Ballet 422

Two to the back,

Two to the front with a single turn.

two, two, two, and a turn and down.

Two...

two...

and...

One, two, three, four,

five, six, seven, eight.

Fifteen minutes till the third ballet of the evening:

Jerome Robbins' Glass Pieces.

Dancers to stage, please.

Onstage call!

- Sorry. - One, two, three.

That was great. No, it was really...

You know, you're doing the arms out and around.

- Sorry. - But you know what?

You make the mistakes look really good.

I think we're gonna keep that. I like that.

- Okay. - Out and around.

I liked it the first time,

but now I kind of miss the... after the turn...

Okay, so the first one, I'll do, and the second one, no.

Yeah. That's good.

You know what it is? It's because here...

I'm kind of in the middle of my legs.

- Oh, okay. - I'm not...

- You mean for this? - Yeah, that's why.

Do you want to go... We can do the old way.

I have to just work on it so that I...

because I'm, like, really...

What if... Yeah.

What if you thought of it moving, like...

Yeah, constantly forward?

- Yeah. - Like, here...

Start... I don't know, yeah. That's too much.

Yeah.

Or it doesn't even... I think you're over...

Maybe you're thinking about it being, like, a full turn

and it really should be more like...

I think I was just trying...

If I just keep it going from there...

- Yeah, that's fine. - ls that okay?

- Yeah. - Like, step, step.

Yeah, because what I'm trying to do is here, and then I have to...

I think that's cool. I don't think I've ever seen that,

- which is good. - Yeah.

- Good. - I was a little late.

Just make sure this saute',

after we do this turn, the fourth...

- Justin. - Yeah.

- Can we give her a five? - Oh, yeah. Sorry.

Oh, that's fine.

- It's just been an hour. - Yeah.

- It's okay. Thanks. - So it's like the boys, Justin.

- If we stay like this... - Yeah, yeah.

It's like what you said to the boys.

It's like a... It's a theme step.

I understand, because it breaks up...

It should always be, like, sometimes Amar,

he gets a little tired at... you know, after the pas de deux,

when he finishes here...

Oh, yeah.

And he brisées to there,

sometimes he gets really, like,

loose in his arms, so keep an eye on him.

Okay. I'll keep my eye on Amar.

I will, most definitely.

Okay, I'm gonna get some water.

Cameron, bravo!

I just heard him say, "One, two, three, four, five, six.

One, two, three, four, five, six, seven, eight."

Oh, he did? Oh, okay.

I was just counting slow.

Okay. I'll count slow.

So you just count it as an eight.

- Yeah. - A slow eight. Okay.

I want you to turn.

Maybe if you kept her on her leg.

So if you came back

and you came up,

sous-sous, and then turned her somehow.

- Okay. - I don't know.

Sorry.

Sorry.

He kept me on the side of him.

- On the side? - Yeah.

- Of this side or that side? - That side.

Forget it. Go...

...up ...dip.

Bring the leg up through to extend out.

For you. So you'll go back. You're in fifth.

Bring the right leg up through passe', and then step out.

That's it.

Okay.

One, two, three, four, five, six.

Ah!

Close. That was good, though.

It's almost like you need one more step, huh?

- Yeah. - You need one more step,

do you think?

I think what it is, too, I have to have distance.

- Yeah. - If I'm too close to you

when I kick my leg, I don't... I won't ever get flat.

Like, I almost have to give him my...

Yeah.

I have to be a little further.

Or maybe I can move back.

Or something. Yeah.

- You can always adjust. - Yeah. I'll pull back.

- It's totally fine. - If I'm too...

- Yeah, if I'm too close... - Let's try that.

I'd rather be a little further.

That was good, though, up until... I mean...

The timing was great. It's very musical.

- Cool. Can we try it from the... - I mean, do you want to try it?

- Yeah, from the repeat? - Yeah.

Yeah, let's...

Cameron.

Cam, we could do this with you, yeah, I think.

Okay, Mike. That's good.

Eric, we can do the ground row.

Did you give spots their colors?

I told Penny this morning 51/55 for the bridge,

but I didn't say anything for the front, but...

Good, because Thor is here outside.

Okay. That'd be good.

You want anything other than 51 and 55?

Not now.

I think both of them have to go towards soft just a little more.

That's it.

And the first one too.

Are you good everywhere else?

Yeah.

That's it.

Okay. Good.

If you cued the music and not the dance,

you'd have a lot of light cues.

Yeah. Yeah, yeah.

So... because there's just so many changes

in dynamics and tempo and all of that,

so we just want to be sure

that we support what you're doing

and not, sort of, overburden it

with too many other metaphors, I guess.

Yeah, and I think because there's already so much

structurally with the choreography,

I think it's okay for that to kind of, like,

stand on its own in certain cases.

It's hard for me to picture in my head,

because sometimes I'll, like,

talk about sort of lighting aspects,

and in my head, it's much more extreme than I think.

And then we get... You know, we get down there,

and it's, like, ten percent of what I thought it would be...

in a good way, you know what I mean?

Like, I'm like, "Oh, that's actually really nice,

andifs, Hke, it enhances everything,

and it's not like, an obvious thing," so...

It's how far do we push those moments

of narrative into a story with the light?

- I see what you mean. - And that's one of the things...

And we don't have to answer that right now.

It's just things for us to think and talk about.

Yeah.

Where are the... Actually, where are we with the pas de trois?

Okay. That's fine.

I want to place you guys, but I'm not sure where yet.

Yeah.

Yeah.

- I like lower than... - We've noticed.

Just because I feel like I don't have, like,

such a long neck, so the more things come up,

I feel like it...

- Short, like, makes you... - Yeah.

- Okay. - Then how do you feel about, like,

where things are cut here on you?

- Doesn't matter? - Whatever. Yeah.

Like, old-fashioned bathing suit cut

is something that we're talking about.

- Oh. - Romper.

I love rompers. I wear them all the time.

Daily.

Um...

What other things were we thinking about for her?

Just as long as my legs don't look short.

No, no, no.

We'll give you a high waist or something.

- Yes. - We'll make you look so long.

Um...

And then as far as...

How do you feel about...

I don't know if this matters; I'm not a dancer, but...

dancing with something that's kind of loose?

- A sash. - A sash.

So it'll move around.

We can always try it, and if it doesn't...

I don't have anything against it.

- Okay. - You know, if it... Maybe the boys

will say something with partnering.

- Right. - But for me, I'm...