Casting

Ah, casting… every year there will be tears of joy and tears of sorrow. This is inevitable and GCB encourages good sportsmanship from dancers and parents alike.

Please understand that casting decisions will be made in order to produce the best show possible. Casting depends on many factors including the number and skill level of all dancers who audition, our costume inventory and budget, and the types of roles offered by any given Artistic Director and/or choreographer.

There is no guarantee that everyone who auditions will receive a part — at the same time, some dancers may be cast in more than one role. There is no automatic progression from one role to another (i.e. a Gingersnap does not always become a Mouse the following year). Seniors are not guaranteed a solo or a spot in the Snow Corps. And, performers may be cast in the same role year after year — because they are needed (i.e. Snow Corps, Flower Corps, Soldiers). The Artistic Director will consider prior roles of each dancer, but it is not always possible to give every dancer a “new” role.

Casting Committee
A committee works together on casting decisions — this includes the Artistic Director, Assistant Artistic Director, all choreographers for the season, and an independent adjudicator hired specifically to attend auditions for the older age groups. While the independent adjudicator will identify and rank order all soloists (including Clara), the Artistic Director ultimately has final authority. Auditions are closed to parents, board members, and staff.

The committee does not assign or guarantee roles based on:
– whether a dancer is a high school senior
– prior roles or understudy roles
– family donations of money and/or volunteer service
– other scheduled activities or commitments that a dancer may have (i.e. my dancer can’t rehearse Saturday 12-2 because of soccer (or) my dancer can only be cast in roles that rehearse on Sunday, etc.)

Unfortunately, there will always be casting disappointment.

Parents — your response to your dancer’s disappointment will have tremendous impact. We recommend that you, and all dancers, listen to this short podcast episode — A Dancer’s Guide to Dealing with Casting Disappointment

Casting Policy
  • Every reasonable effort will be made to cast all dancers who audition.
  • Every reasonable effort will be made to include all abilities.
  • There is no guarantee that all dancers who audition will be cast — audition numbers may exceed our costume inventory and available roles.
  • The Artistic Director is not required to cast everyone in an equal number of roles.
  • The Artistic Director is not required to cast based on age, grade level, length of time in the production, or studio affiliation (i.e. the role of Clara does not formally rotate from one studio to another).
Understudies
The role of an understudy is critical to the success of our show. Understudies learn essential parts of the ballet, knowing they may never perform these roles on stage. It is likely that many upper level dancers will be assigned an understudy role and we appreciate those who generously agree to contribute their hard work, time, and talent in this capacity. (We also understand that some dancers may not be able to add more to their schedules!)

  • Understudies should attend all rehearsals, as able, for their designated role(s).
  • Understudies should not expect to be cast in these roles the following year.
  • Understudies do not need to attend scheduled costume fittings (the costume you wear will be altered, as needed, if/when the time comes).
Declining a Role / Dropping Out of the Production

If a dancer needs to decline a role (including an understudy role) due to a scheduling conflict, please follow these instructions:

Notify the Artistic Director (director@gardencityballet.org) and Executive Director (caroline@gardencityballet.org) by email stating:

“Thank you for casting me (or my dancer) in the role of _______________. Unfortunately, I am (or my dancer is) not able to accept this part due to the following scheduling conflict: (please describe)

Important:  Dancers who have, or might, decline a role they “don’t like” or “don’t want to do” are discouraged from auditioning — GCB’s production of The Nutcracker depends on dancers being willing to perform in the roles they are given. Every role is important to the success of the production.

Note to Parents:  Your response to your dancer’s disappointment will have tremendous impact. We recommend that you, and all dancers, listen to this short podcast episode — A Dancer’s Guide to Dealing with Casting Disappointment

If a dancer wishes to drop out of the production due to casting disappointment, please weigh the few minutes of performing on stage against the months of being in rehearsals with fellow dancers, the excitement of Tech Week, and the camaraderie of being part of the entire production. The process of casting is complex and challenging. When roles are declined, it takes significant work to fill vacant spots — this is a time-consuming process to complete before rehearsals begin. If you are disappointed in your originally assigned role(s), it is possible that additional opportunities will come up because of other dancers declining a role — if you stick with the season, you may end up with an unexpected part… you never know!

If you have slept on it and are sure about your decision, please follow these instructions:

Notify the Artistic Director (director@gardencityballet.org) and Executive Director (caroline@gardencityballet.org) by email stating: 

“I am (or my dancer is) disappointed in the outcome of casting and I have decided (or my dancer has decided) to withdraw from the cast.”

If a dancer and/or parent would like to share concerns with the Artistic Director, please add:

“I (or we) would like to share our concerns and will contact you to schedule a meeting at your convenience.”

Even though feelings can be hurt by casting, please keep in mind that if a dancer or parent sends a distressing or disrespectful email that criticizes casting decisions, it can be very damaging to our Artistic Director, Assistant Artistic Director, and choreographers — it also demonstrates unprofessional behavior. Dancers and parents are always welcome to have a conversation about casting at an appropriate time. We appreciate your cooperation and understanding.

Final Cast

When reading the cast list, carefully check the entire list so you don’t miss the first rehearsal for an assigned role — some dancers have multiple roles.

Opportunities for additional roles may come up as a result of other dancers declining a role — you may end up with an unexpected part… you never know.

(2026 TBA)