Ballet 422 (2014) Movie Script

Two to the back,
Two to the front
with a single turn.
So we have: Two, two, two,
and a turn and down.
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.
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,
Yeah, constantly forward?
- Yeah.
- Like, here...
Start... I don't know, yeah.
That's too much.
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.
- Is 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 saut,
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 brises to there,
sometimes he gets really, like,
loose in his arms,
so keep an eye on him.
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,
and then turned her somehow.
- Okay.
- I don't know.
He kept me on the side of him.
- On the side?
- Yeah.
- Of this side or that side?
- That side.
Forget it.
...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 pass,
and then step out.
That's it.
One, two, three,
four, five, six.
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...
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...
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...
because Thor is here outside.
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?
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
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,
and it's, like,
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.
Where are the... Actually,
where are we with the pas de trois?
That's fine.
I want to place you guys,
but I'm not sure where yet.
- 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.
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.
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...
- You're okay.
- I'm okay with it.
- Okay.
- Yeah.
- Justin, I just have one question.
- Yeah.
You know, when we bourre back
for the girls,
we're bourreing back...
they don't know
if they should finish here...
Because, you see,
some finish here,
as the original step you gave,
and some
are already going parallel,
so should we just...
No, they should finish it out.
Girls, right? Okay?
Because some people
are going parallel already
because you see the boys
coming there without finishing.
Just finish it out.
Don't let the boys
make you nervous.
- Totally.
- Okay.
As far as the pointe shoes go,
would you want them to, like,
pancake nude,
or do you want to keep, like,
City Ballet...
- Well, it's up to you.
- Freed pink?
- What do you want?
- We didn't...
We could talk to the girls
and see what they want too.
They can... I mean,
they'll do whatever...
I mean, whatever we want.
I mean, there's all sorts of ballets
where they have to alter
the shoe color,
so it's not an issue.
And we really, initially,
wanted texture in knits,
but we realized that dancers
probably don't want to wear,
like, hot cashmere.
I mean, we're used
to wearing really hot,
uncomfortable costumes,
and this will be nothing
compared to some...
Like, we wear Firebird
monster costumes.
- I love them.
- Yeah.
Yeah, and they're great,
but they're not fun to wear.
- But we still wear them, so...
- Okay.
So if you really like that,
then stick with it.
Five, six. Two, two, three,
four, five, six.
Three, two, three,
four, five, six.
Four, two, three,
four, five, six.
Five, two, three,
four, five, six.
Six, two, three,
four, five, six.
One, two, three, one...
There is a one-two-three.
Well, the one-two-three
was a silent,
but if you want it on that,
it can be on that.
I thought the one...
the silent one-two-three,
we're going to this.
His six that
he's counting is our sixth six.
- Let's just do our sixth six.
- It's four, five, six.
- One, two, three, I think.
- Two or three. Yeah.
- Okay.
- Okay. Cool.
So we'll count the six and go
on the silent one-two-three and go.
Okay. Last six.
And can you each
just support his back?
If we both did
maybe, like, a fourth.
We can just try that.
And go!
- Oh, God.
- I know. I'm heavy.
No, it's just because
he ends up going sideways
- and we're trying to do it...
- Oh, do you want me to go to you?
- Yeah, you need to...
- Go to Sterling.
- That's fine. I didn't know.
- Okay.
You can come a little more to me.
- I'm scared now.
- Just don't be flat.
- Can you split the difference?
- Split the difference. Okay.
- Perfect.
- Got you.
- That's great.
- Wow, ladies!
Let's try that.
Okay, let's do...
I think we should
run the finale step,
since that's brand-new.
What do we think?
Let's go over it.
Let's hear it once.
Let's hear it once.
One, two, three, four, five, six.
One, two, three, four.
One, two, three, four,
five, six. One, two.
Yes! Yes!
Sterling... She did it.
She's got it.
It needs to be...
It's not, like, crispy enough.
- Crispier?
- Crispier, okay? Same thing.
One, two, three, four,
five, six, seven.
One, two, three, four,
five, six, seven, eight.
One, two, three, four, five...
Three and...
That's it!
That was very, very, very good.
That was very good.
That's what I'm looking for.
That's what I'm looking for.
It's like the balance
of these is off.
It's not just a matter
of pulling that part, is it?
I know what you mean, though.
Because this
is all just falling forward.
And we want it to sit, like...
- Like that.
- More like that.
That's better.
So if you take the waistband off
and remove some length here,
would that, like,
put a deeper curve?
It would. Yeah.
I mean, we basically know what
we need to do to make it do that.
- Mm-hmm.
- Okay.
We can't really do it right now,
but it's a pretty easy alteration.
I trust that the fit
will resolve itself.
But yeah.
I like it very much.
Are we worried about this fabric
getting super pilly?
I mean, I like
that it has texture.
It may. Yes.
But then that's what we also
have a wardrobe department for.
Wow. That's amazing.
We need to do that again.
Just, we're forgetting stuff,
and I think... Joe's new.
And, Apple, you still got late.
- Sorry, Albert.
- It's okay.
Make the first lifts
more efficient, okay?
The first, like, when she's just
in sixth or fifth or whatever,
Like, really contained, okay?
You have to lift her up
and lift her down.
- Yeah.
- Not just lift her up.
Yeah, don't just drop her, okay?
Pick her up,
and put her down in a new spot.
One more time.
That's better.
The bump can be
a little more dramatic.
It's starting to lose its intensity.
It's like they know
it's coming now, you know?
Mm-hmm. Mm-hmm.
- Joe has to do tree-frog fingers...
- Okay.
Before the boys' dance starts.
Ster, in that pirouette,
it's a pancake moment.
Yeah, Sterling and Amar,
there's just always this weird...
- Like, a pancake moment.
- After you do here...
I don't know what that is.
It takes a moment to get
out of it, for some reason.
Because you're
on one... on both legs?
It shouldn't be, though.
It's very simple.
Well, pointe shoes are different.
So wait, is it because
I'm giving her too much force?
- Is that what the problem is?
- Maybe. I think maybe a little less.
- Because I'm doing this.
- Yeah.
Maybe that's what it is.
Why don't you soutenu
and come down after?
whatever you want.
What do you mean?
Do you want... you want
to come down before?
Is that better?
Let's do a normal soutenu.
That was good.
- Yeah.
- That was nice.
- Sometimes if I get too much...
- Yeah, it can...
I mean, I don't need very much.
I know, you remember,
you told me to do that, but...
I think I just need some
to get going.
- Because I can do the rest.
- Cool. Absolutely.
Just because
I'm in such a dead moment.
- I'll, I'll... yup.
- Okay.
And, Joe, when you go
to the floor for the...
Can I see it?
I'm doing that.
More spread.
Okay, you need to work
on your finger flexibility.
No, it's fine.
Wait, do you want them,
like, domed?
- Is that what you're...
- Maybe domed.
No, don't dome them.
It should be like...
- Okay.
- Oh. I see.
Maybe like that, yeah.
So they're splayed
a little more.
- Okay.
- Yeah. That's good.
- Okay.
- Sterli... Ster.
Oh, she needs to do more
with her back leg.
Ster, we want to have you
one more time in the grand jet.
In the grand jet,
the toss thing.
I feel like you're
a little late, just, like...
- I feel like you're behind her.
- Yeah.
- Okay.
- Yeah.
I feel like she's already past you,
and you can't get any...
- That's better.
- Oh, hey.
- That was better.
- Yeah.
- I just need to travel with you.
- She needs to be...
If you think about her being
almost slightly behind you
- so you can really, like...
- Can I try one more time?
- Yeah!
- That's great.
- That's it.
- Good.
Iris 619 at half, please.
No. Oops. 651 at 50.
Come back to N1 once it's clear.
No, you're fine.
Just give me 370. Right.
And update cue 12.
Cue only.
And stand by, bridge,
to pick up the couple
down right...
or down left with cue ten.
You'll come up to half minus.
And then stand by, stage right,
to switch our dancers here...
or to switch our light walkers.
If, by chance,
sorry, before you start,
that I don't have their marks...
- Hold please, Katie.
- Yup.
If I don't have their marks slightly
right, can that be adjusted?
Like, I'm worried that they're
gonna end up a little...
- Oh, absolutely.
- Okay.
- Yeah.
- That's not hard to fix.
- Easy fix.
- All right.
Cool. All right.
Bridge, stand by
to pick up the couple
with cue ten, half minus,
and stand by, Penny, to switch
the light walkers, please.
All right, so applause,
applause, applause.
Light cue ten, go.
So add some beginning applause.
Bridge, slowly
picking up the couple.
So 16, go.
And they're now moving.
And the whole stage gets
a little brighter
and fuller at that point.
Light cue 14, go.
Another thing I was wondering...
I don't know if this
would be a bother,
but because
it's so high-waisted...
Can, in the pattern of...
Is this just a half circle?
They're side seams.
Okay, so this is...
This is three pieces?
It's one, two, and three?
- Yes.
- Okay.
Can the sides be, like,
shaped a little bit
to give less fullness in the...
- At the top?
- At the top?
And more flare?
Absolutely. Of course.
Yeah, because that way,
we'll lose...
When she twirls,
it won't get so far away
from her body here,
but it will here.
- Yeah.
- Okay.
so it will just be slightly
more angled and slightly shaped.
Right, not just
a straight line from the... right.
- And she'll have...
- Does it feel comfortable?
- It feels great.
- Good.
She'll have...
I mean, this really does
feel secure.
Little trunks to match?
- Okay.
- Yeah.
What happened
with the rolling down?
Yeah, with the straight here,
front, roll down.
Oh. Sorry.
And then can you take her more off?
Off, back, off.
For this dvelopp, down.
And then when you switch,
for that pas de chat,
can you straighten the left leg
so it goes
up, switch,
and then you hold pass?
But bend the left leg
and then switch.
Bring the arms in
and then around that way.
Let me see.
Here, bring them down,
and then around that way.
Here, bring them down...
- Oh.
- Up, through, and around.
Here, bring the arms in.
Now open the elbows and up.
- I'll get it.
- Close.
Here. Elbows open. There.
That's it.
Try it one more time.
Show the... You need
to isolate the elbows
coming out and around.
From here...
Turn the shoulders sooner.
Let's try it again.
Five, six, seven, eight.
Go, one.
No, it's not bad, actually.
Woman 1:
They're gonna tack these down.
Woman 2: I want these to be in,
like, my spring wardrobe.
Woman 1: Yeah.
It's so cute.
I would wear that.
Mine feels...
Mine's doing a little...
It's expected. Yeah.
Are people
still getting changed?
No. This is it.
Can we come out onstage?
Girl, you got
nothing to worry about.
Yeah, if it comes out,
it's cute.
I love it.
Andy, if you could cue...
Wait till the lights
completely change...
- Andy Okay.
- ...before you cue the music.
Uh... One more time.
I think it's too dark.
Can we make a note to tell Mark?
I, like, can't even see Amar.
I know. Totally.
I just noticed that.
Oh, my God.
I can't see a thing.
- And you fixed...
- Kind of.
- Kind of.
- Yes.
- The toss was good.
- It's okay.
It's just... yeah.
We're just crossed.
We need to just...
- I think what we're gonna do...
- If this is okay with you...
For just the second one,
if it's okay with you,
for here,
I'm not gonna use this arm.
Is that okay,
that he doesn't take this arm?
- Yeah, that's fine.
- Because I think what's happening is
I'm getting really twisted.
Oh, and that's why you fall.
All right, well, let's try that
tomorrow. And I'll look at it.
- See if you like it.
- And tell us what you think.
Harriet and Marc?
So you want to see his body more?
I also feel like,
when I see him from far away,
I think,
also because of his body
and how he looks, that, like,
it all feels very high, like...
I don't know, maybe
around the neck or something.
Just feels like...
A little too, like, up...
- Too, like, up here.
- Up here?
- Yeah.
- Yeah.
Because I have
less down here, probably.
- Do we open up the neckline?
- Maybe that opens just a touch.
Do you think
we can go in on the...
- We could do that too.
- Yeah.
For his arms
so he doesn't look so...
- Did you fold that in?
- Yeah, you folded that in.
And then do we
open this up more?
- And maybe take a little bit.
- I think that would be nice.
Because then you could see his
neck and his chest a little bit.
Neck and your arms.
Yeah, because
then we could do this, too.
We can just get this
a little more...
Yeah, that already
looks better to me.
I'm not as part of the
dance world as you guys are.
I was like, "Wow. The legs."
- Like, you know.
- Too short?
Yeah, but Marc was also saying, like,
"Oh, they've worn less."
No, that's...
That is, like...
It's better to see more leg
just from a dance point of view.
Like, the lines will be much better.
- Okay.
- And plus, they all have great legs.
- I think it's... It'll be fine.
- Okay. Okay, good.
- Yeah, so...
- Okay. All right.
I think... Yeah, I think
I'm really happy with them.
- Should I take it off and see...
- No, no, no.
Let's get all this done first,
and then we'll figure out the top.
So let's get you zipped.
But I thought maybe
I stepped into it wrong.
How's that possible?
Because there was
a lot of things going on.
Is Marc Happel here?
Why is it not staying?
Oh, there's a hook.
Okay, you ready? I'm gonna hook you.
Take a deep breath.
- Yeah.
- Okay.
Okay. Then this goes down.
This goes here.
Let's get hooked.
I'm gonna hook before I snap.
Okay. Then...
There was a hook.
- There is a hook up here.
- But...
I'm gonna hook it right now.
Are you ready?
- Yeah.
- You're in.
- Yeah. I am?
- We nailed it.
It looks right?
And Joe turned the wrong way.
Tiler's solo at the end
of the first movement.
I felt like the backdrop
and her costume were identical.
So I want to play
a little more with that.
The tricky part is,
if you separate them,
it feels like the end
of the movement goes down,
because it gets darker,
you know,
by making a richer back...
So I've fussed with it
a little bit,
and we'll do some more
on Tuesday and Wednesday.
But the second movement,
you were happier with that?
- I'm really happy with it.
- Okay.
- Yeah, yeah.
- Good.
Can it come down a little
tempo-wise, or no?
I can just make sure
that it... that it...
it stays very, very steady.
Yeah, that would be fine.
Tell me what number.
I'm just gonna say it.
My only concern, and it would
have nothing to do with you,
is that it's a lot of look.
There's a lot of, like,
things happening.
So, like, even when the whole
group is doing one thing,
it's... it doesn't become as, like,
solid as it would
- if there was, like, one color.
- It's okay. Yeah.
- Okay.
- As long as you're okay with that.
No, I think
the palette works so well.
And it's...
I like the variety a lot.
- Okay.
- Especially, like...
The last piece I did
was so uniform.
- Very.
- And I don't want...
I don't want to do the same thing
over and over, so it's good.
- Okay. Yay!
- Yeah. Thanks.
This is really bad right here,
- and it, like, hurts to point.
- Okay.
I don't know.
No, it's, like, in here.
- More on the inside.
- Okay.
It feels like
it's fused to the bone.
You're gonna flex up.
Good. Hold that, and relax.
And it just started today?
I mean...
Has it been starting
to bother you a little bit?
I haven't... I've had a lot...
I don't know.
I've probably
been ignoring it, maybe.
I felt yesterday, probably,
maybe not so much today,
but I felt like today
there was, or yesterday,
there was this disconnect
between what's happening here,
- which is very cool.
- Yeah.
You know, you're doing
a new ballet, a third one, right?
You're kind of this kid...
You know... I mean, it's cool.
- Right?
- Yeah.
But the orchestra's just...
You know,
they weren't immediately
crazy about the piece,
and, you know, it's not...
There's this disconnect
between the excitement
of actually what's happening...
And what it...
The reason I asked about Rabbit
was because if it was...
If you could go down and say,
you know,
"Thank you so much
for yesterday's Rabbit,"
and this is my third...
- You know what I'm saying?
- Yeah.
No, I almost said something
yesterday to them,
but I didn't want to, like,
overstep my boundaries either.
I think if you went
and if you could...
Are you gonna...
You're gonna sit out there?
I think if you went in and just
told Marquerite to wait 30 seconds
and you went to Andy
and you said,
"Do you mind
if I address the orchestra?"
Yeah. Okay.
I can do that.
I mean, I just feel like
you should make the connection.
- Yeah, that's really nice.
- Then they could rally to...
- Yeah.
- They'd feel like, "Yeah, it matters
that we play well,
and it's a big deal."
- Okay.
- You know? I mean... Okay.
Yeah, I appreciate that. Yeah.
No, that's great. Yeah.
I'll do that. Thanks.
Can I just say...
Can I just talk
to the orchestra for a second?
Is that okay?
- Yeah.
- No?
Yeah. Okay.
Guys, hi.
I'm the choreographer.
I don't know if I-
If I know all of you,
but I'm Justin Peck.
I just want to say
that my whole process
of choreographing
is really, really, really
based on the music,
and everything I do
is about, sort of, like,
exposing the details
and, like, the complexities
and the textures of the orchestra.
It's really, really important
to play with, like,
a lot of energy and vigor,
especially in this piece.
I would really
appreciate that so much,
and I'm so thrilled
to have you guys.
Sounded great last night.
The string section
in Year of the Rabbit...
I was so happy with it.
Tempos were great and everything.
So, I'm really looking forward
to this premiere and everything.
So merde.
I just get really weird
when my hair's low for buns.
I know.
But this is not a low, low.
- It's not, you know...
- Yeah. Yeah.
I still gonna give you a neckline
as much as I can.
I know.
I know you know how I feel.
And such.
please sign in if you haven't.
- Hey. Merde.
- How are you? Merde to you.
Thirty minutes till
the first ballet of the evening:
Justin Peck's Paz de la Jolla.
Thirty minutes.
- So, yeah.
- It's great, Justin.
You know, we saw your Rabbit
two days ago.
- Oh, yeah?
- Two nights ago, again.
- I liked it. Again.
- Thanks.
I liked it better
than the first time.
No, I really did like it.
Actually, it just becomes
better and better.
How does it feel when you walk
on the staircase to the theater,
and there...
Robbins, you, and Balanchine?
Oh, my God. I am, like, freaking out
about that, yeah.
Olga, he was in your class at
the School of American Ballet?
Yes. Well, I mean... yeah.
Not in my class,
but I did with him...
- But we worked together...
- On Scenes de Ballet.
- On Chris Wheeldon's stuff.
- Chris Wheeldon.
- Oh, I see. I see.
- Yeah.
You got a good review.
You're at the same level
as Alexei,
Alexei Ratmansky
and Chris Wheeldon.
that's quite a statement, so...
No, it's great.
What you do is great.
- Amar?
- Yeah?
You want to try anything?
- I say we go for it.
- Okay.
- Yeah?
- Yeah?
- I'm just gonna grab those hips.
- The lifts and everything?
- Yeah.
- Okay.
I'm just gonna grab those hips
and do it.
- Okay.
- Cool?
- Cool.
- All right, baby. Give me a kiss.
- You look handsome.
- Have a good time.
You too. Merde.
- Merde.
- Merde, guys.
Guys, that was great.
Really great.
- All right.
- It's great.
- Thanks!
- Yeah.
It looks so good.
Dancer 2: So good.
Fifteen minutes till
the third ballet of the evening:
Alexei Ratmansky's
Concerto DSCH.
Dancers to stage.
Ladies and gentlemen,
in this evening's performance
of Concerto DSCH,
please remember
to turn off your cell phones.
Places, please.