. Typically it would be technique, pointe, variations, and partnering once or twice a week. An occasional modern class would be taught.
Not sure what the style is. I would say mostly classical. I don't believe all the teachers followed the same curriculum.
Ballet/point and rehearsal daily. Variations and repertoire 3 days a week. Modern once a week. Pilates once a week but was often canceled.
Ballet class daily; often pointe was combined as part of rep. class; there are two trainee levels and one trainee level had rep consistently while the other trainee level often lost that class because of scheduled rehearsals. The "higher" level trainees lost many classes to rehearsals this year, which was fine if a dancer was actually participating in the rehearsals; but if a dancer from that level was not cast they not only missed rep or pointe class, they stood around watching other dancers work. Lots of hours and hours in the afternoon standing around instead of training.
Ballet was a mix of styles. There was modern/contemporary twice a week, pas de deus 2-3 times per week, conditioning at least once a week. There were also lectures periodically on things like mental health, nutrition, injury prevention, career planning/auditioning.
The curriculum draws from several classical styles, but there is a big Balanchine focus with Balanchine rep starting in January for those chosen to be in the Balanchine works.
Partnering
Frequency of Partnering Class
1x per week
2x per week
3x per week
Partner Ratio
A few girls had to share but most had their own partner.
Everyone had to share a partner.
Most girls had to share a partner.
Who Taught?
Male and female teacher together
Male teacher
How Much Partnering Improved
No
1
2
3
4
5
Tremendously
Quality of Pas Teaching
Poor
1
2
3
4
5
Excellent
How Were Corrections Given?
Attention and corrections were evenly distributed between the males and females
Corrections were general and there was little attention paid to any specific person
Males were the main focus
The teacher focused on one or two couples and the rest of the students were on their own
Description of Partnering Class
General corrections given by instructor.
Hard to answer. It was dependent upon rehearsals for other shows
Pretty basic, because some of the men did not have that much prior partnering experience
Very little direction. The teacher would say what they wanted. But gave very little direction on how to accomplish the technique.
The partnering class seemed to be cancelled often because of rehearsals for shows.
Partnering class was really only of quality once of the twice a week; again, the two levels of trainees had different experiences. The other level had partnering 3 times a week. Partnering class depended heavily on which men's teacher was teaching. Academy boys were brought up to Trainee classes to fill the ranks. Overall the quality of partnering classes dropped off steadily this year as compared to last year. Faculty teaching the classes had changed.
Two or three boys per girl. Lots of lift practice, variations.
Taught by a male teacher with live accompaniment. Two to three girls per guy, determined by height. Partnered rep, lifts.
Additional Comments
Incorporated lifts into class
Partnering was canceled a lot because of rehearsals
No
Many of the boys had little to no previous experience with partnering.
For clarity, I am a parent filling this out and only saw my daughter partner one time.
If you are looking to this program ask about who used to teach and who still is and who is new to teaching partnering. The program was superior previously and left a lot to be desired this year.
The two male teachers had different styles--one was better than the other, but both were good.
Other Classes
Other Dance Styles
Character
Horton
Jazz
Modern
Other Class Quality
Poor
1
2
3
4
5
Excellent
Contemporary Offered?
No
Yes
Types of Contemporary Classes Taught
Choreography workshops
Improv
Repertoire
Technique
Contemporary Quality
Poor
1
2
3
4
5
Excellent
Master Classes?
No
Yes
Master Classes Description
Not sure - they were few and far between and open to the academy and trainees
Basic technique, pointe, partnering, rep and contemporary
If there were Master classes offered, I don’t believe they were promoted to the trainees. They did take a Pilates class every now and again. Also, modern was cancelled quite often.
In two years there was not a single master class
n/a
Strength & Conditioning
Physical Training Offered?
No
Yes
Physical Training Types
Body conditioning
Gyrotonic or Gyrokenisis
Pilates (mat or reformer)
Stretch class
Physical Training Schedule
Occasionally
Once or twice a week
Were Trainers Certified?
No
Some were certified and some were not depending on class
Yes
Physical Training Quality
Poor
1
2
3
4
5
Excellent
Strength & Conditioning Comments
Good quality
I don’t know if the teacher was certified
No
No
It was very unpredictable and the director often cancelled it in lieu of rehearsing one of the two trainee groups
The type/content varied per class included in the program. Some company dancers also offered separate paid pilates/gyrotonics classes as extra.
Injuries/Health/ Mental Health
Are Doctors Available?
No
Yes
How Parents Notified?
My student did not get injured
School called parent
Student told parent. School not involved
How Treatment Obtained?
Personal medical provider
The kids were on their own to make arrangements for medical care
N/A
We would have to take care of that ourselves
Trainees were left to their own devices. My dancer had an injury, I was geographically far away, they were not helpful in arranging transportation. Very disappointed.
no
There were recommendations of providers made by the school and the teachers, and there is OSU Performing Arts Medicine PT available onsite for an extra fee, but we got better care through providers suggested by the teachers than OSU by far.
PT Available?
No
Yes, for extra fee
Was There a Recovery Plan?
My dancer did not get injured
No
Yes
Describe Recovery Plan
The school did not coordinate any medical plans for students.
N/A
n/a
The recovery plan was determined by our medical providers, and then communicated to the director, who then stepped in with private lessons and personal training with one of the company dancers who is a personal trainer (extra fees, but nominal) to complement the work done in PT.
Mental Health Therapists Available?
No
Were Students Given Fat Talk?
No
Yes
Staff Made Comments About Bodies?
Unsure
Yes
Were Students Weighed?
No
Was "Coded Language" Used?
Maybe
No
Yes
Additional Comments
Program lacking these resources
Comments were made by the Academy Director that this girl or that girl wouldn’t look good or fit into certain costumes.
The years that my student attended the program I was in contact with an out of state mom of another student to provide transportation for her daughters medical treatment of an injured ankle. There was absolutely no support for that student.
I’ve heard they are bringing in nutrition and mental health classes, thank goodness. The Academy Director has made comments about the weight of the dancers in front of my daughter. It’s awful.
While there are athletic trainers involved and they "use" an app. the two times I sincerely wanted to involve them in my dancers health they were very delayed in responding or did not respond at all; they were unavailable; they were not supportive and generally not helpful. Mental health is absolutely not a priority there. The director contributes to the mental health strain trainees are under. Bullying was rampant this year, and went unaddressed when reported.
n/a
Performances: Winter Show/ Nutcracker
Performance Opportunities
2-3
4-5
School Winter Show?
Yes
Company or School Show?
Company affiliated production and the students perform certain parts
School puts on it's own production and students dance all the parts
Cast in Winter Show?
Yes
How Chosen
Chosen by school director or the company artistic staff
Winter Show Role
Dancing part
I had both types of parts
Were You Paid?
No
If Paid, Please Describe
n/a
No payment
Rehearsal Impact on Classes
4
Rehearsal Hours
3-5
Performance: Ballet Season
Cast in Company Productions?
Yes
Kind of Part Given?
"Standing around part" e.g. party attendant, royal guard, etc.
Dancing part
I had both types of parts
How Chosen
A few students are chosen by the Artistic Staff
Students chosen for roles by staff - NO AUDITIONS
Was Casting Fair?
For some but not all
No
Yes
Did Rehearsals Impact School Schedule?
1
3
4
5
Rehearsal Hours
3-5
Perfomance Opportunities
Trainee showcases, company productions, spring performance
There’s two “work in progress” shows with the academy, a spring performance with the academy, a trainee showcase, Nutcracker, Swan Lake, and two original shows.
The trainees had their own performances but the were also casted in Company shows as corp if needed.
Received a role in Nutcracker and was a swan in Swan lake.
This is a hard question to answer. The trainees dance with the other/younger Academy dancers in the “Performance Ensemble” shows. These shows are just for parents and not open to the public. The trainees are also have opportunities with the company; The Nutcracker is the primary one. The trainees were also cast in Swan Lake and I think all of them were. Only a few were cast for other shows.
Corps roles, "living scenery" roles
There were two "work in progress" shows for the trainees which also included some of the lower level "performance ensemble" academy students. This was mainly Don Quixote this year, but the second one also featured Concerto Barrocco. I also had the end of year Trainee Showcase which included these, plus a contemporary piece choreographed by a company dancer, and trainee-choreographed modern/contemporary pieces. With the Company, I was in the Nutcracker and Romeo & Juliet. Some trainees were also in Alice.
Trainee-specific roles in Nutcracker, company/corps de ballet roles in one of the spring Company ballets. Three "works in progress" performances for Trainees and "Performance Ensemble" Academy kids. One final Trainee showcase including Modern student choreography performances and inclusion in two end of year Academy recital/showcases.
Were You Paid?
No
If Paid, Please Describe
n/a
Competition
School Does Competitions?
No
Yes
Competitions Required?
No
How Many Compete?
4
Very few
Picked by the Academy Director
It’s sort of secretive how this is determined. The Academy Director seems to pick one or two to go.
It depends
% of Students Who Performed
Hard to answer because the competition dancers were a mix of a few trainees and a few academy dancers
10%
Less than 1 percent
1%, tops
Very small
None--the school did not compete this past year
How Chosen?
Asked by director
Hand picked by the Academy Director
Invited by director
Not sure. A few select dancers were taken. It was not open to all.
See above
When they do compete, students are chosen by the director.
Competitions Cost Extra?
I can only speculate. I have heard there are fees.
not sure
Not sure
We didn’t compete, but I understand there were fees.
Yes
Separate Competition Rehearsals?
Yes
Competition Interfered With Training?
The Academy Director rarely taught class, so there were not too many classes canceled because of comp rehearsal. The dancers who went to the competitions were showcased during some of the academy shows.
Neither
Added for those that were selected
My daughter didn’t compete, so I can’t answer
did not apply
N/A
Communication
Formal Orientation?
No
Yes
Handboook & Paperwork
Adequate but missing several key pieces
Comprehensive and complete. I knew what to expect for the year
Fairly comprehensive but missing a few pieces
No handbook provided
Vague and incomplete
Quality of Communication?
Poor
1
2
3
4
5
Excellent
Who Received Communication?
With dancers only. Parents not involved
With parents and students
Exams
Formal Exam?
No
School Culture
How Supported Did Student Feel By Staff?
Not
1
2
3
4
5
Completely
How Supportive Were Students of One Another?
Not
1
2
3
4
5
Completely
Describe School Culture
Environment somewhat toxic, not supportive of academic commitments
Toxic, stressful, dancers were kind
Confusing and undirected
Upper levels are toxic.
Artistically toxic
Favoritism. Money Maker. Unsupervised. Bullying
Depends on the level
It depends on the level.
Placement Notification Timing
Spring
My dancer wasn’t notified, but she could’ve stayed. She didn’t.
A week or two before the first class.
Between January and February
We weren’t - we didn’t stay. My daughter had been at BalletMet since she was 5, so it was time to move on
Unofficially there were meetings in January
Yes
February
How Dancer Was Notified
In-person meeting with school director/staff
Dancer Had Mentor?
Yes
Mentoring Details
The director of the school herself, two company dancers. Informal arrangement agreed upon with parents and dancer, with regular communication regarding scheduling and progress with sessions as needed and based on availability of all parties.
Overall School Culture
Lord of the Flies
1
2
3
4
5
Warm & Inclusive
School Outcomes
Is Student In Upper Levels?
Yes
Highest Levels of School?
Trainee
Trainee, Second Company
How Many Promoted Internally to Bridge Level
1 or 2
Hard to answer. There are 8 levels in the academy and then trainee. The 2nd company is not affiliated with the school, but with the company. Anyone over 16 can likely be a trainee.
Very few
If a trainee, several. If second company less than 1%
There is no bridge level. It seems that if someone who is in Level 8 in the Academy wants to be a trainee then they can. Students can reach level 8 when they’re 16 years old.
One trainee was taken to second company initially; a second was taken after negotiating took place because they were the boyfriend of a company member and the company member was unhappy.
About half
40%
How Many Come From Outside to Bridge Level?
4 or 5
Out of 70 or so trainees, I’d say more than 1/2 from the outside.
Most
If trainee a little less than half. If second company maybe 80/90%
They probably bring 10-15 dancers into the trainee program from the outside.
one or two
About half
Where Graduates Who Do Not Get Bridge Level Go
A few find positions elsewhere but most leave ballet
All find bridge level positions at other ballet schools
Some find positions elsewhere and about half leave ballet
How Many Left and Went to College?
6-8
I don’t know for sure. Most of the dancers from last year left for other programs.
Not sure
Unsure
I don’t know. There were 60 trainees, so it was tough to keep track.
None
not sure
Unsure
Career Support
I was not looking for new placement; was staying in program
Received no help - I was on my own
Describe How School Helped
No assistance requested
They didn’t. It frowned upon to go someplace else.
The school does not have any career counseling.
N/A
n/a
They give studio space whenever needed for filming video, and a lecture about auditions/career, but no specific/individual guidance in that area.
Building & Surrounding Area
Security Around Building
No
Yes
Safety of Area Around School?
Not Safe
1
2
3
4
5
Extremely Safe
Studio Space
Cramped
1
2
3
4
5
Lots of space
Studio Cleanliness
Dirty
1
2
3
4
5
Spotless
Housing
Was Housing Provided?
No
Did Dancer Stay in Provided Housing?
No
Where Did Dancer Live?
Lived at home
Rented an apartment alone or with other dancers
Stayed with a host family
Academics
How Did Academics Work?
Separate e.g. online, independent study, etc.
Academic Support
There were no formal study requirements. Students were on their own
Did the School Support Academics?
Didn't support
1
2
3
4
5
Definitely supported
Overall Program Grades
Overall Dance Instruction
A
A-
B
B-
Career Support and Placement
B-
B+
C
C-
D
Emotional Support
B
B-
C
C-
D
Housing & Food
N/A
Performance Opportunities
A
B
B-
B+
C+
Overall Comments
Program's Best Aspect
Performed classical ballets as well as pieces from Balanchine Trust
The teachers and my DD’s friends
For us it was close to home
The main teachers are wonderful and seem to really care for the students.
Dancing Edwaard Liang pieces, faculty, the friendships. My daughter received great training from the teachers who seemed to care for the dancers.
It was the Artistic Director, one of the academy teachers, and the head of second company; they have all left now.
Training, faculty, very nice studios
Attention given by the director and faculty, kindness of company dancers, Balanchine rep, company productions
Program's Worst Aspect
Toxic environment, unfair treatment of peers (mostly female peers)
Long answer. She grew up at BalletMet, so lots of ups and downs. For the trainee program the worst part was I felt like a lot of the dancers were neglected by the Director.
My dancer had the opportunity to perform with the company in Giselle.
Very large trainee program and only a very select few were given attention and performance opportunities. It felt like most dancers were there to fund the program. Often a toxic environment.
Horribly unorganized, the Academy Director is a good teacher, horrible leader. She should be removed from that position. She gas-lights and clearly has favorites. My daughter trained with Maria for 10 years, so I have a great view of the good and bad of the program.
The director
n/a
Needs better management of minors getting medical care when parents are out of state.
What Changes Would Be Helpful?
Environment, more focus on development of artistry, add contemporary class/performance (considering company performs many contemporary ballet pieces throughout year)
The size and leadership.
The safety of the students. Supervision of out of town students.transportation from the studio to the theater for all shows.a mental health professional on staff. study hours, or some kind of accountability for academics. Career counseling. Help finding medical attention and transportation to any doctors appointments
Less trainees!! There are over 60 dancers. 30 per level is still a lot! Many of them are overlooked and only a select few are given any time/attention or performance opportunities!
Trainees should be free to audition during audition season without backlash as the odds are against them in being promoted at BalletMet. It would also be nice if there was assistance with helping trainees navigate writing or reviewing resumes, audition videos for bridge programs or job placement into second and/or company positions. After all they are training to become professionals!
Also many young trainees are not old enough to drive and those that are don’t all have cars making it a challenge to get back and forth to the theatre for rehearsals/shows. It would be nice to have dedicated vans to help these dancers get back and forth. It’s not an ideal or safe situation especially after dark in downtown Columbus.
They need a leadership change. I would like to see it be a smaller program because 60 dancers isn’t really a trainee program. They need to compensate the dancers for the parking fees at the theater or give them transportation. And, I’d like to see a less toxic culture (again, leadership change).
The director, they control casting, who teaches class, who makes it to second company, who is cast in company corps roles, what classes students take... in the absence of the Artistic Director since Edwaard left the director has ballooned into a position of intense control and the results are not good
Hoping the new AD is more involved with the trainee program, would like to see a larger second company so that more trainees have the opportunity to move up
Better management of minors getting medical care when parents are out of state and more support for auditioning/career guidance.
Anything Else We Should Know?
Large program, large levels.
It’s a big program and only a few (2-4) dancers are showcased. There are alot of talented dancers that are now thriving elsewhere. They just needed a chance to shine.
The students are basically on their own. There is no support and very little communication. There is no supervision outside of the studio for these students. A lot of students feel defeated because it is hard to tell where you stand or if you are progressing.
BalletMet has very good teachers that care about their students/trainees however they’re not the ones in charge or making the decisions regarding performance opportunities. It’s a VERY large trainee program. Go into it knowing the chances are minimal of being promoted into the second or main company. Apply yourself and focus on the training and not the performance opportunities. You get out of it what you put in! Learn how to advocate for yourself!!
Be careful believing what you are told my the Academy Director about opportunities. She gets the dancers excited that they’ll be dancing in solo parts and then only gives them to 1-2 dancers. There are favorites. They are beautiful dancers and deserve the parts they receive, but it needs to be spread out. I’d like to also see more community outreach.
Look at staff turnover. Look at the finances: the academy (which includes the trainee program) is the money maker, makes far more than the company does, and therefore the academy director runs most decisions now. The mens program has a fantastic teacher... who the director steps all over and refuses to allow to teach. The womens program just lost one of its best teachers and the director runs roughshod over the remaining womens faculty. This program is not what it was five years ago.
It is a rigorous program and trainees are expected to handle themselves as professionals and as adults. Yes there is a handful of younger trainees but they are very mature for their age.
It is a large program, yes, which you will see many people whining about in the FB groups, but the director and faculty truly do care and are very responsive when approached with respect and professionalism. It should also be noted that they are really dedicated now to promoting from within--this season, two trainees got promoted into the second Company--last year it was three. And this season, THREE second Company members got promoted into the main company.
