We would like to remind you
that the taking of photographs...
is prohibited and is hazardous
to the performers.
Please turn off all cell phones
and pagers. Enjoy the performance.
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? Don't be ridiculous.
Good morning.
Who's teaching today?
- Mark.
- Mark!
- Mind if I share this with you?
- Yeah. Sure.
I wanted to talk to you about Ry.
I'm having some issues with her...
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 thought you two...
Leave that part out of it
and stick with the dancing.
You'd like to sit in this chair?
You could run the company.
I'll stick with the dancing.
- Who's next, Cammie?
- We have...
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...
1, 2, 3,
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 we have 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 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...
A little further over from center.
Paul if you'll play the two little...
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.
More subtle, not so high in the knees.
A little bit more hung.
Mostly along the shoulders.
Not so much in the face. It's
beautifully expressive in the face.
But let's make it work in
the body first, okay?
Once more.
Good.
And up.
And stop please.
Are you working injured?
I have a neck spasm.
You shouldn't work injured.
Why don't you mark in the back.
Rest a little bit. We'll
pick this up tomorrow.
- It should be fine.
- 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.
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
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...
- But I'm 43 years old...
and when it comes to rehearsal
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...
Margot Fonteyn.
Robert knew her very well.
I knew her too but not as well
as Robert. We hear you.
You know, she was a dame.
Do you have anything else you want
to talk about before we finish?
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?
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.
Where'd you get this salad?
It's terrible.
Who can do it?
Watch on walking lady lift,
the position of his arms...
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.
Why don't we try that.
Okay?
Try without music. Let's just do a
little ronde de jambe preparation.
And attitude...
And ronde de jambe...
And up... more fragile in
the legs. Whoops.
Alec, can you give us a hand?
Have you been watching this lift?
The objective is to get her a bit
removed from your body...
And at a bit of a diagonal rather
than parallel to the floor.
Let me see how you would hold
her to accomplish that.
- Lf you stayed to the side...
- Fairly lower on her hip.
Good.
You know what the difference is?
He's locking his elbow in here.
Try it with music
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.
We're getting ready to start
from the fourth movement...
Take your places lease.
Company, just move all this crap!
You're going to trip over it.
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.
Ell him to stretch his foot. - All the way in the wings. Go
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 saut.
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.
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
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.
- I'm Ryan's mother, Marilyn.
- You should be so proud.
Thank you for that beautiful
ballet. My daughter was the dancer.
- Lar.
- Alberto!
You were magnificent.
Did you organize that storm?
Domingo.
Fantastic.
Hi, Dad.
How you doing?
- You were beautiful.
- Thank you.
Hi, mom.
I want to invite you to come and
do a piece next season.
- I have to speak to Mr. A.
- Now where is she?
Oh baby. Give me a hug.
I'm watching you saying,
Who is that up there?
I've always believed in you even
when others weren't so sure.
- But always.
- But tonight...
You went to another dimension.
And the storm, the storm!
- Wasn't that crazy?
- It was so theatrical.
- Was it slippery?
- A little slippery.
- You would never have known.
- You had such poise.
- Is this your sister?
- No, this is my mother.
- I can't believe this.
- Thank you for your genius.
Well, you look so beautiful.
I can see the resemblance.
- This is your father too.
- This is my stepfather.
- I see the resemblance.
- I'm the father.
- Of course. And you are?
- Ginger.
As in Ginger Rogers.
She wasn't so bad, was she?
- Enjoy yourselves at the party.
- Thank you. We will.
- Very nice to see you.
- Thank you. Mr. A.
To Justin.
Mr. A wants to do the ballet.
But I talked to Harriet.
She said if I take it to
Tucker he'd say no.
- Eldridge Wright.
- Oh, my god. How are you?
- Can I get a glass of champagne?
- How you doing?
- I'm fine. How you doing?
- You did good tonight.
- Thanks.
- So how'd you feel about it?
- I felt good about it.
- Yeah? Good.
Did Noel like it?
- Do you know Lar, the choreographer.
- Yes.
I didn't appreciate being the last
one to find out about you.
- That wasn't cool.
- You and I know what it was.
Apparently you did. I didn't.
Any way have a good night.
- I'll call you. Alright, good.
- Yes.
Mr. A?
Can I talk to you about Justin
for a second?
- Wait a minute.
- There is a problem with...
The protocol is this, you call
the company, you talk to Edouard...
- and you make an appointment.
- I understand.
Thank you.
All the best to you.
Honestly people are so rude.
It's just too much really.
Just to confirm: Maia and Suzanne
are in every single ballet...
- Do they have covers?
- Yeah we've taken care of that.
Can we have a drop-dead date
so I can tell wardrobe?
The dancers must know the cast
one week in advance.
And they always do.
- Are you guys finished up?
- You've almost done.
- Not really.
- You've finished your meeting.
Yes sir.
Mark? Would you mind staying.
Char would you mind, darling?
And Harriet you stay too.
Robert, is this going to be ok?
My sketches are pretty big.
We might need a bit more room.
We could use the conference table.
Get rid of those bagels.
Good, good.
- So we start with a giant snake.
- What are you doing here? Out!
That's beautiful.
So we start with a giant snake
on stage. It's just floating...
- glowing blue in a void of black.
- How many dancers?
There's about twenty dancers.
But to make it really smooth...
- Can you do it with ten?
- No, we couldn't do it.
- Could we cut the tail off?
- Maybe. Yeah.
Then from the snake flowing like
that the black curtain goes up...
it reveals the blue snake
and it has the Shiva characters.
Of the cosmic dancer,
the storyteller.
- What's the ballet called?
- Blue snake.
The snake representing the spine.
The blue is the energy in the spine.
I don't think you understand our
financial situation here.
I'm working with mirrors
as it is.
This piece will be fantastic
on this company.
I believe you.
That's why you're here.
Someone has to underwrite this.
It's going to be so expensive.
I'm going to have to sell it to
the board. Excuse me? What.
Would you excuse me?
I've got an important thing.
- I can continue with the staff.
- Let me just tell you...
You are a genius. I'm never wrong
about these things, am I?
- He never appears to be.
- Ok. Thank you.
Thank you very much.
- Oh, Robert?
- Yes?
Three things to remember:
Budget, budget, budget.
I will do my best.
- When we'll get the music?
- The music is being written now.
- Well then for rehearsals?
- There is no music.
Counts?
No counts. I like the dancers
to feel their own rhythm.
- And then the music can come in.
- Well, it'll be a new experience.
That's not good,
out of a straw.
Oh well, moving
right along.
We can pass it around.
Who threw this penis at me?
I think this is more you,
Missy.
I think that's more
your style.
We got a salmon position 1,
beef position 3, table 22.
Sorry.
Are you a dancer?
Thank you.
Got it.
Oh, John.
What are doing here?
I could stay here just for a
little bit, a couple of days.
God, I am like booked.
You could put me on the floor.
I've got my sleeping bag.
- Just for a couple of days.
- Alright, come on in.
What's going on? I thought
you were staying with your family.
I was staying with my
aunt and...
I think she committed suicide.
So I can't stay there anymore.
Can I use your pen?
- God. I'm sorry.
- Yeah.
$8.50 a day, just for
a couple of days.
Just for a couple of days.
Definitely.
God, I'm so sorry. What's happened?
Did she shoot herself?
No, it wasn't that dramatic.
She took some pills.
I don't know, she was a little
crazy. She was very eccentric.
- So yeah, just a couple of days?
- Yeah, just a couple of days.
- You're last for the bathroom.
- Right.
And cross the fifths.
And...
That's it, long arms.
Shoulders down, ladies.
Lots of bourres.
Shoulders down.
Big arch.
Hold, 2, 3.
I got to say something here.
Mark, turn off the music.
Why do you always do this,
babies?
You always get phony on me.
I don't know why you do that.
This is supposed to the 60's.
This is what the '60s were all about.
Kids protesting against the war
trying to change the world...
so they bent the rules, turned to
drugs, took off their clothes.
They made a noise. Peace marches,
singing their songs in the streets...
carrying flowers when they were
being beaten and pushed around.
All that went
into this ballet.
You see, it's not the steps.
It's what's inside that counts.
That's when you really
begin to soar.
Thinking the movement is not
becoming the movement.
Listen up company.
Hello? Is this on?
Have a great lay-off. It was a
wonderful show tonight.
And don't forget, practice
safe sex. Safe sex, babies.
And remember, fish, broccoli,
salad. No more chili con carne.
Have a great break.
Your grandmother got this when
she was 10 years old.
She wanted so much to be
a ballerina.
It breaks my heart she's not here,
she'd be so proud of you.
I want you to talk to Mr. A.
To make good his promise.
And say, Hey Mr. A let's make
good on your word...
about the ballet you'll create for me.
I know you wouldn't do it that way.
You know, totally vulgar.
But still...
Remember that evening at that
wonderful party? He dazzled us...
with his promise of building
a ballet for you...
- Where is he? Do you have any wine?
- In the fridge.
The fridge? I don't really feel
like white wine.
I love it that you have red wine
in the fridge just like your mother.
Now look, let's get down here
to brass tacks. Loretta?
- Mom?
- Darling, it's time.
I went to see Aunt Vynette today
in the hospital.
- How is she?
- She's sad, diminished.
I'm here to tell you...
I love your wig.
Life is short.
And it's time for you now.
You've been featured...
you've been acknowledged.
Your colleagues are wonderful...
- Mom, I'm going to be late.
- Those shoes are dangerous.
- No they're not. They're fine.
- You could break your neck.
- They're fine, Mom.
- Honestly. You have to go.
- This is yummy.
- Good. Coat.
I'm going back to the hospital.
This suit cheered her up.
- Give her my love.
- I'll give it, and I love you.
- You don't need this.
- I push you because you're modest.
- Your demur quality is enchanting.
- Let's get going.
You look very sexy right now.
I'm worried about you.
- It's fine.
- Talk to Mr. A.
Bring out his appeal to his
Svengali instincts.
Hey Dwayne.
I'm in trouble huh?
Can I get a Jack and Coke
and a screwdriver?
- I thought I'd pluck up the guts.
- So you did it?
- Yeah.
- I'll be back.
I did it. I got the balls up
and I did it.
- Do you have a condom?
- No.
Sorry to wake you. Do you have
an extra condom?
- What?
- Do you have an extra rubber?
Yeah.
Just one is fine. Thanks.
Don't worry about leaving.
- Just stay as long as you want.
- Yeah. Thanks.
Now I'm not going to stand here
and go on about our next recipient.
There simply aren't
enough words.
But suffice it to say,
that his work stands for itself...
and has been a source of
inspiration to Italian Americans.
So please join me in
welcoming...
the Artistic Director of the
Joffrey Ballet of Chicago...
Mr. Alberto Antonelli.
Thank you.
Please sit down.
You know, I really deserve
this thing.
Because you Italian guys made it
hard for me to be a dancer.
You know, you didn't help
one iota.
I had to hide my
ballet shoes.
And my Italian family,
they gave me such a hard time.
Listen, if your boys want
to be dancers...
please don't give them
a hard time.
That would really be
a special award to me.
- You better let me do that.
- Really?
- Yeah.
- It's probably a good idea.
Do you have a pan?
- I can make toast too.
- Toast is good.
- What do you like in your eggs?
- I don't know. Anything.
- What do you got?
- Not much. Let me see...
- Two tomatoes.
- Tomatoes are good.
- I have pepper. You want pepper?
- Peppers...
- Do you have onions?
- No, but I have onion salt.
No, that's ok.
- Can you close the door.
- Sure.
So, great we're finally starting
Blue Snake rehearsals.
I love it.
I just wanted to tell you a
little bit more about the piece.
We haven't had a chance to
talk about it so much...
so, here we are at
the beginning...
- What's happening?
- That's Mr. A's chair.
Oh, la chaise du maitre.
Je m'excuse. This one will do fine.
At the beginning of the piece
we've got the storyteller...
and the whole piece is like
stepping into a children's book.
So instead of opening the book
once he's done his opening solo...
the mouth of the snake opens
and the piece starts.
We have the zebra characters,
they are in black and white...
sort of representing the dualism
of the world that we live in.
And they come out like holding
hands and do a circle dance.
We enter into section two,
the mouth of the snake reopens...
we're into the red section,
the monkeys are coming out.
The whole piece is done sort
of in primal colors.
It's all very kind of fun
and very colorful.
And we go through a solo for
a female balloon head...
expressing sort of again
the joy of the child...
and eventually we come to this
finale which has the giant.
You still have a way to go
with your line.
And you also need to work on your
allegro, especially Mr. A's allegro.
I love allegro. If you can dance
allegro, you can dance anything.
If you're an allegro dancer,
there's nothing you can't do.
They're in love with the
lyricism and all that.
But you know what I call them?
Phony ballet. I hate it.
I fight with these guys
all the time.
I wanted you. I wanted Ry for
Snow pas, right?
Yes you did.
- You went out and she aced it.
- Yes she did.
Mark didn't want her for
Nellie Ely.
Then he saw her in rehearsals.
She was fantastic.
I know whereof I speak.
Edouard, yes?
- Mayor's office in 20 minutes.
- I'll be right there.
No, I can't right now.
I'm late for the mayor.
He's always late.
- You scared me. Hi.
- Hi.
- How'd you get in here?
- Oh, you gave me a key.
- Oh, right. How are you?
- I'm good...
- I think I need a bath though.
- No!
- I'm really dirty.
- No, I don't think so. No!
Get out! Go. I'll be out
in a minute.
- What are you watching?
- I found it up there.
- No. You can't watch this.
- What is this?
- Me, when I was little.
- Want a beer?
That's okay. I got some.
This is fascinating.
So work was good?
Yeah. You know...
- I missed you today.
- Well, I missed you.
- Can't believe you're watching this.
- It's great.
- It's humiliating.
- Which one is you. Right?
On the left there.
The far too enthusiastic one.
Horrible.
- Cute.
- Yeah.
I think if I really tried
I could do some of these moves.
- You think?
- I think so.
I bet you could.
Very good.
- I'm married!
- Congratulations.
Thank you.
Michael, bend down, pick up
the skirt. Pick up the baby...
Cradle the baby. Rock. Put the
baby down. Then start your bourres.
To the corner, reach. Two arms up.
Two arms up Reach, reach...
Contract around.
That's good. Stay low.
Reach back. Grab the skirt...
Grab the skirt with both hands.
Bring the skirt up to your chin.
When you get the skirt,
don't touch it...
Don't reach for it.
Don't grab it.
- Well, how's he going to get it?
- There's ways to get the material...
When you bring it round with you
pull it to you like...
You changed it from something
else to this yesterday.
Yeah that was yesterday.
Now I want this.
- There's no other way.
- It's organic, you see.
That's not organic. He has to bring
the skirt to this point...
It's organic. That's why it's
so beautiful because...
You're discovering new things
in it all the time.
You see here's the child.
It's like you're giving birth
to the world.
He's a man. How's he going to
give birth?
There's the baby. You go down
with the baby. Pick the baby up...
- The baby's over here.
- He's giving birth.
No. You're mixing up the babies.
This baby is a metaphor.
- For what?
- Giving birth.
- I like this, honey. This is good.
- That's the same thing we just did.
- What?
- That's the same thing we just did.
No, that's what I told him to do.
Are you arguing with me?
We've been rehearsing for 2 hours
and every time you change it.
There's no way he's going to learn
it if you keep changing it.
We're done here. Honey,
come on let's scramble some ideas.
Instead of some asshole who
contradicts me all the time.
Who's heard of a man having a baby?
Where's it going to come from?
Now, I got a million ideas here
for music. Adam?
Just go work it out
with them.
Now let's do a little...
maybe a little contraction.
Travel.
Oh she's really come on.
- Good.
- Well done.
Julianne, she's really lovely.
But I don't know what it is.
She's not quite there.
Something to do with
the style.
- Should we stop for a second?
- Yeah.
Julianne,
let's stop for a sec.
Suzanne, would you start from
the beginning? Just do it once.
Julianne, that was lovely.
Just watch Suzanne.
- So Paul, from the beginning.
- Fine.
Ready?
See. Totally different.
The height.
- She's got such lightness.
- Yeah. Beautiful.
Oh my goodness.
Suzanne,
are you alright?
- Adam's gone to get some ice.
- Ice please!
- What happened? Did you go over?
- I snapped it.
- Adam?
- What happened?
- I snapped my tendon.
- Did you come down from a jump?
- Can you straighten your leg out?
- We heard it.
Did you hear it?
I'm just going to do a test.
- How sore is this back here?
- Really sore?
- She snapped her Achilles
- What?
She snapped it.
- It's been bothering her.
- Can someone call Keith?
- Can someone grab her phone.
- We need to go on.
- Julianne.
- Yes Mr. A.
People, we do need to go on.
Let's continue with Julianne.
Paul, we'll go back to
the solo.
She's very good
in this.
She better be because she's
dancing it tonight.
Move it back a
little bit.
That's great. Good memory.
You remember everything that we did.
I think we need to add a circular
arm right, you finish this...
We should add an arm there.
It needs like a bigger break...
into this side motion.
And don't be afraid to go down...
It's harder to shoot up the leg
but it looks so much better.
Ok, so let's add that
little phrase.
Gutter!
- Hi. How you doing?
- Maia, Michael this is Josh.
- Dancers in the company.
- Hi.
- You having fun?
- Yeah.
- Good. Trinity.
- You got to get going. Bowling.
- This is Josh.
- Hi.
One of my best friends.
- Nice to meet you.
- You too.
I've heard a couple
of things.
- Hi.
- How you doing?
This is Josh.
Good to meet you.
Hi.
- I don't have bowling shoes.
- Grab a ball.
- Take it from the finale please.
- We're trying some costumes.
Try not to get distracted by that.
That's our only section with counts.
- So let's stick to them.
- Ready. 1, 2...
Okay Trinity, this is where you
come in to get eaten.
Further upstage, way, way
upstage. That's it guys.
Stay downstage. Stay downstage.
I'll be changing that, Stacey.
I've got an idea for that.
Come in closer, the four corners.
Alright, ok good.
We need to stop here because
we've got something to organize.
A world premiere
at the Kennedy Center.
I got to tell you, baby,
that's pretty formidable.
- Babies, we need the room.
- Well, why can't we do it at both?
Both? Can you have
two world premieres?
Dump something else then.
Dump Tensile Involvement.
No. That's not possible.
It's paid for.
Harriet, I need to see you
in a minute.
What about this new kid? He can
wait until later in the season.
Alec, are you dictating
company policy to me?
Edouard?
- Do you have it?
- Yes.
- Is it hot?
- Yes. Careful.
It's a brilliant ballet,
that's what you said, not me.
You have to learn to trust me. We've
laid out a great season for you.
And what's good for you is
what's good for the company.
In this conversation what's
good for me is what's good for me.
- How long have you been here?
- I hope not too long.
- I hope not too.
- Are we threatening each other?
No. I don't make threats.
You wouldn't have bumped
Eddie Steirle.
Well, you're no Eddie Steirle.
Eddie Steirle was the future.
- At 23?
- Oh yes. Yes. At 16!
He was remarkable. Such a terrible
disease. So many losses. Bob...
Greg Huffman, beautiful.
Glen White. Jim Howell.
The only thing a person can leave on
this earth is the light of himself.
I have hopes for you. Don't throw
out the baby with the bath water.
Ho, Ho, Ho.
Merry Christmas.
Welcome to the
Christmas roast.
Hey kiddo,
how are you?
- What's this?
- Just the roast.
- Are you going to perform?
- No, no. Just watching.
- That's all really silly.
- That's what it's supposed to be.
It's getting late. Come on Justin,
you got to get your rest.
On behalf of Mr. Antonelli
and the entire administrative...
we would like to welcome you to
the 5th Company Christmas Roast.
It's a great pleasure to introduce
you to my hero, Mr. Antonelli.
Ok company, let's take it
from the embrace.
Excuse me.
Sorry. Sorry.
Hold it, company.
Hold it.
It's too pretty.
I don't like pretty.
You see, this ballet was
born in the 60's.
In the 60's people were
smoking pot, having sex...
burning bras, dropping acid.
That's what this ballet is all about.
- Hi, Frankie.
- Hi. What have you been up to?
- Merry Christmas.
- Merry Christmas to you.
You know what that means: Broccoli,
fish and salad. And more sex.
My skit's up next.
A little closer together and
Colton with Sam maybe...
No, that's not pretty.
Mr. A, Robert Desrosiers.
Company, company, I have
a very special guess.
A very talented choreographer
from Canada, Robert Desrosiers.
Well, I just wanted to talk a
little bit about my ballet...
It's sort of like
a storybook.
Instead of a storybook opening
the hippo's mouth will open...
you see, the name of the ballet
is called Hungry Hippos.
The piece ends with a huge frog,
but there is a problem...
- A little problem.
- The frog likes to eat dancers.
- Is really great.
- Do we wear pointe shoes?
You wear a pointe shoe with a heel.
You can walk and jump onto pointe.
We use it a lot in Canadia.
It's great.
So I think we could start.
- Would you like to join us?
- Well, shit. Okay.
That is the spirit of
the 60's.
- What are they doing with that tape?
- They're making something up.
- Thank you for inviting us.
- No problem. Are you having fun?
- Having such a nice time.
- Good.
You were really cute out there.
That's pretty funny.
Thank you.
Sexy!
- I'm going to go and change.
- Bye honey.
Bye.
Ry! That was beautiful.
Take a picture with your dad.
- How you doing there, Rick?
- Great, John. How are you?
- Is that a new boyfriend?
- I wouldn't say that.
I felt so nauseous the last time
we did it.
I took some of Dana's caplets and
they helped me a little.
Yeah they're right here.
They really help.
It's not like from Dramamine.
My mom used it when she flew.
- Can you hold the rope?
- Sure.
And Noel?
Will you start.
There we go.
All set.
- You got it? -Yeah.
Alright, here we go.
And go.
Hold your middle. Good.
Very smooth...
And... head, and arm reach up,
feel the vastness of the universe...
And the coupe. And the split.
Keep the back leg up. Good.
Get rid of those chairs,
will you? Get them out of here.
- Do you want it from the beginning?
- Just carry on. I'm not here.
Now let's take it from
the arabesque spins.
And hold the arms...
Good, Noel. And into the attitude
with attitude and swastika...
And bourres. That's it,
spot, right.
Good Noel. Right into the
cartwheels.
- That's it. Are you alright?
- Yeah.
Great Noel, honey.
That's great.
Dana get up there. Just show her
where your hips go on that rope.
Just watch this. Just watch
where she puts her hips here.
- You see? Keep the pike.
- You see that?
Watch the right leg.
Good.
And keep going.
2, 3. 1, 2, 3...
Good!
Good!
Nice. Good.
That's a good place to stop.
Let's stop there. Thanks Paul.
So what happened there?
I want you to try
to get her down on six...
No, no. 5, 2, on 3. Because
the next step I have to do is...
Let's try if he puts you down on
6 ronde de jambe on two...
I don't know what the guys do
but I've been doing...
The step's been missing.
I'd love to put this step back in.
But can't you put it
back in before?
Well, just try and see if
we can do it on 6, 2, 3...
- Mr. A., you know
- Edouard? Just a minute, doll.
Carry on, babies.
Deborah, come on back and
let's try to put you down on 6.
I've been doing this ballet for
10 years. He likes the way I do it.
So I think the counts that I
have been doing, it's sufficient.
Happy New Year!
Happy New Year!
5, 4, 3, 2, 1!
- Good night.
- Ok, good night.
I thought I was going to get
out earlier. They wouldn't let me.
Josh?
Josh?
Let's not take it from where you
come out of the mouth of the snake...
Let's take it from where you're
circling. I'll give you a 4 counts:
He's just behind all the time.
He's not comfortable.
- We could get Michael?
- I'm sure Michael can do it.
Let's stop.
That's not bad. As a group you
need to be breathing together.
I still want to feel that pulse
going through. Alright? And Justin?
Look, we're a week away from
the shows...
and you don't look comfortable
with the movement.
I'm going to have to replace you.
Michael, let's take it from the top.
Same thing.
4 counts lead in...
That's it. The energy's much
better now. Keep breathing.
- Justin, what's going on?
- I've been fired.
You weren't fired. Mr. Derosiers
just replaced you...
in that one section, that one part
of the ballet. That's all.
He fired me.
The choreographer has complete
artistic control, Justin.
Mr. A couldn't change it. If
Mr. Derosiers wants it, you accept.
- I don't belong here.
- You do belong here.
Mr. A. Do not interfere with
the choreographer's wishes.
- Come on, Justin. Let's go.
- Wait Justin, you can't walk out.
I request a formal apology in
front of the entire company.
- For what?!
- For abuse.
He's treated like every other
member of this company.
We're going to file a
complaint with the union.
Good evening. The time is
7 o'clock. Half hour please.
This evening's performance
will begin in one half hour.
Anyone not involved in the crew
must leave the backstage area.
All visitors must leave the
backstage area at this time.
Please make sure you're
signed in. Half hour.
- How many, who is...
- That's really sad.
The snake's coming through.
Standby snake mouth
opening...
Standby light cue 908.
Standby snake mouth
opening and smoke.
Standby mouth closing.
Is Ry standing by?
Light cue 927.
Oh my God.
Look at Loretta.
Are the plants ready?
Light cue 930, go.
- Is that her too?
- Yeah.
You need to cover the music.
Get on stage. Do anything.
Come on just improvise!
- Oh excuse.
She fell.
Let's get Maia
Did it go out of the socket?
She's out.
Get Maia into her costume
right away.
Excuse me...
We're just going to head back to
the physical therapy room.
- We're Ry's parents.
- Just please wait until the show's over.
- Hey.
- Hey.
- You seen Ry?
- Yeah she's on the other side.
Let me put a white line
on you.
Hi Josh.
- Can I get to the other side?
- Not without a costume.
Stay in the middle.
Are you doing ok?
Yeah, I'll be ok.
Thanks.
And main curtain.
Go.
- There's somebody on stage.
- Who is this guy? Anyone?
- Get him off!
- I have no idea.
- What are you doing?
You can't go on stage.
What did you do?
I slipped on some lettuce and
I went right into the bouillabaise.
Yeah, I'm ok. I fell.
I don't know how.
But I just pulled it.
- Sweetie, thank you.
- How are you?
Hi, Angel.
Subs Ripped from DVD