The insider's guide to cattle calls: a pro's strategies for acing them.

In the marley and mirror jungle of an audition studio there are many animals--the revered lion director, the jovial bear accompanist, the astute owl instructor, and sometimes, the conniving dancer minx. Not all dancers have venom in their step, but in a recent open call for a regional dinner theater, one such feline attempted to trip me up during a technical jazz combination. I was in a foursome with the minx, and as I confidently glided to the end of the piece, I was not surprised to see her lean (yet sick-led) foot, in a tacky magenta tight, land right in front of me. She was trying to upstage me! Remembering the first rule of open calls, which is "stay aware," I pas de chated over her foot, pirouetted as needed, and ended with a smile.

Once a green dancer who would have stumbled over said minx's foot, I know that one of the most daunting and dream-crashing aspects of making a living as a dancer is fire cattle call audition. But cane calls are a necessary evil if you want to work, and you need to take each one seriously. You never know when you may get your big break. Here is some insider info to make it easier.

Do your research. "If you are going to an audition for Beauty and the Beast and you don't know who the 'three silly girls' are, then you can't begin to create the specific caricatures we are looking for," says musical theater choreographer and Broadway veteran Kate Swan. "A lot of times you are auditioning for a revival and these shows have shorthands. For the 'three silly girls' that means flirty, silly, and bouncy." Showing you know what you're auditioning for demonstrates that you are diligent. Plus your acting choices will be more thorough than a dancer who has not done her homework.

Your appearance can make a difference. Knowing what repels a creative team is helpful, too. This can sometimes mean a simple call to a studio or company to check on dress code. Combine a striking but streamlined outfit with neat hair and simple, enhancing makeup to ensure that you look your best. This look should match your elegant and realistic headshot. A detailed, thorough, and honest resume (they sometimes check), your attractive appearance, and photo help create the initial package that casting teams will take seriously--or not.

Claudia Cravey, ballet mistress of Ballet Florida, agrees that appearance matters. "Wearing junk turns us off," says Cravey. "Sometimes dancers come in with extra warm-ups draped over them and we wonder what they're hiding. Show us how important this is to you!"

But be careful not to become too zealous. "It is a common mistake for dancers to go to a Cabaret or Best Little Whorehouse audition in a hooker outfit. I want to notice you, not what you are wearing," says Swan. Smart dancers often bring more than one wardrobe choice. Once you notice the audition vibe (Does it feel formal, flirty, or trendy? What are other dancers coming out of the studio wearing?), you can choose between your classic black jazz pants or that spicy red skirt. And every so often you can even pick up on the whispers of those who have worked before for the creative team. Some casting directors favor girls in skirts; others may like red.

Maintain a professional demeanor. Even more detrimental than a poor wardrobe choice is a lack of professionalism. If you know one of the instructors or casting directors in the room, make sure that business remains business. A subtle hello or wave is usually acceptable, but that's all. James Sewell, director of the James Sewell Ballet, says that "getting too friendly during an audition is disrespectful to the other dancers." And you also do the director a disservice by putting him in an awkward position. An uncomfortable director will only bring you disaster. Letting the other person take the lead is always the safest route.

Keep a good attitude. Make sure your positive attitude begins the second you walk in the door. Although the actual audition takes place in the studio, the moment you enter the building, there are eyes everywhere. "Somebody might walk in and put on a great face for me. But I will hear from the audition monitor that they were rude, scattered, or unprofessional in the hall," says Swan. "That matters to me."

"Show business is high stakes, high stress, and extremely expensive," says Andy Blankenbuehler, choreographer of upcoming Broadway shows In the Heights and The Apple Tree. "If a dancer is irresponsible, brings a bad attitude, or is not considerate, that is bad for the business end of the show. A dancer's talent may be respected, but if they are problematic to work with, they will not get the job."

Even when a dancer has the necessary technical talent and a graceful confidence, the audition room is still a labyrinth of traps. Combinations are taught swiftly, often in groups of 20 to 50 dancers. If you are cramped in the back, so far away that the feet of the auditor are barely visible, questions are inevitable. The clever dancer will choose gingerly. "Questions should be movement based," says Heidi Duckler, director and founder of site-specific modern company Collage Dance Theatre. Asking something just to get noticed is a bad idea.

Observe and absorb the style, Even more noticeable than a thoughtful question is thoughtful dancing. You might have a strong personal style or be attached to a home studio's methods, but when auditioning you need to internalize the style that they want. Watch the person teaching, because she will embody the show's approach, and the instructor will emphasize if the movement quality is slinky, sharp, or quirky. "The dancers who do well in auditions are those who have strong technique and are able to incorporate new details into their dancing," says Sewell. "You must be observant of the intent of the person you are auditioning for."

Don't fall back on your old habits. When details are ignored, a dancer can appear inflexible and careless. "I notice when a dancer isn't paying attention," says Blankenbuehler. "Recently I liked a dancer and gave him two corrections that he ignored. I didn't hire him. I will give the opportunity to add your own personality, but in very specific parameters. Blatant disregard of what I ask for is not manageable."

Let your passion show. Don't forget to show your joy and respect for your craft. "Dance is an art, not just a technical thing," says Cravey. "I often hear, 'She is lovely, but so dreary!' I can fix your pirouette, but I want to see that you enjoy what you are doing."

Keep your perspective. Think of an audition as an opportunity to learn and a chance to perform. Swan reminds dancers: "There is always another audition, even if it doesn't feel that way at the moment you don't hear your name called!"

So even if the minx spoiled your romp in the dance jungle, take 10 minutes to think of what you need to work on, and then move on. Your next audition is just around the corner.

Lauren Kay is a writer, dancer, and dramaturge based in New York City.