There are few things more exciting than walking into the studio with a new piece of choreography in your head and a limited amount of time to bring it to life.
Whether you have one rehearsal, two rehearsals, or a very tight deadline, setting choreography can sometimes feel like a race against the clock. There are phrases to teach, formations to explore, music to adjust, partnering to work out, and—hopefully—some room left for the creative process to unfold.
Over the years, I’ve found that the key to making these rehearsals successful isn’t necessarily trying to accomplish more. It’s knowing what deserves your time, having a plan, and still leaving enough room for the unexpected.
Here are some of the things I’ve found helpful when I know I have a limited amount of time to set a piece.
START BEFORE THE REHEARSAL EVEN BEGINS
One of the simplest ways to gain rehearsal time is to make sure your dancers are ready to work when the clock starts.
I like having dancers arrive about 30 minutes early so they have time to warm up, stretch, get themselves organized, and mentally transition into rehearsal mode. That way, when your scheduled rehearsal begins, you can actually begin rehearsing.
Those extra minutes can make a tremendous difference when you’re working under a tight deadline.
KNOW WHAT YOU WANT TO ACCOMPLISH
Before stepping into the studio, ask yourself some basic questions.
What is the concept of the piece? How long is it? How much rehearsal time do you actually have? What absolutely needs to get done? Where can you afford to experiment, and where do you need to be more structured?
Having a clear vision doesn’t mean everything needs to be set in stone. In fact, some of the best choreography can emerge when things change along the way. But knowing what you are trying to communicate gives you and your dancers a common starting point.
Think of your rehearsal time as a roadmap. You may take a few unexpected turns, but you should know where you’re ultimately trying to go.
HAVE AN OUTLINE—NOT A SCRIPT
Before rehearsal, I like to break the piece down into sections.
Which portions are already choreographed? Where do you want to leave space for improvisation? What is the basic structure? Do you already have ideas for groupings, pathways, entrances, exits, and traffic patterns?
Even something as simple as drawing a few floor maps or making rough sketches of formations can save valuable studio time.
You don't have to choreograph every detail on paper. The purpose is simply to have a framework that allows you to move efficiently once you're in the room.
EDIT YOUR MUSIC AHEAD OF TIME
This may sound obvious, but it is one of those small details that can save a surprising amount of rehearsal time.
If you know the approximate length of your piece, edit your music before the dancers arrive. Know where you want the music to begin and end, and make any necessary cuts or splices in advance.
There is nothing that drains momentum faster than stopping rehearsal repeatedly to search for a musical ending or figure out where to make a cut.
The more preparation you can do outside the studio, the more time you have inside the studio for the actual creative work.
DECIDE WHAT “SUCCESS” LOOKS LIKE FOR THAT REHEARSAL
You may walk into the studio hoping to finish an entire piece in one rehearsal. Sometimes that is realistic. Sometimes it isn't.
Rather than setting yourself up for frustration, decide beforehand what your most important goal is.
Maybe your priority is teaching the movement phrases. Maybe you want to establish the overall structure and pathways. Perhaps the focus is partnering, improvisation, or experimenting with groupings.
Your process is your process, and you know your dancers. Think about how you work best together and build your rehearsal around that.
A successful rehearsal doesn't necessarily mean the entire piece is finished. It may mean that you accomplished the right things.
KNOW THE DANCERS IN FRONT OF YOU
Choreography isn't just about movement. It's also about people.
Before rehearsal, think about who is actually going to be in the room. What are their strengths? Who works particularly well together? Who might complement one another in a smaller group? Who is ready to take on a solo or duet? Who might be an interesting partner for a particular section?
Don't be afraid to experiment.
Sometimes you have an idea in your head about who should do what, only to discover in rehearsal that another combination creates something much more interesting. Leave yourself enough flexibility to make those discoveries.
The dancers can completely change the way choreography looks and feels—and that can be a wonderful thing.
DON'T FORGET YOUR UNDERSTUDIES AND SWINGS
If you have apprentices or other dancers who are serving as understudies or swings, remember that they are working hard too.
Understudying and swinging is no small responsibility. These dancers need to absorb choreography, spacing, entrances, exits, and individual tracks, often without being the person performing the role in the final piece.
Think about which track best suits each dancer's strengths, and make sure they come prepared to learn.
A notebook can be incredibly valuable. Encourage them to take notes, record formations, and keep track of details as the choreography develops.
The more organized they are during the rehearsal process, the more prepared they'll be when they are called upon.
HAVE A PLAN B—AND DON'T TAKE IT PERSONALLY
Every choreographer knows the feeling.
You walk into rehearsal with an idea that seemed perfect in your head, only to try it with the dancers and realize...it isn't working.
It happens.
And when it does, the worst thing you can do is become so attached to the idea that you spend the next 30 minutes trying to force it into existence.
Sometimes a section simply needs time.
Move on. Work on another part of the piece. Come back to the troublesome section later with fresh eyes. You may suddenly see exactly what needs to change.
Having a Plan B isn't admitting that Plan A failed. It's simply recognizing that choreography is a living process.
Sometimes an idea needs to breathe before it becomes the right idea.
THINK THROUGH PARTNERING BEFORE YOU TEACH IT
Partnering deserves its own preparation, particularly when you're working with lifts or more complicated physical mechanics.
If you have a specific partnering idea in mind, work through the mechanics before bringing it into the studio. You should have a clear understanding of how the movement works and how you are going to communicate it safely and effectively to your dancers.
Of course, some of my favorite partnering moments have come directly from improvisation. There is something wonderful about discovering movement together.
But if you already have something very specific and technical in mind, preparation is your friend.
Your dancers will feel much more confident when you are confident in how you're teaching the material.
LEAVE ROOM FOR THE MAGIC
This may be the most important part of all.
Yes, have a plan.
Yes, know what you need to accomplish.
Yes, watch the clock.
But don't schedule every single minute so tightly that there is no room left for discovery.
Give yourself a designated amount of time to play.
Try something different. Change a pathway. Switch a grouping. Let the dancers improvise. Experiment with counterpoint. Follow an idea that wasn't on your original outline.
Some of the most interesting choreography can emerge from those moments when you stop trying to get from Point A to Point B and simply allow yourself to see what happens.
Time constraints are real, but creativity doesn't always follow a schedule.
The trick is finding the balance between structure and freedom.
PREPARE WELL, THEN TRUST THE PROCESS
Ultimately, maximizing rehearsal time isn't about cramming as much choreography as possible into a limited number of hours.
It's about preparation.
When you know your music, understand your structure, have considered your dancers, thought through your goals, and given yourself options, you walk into the studio with a sense of confidence.
And that confidence gives you the freedom to be creative.
You can adjust when something doesn't work. You can recognize an unexpected opportunity. You can listen to your dancers. You can try something new.
So prepare as much as you can before the rehearsal begins—and then, once you're in the room, be willing to let the choreography become something even better than what you imagined.
Now go make the most of that studio time!
Have a great rehearsal, and I’ll see you in the studio!
— Jess
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