In the final episode of our four-part bullying series, we're joined again by Kelsey Fyffe, a therapist who works with pre-professional dancers, and Suzette Takei, a veteran academic school administrator and educator, as we get into the messy stuff. Lobby politics, ballet parents behaving badly, peer conflict between students, nepotism at the dance studio, and yes, that one kid who thinks the entire barre belongs to her. We also tackle some bigger questions: how do you know when a ballet training environment has turned toxic? What do you do when your dancer is being bullied by a classmate, a teacher's pet, or even another parent? And what does any of this have to do with your own stress and mental health? The conversation we didn't expect to have and couldn't stop having was about you, the ballet parent, and the stress that quietly leaks onto everyone around you without you even realizing it. If you're new here, start with Parts 1 through 3 first as this series builds on itself.

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What does it actually feel like to train at the Vaganova Academy, the school that produced some of the greatest dancers in history, and then go on to perform at one of Russia's most storied companies? Elena Kunikova has lived that story, and she's generous enough to share it.

In this episode, we talk about what serious Vaganova method training actually looks like from the inside, why character dance matters more than most ballet training programs realize, and how the pandemic turned her into one of the most sought-after online ballet coaches working today. We also get into the questions ballet parents of pre-professional dancers tend to lose sleep over: when to start thinking about a professional path, whether early specialization in one style helps or hurts, and what it actually means to teach a student how to work.

Elena has been in ballet for, as she puts it, about 300 years. She has the stories to prove it.

Interested in working with Elena? Learn more here.

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In part three of our bullying series, we tackle some of the toughest conversations ballet parents face: what to do when teachers make harmful comments about weight, body image, or use abusive language in class. Psychotherapist Kelsey Fyffe and educator Suzette Takei give parents the exact roadmap for addressing these issues at ballet schools and pre-professional programs.

Kelsey, who specializes in eating disorders and works with Houston Ballet Academy, explains why pre-professional students should never be put on diets, what questions to ask about a studio's approach to body image, and how to tell the difference between giving corrections and promoting disordered eating. She shares specific language for approaching ballet teachers and administrators, starting with curiosity instead of accusations.

We dig into the real fears ballet parents have about speaking up. Will your kid get blackballed from summer intensives or trainee programs? How do you know when to stay and when to run? Suzette and Kelsey walk through scenarios and discuss cultural and generational differences that can complicate conversations with non-native English speaking faculty.

The episode covers handling abusive language from ballet instructors, including when teachers single out students in class. We talk about how bystander parents can step in even when it's not their kid being targeted, how to teach young dancers to set boundaries around body comments, and why building supportive lobby culture matters. Suzette and Kelsey also address why anxious, perfectionistic ballet students struggle to speak up and how therapy can help dancers build their mental toolkit before problems escalate.

If you've ever felt paralyzed about confronting a problem at your ballet studio or pre-professional program, this episode gives you the questions to ask and the confidence to advocate for your child's physical and mental health.

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We sit down with Michelle Martin, Associate Artistic Director of Ballet Austin, for a refreshingly honest conversation about their complete training pipeline: the tuition-free Butler Fellowship program, Ballet Austin TWO, and the path into the main company.

Michelle doesn't sugarcoat anything. She talks about why Ballet Austin kept their academy as an after-school program instead of going the full-time route, how the rise of post-grad programs has changed the industry, and what families need to know when they're researching trainee programs. Spoiler: not all programs are created equal, and some are designed more as revenue drivers than genuine training opportunities.

This interview gets into the practical stuff parents want to know. Do dancers really need full-time day programs in high school? What's the actual difference between Butler Fellows (focused on training) and Ballet Austin TWO (focused on performance)? How many dancers move up through each level, and where do they go if they don't? Michelle shares the numbers and the reality behind them.

We also talk about things you don't usually hear artistic directors discuss openly: why they do phone interviews before auditions, what they're actually looking for when they cast, how to be a good understudy, and why normalizing different definitions of success matters. Plus, Michelle shares what Ballet Austin learned from a major Wallace Foundation grant about building audiences for contemporary work.

Interested in auditioning for Ballet Austin?

Ballet Austin recruits dancers for the Butler Fellowship Program through their online Company Audition portal and through our Summer Intensive Program.

Ballet Austin recruits dancers for Ballet Austin TWO through their online Company Audition portal.

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LeeAnaca "Lee" Moore (Pacific Northwest Ballet) and Natalie Bowman (St. Louis Ballet) are the duo behind Tights Under, the popular social media account showcasing the realities of pre-professional and professional ballet life.

In this episode, Lee and Natalie get candid about their journeys from training to landing their first professional contracts. They discuss the pivotal moments that shaped their careers, including their transformative (and humbling) experiences at PNB's Professional Division program — where pointe shoes at the barre at 8:30 AM became the new normal.

The conversation covers the biggest adjustments from student to professional life, from navigating company class dynamics to finally having a "place" instead of constantly fighting for your spot. They're refreshingly honest about early career finances, the reality of needing parental support, and what it takes to make a dancer's salary work.

Lee and Natalie also share the origin story of Tights Under — how boredom backstage during Swan Lake sparked what became a brand — and what it takes to maintain their content while dancing full-time. They offer practical advice for aspiring dancers interested in building their own social media presence, emphasizing authenticity over perfection.

From memorable mentorship advice like "dance like you smell good" to their ballet Mount Rushmores, this conversation offers an honest look at what it really takes to go pro.

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Lynne Charles, Artistic Director of English National Ballet School, discusses the school's new Graduate Artist Programme (GAP), a postgraduate program that combines performing with English National Ballet and continued education. Unlike traditional programs where students serve as "free labor," GAP dancers perform with the company while continuing ballet, repertoire, strength training, and audition prep. Lynne shares how ENBS prepares students for professional life, from teaching them to research companies and understand the difference between repertory and choreographer companies, to building sustainable careers through community over competition.

She also discusses creating the 4 Pointe method, a holistic approach to pointe work that's reduced injuries by 48% at BYU, and her stance against early competition culture and starting pointe before age 12. Lynne offers refreshingly direct advice on honest teaching, helping dancers showcase their strengths in auditions, and finding companies where they'll thrive. Plus: the school's robust health and wellbeing protocols, the "no phones in the studio" policy, why repertoire class builds community better than variations class, and why being in the corps de ballet is a rite of passage, not a punishment.

KEY TOPICS:

• ENBS Graduate Artist Programme structure and opportunities
• Understanding different company cultures and contracts
• 4 Pointe method and injury prevention
• Audition strategies and company research
• Building community over competition
• Safeguarding and student wellbeing protocols

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Listeners asked, and Fran Veyette answers! We're bringing back this fan-favorite #NoThirds "Fran's Mailbag" episode, now combined into one extended conversation. Fran breaks down how casting really works, whether principals dance less, what happens when dancers date (and break up), the truth about dogs in the studio, how respect and awareness shape auditions, why community matters, and what young dancers should know about contracts and career readiness.

We've combined Parts 1 and 2 into one LONG episode, so settle in for the full Fran experience.

Interested in working with Fran at Veyette Virtual Ballet School? Check out our Back to Dance Guide for an exclusive discount.

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CiCi Houston-Sudholt, Rehearsal Director at Saint Louis Ballet, discusses the organization's unique approach to dance education that puts students at the center. From integrating all levels of training to tailoring performance opportunities based on individual goals, Saint Louis Ballet adapts to each dancer's needs and aspirations.

In this conversation, CiCi explains the structure of the trainee program and how it prepares dancers for professional careers. We discuss what makes Saint Louis Ballet's second company unique: dancers are part of AGMA and receive full union protections, which sets this program apart from many other post-graduate options. CiCi also discusses how the school balances academics with intensive training, their evolving recruitment and audition processes, and what they look for in prospective students. We explore performance opportunities available to students, how the school encourages dancers to find their own balance between dance and other commitments, and the emphasis on communication and accountability throughout the training process.

If you're trying to understand what post-graduate pathways look like or evaluating whether a student-centered training environment is right for your dancer, this conversation offers practical insight into how Saint Louis Ballet structures their programs.

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We asked you to tell us what you love about the Ballet Help Desk Podcast, what needs to improve, and what topics you want us to cover. And you delivered honest, thoughtful, sometimes tough feedback.

In this episode, we share what you told us: what's working (our honest questioning, insider information, and ballet parent perspective), what we're fixing immediately (audio quality, ad transitions, and tighter editing), and what topics you want more of (younger dancers, international training, and financial transparency).

We're also introducing new formats like Q&A episodes and expanding our content for parents of younger dancers just starting the journey. This is a transparent conversation about what we're doing well, what we're changing, and what's coming next.

Thank you to everyone who participated. This podcast exists because of you, and we're committed to making it better.

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Jayda Hazelett didn't follow the traditional pre-professional boarding school path to a ballet company. The Ballet Hartford corps member grew up in Fort Wayne, Indiana, trained locally at Project Ballet, attended summer intensives, and chose to pursue college at Indiana University's Jacobs School of Music before entering the professional world.

In this Dancer Story, Jayda shares why she chose to stay home for training, how summer intensives supplemented her education, and what the college ballet experience gave her. We also discuss the challenges of pursuing a professional career, the importance of mentorship, pivotal moments that shaped her path, mental health in ballet, and her future aspirations including dreams of Broadway.

After graduating in 2024, Jayda joined Ballet Hartford as an apprentice and was recently promoted to the corps for the 2025-2026 season. If you're wondering whether staying local or choosing the college route means giving up on a professional career, Jayda's story proves there's more than one path forward.

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