BALLET HELP DESK

Full-Time Training Reviews

Programs Reviewed: 89
Total Reviews: 303

Ballet 5:8

Full-Time Reviews

General

Who is Reviewing?

11
2

Program

13

Season Attended

1
1
2
3
1
3
1
1

# Of Levels In School

  • Conservatory1,2,3/Trainee/2nd Company/Apprentice/Company
  • For post-Highschool training there are 2 levels, trainee and 2nd Company. I was in both
  • The Second Company is a training company beneath Ballet 5:8's professional company. Ten positions are available in the Second Company. This program trains alongside the professional company, rehearsing underneath them and taking supplemental technique classes with Ballet 5:8's Trainee Program.
  • The trainee program is the highest of the levels in the School of Ballet 5:8. There are 15 total levels in the school, and 4 in the advanced training program.
  • The School of Ballet 5:8's Conservatory Program is broken into three levels: Conservatory 1, Conservatory 2, and Conservatory 3. Each level in the Conservatory performs alongside Ballet 5:8's Trainee Program in the Studio Company. The Studio Company is the most advanced group with the School of Ballet 5:8.
  • 2 levels in the Trainee Program (Trainee I, then Trainee II)
  • When I was there, Ballet 5:8 had one daytime conservatory level that was at the top of the school, and then the trainee program was above that. The trainee program had levels when I was there, which I think they have since gotten rid of. It was split into trainee 1 and trainee 2, and I was a trainee 2 by the end of my time there.
  • Trainee is the level in between the school and the professional company.
  • 1
  • there are no levels in second company
  • none
  • The Schoolf of Ballet 5:8 begins with Toddler and Me 2 year old classes and goes through Trainees who are college aged students. The Second Company is part of the Ballet 5:8 Company and works with the Company with opportunities to be a guest artist in performances at the School of Ballet 5:8.
  • Children’s division, then preprofessional level, then conservatory, then trainee, then second company, then company

Dancer Age

2
3
4
2
1
1

Hours of Dance Each Week

1

Gender

13

Company Affliated?

13

Was Student Scholarshipped?

9
4

Please Describe Scholarship

  • N/A
  • I had a work scholarship, my tuition was fully covered and in exchange I assisted administrators for 5hrs per week. It was a great deal for me as I learned a lot about marketing and arts admin!
  • Ballet 5:8's Second Company Artists do not pay tuition and are awarded a stipend per performance. If dancers are interested in taking additional supplemental classes, they pay a small tuition fee, but this fee is typically covered by the performance stipends.
  • I was not on scholarship, although The School of Ballet 5:8 offers many scholarships!
  • I was on a 50% tuition scholarship, and I was the only one on any sort of scholarship at that point in time.
  • It was a full scholarship, the only thing I had to pay for was summer intensive tuition and registration. I still received stipends when I was casted to perform with the company, even though the stipends are technically tuition refunds, and I didn't pay any tuition.
  • I received a Merit Scholarship which covered 50% of the school year tuition. The scholarship did not cover the summer intensive cost. With my scholarship, I had a certain number of volunteer hours to complete at the School. These could be completed by helping set up for events, volunteering to assist at events, cleaning, and so forth.
  • No scholarship

Years At School

4
4
1
1
1
1

Full time or after school?

1

Curriculum

Days Per Week

13

Classes Per Day

4
3
6

Weekend Classes?

13

Weekend Schedule

13

Students Per Class

8
5

Weekly Repertoire or Variations?

2
11

Pointe Classes Per Week

3
2
5
1
2

Live Music in Technique Class?

9
4

Dedicated Men's Program?

8
1
4

Boys In Level

9
1

Separate Technique Class for Boys

9

Techniques Taught

9
6
11

Technique Teacher Rotation

1
12

Did School Director Teach?

1
1
11

Classroom Corrections

11
2

Attention From Teachers

Very Little
1
1
1
10
A Lot

Quality of Instruction

Poor
2
1
10
Excellent

Did Technique Improve?

Not at all
1
12
Tremendously

Curriculum Comments

  • Technique, pointe, repertoire, Pilates, PBT
  • We had a very holistic schedule. Technique was based in Vaganova and then layered with Balanchine aesthetic. We also had a great Arpino teacher who infused that style with us. The different blends complimented each other well and made us very versatile. We had daily technique, pointe, and rehearsals/rep. We also took Pas twice a week, improv, modern, contemporary, variations, PBT, Yoga, Pilates, Plyometrics/Aerobics, Dance History, and Physical Acting.
  • The Second Company took morning technique class with the professional company every day of the week but Wednesday. On Wednesday, we took morning yoga and technique classes with the Trainees. Technique class was often followed by a pointe class before lunch. After lunch, we rehearsed with the company into the afternoon. After company rehearsals, we had rehearsals set aside for specific Second Company repertoire. Late afternoon classes included variations, pas de deux, PBT, acting, and improv among others.
  • Our curriculum was focused on ballet with additional classes including contemporary, improv, and stregth training.
  • The School of Ballet 5:8 has a well-rounded, expertly developed curriculum and syllabus. Dancers are trained in classical ballet technique with the 21st century dancer in mind. Using Vaganova roots and Balanchine influences, dancers are guided to achieve maximum levels of technique in a consistent, cohesive manner. Technique, artistry, and musicality are all taught exceptionally well!
  • The Trainee II's worked more with the Ballet 5:8 professional company rather than the school, so we did not follow a strict curriculum.
  • The schedule and classes offered varied a bit from semester to semester, and were also influenced by our touring schedule, as the trainees toured with the company at that point in time (I think this isn’t the case anymore.) We started the morning with devotions, had technique class either on our own or with the company, rehearsed with the company a few days a week and had our own rehearsals as well, and also had pointe, variations, stretch/strength, ballet history, modern, jazz, and improv. We also had a weekly trainee Bible study.
  • Ballet 5:8 is a Vaganova school with a Balanchine influence. The trainee program begins with a ballet technique class in the morning and has rehearsal and supplementary classes in the afternoon.
  • The classes were a mix of Vaganova and Balanchine. There was one technique and one pointe class per day, and then either rehearsal, variations, contemporary, improv, yoga, strength training, or PBT most of the time.
  • The second company works very closely with the company, and so for most of the day, we followed the company's rehearsal schedule which did not include classes other than their technique class. Their technique class depending on the teacher was either very laid back so we could focus on ourselves, or very detailed and energetic. Sometimes if we weren't being used in a rehearsal, we could take pointe class with the trainees, it just depended on the workload. In the afternoon for about 1hr-1.5hrs after the company schedule ended, we would have separate classes such as rehearsals of our own rep for shows, variations, strength training, and partnering.
  • The second company works very closely with the company, and so for most of the day, we followed the company's rehearsal schedule which did not include classes other than their technique class. Their technique class depending on the teacher was either very laid back so we could focus on ourselves, or very detailed and energetic. Sometimes if we weren't being used in a rehearsal, we could take pointe class with the trainees, it just depended on the workload. In the afternoon for about 1hr-1.5hrs after the company schedule ended, we would have separate classes such as rehearsals of our own rep for shows, acting, strength training, and partnering.
  • The Second Company would take class every morning with the main Company of Ballet 5:8. Afterwards, there was a pointe class on Fridays that students would take if they were not in the company rehearsal. After lunch, the Second Company would be in rehearsals with the Company. The Second Company would stay later for an additional class of repertoire, pas de deux, cross training, variations, or another supplemental class.
  • It is supposed to be vaganova but she is now adding Balanchine in and it’s confusing to the dancers. They also have rep but teach their own rep and don’t really learn many classical variations, which is important to learn.

Partnering

Frequency of Partnering Class

7
2
4

Partner Ratio

1
7
1

Who Taught?

1
3
5

How Much Partnering Improved

No
1
7
1
Tremendously

Quality of Pas Teaching

Poor
3
3
3
Excellent

How Were Corrections Given?

6
2
1

Description of Partnering Class

  • Very basic
  • We had a blend of classical technique and Pas rep. We worked on many advanced coordinations and complex lifts/maneuvers.
  • Partnering class was an hour long at the end of our day on Wednesday. We worked through basic partnering coordinations at the beginning of the season until we were ready for greater complexity in the spring. This class gave me a solid foundation for partnering at a professional level.
  • The Conservatory partnering class gave male and female dancers a solid foundation for partnering technique. While all of the female dancers had to share partners, we moved through groups at a reasonable pace, meaning every female dancer had plenty of opportunity to work with a partner. As the year progressed, the partnering classes grew more challenging.
  • We nearly always started the class with set warm-up exercises and progressed to bigger lifts and longer combinations to end the class. The times we didn't do a standard partnering class were the days we worked on learning a pas de deux from a classical ballet.
  • Partnering class occurs once a week for the trainee program. We focused on both classical pas de deux and exploring partnering skills that are used for contemporary ballet.
  • Sometimes there was not enough dancing and too much talking depending on the teacher. We worked on classical partnering on pointe, and we even learned some rep from the classical ballets. We worked on turns, mechanics, movement quality, and adagio.
  • Sometimes there was not enough dancing and too much talking depending on the teacher. We worked on classical partnering on pointe, and we even learned some rep from Ballet 5:8 rep. We worked on turns, mechanics, movement quality, and adagio.
  • Partnering class was once a week. There were 2 to 3 girls per male partner. In partnering, we both worked on technique and learned company pas de deux repertoire.

Additional Comments

  • Class was always at end of the day, when everyone was tired
  • Sometimes the inexperience of my partners was frustrating, however my teachers coached us through it well and we grew as pairs throughout the year
  • N/A
  • The environment was great! Dancers were taught to communicate with their partners well and work through difficult coordinations/steps as a team. The atmosphere was one of respect and utmost care.
  • I enjoyed them!
  • Nope :)
  • I wish we had worked on more lifts and tricky coordinations.
  • I wish we had worked on more lifts and tricky coordinations.
  • I enjoyed being able to work on both technical steps in partnering but also pas de deux repertoire. It helped me become more comfortable with the style and moves of partnering in the Company's repertoire.

Other Classes

Other Dance Styles

2
1
1
5
9
2
1

Other Class Quality

Poor
3
7
3
Excellent

Contemporary Offered?

5
8

Types of Contemporary Classes Taught

3
8
4
6

Contemporary Quality

Poor
7
1
Excellent

Master Classes?

9
4

Master Classes Description

  • SI had great guest faculty, there were masterclasses for dancers a little younger then my level.
  • Saturday master classes were offered throughout the year. Master classes typically had a theme or topic of study and were open to many levels within The School.
  • There was one master’s class that was taught by a dancer from Ballet Magnificat.
  • Guest teachers come in weekly

Strength & Conditioning

Physical Training Offered?

13

Physical Training Types

6
1
1
5
9
3
10
8

Physical Training Schedule

7
6

Were Trainers Certified?

2
1
10

Physical Training Quality

Poor
2
1
10
Excellent

Strength & Conditioning Comments

  • No
  • I really appreciated so much inclusive cross training. It greatly benefited me and prevented injury
  • In addition to all of our cross-training classes, Ballet 5:8 partners with a gym to allow dancers in the Second Company to train outside of the studio! This resource was a HUGE contributor to my growth. I became a stronger dancer with greater muscular/structural awareness.
  • The School of Ballet 5:8 understands the importance of developing a dancer's strength outside of the ballet class context. Cross-training classes are worked into their schedules regularly, and I grew immensely because of this approach.
  • The conditioning classes helped me gain so much strength! As a hypermobile dancer, I credit a lot of my technical gains during this year to the strength I gained in my cross-training classes with such expert and caring instructors.
  • Some of the teachers taught good stretch/strength classes. That year, we had a stretch class with the AD of the company, and looking back on it, the things we were doing weren’t really safe. Lots of holding extreme positions for lengthy amounts of time. Many of the dancers were injured that year too, which made it extra bad.
  • The trainees, conservatory, and company dancers all get to go to a nearby gym for strength training once a week as part of our program. Ballet 5:8 also has their own cross training room.
  • It was really impressive and I gained a lot of strength!
  • The weight training was in a different gym across the street.
  • The weight training was in a different gym across the street.
  • Once a week, the Second Company goes to a gym next door to do strength training with a certified personal trainer. This has been highly helpful and extremely valuable in my training.
  • You walked to a gym by the studio once a week on Friday the last class of the day when you were tired and ready to go home. The trainer didn’t understand dancers in my opinion.

Injuries/Health/ Mental Health

Are Doctors Available?

4
9

How Parents Notified?

5
3
5

How Treatment Obtained?

  • Recommendations to quality providers in the area, you could also take time off to get in during working hours
  • Ballet 5:8 is partnered with many medical professionals. When injured, dancers are referred to a professional, and the professional screens the dancer. The artistic staff work to create a recovery plan conducive to the dancer's needs, even if this means altering their schedule to include cross-training, PT, etc.
  • The school partnered with a PT and Chiropractor who came to the studio one day a week, and could be met outside of the studio if necessary.
  • Ballet 5:8 is partnered with physical therapists, chiropractors, etc. Dancers are referred to appropriate medical professionals upon injury.
  • Medical treatment was handled personally by the dancer and their family, but recommendations for doctor's were given by the school if needed
  • Injuries were handled very badly. The AD would tell us that we weren’t really injured, because we were really young and didn’t know real pain. And then if she ever did decide it was justified for us to seek medical care, she would only ever send us to a chiropractor.
  • we had to pay for it ourselves
  • We have someone from a physical therapy place come every other week for free who could give us screenings, and we also had a chiropractor come in for free every week that you had to sign up for. Second company had the option to sign up after the company spots were filled.
  • We have someone from a physical therapy place come every other week for free who could give us screenings, and we also had a chiropractor come in for free every week that you had to sign up for. Second company had the option to sign up after the company spots were filled.
  • On your own

PT Available?

3
3
7

Was There a Recovery Plan?

7
2
4

Describe Recovery Plan

  • Seek medical care, once injury was diagnosis get PT until you are cleared for modified dancing. Once that happened you had an integrated schedule of PT and modified classes to get back to fully health
  • I was not injured during my time in this program.
  • Program directors ensure injured dancers are operating in a schedule that will serve them well. They work directly with dancers and medical professionals to create a recovery plan, making sure to follow through with the plan for a healthy comeback.
  • The plan included clear communication with your doctor, following the doctor's orders, then once ready to start reintegrating into class, you go little by little, trying to find the balance of dancing until right before pain. Pushing through pain that furthered damage was not allowed. In times, when you're sitting on the side, you are to ice/heat, complete any PT exercises you were given, cross-train non-injured muscles, take notes, etc.
  • The injury that I had that sticks out to me as being the one that was handled the worst was when I was in a serious enough accident that my car was totaled, and I got a concussion. The back end of my car was completely smashed in, and that’s where my dance bag was, so I had to explain why I didn’t have my pointe shoes the next day. No adults expressed any concern for me or suggested that I seek medical care. Because I walked in the door that morning, they assumed I was fine. I danced 7 hour days for the next three days, including one lengthy rehearsal for a piece that was all jumps and turns, and I felt worse every day. I had a concussion once before, so I knew the symptoms, and I went to the doctor on my day off. I emailed the AD and told her what the diagnosis was and that the doctor told me to take 1-2 weeks off. She said that she didn’t believe I needed to take time off, and needed to speak with my doctor. They wouldn’t talk to her because that would have been a HIPAA violation. She told me she needed more information, and I told her I would bring her my doctor’s note the next morning. She told me I was being very disrespectful by dismissing her request, and that my tone was too casual and that this was also disrespectful. I was 19, and felt so sick I could barely string a sentence together. Getting this email from her caused me a lot of anxiety. Thankfully, she googled concussions that night, I realized I could actually die if I wasn’t allowed to take time to heal. She got really freaked out, and forced me to take an entire month off instead of the 1-2 weeks the doctor recommended. I would also like to note, I have posted screenshots of that email conversation on Reddit at r/ex58 if anyone is interested in seeing it.
  • None

Mental Health Therapists Available?

7
1
5

Were Students Given Fat Talk?

11
2

Staff Made Comments About Bodies?

9
2
2

Were Students Weighed?

12
1

Was "Coded Language" Used?

1
10
2

Additional Comments

  • My daughter reached out to leadership for help/guidance in dealing w/another student who was having mental health issues and in return got no practical help. This resulted in her having to call the police.
  • We had a lot of support available to us. Unfortunately at times myself or my peers did not utilize the resources they had available. Regardless, I always felt very safe and cared for.
  • Ballet 5:8 is completely committed to dancer wellness. They provide exceptional physical, mental, and emotional health resources, bringing in qualified professionals to give seminars. Topics like injury recovery, nutrition, goal-setting, rest, emotional resilience, etc. are addressed in a healthy, beneficial way throughout the year. Outside of coaching the body, dancers are coached in their mindsets as well. I cannot speak highly enough of Ballet 5:8's individual care for the health and well-being of every dancer.
  • Our directors took injury care & prevention/mental health very seriously and worked with each individual dancer as needed to make sure that they had the care they needed.
  • The School of Ballet 5:8 is committed to seeing dancers thrive in all aspects of wellness! They offer seminars, workshops, etc., to give students resources and impart information that will help them take care of themselves inside and outside the studio. They care about dancers as whole people, mind, body, and spirit. This level of investment and care is part of what makes Ballet 5:8 such a special place to train.
  • While the school doesn't offer on-site care, it does provide the student body with recommendations for physical therapy, mental health professionals, and chiropractic care. The school also has seminars with dance and mental health professionals from time to time.
  • The AD often tried to act like a therapist to us and would have very inappropriate one on one conversations with us. Anything we told her was used against us. Eating disorders were also handled very badly. We would eating disorder themed devotionals where we were expected to confess our “sins” to her, and again what we told her was used against us. I told her that I was struggling with disordered eating, and she told me I could gain 20 lbs and still be fine. I gained five in an attempt to become healthy, and was still five lbs underweight for my height at 5’7” and 115 lbs, and she told me when I was alone in the car with her that I should be thinking about eating less and eating healthier, and that if I ate dessert, it would make me just carry around extra weight for no reason. She told me that the kids in the conservatory who were a year or two younger than me couldn’t handle what she was saying, but I could, because I was 19. I was six months into recovery from an eating disorder and she knew it. What she said really set me back in my recovery, and I lost so much wait at my summer intensives that summer that my friends felt the need to gently confront me about it when I got back. The AD also sent us an email that year recommending a book on nutrition that was written in 1990. It contained very harmful, outdated information, and recommended eating only 1,000 calories a day. She knew when she sent this that most of us were struggling with an eating disorder. A screenshot of this email is also on r/ex58.
  • Ballet 5:8 is a very kind and inclusive environment. Dancers are cared for physically and mentally in addition to their technical training.
  • I felt very supported the whole year and also all of my other previous years! There were no issues at all.
  • A chiropractor and a PT come weekly for appointments you can sign up for for free. We are also given recommendations to other doctors as needed. Mental health is taken seriously and into consideration as needed with each individual student. When someone does get injured, they are immediately encouraged and directed to see a medical professional.
  • They had a “mental health coordinator” that was a Christian ballet dancer in their company who was not trained to be a mental health coordinator.

Performances: Winter Show/ Nutcracker

Performance Opportunities

3
3
2
4
1

School Winter Show?

1
12

Company or School Show?

2
10

Cast in Winter Show?

1
11

How Chosen

3
8

Winter Show Role

1
10

Were You Paid?

9
2

If Paid, Please Describe

  • Paid per performance.
  • N/A
  • It was a $75 stipend per show, and there were three shows. We got a check on the last day.
  • I paid them

Rehearsal Impact on Classes

1

Rehearsal Hours

1

Performance: Ballet Season

Cast in Company Productions?

13

Kind of Part Given?

9
4

How Chosen

5
6
1
1

Was Casting Fair?

4
1
8

Did Rehearsals Impact School Schedule?

1
2
6
4

Rehearsal Hours

1

Perfomance Opportunities

  • Outreaches in the community
  • Two school shows, multiple festivals, trainee specific shows and collaborations, company shows and outreach performances - I loved each of them! I got to increase my skills as a corps member, soloist, and partner along with learning how to tour.
  • Multiple opportunities to tour and perform alongside the professional company in corps de ballet roles. Danced many soloist/lead roles in the School of Ballet 5:8's winter/spring productions. Also participated in many community outreach performances and exclusive Second Company shows. Gained a wealth of experience performing in a variety of venues.
  • Trainees were given the opportunity to perform in multiple outreach shows as well as student showcases throughout the season. We were also given the opportunity to rehearse and perform with the company.
  • I performed in numerous outreach showcases and collaborations throughout the year. The School also puts on two major productions: Beyond the Nutcracker, and a rotating full-length spring ballet.
  • Most of my performing opportunities were with the company + guesting in the school performances + Trainee specific outreach performances, like schools, churches, festivals, etc.
  • The trainees performed with the company, on our own, and with the school when I was there.
  • Trainees get to perform in both school and company performances. I performed in two company shows and two school shows this year. There were also two student produced showcases and a number of outreach performances.
  • I got a lot of good casting with the school and the company! It was a few years ago so I can't remember everything specifically, but it was a very positive experience!
  • We didn't really perform very much with the school, basically all of the opportunities were company shows or community outreaches.
  • We didn't really perform very much with the school, basically all of the opportunities were company shows or community outreaches. The one exception was the winter show with the school that only 3 of us were cast in.
  • As the Second Company, the main performance opportunities consist of Second Company shows and outreach performances and performing in the Company shows. I was cast and performed in all of the Company shows except one. I performed in multiple pieces of repertoire in the fall shows and was cast in the full-length ballet the company did in the spring.
  • Their Christian version of the Nutcracker in December and spring show in May. The May show is the directors made up creation.

Were You Paid?

9
4

If Paid, Please Describe

  • We were not charged for any rehearsal time for any company shows we were in. Tuition was to covered our classes.
  • Paid per performance.
  • N/A
  • While I wasn't paid for performances when I was a Trainee II, now that the company's grown, the same equivalent of a Trainee II is the Second Company, and those dancers are paid per show if they perform with the professional company
  • If we went on tour with the company, our travel expenses were paid though.
  • We paid a very low tuition at the beginning of the year for the afternoon classes after the company schedule ended, and whenever we were casted to perform, we would get $75 of the tuition we paid back to us in a check.
  • We paid a very low tuition at the beginning of the year for the afternoon classes after the company schedule ended, and whenever we were casted to perform, we would get $75 of the tuition we paid back to us in a check. I never paid tuition because I was on full scholarship, but I still got checks.
  • Paid per show
  • No payment

Competition

School Does Competitions?

11
2

Competitions Required?

2

How Many Compete?

  • Whoever wanted to
  • The whole studio company performed at RDA and a select few dancers performed at YAGP

% of Students Who Performed

  • Depended on interest per year
  • When I competed in YAGP, there were 3 dancers - 1 from the school conservartory program, 2 from the trainee II program

How Chosen?

  • Self elected, if you wanted to go you could and would get coached
  • Personally, I asked if I could participate and they said yes. My understanding is that the teachers selected students they believed would benefit from the competition experience.

Competitions Cost Extra?

1
1

Separate Competition Rehearsals?

1
1

Competition Interfered With Training?

  • Not really, it was fairly individual and when we did group pieces they were rehearsed during our normal rehearsal hours
  • No

Communication

Formal Orientation?

13

Handboook & Paperwork

1
11
1

Quality of Communication?

Poor
1
5
3
4
Excellent

Who Received Communication?

5
8

Exams

Formal Exam?

5
8

Written Feedback?

8

Exam Adjudicator

7
1

Exam Rubrics Clear?

4
1
1
1
1

Who Attends Exam Meeting?

2
3
2
1

Well Prepared For Exam?

Not at all
1
2
2
2
1
Completely

How Heavily Did Exams Weigh in Promotions

Not at all
3
1
1
3
Heavily

School Culture

How Supported Did Student Feel By Staff?

Not
1
2
10
Completely

How Supportive Were Students of One Another?

Not
3
2
8
Completely

Describe School Culture

  • Rigorous training, trauma bonding, toxic atmosphere (due to leadership)
  • Kind staff and clearly everyone was working to keep improving the student culture
  • Community, support, joy, friendship, growth.
  • community, supportive, caring, high-acheiving
  • Encouragement, friendship, joy, growth, thriving.
  • Personal and pushing for growth
  • The leadership is very toxic.
  • Kind, empowering, professional
  • Building each other up mostly
  • Solid and Christ-like
  • Solid and Christ-like
  • Refreshing. Encouraging. Friendly. Hardworking.
  • Weird place to be

Placement Notification Timing

  • February
  • February
  • The end of the spring semester.
  • I was notified in Febuary
  • The month of May (end of the spring semester).
  • In February/March of the previous school year
  • In the spring
  • March
  • End of February
  • Mid February
  • Mid February
  • The Second Company is notified of their placement for the next year in February.
  • At the end of the year.

How Dancer Was Notified

1

Dancer Had Mentor?

1

Mentoring Details

  • I would only call it mentoring for certain preferred students. You know the director’s favorites.

Overall School Culture

Lord of the Flies
1
1
1
1
9
Warm & Inclusive

School Outcomes

Is Student In Upper Levels?

12

Highest Levels of School?

  • Trainee, Second Company, Studio Company, Apprentice (only if it is not part of the company)
  • Trainee, Second Company
  • Trainee, Second Company
  • Trainee, Second Company
  • Trainee
  • Trainee, Studio Company
  • Trainee
  • Trainee, Second Company, Studio Company
  • Trainee, Studio Company
  • Trainee, Second Company, Studio Company
  • Trainee, Second Company, Studio Company
  • Trainee, Second Company
  • Trainee, Second Company

How Many Promoted Internally to Bridge Level

  • Don't know
  • Not sure what a bridge level is :) but my entire level got apprenticeships in the company
  • In addition to myself, two other dancers from Ballet 5:8's Conservatory were promoted to a "bridge level."
  • 1
  • 3
  • Moving from the top level of the School (for me Trainee I, but now it's just Trainee) to the the bridge level (for me Trainee II, but it's now Second Company) is quite common. During my second year as a Trainee II, all of the Trainee I's from the previous year who decided to continue dancing progressed to Trainee II.
  • 2
  • The conservatory has about 15 dancers, the trainee program has about 10 dancers, and the second company has about 10 dancers.
  • Everyone was promoted or moved on from the previous year, so none of the dancers the year I was a trainee.
  • For this year of second company, there were 6 dancers, and three out of the six were promoted from the trainee program.
  • For this year of second company, there were 10 dancers, and 3 (including me) out of the 10 were promoted to apprentice with the company.
  • Most of the trainees have been asked back or offered a place in the Second Company. In the Second Company, three were offered company contracts.
  • Unsure

How Many Come From Outside to Bridge Level?

  • N/A
  • Half returning, half new
  • About half of the dancers in the Trainee and Second Company programs are brought in from outside schools/companies.
  • 10-15
  • 5-6
  • Currently, most of the dancers who are in the bridge levels (Trainee/Second Company) come from outside of the school.
  • Most dancers were from the outside during my time there. Not sure if this is still true.
  • Some dancers come from the school and some are brought in from other schools and programs.
  • at least 50%
  • at least 5
  • at least half
  • The Second Company typically consists mainly of former Trainees with 2-3 being brought in from the outside.

Where Graduates Who Do Not Get Bridge Level Go

2
8
2

How Many Left and Went to College?

1
1
2
2
2
1
1
1
1
1

Career Support

8
2
3

Describe How School Helped

  • They didn't help
  • We were given time off to audition, access to video footage, resume proofing, and a photoshoot with a professional photographer for audition photos
  • Ballet 5:8 staff are incredibly intentional to guide dancers in their career paths. Dancers not accepted back to one of Ballet 5:8's programs receive insight and assistance from the artistic staff and Artistic Director.
  • I met with the Conservatory Program Director at the beginning of the school year and communicated my goals as a senior in high school. She communicated her eagerness to help me realize those goals, and we worked together all year to make them a reality. She was a constant source of wisdom and aid. I was very supported in finding my next position.
  • When I was told my contract wasn’t being renewed, the AD asked what I was going to do next. I told her that I had already been auditioning for other companies. She told me that she had been praying about how to tell me that ballet wasn’t in the cards for me, and that my options were dancing with a modern company, a more theatrical form of dance, dancing with a worship dance group, or quitting dance and going to college. I auditioned anyway, which needless to say, they were not all that supportive of, and had three contracts to choose from for the next season. And despite what they told me, all these years later I make a living completely from ballet and have never had a year that I was without a contract.
  • The school does not take kindly to someone leaving. Director gets very mad and kicks people out. Most people have no contact once they leave. Very unchristian like behavior from a so called Christian studio.

Building & Surrounding Area

Security Around Building

6
7

Safety of Area Around School?

Not Safe
2
11
Extremely Safe

Studio Space

Cramped
1
1
1
10
Lots of space

Studio Cleanliness

Dirty
1
6
6
Spotless

Housing

Was Housing Provided?

10
2

Did Dancer Stay in Provided Housing?

2
1

Where Did Dancer Live?

2
8
1

Type of Housing Provided:

1

Housing Minimum Age

1

# of Roommates:

1

Adequate # of RA's?

Not at all
1
Absolutely

Type of Bathrooms:

1

Curfew?

1

Curfew Reasonable?

1

Nightly Room Check?

1

Dorm Strictness

Extremely Lax
1
Extremely Strict

How Infractions Handled?

1

How Roommate Issues Handled?

1

Housing Cleanliness

Dirty
1
Spotless

Students Required to Clean Room?

1

Laundry Available?

1

Laundry Free?

1

Evening Activities?

1

A/C In Room?

1

Weekend Outings?

1

Transportation Between Housing and Studios?

1

Safety Around Housing

Not Safe
1
Very Safe

Overall Rating of Housing

Poor
1
Excellent

Additional Comments

  • Trainees have to sign a 50 page rule book every year, and there are a lot of very strict rules about housing. The company has to approve your housing situation. Any overnight guests have to be approved by the company, and there is a curfew of 12:00 AM. This would be reasonable if you were dealing with minors, but it was ridiculous for those of us who were over 18. Minors were also not given enough supervision, and were basically expected to function like full grown adults without any help from anyone. My first year there, the executive director of the company was also one of my roommates, which I think is inappropriate.

Meal Plan

Meal Plan?

1

Academics

How Did Academics Work?

1
12

Academic Support

13

Did the School Support Academics?

Didn't support
2
2
3
6
Definitely supported

Overall Program Grades

Overall Dance Instruction

1
1
8
1
1
1

Career Support and Placement

7
2
1
2
1

Emotional Support

3
2
5
1
2

Housing & Food

1
1
1
1
9

Performance Opportunities

5
6
1
1

Overall Comments

Program's Best Aspect

  • The strong community between dancers
  • Individual student growth and performance opportunities. I made a 180 turn around in my abilities while here
  • The Second Company truly prepared me for life as a professional dancer. The schedule was intense, but this propelled me to grow in all aspects of my dancing, from the physicality of the technique to the emotion, musicality, and artistry. The community was very special. Since the Second Company only offers 10 positions, my fellow dancers and I were very close. Each one of us received individualized attention. Sharing performances with the company was also special, and it was through these opportunities that I learned how to be a better performer and employee.
  • The best aspect of the program was the level of training along side the genuine care that instructors had for the dancers.
  • It's hard to pinpoint the best aspect of the Conservatory Program. As mentioned, the training was exceptional, and we had many opportunities to perform throughout the year. The community was special, and I made lifelong friendships in the program. Ultimately, I was given a space to advance as a dancer while experiencing so much joy in the process.
  • I loved how excellent, scientific, and individualized the coaching was. I was cared for, challenged, and encouraged as not only a dancer, but also as a person. They really did care for me as a whole dancer. I not only gained the technical strength and versatility I needed to enter a professional ballet career confidently, but I also learned how to better take care of my body, mind, and soul. I also made some lifelong friends!
  • I made some really great friends while I was there that I am still in touch with, and I got experience performing with a professional company.
  • High quality training was emphasized, while at the same time dancers were cared for physically, mentally, and spiritually.
  • I grew SO much in my technique and artistry that year, I could even see the improvement and that is hard to do!
  • The individual corrections that were specifically curated for my body were amazing! I grew alot in body awareness, which is hard to develop since I am a hypermobile dancer.
  • I got a ton professional experience performing with the company and I went on all the tours! I also got to perform lead/soloist roles with the school and in our own second company shows. I became good at blending in the company dancers and grew a lot in my corps work. I also loved getting to do shows about things that really matter from the perspective of Christianity.
  • The best aspect was being able to work with the Company everyday and having the opportunity to perform in Company shows. Learning the repertoire and how the company operates helped me when I got promoted into the company.
  • I’m not sure. It started off well and then the more you got to know and understand what was going on the more you wanted to leave and never return.

Program's Worst Aspect

  • The Artistic Director on staff
  • Taking zoom class over the pandemic. Obviously not in anyone’s control but it was still difficult
  • The intensity of the daily class schedule was difficult at times, but I grew because of it!
  • My least favorite aspect of the program was that we were occassionally left with filler classes if staff was short or if the company was busy.
  • N/A
  • The environment was very abusive. It took me years to feel like I had somewhat recovered from what I went through there.
  • Training at such a high intensity can often cause fatigue, but this would be found at any high level program. Ballet 5:8 does a good job checking in with dancers and accommodating their individual needs.
  • some of the dancers were rude and added like a clique
  • I wished that the partnering classes were harder and not almost the same every week. I would have preferred more dancing and less talking about things that really didn't matter or were very basic.
  • I wished that the partnering classes were harder and more frequent. I would have preferred more dancing and less talking about things that really didn't matter or were very basic. The teacher who taught this class is now gone though, so I know for a fact that the partnering classes have definitely improved since then.
  • I wished we had had a variations, modern, or contemporary class. I was able to give this feedback and the staff took this into consideration for the following year. The following year, the feedback was implemented.
  • No classical variation taught. The rep is very strange. I don’t understand their “professional company.” That rep is off the charts trying to prove they are some diverse company. It’s just downright bizarre.

What Changes Would Be Helpful?

  • It would be great to have clearer expectations from the director and eliminate favoritism.
  • Honestly anything I would have changed in my time has been slowly updated and change since I graduated
  • N/A, I had a very positive experience and would not change the program.
  • I would want them to have a few more teachers avaliable specifically for the trainees.
  • I would like to see a couple more contemporary classes incorporated into the schedule. The 21st century dancer needs to be able to branch out from classical technique and explore space/movement in different ways.
  • Honestly, this program is going to be toxic as long as the current AD is there.
  • To get to wear colored leotards every day
  • To have only one out of the two partnering teachers teach both of the classes, and to get more time off to rest.
  • To have a variations class instead of an acting class.
  • I would encourage for a consist contemporary class. Other than that, the program is amazing.
  • The director has got to go. Read up on 5:8 as their is a whole podcast about them and a sub Reddit group with some very interesting insights.

Anything Else We Should Know?

  • If you're looking for a Christ-centered company, you may need to research other companies as Ballet 5:8 seems to be getting further from their mission.
  • It’s a great school, the staff really care about you! Your experience will be what you make of it, go in with and open mind and desire to learn and you will thrive.
  • If you want to grow and be stretched as an artist, Ballet 5:8 is the place for you! You will be seen and challenged, but in a way that prioritizes your health and wellness as a dancer and a person.
  • You will be challenged at The School of Ballet 5:8 (and you will grow!) but the teachers are on your side! The environment is different from any other ballet environment I've experienced, in the best of ways.
  • I would highly recommend this school to any dancer. It is affiliated with a professional company, so young students have professionals to look up to and learn from.
  • Sometimes rehearsals and classes can be tense, but stick it out, the teachers always have good intentions.
  • Most of the things mentioned in this particular survey have been addressed and fixed in more recent years. As a second company member, you will be learning your own parts and also understudying the company members, which is a lot of work, so be prepared.
  • Most of the things mentioned in this particular survey have been addressed and fixed in more recent years. As a second company member, you will be learning your own parts and also understudying the company members, which is a lot of work, so be prepared. The community is amazing, so get ready to make life-long friends and build strong relationships! The staff is also very knowledgeable and understanding.
  • If you are looking for high-quality dance training in a nurturing, friendly, and wholesome environment, this is the place. I have gone to other summer programs and was not always impressed with the students there. Here, the students are so encouraging and supportive of each other. They become your friends! I also appreciate, as a Christian, having a place to train, dance, work, and perform that is grounded in Christian principles.
  • Don’t believe these reviews in here. You can tell the director, her husband and the other paid staff filled those reviews out. They aren’t telling the real story about this place.
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