This guide is designed to help you understand the many types of dance companies and determine what aspects you find appealing. Most companies will fit into several of the following categories.

#1 I’d rather be. . .

A: . . . involved with a company from the ground level. In general, dance companies up to five years old (and sometimes older) are considered new. “For people who love spontaneity, surprise and independence . . . start-up companies can be a great way to go,” says David Leventhal, a dancer with Mark Morris Dance Group who worked with several new companies in Boston prior to moving to NYC. As an inaugural member, expect duties beyond performing, such as hanging posters, stage managing or cleaning up after a show. Because new ensembles usually don’t have solid financial infrastructures yet, pay can be meager or unpredictable. “The reward for all of this uncertainty is that you get to feel like an integral part of the company’s success,” says Leventhal. “You don’t have to fight your way through the system; you are the system.”

B: . . . in a dance company with name recognition that has stood the test of time. Established companies are more likely to have the infrastructure and staff to handle payment, paperwork, publicity and other aspects of the business side of dance. “Dancing is hard enough, and for many, the relative security, comfort and stability of an established company is attractive,” says Leventhal of MMDG. “This can be liberating, artistically, since a dancer doesn’t have to spend time worrying about the hotel reservations or whether the lights have been focused in time for the stage rehearsal.”

 

#2 I’m most comfortable in. . .

A: . . . a sizable group in which I can progress through the ranks. Large companies have 30 or more dancers; many are divided into tiers, starting with apprentice and rising through corps/ensemble to soloist and principal ranks. Being part of a large company can mean that all eyes aren’t always on you, and in some cases, dancers—especially soloists and principals—will have more time off, because of double-casting. A greater number of advanced dancers can mean many mentorship opportunities, though there will also be more competition on the way to the top. Big troupes often have access to prestigious choreographers or works that smaller ones don’t, says Chalnessa Eames of Pacific Northwest Ballet, which employs more than 40 dancers. “[At PNB, this] has meant dancing Balanchine’s Concerto Barocco, into the barefoot Nacho Duato’s Jardi Tancat, [and] back into pointe shoes for another ballet,” she says.

B: . . . an intimate group where I can have a personal relationship with directors and fellow dancers. A company may be considered small if it has fewer than 10 members. Depending on the schedule, you could be cast in more pieces during a given season—and more stage time can be both rewarding and taxing. Note that small doesn’t equal start-up: Pilobolus, for instance, was founded in 1971 and has just seven dancers, all of whom perform in the majority of shows. Because the same dancers spend up to 7 days a week together rehearsing, performing and traveling (often without the presence of their artistic directors), the dancers must maintain a close working relationship to keep the company at its best. One challenge is that personality clashes will seem more problematic in a small group, so everyone must make extra effort to get along.

C: . . . a combination of A and B. Dancers in midsized companies (10 to 30 dancers) will reap some of the benefits of both large and small organizations. While too big for everyone to be best pals, midsized ensembles are usually small enough to get to know all your colleagues.

 

#3 I dream of being in a company that. . .

A: . . . takes me places—literally. Touring companies spend a majority of their seasons on the road. “Some people don’t like waking up in a different city every morning, but I do. It keeps me on my toes,” says Anica Scott-Garrell of Ailey II, which will trek to nearly 50 U.S. cities this season. “There are many energies [in different cities], so it’s interesting to see how we’re received artistically.” The challenges? Being homesick, adjusting to new and sometimes unpredictable performance conditions, and living out of a suitcase. It can also be tough to balance free time between sightseeing and resting to conserve energy for performance.

 

B: . . . is a distinct part of one community.

Resident companies perform in the same home theater or geographical area, developing a consistent fan base in their communities and cultivating relationships with the local theater staff and crew. “Being on tour is amazing, [but when] you’re in a different venue, the stages and lighting system are always different,” says Mark Meismer, artistic director of Evolution dance company, the resident dance group of Orange County Pavilion. “I love the consistency factor [of staying in one place].”