Dream big, the sky's the limit
Earlier this year Celine Dion toured Australia and working alongside this veteran artist was an ensemble of very talented dancers. Dani Brown caught up with Canadian born Amanda Balen on the Sydney leg of the tour for a

Later on the year she will be writing her own column dedicated to working in the US including Green Card, visas, agents and class tips. A must read for all pro dancers looking at leaving our shores for America! Join the Dtrain club for relevant issue updates to ensure you don't miss Balen's future columns. Email dance@dancetrain.com.au, subject: I want to join.
24 year old Balen, when not touring the world with Celine Dion calls Los Angeles home and has performed with artists Janet Jackson, Justin Timberlake, Britney Spears, Macy Gray, Lindsay Lohan, and Spiderman's Tobey McGuire. As well as performing in Michael Jackson's 30th Anniversary Concert, and many television commercials and stage shows.
Did you have to audition for Celine Dion?
There was an audition held by Jamie King, a huge director in Los Angeles. He directs a lot of tours such as Madonna, Ricky Martin, the Spice Girls, Connie West, Pink, Christine Aguilera, the list goes on. He does most major tours and it was my first time auditioning for him and I got it.
Does Jamie choreograph or does he hire a choreographer?
He hires choreographers and under his direction they will choreograph. He doesn't actually choreograph at the audition. He'll be there to have final say.
Was this an open call or did you go through an agent?
It was through an agency. There are a couple of open calls which are available to anyone, which you can find out in certain magazines such as Back Stage West or answers4dancers.com. But most of the auditions that professional dancers go on are through their agencies. And just because it's a closed call doesn't mean it's not huge, open call doesn't necessarily mean big and closed doesn't necessarily mean small.
How long did the audition go for?
Two full days and we were cut along each day from the morning until the night. I think there were probably about 700 dancers there.
You're obviously a professional dancer who is working continually, were there other jobs that you had to turn down that you'd already accepted?
Not at this time thankfully but that does happen to a lot of professional dancers. All the good jobs come at once. Fortunately for me I was open and I was auditioning and it was an easy choice.
How do you not offend future employers when choosing which gig you are going to take?
I have a wonderful agency McDonalds Selznick & Associates, they say what you were offered first is what you should stick with. And of course there's all sorts of variables in there but try to go by that policy and not to back out on a job because there's going to be another opportunity. I think it's better to keep a good reputation and to keep your business ethical and moral. I feel like more opportunities will arise if you can present yourself as a professional.
What made you go to LA?
When I was 15 my mum and my dance teacher took me to LA to take dance class. At my first dance class, I knew it - I was going to live here one day. What happened after that was pure luck, I graduated from high school and that summer I got a phone call seeing if I wanted to dance for Aaron Carter (Canadian choreographer) touring the US.
When did you get your agent?
I got my agent two years later when I moved to Los Angeles when I was about 20 years old through referrals from people that I had known. And there's other ways to get an agent of course but I think the easiest way is to have someone refer you and then you send in pictures and videos and keep bugging them.
Now that you've worked for Jamie King will it be easier for you to work for him again?
I would love to say that it's an automatic in, but it's not. You have to show yourself and do a good job. And there's always new talent. So you always have to keep improving and keep on yourself. Because at the next audition you have to do a wonderful job again and show that you deserve to be there. You have to have a wonderful work ethic, keep up the dancing, be professional at the jobs, show up on time, and know your dance steps all of the above.
How did you get over that initial buzz working with such amazing artists?
Well those amazing choreographers are luckily amazing people. So they help ease that tension. Really talented people are like that.
Can you tell me what the chorey is like for Celine's show?
Very diverse, it's young and it's fresh. There's some contemporary, there's some hip-hop, there's some jazz. Mia Michaels did some of our numbers. Mark Swanheart (Swanee) was a dancer in Celine's show and he choreographed a number which is very athletic for the males. Tabitha Dumo choreographed a couple of hip-hop numbers in the show as did the very talented Andre Fuentes. So it is very diverse.
How does it feel dancing to up to 50,000 people?
It's incredible to feel that energy from the audience to give and receive is the most amazing part about dancing. And you realise how important the audience is. The more energy they give the more you have to give to them and vice versa.
What's the best piece of advice you've ever?
Dream big. There's no harm in sitting in my room writing in my journal thinking, I want to do this as a dancer. I want to accomplish this. That's my new mantra, Dream big, the sky's the limit.
NB: Andre Fuentes fans should note he is touring Australia and New Zealand in September this year see www.sourcedance.com for details. Rumour has it he will also be adjudicating @ Hollywood the ultimate in dance competition www.hollywooddance.net.