He was awarded the 2-year male scholarship. Full tuition with $750 per month living stipend. Also included personal training at a local gym 2x week.
3-year full tuition scholarship plus stipend
We did not apply for one.
N/A
Years At School
2 years
5 years
Curriculum
Days Per Week
6
Classes Per Day
3
4
5
more than 6
Weekend Classes?
Yes
Weekend Schedule
Full day
Students Per Class
10-15
16-24
Weekly Repertoire or Variations?
No
Yes
Pointe Classes Per Week
3
5
Daily
Live Music in Technique Class?
No
Dedicated Men's Program?
No
Unsure
Yes
Boys In Level
Less than 5
Separate Technique Class for Boys
No
Yes
Techniques Taught
Balanchine
General Classical
Technique Teacher Rotation
Different depending on week
The school rotated teachers on a fixed schedule
Usually the same every day
Did School Director Teach?
Always
Never (school admin was NOT designated as an upper level teacher)
Occasionally
Often
Classroom Corrections
Dancer specific: almost every dancer got specific corrections each day
Dancer specific: detailed but only a few dancers consistently got corrections
Occasionally dancer specific: mostly general corrections were given
Attention From Teachers
Very Little
1
2
3
4
5
A Lot
Quality of Instruction
Poor
1
2
3
4
5
Excellent
Did Technique Improve?
Not at all
1
2
3
4
5
Tremendously
Curriculum Comments
There were three technique classes and a center class. For the girls, there was pointe, as well. Oftentimes, the boys would have no classes offered for them, so they were told to take pointe classes. They eventually put these on the schedule as pointe/center classes.
2 full ballet classes, 1 center class, than one pointe class. Or for days we have rehearsal, 1 full ballet class, then rehearsal for the rest of the evening.
partnering, variation, a lot of rehearsals for upcoming performances, and regular ballet classes
28.5 hours of required classes/week (technique, center, pointe, partnering) Rehearsals for live performances may replace some of the classes. There are 4 performances/year including 2 weekends of Balanchine's Nutcracker staged at Whitaker Center and Hershey Theater. CPYB is the only school in the world permitted by the Balanchine Trust to perform this ballet.
Ballet technique and pointe, some variation
Marcia's syllabus that she created. Every weekday there is an optional 3pm class and mandatory classes started at 4pm. Classes depended on rehearsals, but normally ballet, pointe and center.
Syllabus was based on Marcia’s syllabus. All ballet classes.
Marcia’s way
Ballet consisting mostly of technique class
Partnering
Frequency of Partnering Class
1x per week
2x per week
3x per week
No partnering
Partner Ratio
Everyone had to share a partner.
Most girls had to share a partner.
Who Taught?
It varied based on the week
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
Females were the main focus
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
we had partnering a lot at the beginning of the year but then we didn’t have any for the rest because we don’t have a lot of boys and they’re always in rehearsals
The instruction is world class but this year did not have as many boys as other years.
All girls shared 3 boys.
There are only several guys able to partner- they must rotate between all levels of girls throughout the week
Technical partner classes
average of only 3 boys to 30 girls and counting.
Additional Comments
we worked on basic turns and adagio steps, we didn’t usually work on lifts but we broke down the simpler things
no
Not enough boys
It would be helpful to have men (especially those on scholarship) to be able to actually lift the female dancers
Wish there were more male dancers
the few male dancers impacted the ability for a balanced approach with a male dancer. The selected few female dancers received most of the time with the limited male dancers.
Other Classes
Other Dance Styles
Character
Modern
None of the above
once in a great while contemporary
Some contemporary based on performances
Other Class Quality
Poor
1
2
3
4
5
Excellent
Contemporary Offered?
No
Yes
Types of Contemporary Classes Taught
Technique
Contemporary Quality
Poor
1
2
3
4
5
Excellent
Master Classes?
No
Yes
Master Classes Description
Only for the two highest levels.
Guest teachers occasionally taught throughout the year.
There are no classes titled Master Class
A guest choreographer came but was only offered to levels 5+
There is an option for additional strength and cardio regiments. CPYB has paired with a gym and strength training is offered at a reasonable additional cost. Worth it!
not offered to my knowledge.
Strength & Conditioning
Physical Training Offered?
No
Yes
Physical Training Types
Body conditioning
Other
Pilates (mat or reformer)
Progressing Ballet Technique
Stretch class
Weight training
Yoga
Physical Training Schedule
Occasionally
Once or twice a week
Several times 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
The boys had a gym membership at a local gym with a knowledgeable trainer.
Typically applies to the boys curriculum.
This is my invitation only and is offsite at MedGym
offered one time per week and it is optional.
Injuries/Health/ Mental Health
Are Doctors Available?
No
Yes
How Parents Notified?
My student did not get injured
Student told parent. School not involved
How Treatment Obtained?
Talk with CPYB about scheduling an appointment
physical therapy
Typically, students use their own doctors. PT/message is available at the school.
On our own
Found our own dr
You are on your own at CPYB
outside facility on your own
PT Available?
No
Yes, for extra fee
Was There a Recovery Plan?
My dancer did not get injured
No
Yes
Describe Recovery Plan
Taking lower level classes with modifications to regain strength, and/or only taking one class a day rather than the full schedule, then working out in the CPYB workout room
It varies depending on the injury.
By doctor only
There was no plan, dancer has to communicate with leadership
Students get their own dr’s and recovery plans
Did our own injury plan and informed the school
Mental Health Therapists Available?
No
Unsure
Yes
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
Many dancers find themselves pressured by teachers to work and perform through serious injuries
no
Do better by each dancer's personal need(s)
Dancers could either pay and extra fee for PT at the studio or find one on their own.
Dancers in were lectured multiple times about their mood and told that they looked depressed and the energy was negative. The AD at the time brought it up in a polite, concerning way, but the other instructor was rude about it.
Injured dancers were told by one specific instructor they "should be better by now" and "they were dragging out their injury"
The teachers do not consider the mental health of the students. Weight and body image is often discussed under the table.
At CPYB the school does talk about maintaining healthy habits. The reality is that if you want to work professionally you need to be toned and healthy.
Injuries occurred and there was a perception that this limited the opportunity to perform even if the injury was minor the artistic staff would eliminate the dancer from a particular part as they wanted to produce the best product.
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
Balanchine’s The Nutcracker, Alan Hineline’s Giselle, Balanchine’s Serenade, Bruno Roque’s “Tarantism”, Student choreography workshop, Alan Hineline’s Midsummer Nights dream, Alan Hineline’s “All the Way”
they are giving more people opportunities for better roles, but it is still unfair to a lot of dancers to get recognized
Most students have some type of roll in every performance.
School opportunities
George Balanchine's The Nutcracker, First steps (student choreography) Alan Hineline's Giselle, June show
Fall show, Nutcracker, Spring Show, end of the year show
Nutcracker, Spring Performance, June Series
During rehearsal there are less technique classes
This is a school and the parts are selected by the director and if you are not a favorite you will not have an opportunity to dance a lead role. On the positive side this helped me improve greatly as a corp de ballet dancer.
Were You Paid?
No
If Paid, Please Describe
N/a
NA
Competition
School Does Competitions?
No
Communication
Formal Orientation?
No
Yes
Handboook & Paperwork
Adequate but missing several key pieces
Comprehensive and complete. I knew what to expect for the year
A few find positions elsewhere but most leave ballet
All find bridge level positions at other ballet schools
How Many Left and Went to College?
3
4-5
Less than 5%
None
None that I know of.
Not many, most go to apprentice positions, bridge programs, or core jobs.
not sure
unknown
Unknown
Career Support
Received lots of help
Received no help - I was on my own
Received some help
Describe How School Helped
They will provide feedback on audition videos. If you want help filming them, you will pay private lesson fees. They want dancers to do their own research about companies and where they will audition. They refuse to recommend specific companies. Permission from artistic leadership is needed to go to a different summer intensive (applies for people not on scholarship, as well).
Gives brief recommendations of where they could see us succeeding
The school works hand in hand with the students to advance their training.
A Principal Dancer from PNB is hired to help the graduating dancers with the audition process (via zoom/email).
A teacher could be hired to help with making videos or the dancer could film on their own.
Dancers were on their own last year, for their Contemporary pieces to choreograph and film.
No help
Briefly reviewed acceptances, gave biased opinions
There are performance meetings annually where the artistic director gives feedback on what he thinks you’ll be successful. Staff is supportive and willing to give advice and write letters of recommendation.
provided feedback when I asked about a particular audition.
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
Yes
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?
Integrated
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-
A+
B
C+
Career Support and Placement
A
A-
A+
B
B-
C
D
Emotional Support
A
A-
B
B-
B+
C
C+
D
Housing & Food
A
A-
C
D
N/A
Performance Opportunities
A
A-
A+
B
B-
C+
D
Overall Comments
Program's Best Aspect
The scholarship and foundational training.
The good-quality training, and massive improvement I’ve seen in my dancing throughout my time here
Every one of the teachers has danced professionally and brings that experience to the class.
Technique training
Exceptional training and most instructors truly care about the dancers success and well being. Last year's AD (who is not there anymore) was the heart and soul of CPYB which brought high hopes for less favoritism and overall positivity and less one-sided casting
Marcia’s Syllabus. However they are moving away from it.
They have a fantastic foundation for technique
The training is amazing. It’s tough and not for everyone. You have to mentally tough to make it at CPYB but if you do you’ll get a job.
best place to learn outstanding technique and fundamentals. provided a real workd approach to positions for performances based partly on your skill level.
Program's Worst Aspect
Lack of men's classes and partnering. Sacrificing class time for rehearsals. The program is described very differently from reality. Lots of turnover in leadership.
The lack of true understanding and consideration for each dancers physical and mental health. The amount of stress and pressure put on to me as a dancer in this program, has affected my own mental health greatly. Trying to manage the balance between dance and school each day of the week often feels impossible.
to much required class time
Lack of modern/contemporary, lack of stretching and strength training, lack of partnering, barely male dancers
One instructor (in particular) shows extreme favoritism! He belittles the students, compares them to each other, tells them they should "BE like HER" (one of his favorite students). If the rest of the students received as much attention as his favorite 4 dancers, they would all be amazing. He tells the girls to "get cut and skinny".
This same instructor has his favorite student demonstrate a certain step and instead of explaining how to do it, he tells the class to "do it like her"
Extreme favoritism, Rules are implemented on some dancers but not the favorite dancers, the “leaders” of the school do not listen to the request of the parents or the students. There is too much focus on casting and performance, it takes away from technique training. Same leads are cast. This is a school, not a company. It is boring to watch the same leads, it is showing. Ticket sales have been down. No one was at most recent show. Feel sorry for these hardworking dancers.
Marcia’s legacy is dying each year.
They only showcase 3-4 dancers in every performance -
It’s tough! Kids are treated like adults.
Unfortunately the leadership treated the school solely like that of a company. Many competent and qualified dancers were not selected for lead roles that went primarily to four select dancers. This created a level of animosity as these four were favored in all parts and received the majority of corrections thus isolating them from their peers.
What Changes Would Be Helpful?
Having a consistent schedule with men's, partnering and other forms of dance. Controlling the amount of time in rehearsal and respecting dancers' time so they are not standing around for hours every day instead of going to class.
Favoritism/comparison. They use the same exact sets of people in each production, and all of which are extremely overworked, and exhausted. Roles are never distributed evenly and even though they claim that they give each student a fair chance at a “highlighted” role, they always have them reserved for the same few students/favorites. True chances for dancers to achieve new roles are so rarely given. Each and every one of the students in this school are so talented and beyond capable of dancing difficult, important roles. I believe that all of the students in this school should be recognized and celebrated equally for their hard work. Rather than being compared to specific students saying that in order to dance well, you have to “be just like them”. Which is ultimately impossible, because no one person is like the other. Every dancer is different and I think that’s what makes ballet so beautiful. You don’t have to be perfect, you just have to be yourself and that is more than enough. There is beauty in individuality, not perfection. And I wish that this was more understood.
reduce the class time
Share the roles with all the dancers. Stop the favoritism. Take each dancer, individually, and teach them where they are at and improve them. Stop comparing. Stop body shaming.
Dancer loves CPYB, but would love to change the negativity from one single instructor and his favoritism.
We ALL hope for more diverse casting instead of him choosing his favorite four dancers for all the lead roles year after year for every show.
CPYB is a SCHOOL...NOT A COMPANY and it should be run as a school, where all students are given an equal opportunity for lead roles to put on their resume.
There are so many performance opportunities to hand out to multiple higher level dancers, but the older dancers are passed up and roles are given to 12, 13 and 14 year old dancers.
The leadership -
More classes less rehearsals -
Need an AD
I’d love for the program to support students growth and help them move on to their next step in the ballet world.
I wouldn’t change anything this is the culture they built and it works.
The technique that is learned is unparalleled however the students are treated as if they are in a professional setting and not a school setting. Thus, the opportunity to dance a solo is very limited to the same select few rather than giving others in the same level equal opportunities to perform as most of the shows offered at least four showings in which the leads could have been divided fairly amongst the dancers.
Anything Else We Should Know?
Find out what the men's classes and partnering schedule actually is from current students.
It is important to understand before going into this, that like anything you want, you must work extremely hard for it. This program pushes you tremendously, and shows you that you are much stronger and more resilient than you ever thought you could be. Every school has its own issues, but each also has its own pros as well. My technique and my dancing have improved so much more than I could have ever dreamed of. And I am much stronger now than I would have been if I had stayed at any other ballet school instead. Coming to this school was the best decision I could have made towards achieving my dream of becoming a professional ballet dancer. I have learned a lot in my time here as a dancer, but also as a person. I have grown here so much mentally and emotionally. And I will continue to carry the life lessons I have learned here with me forever.
This school has a proven record of creating exceptional dancers that go straight to dance companies. The performances CPYB puts on are professional caliber. CPYB has it's own professional choreographer, Alan Hineline and occasionally brings in other professional choreographers. Summer classes have a greater variety of dance styles.
Lack of male dancers, hardly partnering classes, only ballet focused and no other style of dance (barely), if you are not a Barn Baby you might not be considered and have to work harder, be ready to be compared by other dancers.
If your dancer needs to fine-tune their technique and doesn't care about important roles for their resume, they will excel. If your dancer can block out the negative comments and being compared to thinner dancers, they will do just fine. A majority of the instructors are kind, endearing and supportive.
It is not what it use to be. Every year the school moves away from what Marcia built. It is evident in the teaching and leadership. Only 2 teachers (who actually teach) are left who were trained in her syllabus.
Also, the rules for dancers do not run parallel. Some are punished for missing class/rehearsals while at auditions. While others receive zero punishment.
Circles back to extreme favoritism. Again, this is a school not a company.
Also, leadership should be open to feedback from parents and dancers. All of them, remain closed off and of their own opinions. This is why CPYB is NOT what it use to be. The extreme turnover in the office over the past several years speaks volumes.
If you wish to improve your technique on your quest to dance professionally this program is top notch and it will make you a stronger dancer.
