The Company

Good evening, ladies and gentlemen,

We would like to remind you that the taking of photographs,

or the use of recording devices,

is prohibited and is hazardous to the performers.

Please turn off all cell phones and pagers at this time,

Thank you, and enjoy the performance.

That's my little soap opera,

the soap opera is when I asked him onstage if he's been dating her.

and he's like, Shut up.

-Get out of here. -No, I'm serious.

It's too much drama.

-More than what it's worth. -I know, he was pissed.

-Yeah I know, it's true. -We'll see you in class.

I heard she said, 'So how long you been fucking her? '

-We need to talk. -Ry? Come on, don't be ridiculous.

Good morning.

Who's teaching today?

-Mark. -Mark!

-Mind if I share this with you? -Yeah. Sure.

Mr. A, I wanted to talk to you about Ry.

I'm having a couple of issues with her,

and I was wondering if we Could you just pair her up with somebody else?

-Who are we talking about? -Loretta Ryan, Ry.

-Oh, Ry. -Yes.

-Things aren't going smooth and I was just wondering... -I thought you two guys were.

Well, I kind of want to Leave that part out of it and stick with the dancing.

Well hey, You'd like to sit in this chair? You could run the company.

No, I'll stick with the dancing.

-Who's next, Cammie? -We have...

Good morning everyone, There's no announcements, so let's start with plies.

Left hand on the barre, second position.

Ready, Paul? And...

Good. A one...

Good.

Drop the chin. Take the head...

One, two, three, grand plie.

-That's my spot. -Sorry.

Stretching to the bar...

Would you mind standing over there. Thank you.

Forward, one...

Up to go back...

And demi...

Tondue, close arms and legs together.

Good. A one, two...

Drop the chin...

And drop your tailbone. Good.

And stretch to the bar. Good.

Do you know how long this company has waited for a Lar Lubovitch ballet?

I'm glad to hear that. Thank you.

-Mr. A is very grateful to you. -I'm grateful to be here.

Please say hello for me. I'll try to drop in and see him later.

Good morning. Is Alec here? Alec have you warmed up?

You're warm enough for lifting?

Absolutely.

Then let's start from the first lift after the solo, Maia.

We'll get back to it after Alec is gone.

Let's see what you've got and then we'll just work on,

work on tweaking the fine points,

A little further over from center,

Paul if you'll play the two little matched intro bars to the first lift.

I believe that's marked in the score. Ready?

-And let's stop. -I didn't let you get very far.

You're overworking that position, little more subtle not so high in the knees.

A little bit more hung, mostly along the shoulders, it displays.

Probably not so much in the face,

It's beautifully expressive in the face, the way you do it,

But let's make it work in the body first and then we'll work our way up okay?

Once more.

Good.

And up.

And stop please. Are you working injured?

I have a neck spasm.

I don't think you should work injured, why don't you mark in the back.

let's see what happens, you should rest a little bit,

take it easy, we'll pick this up tomorrow.

-It should be fine. -Okay, I'm sure it wil be.

I'm afraid I have to ask you your name.

-Ry. -Ry.

-Domingo. -Domingo.

-Is Ry short for something? -Ryan.

Nice name. Have you been watching this?

-So you kind of know it? -Yeah.

Well, let's see what you've got, Domingo and Ryan.

Same process, with music just before the lift. Let's see.

And up. Up one piece. Good, Domingo.

Melt. Music.

Lift, contretemps...

Swing, up and down...

Let's stop there. Good. You have been watching.

Well you know how we feel about you, Deborah,

How much we respect you as an artist and senior dancer,

but we wanted to talk with you today about class.

We'd like you to be an example to the apprentices and the new dancers.

And usually you are.

But if you change combinations they think they can change too.

But I only change the combinations at the barre.

-They look everything you do, you're such an example... -I know.

But I'm 43 years old,

and when it comes to centre, rehearsal and performance I do what I'm told to do.

-You could come in early... -Let her do what she has to do.

Remember we had that girl that used to come in an hour beforehand?

She's not doing the roles that I...

But look at Margot Fonteyn, what an example he was.

Margot Fonteyn, you know Robert knew her very well.

I knew her too but not as well as Robert, we hear you.

You know, she was a dame.

Deborah, do you have anything else you want to talk about before we finish?

Now's the time.

Actually I'd like to talk about the ballet Light Rain.

It's a great ballet, but I feel some of the footwork is too fast.

-Like the jete, jete, step... -So you don't want to be in at all?

Well, it's just that I look like I'm working in it.

-Deborah, we hear you doll. -We just wanted you to be first.

Thank you. And I feel honored.

Okay, thank you.

Edouard, door.

Where'd you get this salad? It's terrible.

Who can do it?

Watch on walking lady lift, the position of his arms and also that

she's not horizontal to the floor, they may not be doing it perfectly.

This is the danger point for you.

Don't let that leg bobble, when you come down.

Why don't we try that. Okay?

Try without music.

Let's just do a little Ronde de jambe preparation, for the walking lady lift,

And attitude, And ronde de jambe...

And up, more fragile in the legs. Whoops.

Now, okay, it's okay.

Alec, can you give us a hand? Have you been watching this lift?

Can you show us how you would hold her,

The objective is to get her a bit removed from your body,

so she appears detached,

and at a bit of a diagonal rather than parallel to the floor.

Let me see how you would hold her to accomplish that.

-If you stayed to the side... -Fairly lower on her hip.

Good, good, good.

You know what the difference is?

He's locking his elbow in here, so it's not slipping back,

try with music and then go past that, and we'll see what we've got.

Mark, you're going to work with Amanda and Willy.

And I would like to have the four ladies over here.

Alright, Mark.

So everyone, We're getting ready to start from the fourth movement...

Take your places please.

Wait a minute, wait a minute.

Company, just move all this crap, from the wings here, You're going to trip over.

Now, come on, let's do it.

Every time we tell you this.

Don't leave your stuff by the side of the stage.

Mark, you know we can't start with all this clutter.

I know. We told them right before this rehearsal...

Well you know... If somebody falls over...

Ok, Cammie we're ready. Everyone, places please.

Michael, when you're ready. Two men, you're ready?

Here we go.

Sharp jump...

Good, you guys.

Tell him to stretch his foot.

All the way in the wings. Good, you guys.

Stretch the knees.

Exit all the way. Good.

Right on the music.

Good, Suzanne.

-Suzanne's gotten very strong. -Excellent.

Good, Calvin.

He's come along beautifully.

We have to work on that double knee saut de basque.

Tell Noel to burst from the wings on her saute.

Good ladies!

Hold it a minute. Hold it a minute.

What happened? I mean, you're all so pretty.

You know how I hate pretty!

Now come on. Lift, thighs,

Lift up, not so loady.

And when you make those exits hit the wall.

I want you to move out and hit the wall,

You're not doing that. You look like you've got a load in your pants.

But I love you all. You're great. Come on.

-Oh my God, a storm. -I think it's just the wind.

Have a good time. Most importantly enjoy it. Ok?

Merde.

And main curtain...

Go!

Follow spot one on the girl. Nice and easy, follow spot.

Sound.

Can you watch this leg for me?

Careful, keep that from flopping down.

Char, you better go back and see what's happening.

If there's any water on the stage,

I want you to cancel the performance right now.

Hurry up.

What did they say?

The floor is dry, Michael's got it under control.

-It's a little chilly. -Good, she's doing brilliantly.

-That was so good. -Thank you.

That was so good, Domingo.

Are you coming back?

Domingo. The hero of the moment.

What a courageous performance. Scenery by Mother Nature.

I don't believe you.