Dance Informa continues the three-part series, How to navigate your European audition tour, where we hear from three American dancers who are working and living abroad in Europe. For them, it was a dream that they made come true. So just how did they do it? And what advice do they have to offer other dancers who wish to make it abroad as well?
This edition, we hear from Rachel Fallon, who trained at Manhattan Youth Ballet and LINES Ballet Training Program before freelancing in New York City. Now, she’s a member of Hofesh Shechter Company since 2017.
Rachel Fallon – @rachelpatricefallon
Background
“I started ballet at a very young age, and it wasn’t until my teenage years that I was introduced to contemporary movement. Contemporary unlocked a new way of moving and being that profoundly resonated with me. After training at Manhattan Youth Ballet, I went to the LINES Ballet Training Program before joining Sidra Bell Dance New York and other smaller projects. I always had a huge interest in dancing in Europe, and kept trying to open more connections and ties to that other world. After finishing school, I went to the Netherlands to take classes and was able to do freelance work there. The connections I made led me to join Luzerner Theatre in Switzerland, before joining Hofesh Shechter Company, where I have worked for the last six years.
I decided to relocate to Europe because it had always been a dream of mine and the right opportunity presented itself. I enjoyed my work in NYC and all the wonderful people I met, but I knew I wanted a taste of a full-time job in Europe. After finishing school in the U.S., I was aware of all the differences in a European dance education and took it upon myself to take classes in things I felt less comfortable with. It was so important to submerge myself in the environment I wanted to be in however I could. I also feel that art is more readily funded by the government here in Europe, which creates more opportunities for secured dance work.”
Audition tour advice
“I don’t regret any of the decisions I made while auditioning around Europe, although it wasn’t always easy! It was a lot of time and money spent, but I saw no other way than to just throw myself into it all. For someone who’s not great at auditions, that was the risk I had to take. Something that helped me during the audition process was trying to spend more time with the companies I was most interested in. Because auditions aren’t my strength, I’d ask to spend extra time with the company or request a private audition if it was possible. This helped me feel more at ease, and also gave the companies a chance to know me outside that pressured audition environment.
Speaking with people in your community is crucial. The connections I’ve made while taking classes, doing projects and working with companies has definitely expanded my opportunities, and has also made the journey much more fun. Most of the work I’ve gotten has been through word of mouth, a recommendation or discovering a new opportunity I wouldn’t have otherwise known about!”
Evolution of dance
“It’s hard for me to pinpoint exact changes to the dance scene here in Europe, as things seem to be evolving constantly. I do believe that since COVID, it has become even harder for dancers looking for work. The art world took a big hit and is still working through financial struggle, which can affect companies’ infrastructures. I’d say this is even more reason to create strong connections, not only as dancers but as people. Finding new inspired ways to cultivate creativity is more important now than ever before!”
By Charly Santagado of Dance Informa.
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