It's Evaluation Week. And if you're a dancer at The Brea Space, that means one thing: pressure. But if you ask us, it means something else entirely—opportunity.
We just wrapped an incredible week here at the studio, and we wanted to pull back the curtain on what actually happens when the agents come to town. Because this? This is the real deal. This is where the rubber meets the road.
Here's the thing about training: you can work hard every single day and still not know where you actually stand. That's why we built Evaluation Week. It's not about tearing anyone down. It's about giving our dancers something far more valuable: honest, actionable feedback.
And this year, we took it to another level.
We invited agents from Bloc, GTA, MSA, and Clear Talent Group. They watched our dancers learn choreography on the spot—just like a real audition. They gave feedback. They asked questions. They told our dancers what they're doing right, and honestly, what they need to work on.
This is something Bloc put perfectly: "I think everybody does want the praise and the accolades all the time, but then I don't think that you're actually getting a realistic view of really the progress and what you can work on."
She's right. And we're not here to sell false comfort. We're here to build careers.
Across three days of conversations, our agent guests shared insights that changed the game for everyone in the room.
One theme came up again and again: auditions are smaller now. Fewer open calls. More direct bookings. GTA explained it like this: "Choreographers are going to hire the people that they know because they know they can depend on them to get the job done."
So what does that mean for you? It means relationships matter more than ever. It means being active in the community isn't optional—it's essential.
As Stephanie put it: "Be strategic with your training so that you can put yourself in rooms... work towards making what I would call significant connections."
If there was one piece of advice everyone agreed on, it was this: your online presence matters. MSA called it "your biggest marketing tool." They added that some choreographers "go straight from our submissions, straight to your page."
But here's the nuance: it's not just about posting. It's about being intentional. Gabe warned: "There's a difference from being an influencer and a dance artist." Your social media should be a digital portfolio that reflects who you are and what you can do—not just a collection of random clips.
Every single agent we spoke to emphasized this. MSA said the two most important words in the agent-client relationship are "communication and accountability."
Brandon added: "The clients that I still see thriving and still working with all these years now... are the ones that really understand the relationship and the teamwork that comes from it."
And Gabe put it bluntly: please make sure you are practicing the best communication you can. "I want to be able to know that I'm going to get a response, maybe not right away, but within the hour."
We asked each agent the same question: what do you look for in a dancer you're excited to develop?
The answers were refreshingly consistent.
Gabe said: "People that are already practicing the good communication skills are passionate about dance, so they're taking the initiative with their training."
Brandon said: "For me, it goes beyond just the talent. It goes to the process. I like to watch your brain and how you not just pick up choreography, how you react to adjustments."
And MSA put it perfectly: "The people who are going to book these jobs are the people that are the best people to work with and to be around with on a consistent basis."
Translation: talent gets you in the room. Character keeps you there.
Here's the thing about being a dancer in 2026. The business has changed. It's harder to get seen. The rooms are smaller. The competition is fiercer.
But it's also more transparent than ever. You have access to information, to relationships, to opportunities that previous generations could only dream of. As Brandon shared during the podcast: "These opportunities weren't available to my generation. And so I love to be here too try to offer as much knowledge as I can and to tell you guys that it's very possible."
That's what Evaluation Week is really about. Not just testing skills. But building bridges—between training and the industry, between dancers and the people who can help them build careers.
We built The Launch Program with this exact philosophy in mind. It's not just about becoming a better dancer. It's about understanding the business, building relationships, and developing the mindset you need for a sustainable career.
Because, as we've said from day one: we're not just training dancers. We're training people. And the people who succeed in this industry aren't just the most talented—they're the most prepared.
So to every dancer who went through Evaluation Week this year: keep going. Keep growing. Keep showing up.
And to every parent, every student, every dreamer listening: the industry is changing. But that doesn't mean the doors are closing. It means you need to know how to open them.
We're here to help you do exactly that.
Want to learn more about The Launch Program or upcoming events at The Brea Space? Visit us at thebreaspace.com or follow us on Instagram @BreaSpace.
Cory M. Miller is a creative director, filmmaker, entrepreneur and former professional skater based in Southern California. He is the co-founder of The Brea Space and creator of The Space TV, where he works alongside his wife, Krista Miller, developing and mentoring the next generation of artists.
His career has moved through professional action sports, Hollywood stunt work, filmmaking, photography and creative direction—experiences that now inform his approach to mentorship and artist development.
Cory co-hosts Inside the Space with the Millers with Krista, where they explore creativity, family, careers, personal growth and the realities behind building a life in the entertainment industry.
