked, keep a pleasant look on your face.

TAKE CHANCES

Throw yourself into the movement. Accuracy is important but choreographers also want to see what "flavor" you bring to the movement. You may be asked to "freestyle," or improvise at the end of a phrase. This is your opportunity to shine. Keep it fresh, don't repeat the same moves, and play to your strengths. This isn't the time to try out a new move.

GIVE IT YOUR ALL

There is no "marking" at an audition. You only have one shot, so perform as if your life depended on it.

Sara Wolf writes for LA Weekly and the Los Angeles Times, among other publications.