All language subtitles for Ballet.1995.1080p.WEB-DL.x264.en

(cars driving)

- [Announcer] Antonio, please call the front desk.

Antonio, please call the front desk.

- [Woman] Kathy, did you see Janet?

- [Janet] I'm right here.

- Oh, I didn't see you come back.

You're, good afternoon, American Ballet Theater.

One moment please.

Chris Warren, please call the front desk.

- You said that so as a total

they would contribute $150,000?

Yeah, but $150,000 against two weeks.

It means that Houston is underwriting

an enormous amount of money.

Now maybe they'll realize it back at the box office

if they're fortunate.

But it doesn't come near your real expenses.

That would barely cover your,

wouldn't even cover your orchestra.

Never mind your dancers

and your transportation and your advertising.

I don't know Houston's budget, you know.

Well when we go out on a guaranteed fee,

our fee is in excess of 150,000 per week.

Just to cover our per diems, hotels and transportation.

That doesn't even start to cover

what the theater or advertising costs.

Never mind the orchestra.

I mean, you're looking at over a half million a week

to present a ballet company with full orchestra.

Depending upon the repertory and the number of dancers

who come, of course.

I mean that would be a very ballpark figure, Lewis.

But it would certainly be true in terms of housing,

feeding, paying, per dieming 150 people

or 125 people plus an orchestra plus house costs

plus your stagehands cost and your advertising costs.

So somebody has to subsidize that.

Now if you have a very heavy sellout at the music center,

you could realize that back at the box office

and you could break even.

So I'm not saying it's not possible to do.

- Back, side.

(clapping)

- Double, double one.

Double one.

Angle up.

(speaking foreign language)

And out in,

out, in.

Out, in,

and a one,

and a one,

and a one.

Turn around and down,

down,

and out,

and low,

low,

and a one,

and to the coupé, coupé, coupé, coupé,

coupé, coupé, coupé,

and down,

and down,

and down,

full up,

and a one,

and a one,

pull up.

(clapping)

Now find the balance there and rise,

and stretch, energy right up through there.

And two,

find the balance one,

and turning round to the other side,

and lift, stretch,

and sideways, low, and release.

- All right, now.

- Might have--

- And then stand on your points.

I'm sure you can,

and just teeter.

(piano music)

All right. - Can we go back?

- And now,

do back (speaking foreign language)

(vocalizing)

in threes, a snake.

- [Dancer] (speaking foreign language) in that pattern?

Or just (speaking foreign language) and go?

(speaking foreign language)

- You gotta go backwards.

- Just (speaking foreign language) backwards first,

then a little circle. - Go around with honor.

- Full circle.

- That's it.

And backwards.

No, change, change.

Your chain on yourself.

I don't want you to go in a circle.

- Oh, just around me.

So, uh...

- [Male Teacher] Just that first one comes around.

- [Agnes] Down over there.

Over, over, over.

- And then change-- - To the right.

To the right.

- [Male Teacher] And then do a circle toe and right up.

- [Agnes] No, to the right.

- [Male Teacher] Come back over to the other side.

- [Agnes] Back you come.

And to the left again.

- Moving upstage or no?

- [Agnes] I don't care where she is.

All right, now, okay.

Now, wait a minute, hold it.

- Yeah.

- [Agnes] Do you know what you've done?

- Yes, I think so.

So we do go to the-- - One, two.

She's a long dream.

Around and then inward, then outward, and

(speaking foreign language)

- [Agnes] And chin, and chin.

- And teeter for a, okay.

- [Agnes] Until the phrase is over, now.

(speaking foreign language)

That's it.

And now, quickly.

(piano music)

Now you can take turns,

well, (speaking foreign language)

or I don't know how you take it,

but the arms sort of broken off and flapping,

as though you, that's right,

and looking down somewhere.

Unclassic.

Both arms.

That's it.

Flap.

- [Male Teacher] Let these...

- [Agnes] Now look down.

Can you do that, turning?

- I keep turning? - I think so.

- I can keep going? - Let me see.

(piano music)

No, I can't see it.

See...

Maybe the turning, obliterates the other movement.

- Well, because it's going slowly,

I think also, you need a moment of not keeping

that momentum going.

- You must look like something

that's absolutely broken and stuck up in the wind.

- [Dancer] Could I do it a two footed turn?

- Well, go, on, let's try.

All right, now then, just stop.

Stop and look over there.

You're sort of down low.

(speaking foreign language)

And turn very slowly.

Turn slowly.

And there's Madame Jane.

All right, now let's see it.

- Agnes, I think this is the problem,

'cause it looks from here,

you need to get something that's--

- [Agnes] That's it.

- I gets, yeah, a little bit more sense of panic

that's really coming from inside and this is not.

- Okay.

- But it's not flying around.

I think it just needs to have a little something

hitting yourself, becomes external,

internal feeling of...

- Amanda? - Emotion here.

As you turn. - You are in shock.

Now, for time, I was having actually pantomime shock.

You know, the normal way,

but I want you to be shocked. - Okay.

- All the nerves, just detached from one another,

and jangling. - Okay.

- All right, ready go, and...

(vocalizing)

Time to teeter.

(vocalizing)

And come over to the right.

(vocalizing)

All right, stop.

(vocalizing)

That's it.

All right, now, with music.

Martha?

- Yes?

- Did you hear what I was just singing?

- No.

- Just play that melody.

- No idea.

I was thinking of the musically,

Agnes, forgive me, I was trying to find you a bridge.

- I know, darling.

- Okay. - I know.

- Don't spread this around, please.

I don't wanna get this either.

But it's not good for you.

- If you give it to me.

- It's all right.

Just stand back a bit, just stand back a bit.

- Now what? - Don't do that.

(laughing)

(vocalizing)

- I have another one that's a possibility,

and that is

the beginning of the ballet.

(vocalizing)

- [Male Teacher] Right, yeah.

- But I just want to make this bridge now,

So we can do it together.

Now try that.

(vocalizing)

- Do you have that?

- Now walk it, baby.

Don't wear your points out.

- Music sheet. - I just sang it.

(vocalizing)

- I know, but I have it.

- [Male Teacher] It goes four times.

- [Martha] Four times?

- [Male Teacher] And I'll show you because it does change.

- And you can expand this.

- [Male Teacher] I just sang it 'cause I just remembered.

- As you get stronger.

And fit it into the music.

So it must...

(vocalizing)

- [Male Teacher] And then it does the change in.

- A visible scream.

(vocalizing)

- Just try it for now.

Have something to do with it.

- Okay, ready, go, and...

(piano music) (vocalizing)

No, don't.

Don't repeat.

Don't do repeat.

(vocalizing)

(piano music)

Yeah. - Okay.

- Can we slow it down a little bit?

- Yeah.

- Is that the meter it should be in?

- No. - Is that its tempo?

- [Martha] This is an electro.

- Well... - That's what it says.

- Originally it was a party dance, right?

Where you gonna begin?

Do it all again.

(vocalizing)

(piano music)

Still too fast.

- [Male Teacher] Too fast, yeah.

I think we can get on this,

and make it work.

(piano music) (vocalizing)

- That's it.

Now slower.

(dancers speaking indistinctly)

- Keep on until you-- - I know.

(dancers speaking indistinctly)

(piano music)

- And hands.

(piano music)

And up.

Slowly.

(piano music)

Make a good shaped circle.

(piano music)

And...

(piano music)

Easy.

(piano music)

(speaking foreign language)

And (speaking foreign language)

step, one, two, three, out.

Down.

And down.

And (speaking foreign language)

one, two, up.

(piano music)

(speaking foreign language)

Lift.

One, two, three.

(piano music)

And quickly, so that you can settle when you get there,

and up.

(piano music)

Remember, you still have fingers.

They're not plates.

They are...

(piano music)

One, two, three.

Let's rest a second, okay.

We're doing a brain teaser on that.

- [Announcer] Ethan, please call the front desk.

Ethan, call the front desk, please.

(piano music)

- Yeah.

Yeah, let's even in the beginning,

let's go back to the very first part,

I don't know quite the answer to that.

You know when you're (speaking foreign language) out,

Christina,

take your fifth then lift and then go

so that you can build from your on balance.

And you start to come up.

- Hit the fifth. - Then, right.

Can you hold your hips,

will it be hard?

Yeah, that's right.

Yum.

Good.

Yeah.

I think this is what's happening.

When you're diving in this position,

you're letting your arch go a little bit

too much so when you come up,

you get up and then you've gotta do that.

If you can keep like an ironing board on that pull out...

Yum, good.

Then you come up, better, right.

- That's it, yeah. - Yeah.

Also, Christina, one, and then the slow.

(vocalizing) - Go far.

- Yeah, one less turn.

- One less turn, so it's really...

- When you start. - Three four.

That's four.

- [Male Teacher] Four, okay good.

When you start your finger turns.

- Yes.

- You go to the front here.

Hold the turn out as your going.

Don't go like that and then turn out,

'cause you came up very nice and straight.

That was good.

Okay, one, two, three, four.

Yes, good.

- I feel like my knee's always gonna hit him.

So... - Now you're not.

- I know, okay, I just have to go for it.

- [Male Teacher] It's important that you

get in a nice line and he can adjust.

He's a very, very accomplished partner.

Very giving.

Okay, same thing, please, Gladys.

The very giving partner.

- I'm very sorry. - It's okay.

- [Gladys] I make three mistakes.

(piano music)

(clapping)

- [Male Teacher] Good.

- Even a little slower on that last one.

More controlled. - I don't know.

If it's three or four, you think it's four.

I just don't remember.

- I'm pretty sure it's four.

- [Male Teacher] Okay, good.

- [Female Dancer] I just have to start right away.

I was a little-- - And keep it going.

(vocalizing) - And four.

- [Male Teacher] Yeah, and I think,

can you make this line a little bit more

(speaking foreign language)

rather than (speaking foreign language)?

- [Female Dancer] Than the last one?

- [Male Teacher] I know it's

a little of both, but, yeah.

That's better, good.

Good.

Okay.

- [Female Dancer] Try it again?

- Should we do it once more? - Yeah.

- [Male Teacher] To lock that in.

- Right now, we don't have any vacancies,

and the next time we'll actually be looking

for people is April, May, June.

Sometime after the first of May.

That's when we find out from the dancers

who is staying and who is leaving.

- Right, right, right.

- And that's when we try to figure out.

- Right.

- How many positions we have. - Right.

- And the board of directors say

you can fill this, you can fill that,

or we're not taking any more people or whatever,

so the whole thing revolves around May first.

- Right, right.

- And that's when I can talk to you

or you can call me back

and I think probably will happen,

now that I've seen you and Jane had a very

quick look at you. - Yeah.

- I think what she'll do is have a class

of the people that she's seen in San Francisco

and Mexico, all the tours that we've been on

and she'll be looking at people in Chicago

and Washington. - Right.

- And I think eventually,

she will put all those people together

to compare people and see how that goes.

Which, I think, she would like you to do.

- Okay, great.

- Which is good because if you were not suited

or whatever, we would eliminate the situation right now.

- Right, right.

- So that's good,

so I'm glad you came in today.

- I'm glad too, finally.

- I need those pictures that you've got.

- Right.

- I have a resume, right?

- No. - Do I have anything?

- I have to give that all to you.

I can give that to you next week.

- Give me all that, just so I've got everything on tap,

and when we come into the Met in April, May,

then we'll start to talk.

(piano music) (vocalizing)

- Four,

five.

(piano music) (vocalizing)

Yes.

Less than that.

(piano music)

Squeeze.

From here.

(piano music) (vocalizing)

It's that sort of sit and you...

(piano music)

Yeah?

- Some are still good?

- It's sort of, you start on plie

and pull together the tights.

Start squeezing the floor, Anna.

- [Male Teacher] One and one and one.

- [Female Teacher] Screwing the floor.

- [Male Teacher] Turning.

- I know what you mean, I just don't know how to do it.

- [Male Teacher] One, four.

- So it's sort of and together here.

Yes.

Right, right.

A little bit more snakey,

from here to there.

Coordinate here.

- So this, do we do this?

- Start there.

Yeah?

More side.

Side.

Side.

Right.

Here you have to control.

Start to turn your body first.

Not legs first, yes, that's it, yes.

- [Instructor] Yes, dear, still open for you,

one more time same thing.

For me. - Yes.

- As soon as you hear that sound go here.

- Right before.

- Robert don't stay backwards quite so much,

just back away from her and then turn and go.

Yeah.

Yeah, he's gonna be there, so.

- Ready?

(upbeat music)

Go.

And then you do it.

(upbeat music)

There, good.

Then you have to...

(vocalizing) (upbeat music)

And.

(vocalizing) (upbeat music)

And go, yeah, good.

(upbeat music)

Good, yes.

(upbeat music)

Yes.

(upbeat music)

Yeah, let it go.

(upbeat music)

Yes.

(upbeat music)

Yeah, good.

(upbeat music)

Pull.

(upbeat music)

There.

(upbeat music)

Power.

(upbeat music)

Yes, power.

(upbeat music)

Five.

(upbeat music)

Beautiful, Christina.

(upbeat music)

(vocalizing) (upbeat music)

There.

(vocalizing) (upbeat music)

Yes, nice, baby.

(upbeat music)

Bang.

(upbeat music)

Yeah. (laughing)

(upbeat music)

(laughing)

(upbeat music)

Go get her.

(upbeat music)

Okay, thank you.

(laughing)

Yeah, that's all it takes.

(vocalizing)

Put in that third gear.

For some reason, it's getting her

right into up to the preparation.

You have a 10 second delay.

- [Male Dancer] They're going too low, I think.

- But you can press him a little bit more

from the top of the door, go for me, there.

(vocalizing)

So as soon as he goes tap.

(vocalizing)

The door opens and out you come.

(whistling)

(dramatic music)

(vocalizing) (dramatic music)

- [Photographer] Let's begin, sister, pull her in,

but I would like for it to be very long neck,

and very elegant.

- [Woman] You know what, I see it--

- Perfect, perfect, perfect.

Very elegant.

Oh, it's gonna be nothing but, yeah.

Both arms are gonna be up in a moment.

You'll see.

(laughing)

- [Woman] Just wanna make sure.

- [Photographer] And this one has attitude.

This one is backstage after a tremendous performance.

Great.

- Watching you yesterday, for example,

it seems to me like

there's so many things the ballet master is.

It's kind of hard to say exactly what it is.

You know what it is,

but you try to get specific about it,

and what you were saying just now

about the difference between being a ballet master here

and the kind of ballet master Mr. Balanchine was.

- Right, ballet--

- He was sort of different, right?

- Well, every time you go into the studio,

you're actually a different ballet master,

because if you go,

like you saw two half hours of the same duet,

and the first couple were much more in need of me

where the second couple was freer,

so if I went in and approached the four dancers

the same way, I wouldn't get the same results.

In other words, if I stood back from Julie and Robert

the way I stood back from Claudia and Keith,

then they wouldn't get anyway,

'cause they don't have any imagination.

They have imagination but the don't have the same

imagination that Claudia and Keith have.

- [Interviewer] Right.

- And at the same time,

if I was on top of Claudia and Keith

the way I was on top of Julie and Robert,

then I would suffocate them

and they wouldn't respond to what I was telling them,

so you always have to be aware of the person

that's in front of you,

or the group of people in front of you

and not be set in your ways,

'cause the ultimate is you're trying

to get the most out of those people,

and all artists are semi crazy in their own way,

so you have to figure out what wavelength

you're gonna go on,

and if you try to put movement

or a sense of structure on top of a dancer

who has an attitude,

well, it doesn't work.

You have to try to figure out

who the person that's in front of you

and cope with them,

just like they have to cope with me.

When Mr. Balanchine,

he, I'm sure he did that, too,

but he, to me, I always saw him

as somebody that you could never contradict

or never could offer a suggestion to,

and the only time-- - Suggestions are?

- Well the only time that it worked for me

was with him, when he would be creating and choreographing.

Where after being in 50 or 60 of his ballets,

you get to have a sense of where one movement

is gonna fall, another move,

he was inventive but there is a limit

to how much invention any great artist has.

It's not invention, but...

There's only about 20 steps,

and you just have to put them together

in different ways and you get an idea

of how he's gonna follow.

So many times, when he was creating,

you would see that he a lot of times, few girl,

or girls go on one, two, three, four,

and guys are gonna go on five, six, seven, eight.

You would know that you were gonna do it,

like a pull back and stretch and go,

and he would come back and say,

"What are you gonna do here?"

And I would show him or another dancer would show him

approximately what we thought it was gonna be,

and very often it was that,

and then the other thing was working with him

all the time, he got to know the structure of finale,

how you have to save the circle

for a certain point in the finale,

so you know that you're doing the step.

He'll say, "Well, what are you gonna do next?"

And if you said, "Well, we're gonna do a circle."

He'd say, "No, dear.

"You have to save the circle for 10 phrases later."

So in that way,

that was the only way I would have an input with him,

but if he said he wanted to step a certain way,

I was anxious to do it that way

and not anxious to contradict him.

However, I'm here.

I feel that I prefer,

I'd prefer to be the authoritative figure,

but at the same time, I would like

to be a gentle authoritative figure

that doesn't say it has to be this way.

I'm open for suggestion.

And I have the final say in a sense,

and I think I have the final respect, to,

as I've never had a dancer up to this point

say they're gonna do one thing in a studio

and then go out on the stage and do something else,

purposely.

(piano music)

- Nice, beautiful pose.

Very talented.

(piano music)

And one.

Two, three, four.

Five, six, seven, eight,

one, two, three, four,

five, six, seven, eight.

One, two, three, four.

(piano music)

No, no, little back.

(piano music)

One, two, three, four,

five, six, seven, eight.

One, two, three, four. - Down, and up.

- Five, six, seven, eight.

Here, one, two, three, four,

five, six, seven, eight. - Three, four, five.

- Here's one, two, three, four,

five, six, seven, eight. - One, two, three.

- One, two.

(vocalizing) (piano music)

- There we go.

That looks good.

Now do something with your arms,

get in a direction, maybe forward.

- Stop. (laughing)

- Okay, that's good, then what happens.

Take your hand a little higher.

Okay, that's it, good.

Good.

That's great, thank you.

(laughing)

(men speaking indistinctly)

(crowd chattering)

(cars honking)

(siren blares) (cars honking)

(helicopter blades whirring)

(cars honking)

(car idling)

(cars honking)

- Oh, sure they are,

but Ferry does dance Don Q.

Boca dances Don Q,

but when Ferry decided.

Let me put it this way.

If you have 18 principles in a company

and you're only playing one week,

you can't put them all on, no matter what.

Somebody was gonna have to be off

on any given night,

and so you try to choose your repertory carefully,

but you can't put every single dancer on

within one week, you've only got seven performances.

- Going on, Christine, please.

(bright music)

(cheers, whistles)

(bright music)

And light.

Light.

(bright music)

Don't be late.

And.

(clapping)

(bright music)

(cheers, whistling)

Be loud.

(bright music)

Point your feet, point it, point it.

(bright music)

(applause, cheering)

(bright music)

- [Dancer] Prima!

(applause, cheering)

- After that down, another ante afterwards.

Start.

- Prima. - And.

- Would you be interested in doing

a retrospective of your Broadway work

like Joan Robins did?

- [Agnes] No, no.

- No.

- Because I don't think it works.

I did have my own company,

and I did restage,

so that tour, trans-continent, and to leave it,

and Heuroc managed it,

but I did use some of my Broadway pieces.

- [Interviewer] Yeah?

- A few.

But I don't think they detach from the Broadway shows.

- [Interviewer] Yeah?

- If they're any good, they're rooted into the show.

- [Interviewer] Yeah.

- And they derive the juice and meaning,

their blood right out of the show.

I think even the dancers from,

oh what was Robin's great hit, On the Town?

No...

- [Interviewer] Fiddler?

- No, before.

- [Interviewer] Fancy.

It was his first Broadway show, wasn't it?

- No, On the Town was,

but the big, big hit was with Lenny Bernstein.

- [Interviewer] West Side Story.

- West Side Story. - Yeah.

- But the ending of act one was a tremendous gang rape.

- [Interviewer] Yeah.

- You remember, gang warfare.

- [Interviewer] Yeah.

- And well, it wasn't gangs,

it was the Puerto Ricans against the...

- [Interviewer] Right.

- Whatever they were, the Irish or something.

And this was a big set piece

that was quite remarkable.

Detached from it,

it wasn't.

And also, the scenery was different,

and in the show, they scrambled up the chicken wire

of the basketball court or whatever they were

penned in and they couldn't do that in this.

It just wasn't, it was emasculated.

- [Interviewer] It was what?

- Emasculated.

- [Interviewer] Yeah.

Yeah.

- No, I didn't think any of the things showed off as well.

And they have to be, to a certain extent,

somewhat trivial.

Now, the kind of dancing you saw this morning,

which is really poignant, I think.

- [Interviewer] Oh yeah.

- And deeply felt and about life and death.

You couldn't put that in a Broadway show.

- [Interviewer] Yeah.

- People wouldn't want it

and they wouldn't sit quietly.

- [Interviewer] Yeah.

We did some of that in Oklahoma,

the Oklahoma ballet, the team ballet.

- Oh, well, my dear,

like a poster, though.

- [Interviewer] Yeah.

- You know, was all in symbols.

- [Interviewer] Yeah.

- And very blatant.

- [Interviewer] Yeah.

- And you can't detach that from the show,

because the whole first act lays the groundwork

for this ballet,

and then you go on talking about people

the audience knows extremely well,

and is presumably concerned with.

- When you're rehearsing like that,

is it still front, do you still feel the frustration,

not being able to get up and dance?

- [Agnes] Oh goodness, move.

- What? - To move.

- Yeah.

- To just show them. - Yeah.

- Can't take ahold of them, push them.

Take their arms, brace them.

- [Interviewer] Yeah.

- And a lot of my choreography,

you know, real choreography,

the really instinctive, deep,

deeply felt, deeply found gestures

don't come out of the brain.

- [Interviewer] Yeah.

- They come out of the gut somewhere,

and it's an instinctive creative act,

and you don't know how it happens.

- [Interviewer] Yeah.

- Now, I used to,

after I was all warmed up,

I used to have three or four assistants

who worked beside on the floor

and would imitate what I did,

and the pianist would play,

generally Trudy Ripman,

and she would improvise,

and I would do things and just run around,

and I would say, "That was pretty good.

"What did I do?"

And then the girls would say,

"You did this and this and this."

I'd say, "I like it, so we'll keep that."

Now we'll use it,

and they would remember.

I hadn't thought it.

I didn't know where it came from.

- [Interviewer] To what extent are you able

to really get on stage,

what you really want?

- Well, sometimes I do.

- [Interviewer] Yeah?

- And these dancers sometimes help me, you know.

- [Interviewer] Yeah.

- And add their pieces, sometime,

and it's good.

It's a real input.

- [Interviewer] Yeah, yeah.

But are there moments when you look at it

and you say, "Well, that's close,

"but it's not what I?"

- Oh, yes, my dear.

- [Interviewer] Yeah?

- Days, weeks, and nights.

- So given the difficulties of creating,

what is it that keeps you continuing to do it?

- Oh, I think stubbornness.

- [Interviewer] Yeah?

- Probably ego.

What else should I do?

- [Interviewer] I'm glad you're doing it.

- It's either I lie in bed, I'm alone.

- [Interviewer] Yeah.

- And this,

well, it's given me a clue in life,

clue, when I mean nail.

- [Interviewer] Yeah.

Any other things that drew you back

to this kind of subject matter?

Is there anything about that you particularly relate

to at this particular time?

- Well.

Three years ago, I lost my husband,

and the whole subject of losing

a very beloved person

and the core of your life.

The kingpin.

The reason for living.

- [Interviewer] Yeah.

- Is to me a very important subject.

- [Interviewer] Yeah.

(piano music)

- And you wait until the curtain goes up, okay, right,

so you're in position.

In position,

and the curtain's gone up and we start.

- There's different.

They're different distances.

(piano music)

- Four, five, cut.

Curtains.

I'll let you check.

Not on your list,

but also that you've got the right amount of gap, there.

Now what did we say?

In the legs.

- It's too...

It's yeah. - Too much.

- It's too big.

- Maybe you could do this?

- Little bit more.

I think we want to see a little bit more gap

in your legs.

Here.

- You see?

- See?

Just a little gap.

The second thing is,

now you all listen to the music very well,

but I want you to listen to it even more now.

You know the framework and the counts

and all that sort of stuff.

Stop thinking about that,

start thinking very much about when

ti da da da's gonna come

and more particularly,

ti da da da da uh.

There's nothing there.

There's not uh, there's no uh,

you can't have enough.

(vocalizing)

Sometimes you're a little bit late.

Sometimes you're a little bit early.

Yes, that's your...

- Yes.

- Yes, you're inclined to give me the police man.

I know what you're,

that's okay, right like that, all right.

Now, I'll tell you another thing.

On this first little step.

Wendy, just let me tell them.

On this first little step.

(vocalizing)

It's a little bit crummy with the music again there.

I don't find you, you know...

Yeah, the little (speaking foreign language)

must be there,

and the squeeze into the knee must be there,

and the going back and all this, yes.

Yes.

- Is this right?

- I'd say, it's nearly always you,

I don't know why it's not you,

but your place.

- It's not here, magnet.

- Likes to close up.

I don't know why, but it always is.

You also, because as I've explained to you before,

you're on that side,

and it's the right leg that's across.

Yours always appears slightly like this,

so you've got to be very careful

that you do that.

Now, right, you were doing this.

It would be you.

Very careful that you do that.

Otherwise it appears like that.

So we will do it.

Any other questions?

Once more, just thinking about those things,

up to there, okay.

(vocalizing)

This goes, of course, for everybody, you know.

And.

(piano music)

Get out.

All right, wait.

Very good on the whole, very good on the whole,

much better, the first part,

we've already corrected.

There's one little point, though.

You know...

Be careful of on, (vocalizing),

now you see, because that one is what I called squeezed,

you're squeezing the orange.

(vocalizing)

Now don't go.

(vocalizing)

That one is back in strict.

(vocalizing)

But not (vocalizing).

- Here?

- And then you go and get jiggly.

You understand that?

- Put it in front?

- All right. - Yeah.

In cross of them, in front.

- Don't forget what I said,

not too much flap on this.

I don't want this, just, little, little nod,

now the worst thing there was your timing on

two, three, four.

(vocalizing)

Same little.

(vocalizing)

It must get there.

Then your timing is a bit muddy going up.

(vocalizing)

Whatever it is.

Can we just do that?

And we have established that it's in first position,

haven't we? - Yes.

(dancers chatting)

- You like it?

The only thing I can say is...

(laughing)

- That was funny.

- I didn't go home till it's too late to sleep.

- [Male Dancer] Yeah.

(dancers chatting)

I was so proud that it wasn't me, I was like...

- [Female Dancer] Yeah, I wanna go sleep here.

(piano music)

- [Female Teacher] Stop.

The last version, for the (speaking foreign language).

After the (vocalizing). - Yeah.

It's not ready.

(vocalizing)

From here? - Yes.

(vocalizing)

Susan, it's really good work for your first entrance.

Where you look then you look here.

Then little back, like you think about,

because long time, you go to the...

(vocalizing)

This here, this is (vocalizing),

it's little more, oh,

and (speaking foreign language)

(vocalizing)

This is, so then you,

and fast turn and long time.

No, maybe it's here.

(vocalizing)

And then.

(vocalizing)

- Uh huh.

Have a good time, Elizabeth.

Okay.

(piano music)

- Today.

(vocalizing)

(piano music)

Extend.

(piano music)

Susan.

If you go to that corner.

I don't, Susan, Susan.

Because (vocalizing)

are you there?

(vocalizing)

- It goes (vocalizing).

- Yes, but first, first clap.

It's what, please, do clap.

(vocalizing) (clapping)

Feels like (vocalizing)

and continue, don't worry about this.

Continue like this, all your body,

all your feel, each point.

Each small,

laugh and go.

The first (vocalizing) like step.

Impossible.

Impossible.

This is like more.

It's like you have take.

The other.

It's good.

Now it's good, this is, then continue,

for first and second step,

and then, (speaking foreign language)

and your part.

- Can you clap me in with the?

- After the fire?

On the fire?

- [Susan] That's it.

(piano music)

- Come to me.

Come to me.

(piano music)

It was better.

But for this next variation,

you start this is (vocalizing),

I think it's better, same movement.

A little less energy.

Less strong little.

No, the start, it's more,

because the last, your point is here,

and then, like,

it's little longer.

It's saying.

(vocalizing)

It's absolutely quiet.

You have nice (speaking foreign language)

only this is point.

(vocalizing)

It's the start.

Then, you have other.

It's diagonal, with more energy.

With more stronger movement.

This is very quiet,

because you have nice, this (speaking foreign language).

- Yeah.

It's just...

- Because this is start of variation.

Like you talk with yourself only.

It's nobody.

For you, it's not here

because you, after you watch,

the girls come at you in summer,

you have shock in this position.

(vocalizes)

And then, absolutely not understand.

Why you can do?

And same.

And then.

(vocalizing)

Drop like with finished, your breath.

On this, more stronger.

(speaking foreign language)

To the last air,

and then walk quite stronger.

But because it, look, it.

It's more nice in this (speaking foreign language)

like...

(vocalizing)

- Second.

I don't know, but I tried that.

I've always felt,

I don't know where I am

because I feel too...

I don't feel anything.

I feel like I'm floating or something,

and I feel...

- No, it's inside, inside.

You feel.

(vocalizing)

Is this is more, oh.

It's not like this.

Only more softer.

This is more stronger.

You have more stronger, this is for,

this position.

If you have.

(vocalizing)

It's a little not right.

It's not...

Not true.

- It's my new music.

- It's your? - My music.

- Fantastic.

It's Dove.

Dove?

Oh, same.

- Yes, it is.

- Yes, good.

Good, Susan, little about this.

It's very difficult,

but it's higher level.

- [Susan] Yeah, yeah.

- Because you have strong movement,

it's nice line, it's nice position,

a little...

Because when you watch the movie, movie star,

it's not where they are.

Sometimes only eyes.

This is strong position.

Not necessarily for me.

This is like hysteric.

It's little.

It's hysteric, it's a little late.

The finale, finale, it's like big.

You have different part in the desperation.

Now you can try.

That's all.

- [Man] Thank you very much.

(dramatic music)

- I tyrant, I think.

No, it's long time.

- Would you mind signing something for her?

- No, I don't mind.

- She enjoys it, I wanted to sign.

- [Susan] Welcome.

- This is Cynthia Beck.

- It was marvelous watching you.

- Thank you. - This is Stephanie.

- Hello. - I'm Stephanie.

- My best friend's name is Stephanie.

- [Man] Thanks.

I know you're sore.

- I had a long day.

(vocalizing)

(people speaking indistinctly)

- Thank you. - You're welcome.

- Thank you very much.

You're beautiful, watching.

- [Susan] Thank you.

- [Woman] Hi, what's up?

(woman speaking indistinctly)

- [Doctor] We're gonna pull, all right?

And that's it.

- What I was trying to say for those,

you actually rotated posteriorly here,

and anteriorly here.

- So that means.

- Back, front, yeah.

- [Man] So do you wanna?

We'll turn it on for something else.

- Deep breath in.

And relax.

That's better.

Anjeta, try and go just with one foot,

just the left foot on there,

and put the right foot at the top of that.

Yeah, so that you're leaning into it,

both with a straight knee,

and then bend the left knee.

- [Anjeta] Both knees?

- [Doctor] And keep your heel on the board.

- [Anjeta] I can't bend my knee.

- [Doctor] Okay, but you should feel it

more in the Achilles. - Trying, trying.

- [Doctor] Okay, if you bend your knee,

you should feel it more in your Achilles tendon.

- Yes. - Okay.

That's where I want you to feel it.

- [Anjeta] Right here, I'll show you.

- Yes, that's exactly where I want you to feel it.

- [Anjeta] Oh, that's what you want.

- Okay.

- If you feel a ripping, burning sensation,

that's not good.

(laughing)

- [Doctor] Nice deep breath in, Gabby.

Yeah.

- This is still clean, I didn't wipe it.

Ice.

- Ice.

- Just ice everything.

- And gentle stretching, arm over your head.

To yeah, exactly.

Only to the point where you feel a gentle stretch,

though, not to the point of pain.

- Yeah.

- Okay? - Okay.

- And until tomorrow. - Okay.

- Okay? - See you tomorrow, then.

- [Doctor] All righty, have a good night.

- Thank you.

- [Man] Oh my god.

That's not a good sign.

- I think that's where we could probably use you.

- [Man] Who said that?

- If you've already had some experience

and then had come in as a professional dancer.

- Right.

- What we've been doing is taking young,

17, 18 year old people into the company now,

because Jane wants to work them into her

new regime. - New regime, right.

- And that's basically what we're looking at.

Now that's why it's so difficult,

because it's a point where we take them

so young that they're not quite

ready to be professional

and we can work with them.

- Right.

- Or we're taking them from other companies

that are already professional dancers.

- Right.

- So it's very difficult.

In your situation, I think you need to keep working,

but I feel we cannot use you right now,

because I know Jane's got these other two people

that she's interested in.

Always we're looking for men.

- Right.

- If the situation changes,

I'll be glad to get in touch with you.

- [Announcer] Jen and Molly, call the front desk, please.

(dramatic music)

- Careful.

(dramatic music)

- Using both legs.

Both legs.

Not just the front leg.

That's it.

Bring the back leg forward.

What's happening is going,

you're using the one leg and it's throwing

your weight back, instead of being both legs

turning underneath you,

you're just throwing one leg,

and pointing the way back.

Left leg forward.

Heel, that's the feeling.

Once more.

Feel a heel.

That's it,

and the feet are not sinking

because they're coming, they're working.

Good.

- Right.

- Over here, arabesque.

Clean this up, cabriole, cross the thighs,

and be on the weight,

on when you step,

and be on the weight when you do the arabesque.

It's all out.

That's it.

Take the time.

That's it.

Plie, arabesque.

Plie, arabesque, good.

Gotta be on the weight in the plie.

Good.

- One.

(piano music) (vocalizing)

Slowly, slowly.

Go on.

- [Male Teacher] And start slowly.

- No, go, go.

(piano music)

- By style does she mean

how the steps are executed,

does she mean the upper body, the head, the shoulders?

- Style is upper body.

- Style...

- Style is more turned out.

Style, it's like this.

Style, it's little like...

Over. - Up.

- Up, over, over.

(speaking foreign language)

- Over the ground, like, up.

- Yes.

- Lifted up, pulled.

- It's not only pulled.

(speaking foreign language)

- It's not only physical.

It's like emotional.

- It's inside, too.

- Do you find that-- - Yes.

- Yes.

Do you find that American dancers,

how are the different from the Soviet dancers?

In terms of style, do we...

- It's not style, not different.

Difference, a little difference in school.

A little different school.

American school and the Russian school,

a little different.

- What is the difference?

- Different, little different from Russian,

Russian school has more (speaking foreign language)

and I think, maybe little different position arms.

Same position, same, because French position,

that's one school.

All the classical school.

Classical school, one school.

In the position one,

but a little different way,

way to (speaking foreign language),

a little different.

It's normal.

It is normal. - Yeah.

- Because each nation, I think,

has a little different,

French school has different position, a little.

Russian, English, different, and American, too.

It's normal.

It's not interesting if everybody like one.

- [Interviewer] Right.

- With everybody, the people will be face like you, only.

- [Interviewer] How wonderful.

- You think?

I think no, it's very interesting, I know,

I wish you,

but if all the people one face, it's...

We want good.

- It's encouraging, this difference among the...

- Yes.

- It's very important. - Yes.

- Is there anything

that tends to be more important in getting correct?

Steps?

Alignment?

There's nothing that's more important.

- Steps, line, position, body position.

Position eyes.

Position arms.

- Is it difficult as one of the great ballerinas

who ever was to go into a studio

and teach it to somebody else?

- For me, it's very interesting,

'cause my life after my dance,

for me, it's normal.

- [Male Teacher] Right.

Good.

- [Dancer] Right before the.

(speaking foreign language)

- What?

What?

- Want to talk about the walks?

- Oh, yes, ladies and gentlemen,

ladies and gentlemen,

will you please tidy up these walks.

They're horrible.

- These walks?

- They're like a couple of, three cart horses

coming for instead of three thoroughbred,

god knows what.

Look, I mean.

Pass your legs higher.

Not always lift your knees higher.

It's a knee.

It's a knee and a buzz and a buzz and a buzz,

and your buzzes should be absolutely small.

Then it's a knee again.

It's a delicate putting down.

You come forward like as if you're putting

down a horse shoe.

- Better when you think about it.

- Do it.

Where is that fellow?

- Right here. - Come here.

Do it facing me, come on.

Now I want it really delicate and nicely done,

come along now, go and...

(vocalizing)

No.

Where's ti da?

Where is ti da?

- [Dancer] It's still on the floor.

- It isn't, it's up.

(vocalizing)

- I thought it was.

(vocalizing)

- [Female Dancer] No.

(vocalizing)

- Yes.

(vocalizing)

Come on, once again.

Listen to the music,

even if it's my music.

It's better than Cesar Frank's.

Are you ready and...

(vocalizing)

You see, I want to see that when your leg's

(speaking foreign language)

they're all still at the same height.

(vocalizing)

You see, once more.

It's got to be done well, this.

And I don't know you, god almighty,

we don't need all that support.

Ready, go, and...

(vocalizing)

What are you thinking about during that?

What are you thinking about during that?

- Being a Cadillac.

A Rolls Royce.

- She says she's thinking about being in a Cadillac.

- No, I'm trying to be a Rolls Royce.

- Trying to be a Rolls Royce.

- Niko, come out and-- - No.

Shall I tell you what you're thinking about here?

You're thinking about love for him.

I love him, no.

I loved him, better.

No, I think I loved him better.

I think I like him backwards better

than I like him forwards.

You think something but you don't just do walks.

You don't just do walks.

You don't just do walk.

There's a little bit of feeling between your

body up here and all this part of you

towards this fellow.

Whatever you may think of him in the dressing room,

I don't care.

- Oh, I don't know.

- And you might have some feeling towards her

at some point even.

- It's working.

- So you do and...

(vocalizing)

- And now, there's a problem.

It's a problem.

- You have to feel when she comes off.

- Yeah.

- But there should be a certain amount of bourre.

- When you bourre, you come on point.

- But you know, I know I'm making a joke

but frankly, fellows and boys and girls

and all of you, it does make a difference

to what it looks like, doesn't it?

- Yes, absolutely.

- You know, it really does.

It's not my imagination,

which is rather flamboyant, I will admit,

but it does make a difference to you.

That must be like that.

Don't open it out.

- And where does it feel?

- Now that I've had it on, it feels all right.

When I first put it on, I felt it was tight in here.

- I just think it could use a little hair there.

- My point is way ahead you, do this.

- Yeah.

- Wants to be longest.

The skirt will go onto to you right there.

- I like that, yeah.

- Just above the leg line and then it drapes right here.

- Yeah.

- See they make theirs very low, the legs,

because the skirt is so far away.

- Yeah.

- This one...

- That feels better.

- Is it all right when you?

- Yeah.

- Nothing happens to you there.

Have to do a big back bend?

- I do actually, but I go back right away.

Yeah, that should maybe be okay.

- [Costumer] Let me pull them down for the moment.

- [Dancer] All right.

- They still. - It still does it.

- It still does it, yeah. - Okay.

I think it's just...

- [Costumer] But this is doubling over on there.

- I'd actually talk to you

about the line of the scoop there,

is it sharper or?

Remember what Barbara talked about?

- Yeah, I did that.

Well, yeah, but it's not the same body, so...

- [Assistant] But Scott doesn't have.

I mean, they're both rather flat guys.

It's not like Victor or somebody.

- [Costumer] But I took away fabric, right?

And putting more fabric back in here.

- You'd think that the curve.

It's the matter, it's the angle of the curve.

- What I did was I lowered the curve

and now you have to stretch this back crotch

onto the front crotch,

which is a standard thing you do with pants sometimes.

But this seems to be

the angle of his leg, I think.

It's where you tuck that out on the pattern,

which I've done before on other guys.

I hope I can do that.

- Raise your arms again, see.

Yeah, you still need another inch in there at least.

- I feel bad saying this

because I know Irina does it.

I know she does it with this shoulder forward,

but I really have a problem with it,

so I'll say it and then you can,

it doesn't matter really.

It's just that I would really rather

that you kept that shoulder back

'cause I've seen you do it

and I just know that it looks divine.

Because I don't really understand this.

Yeah.

It's so much...

Yes.

- Let's do it again. - Yes.

Absolutely.

Absolutely.

That's all, I ask.

Just like that, that's it.

And especially when the two aunts come,

'cause it's so gorgeous.

Just drop your elbows.

Yes.

See I think that's so much prettier.

I really do.

Then when you do...

(vocalizing)

Because you're thinking that position,

what's happening is your shoulders

are coming forward,

so you wanna be sure

that you keep your shoulder blades down

as you do that, in other words,

use the energy pushing down

rather than elbows forward,

'cause you don't want to get that

and also when you do...

(vocalizing)

Make sure that every time you finish,

especially the second and the second lot,

because you go.

(vocalizing)

And you make sure that you finish there each time,

'cause that's nice.

It's just really get into it quickly and lessen.

First part of the variation is lovely,

absolutely lovely.

Be careful when you go...

(vocalizing)

That you don't go too far and this leg comes out.

- Okay.

- Yeah, make it a bit, that's right.

Not, well...

(vocalizing)

(piano music)

Don't travel too far back here.

Keep, do it on the spot.

(piano music)

Fluff.

(piano music)

Special.

(piano music)

It's much better.

(piano music)

Here, yes.

That's good.

(piano music)

Yeah.

Yes, darling, much better.

Much better.

You see, be careful, when you do these,

don't think that you have to keep,

just bourre and stay.

- Well, like I mentioned yesterday,

Jane likes you very much.

I think she's in a position now

where she doesn't want to lose you,

and she wants to offer you a contract.

As soon as we can get you.

I know you've got school.

I know you've got SAB.

I know it's all up until May.

Thank you.

And I need you to look at the schedule

and let me know when we can bring you into the company.

- [Dancer] Okay.

- If your decision is to come to Ballet Theater,

we would like to offer you a contract.

Jane would like to get you in here

as soon as possible.

Keeping in mind your situation at SAB.

We're at the Met until June 22nd,

and if you can join in at some stage,

feel free to come into that Met.

- Okay.

- And rehearse with us

and if you are there enough and rehearsed,

we can put you on,

because a lot of that work

we'll be doing in Europe.

Then we have a little time off,

and then we go to Europe,

which you would all be included in as well.

So...

I need you to think about it,

and come and see me tomorrow or talk to me tomorrow

and let me know and we'll put a contract together

effective when you're available for one year.

Okay?

So I've got all the information I need.

Just think about it and talk about it

and just see really when you're able to start with us.

(dramatic music)

- [Female Teacher] Stand by sides, guys.

(dramatic music)

So Peter Lents and Sabrina Wall.

Maybe I push too high on this end?

- [Male Teacher] I think it should be higher

on that end.

- [Female Teacher] I know but who's this on the floor

next to Carl?

Peter?

- [Male Teacher] No, it's Robert.

- [Female Teacher] Okay, Robert.

(dramatic music)

Definitely looks like a crown roast.

- [Male Teacher] Doesn't it?

(dramatic music)

Quite a pork.

(dramatic music)

- [Female Teacher] Careful.

Lose your teeth in a minute.

(dramatic music)

See old Lisbet's the same as the whip.

(dramatic music)

Three.

(dramatic music)

Seven.

Nine.

10.

11.

12.

(piano music)

- Very nice, darling.

Very nice.

- I don't understand it.

Why do you let this happen?

It's your house.

I don't care.

You give them an option.

Yes, you either come to Germany or you have the Met.

I was in that theater for 15 years.

It's your theater and you can put in what you want,

so you take an engagement

with whom you are partners

and you jeopardize all your single sales

so that you can accommodate the Russians.

How?

There's no exaggeration over single sale

before the Fourth of July versus

after the Fourth of July.

There is not exaggeration on that,

particularly when there is a duplication of repertoire,

which I made a strong request for

and was totally ignored.

Don't tell me about trying.

It's your house, you can dictate.

Who is it?

- [Assistant] Alana Cauldman.

- Oh, all right.

All I'm saying is I don't wanna hear

any grief out of the Metropolitan Opera,

if there's a fall in single sale.

You know, in theory, yes,

but the thing is,

if this problem had been brought to my attention before

then we should have had a financial...

The whole problem.

The bringing in of the Kirov Ballet

directly on our tail,

which nobody told me until I read it

in the New York Times

and number two, the duplication of repertoire, part...

You certainly did,

and the duplication of the mixed bill repertoire.

Okay, all of this, I ate shit,

because they were coming in off the Fourth of July

and we were dealing with at least

a 30% different audience

that comes in during tourist time in July, okay?

Nobody bothers to tell me about the change of venue.

Nobody bothers to tell me about the solidity

of the mixed bill repertoire,

nobody tells me anything,

and then, the Met starts in on me

on what I'm going to deliver

in order to get the single ticket sale up.

Well what about the fact that this is

partially your responsibility too?

What about that?

Yes, I know you don't.

Because the answer is you don't care.

And if, and if American Ballet Theater

had to be sold down the river

so that you could accommodate the Kirov,

then we should have had financial retribution from it.

Because in the grown up world,

that's what happens in the theater.

If you wanna fuck over your partner,

then you better pay them,

but now Ballet Theater is being held to the wall

for bringing in reasonable repertoire

that please God, should be able to maintain

our ticket sales and you're not doing anything to help me.

Why?

And we're talking about an 11 million dollar season

and it wasn't worth one phone call

to Ballet Theater to tell us

that you had reneged on the dates.

I'm sorry.

I don't think you treat partners like that.

I don't, Suzie.

We are selling, we are selling.

Seven million dollars worth of single sale tickets.

Seven million dollars worth of single sale tickets

that are now being obviated by a duplicated

repertoire sold at the same time.

If you wanted to put a knife in me and you,

you couldn't have done much better,

and I am not arguing their right to bring it in,

and I'm not arguing your right to present them.

I am simply saying, "What is this?

"What is this?"

Because it's not only gonna hurt me,

it's gonna hurt you or them.

You are being rented, it doesn't matter to you,

but I mean, it's, Suzie, it's just nuts.

It's just nuts.

You know what, if I weren't poor, beleaguered

American Ballet Theater

you know goddamn well I would take a penalty

on the box office on this.

If I were (speaking foreign language)

or if I were the Schubert's

or you tried to screw around

with a commercial producer,

there's not a way in hell

that you wouldn't have to pay a premium on this.

You have definitely taken money

out of our pockets and, by the way, your own.

(experimental music)

(piano music)

(singing in foreign language)

(kite buzzing)

- [Man] Oh!

(dancers speaking over each other)

- It's time to go away, extend it there.

- These are good, though.

(dancers speaking over each other)

- Did you ever see the one like,

it was like a nursery rhyme?

- Everyone's getting real warmed up

and then we'll...

(laughing) - They cry.

It's very bare.

(dancers speaking over each other)

- [Male Dancer] I had to get away from Heather.

(dancers speaking over each other)

Carine!

- What was kind of-- - Power.

Could not any more.

(dancers speaking over each other)

(laughing)

- [Videographer] I got it, I got it, I got it.

Gorgeous.

(dancers speaking over each other)

(piano music)

- She's too far back.

Right back here and pull the hips back underneath you,

back underneath you.

Pull the hip back and body forward.

Fifth position, please.

One, two, three, four, through, back.

Reverse.

One, two, three, four, front.

One, two, three, four, lower, down.

(speaking foreign language)

And fifth, plie, and one.

Fifth position, please.

(piano music)

- [Dancer] Stay forward, stay forward.

(piano music)

Get that.

(piano music)

(dancers speaking over each other)

- The same thing, please.

Gladys, same thing.

(piano music) (crowd chattering)

Forward, pull.

(piano music) (crowd chattering)

(crowd chattering)

(gong rings)

(crowd chattering)

- [Woman] Yes.

Oh, yes.

(dancers speaking over each other)

- Handsome guy, if I do say so.

Eye, E.

I'm a handsome guy, see my eyebrows?

- To the terrace. - I want to see your terrace.

(humming)

I may have to stay under the umbrella

or I'll be a lobster.

- [Blond Dancer] Yeah.

Hair, hair, love 'em.

(dancers speaking over each other)

- [Dancer] Laura, you just go ahead

and use it then.

(dancers speaking over each other)

(orchestral music)

(applause)

(orchestral music)

- [Announcer] Calls 10 minutes, please.

- [Female Dancer] For what?

If you come back, tell us.

(dancers speaking over each other)

- [Hairdresser] Let me see if I have one more.

I have to go.

- Oh man. - People were going

on the stage during intermission,

just downstairs. - The what?

- [Hairdresser] What did you say?

- I said strange-- - 10 minutes, please.

10 minutes. - For what?

- Is it slippery out there?

I can't remember.

- Yes. - You have new shoes on, yes.

- [Dancer] Yes, definitely put on.

I'm just doing, like, this is the first one.

- [Costumer] Put your hair under this box.

- [Hairdresser] Hair likes to go over.

- [Costumer] Don't fuck with a star.

That's really pretty.

(dancers speaking over each other)

- We're going to all the same cities.

- [Friend] Yeah, but different.

- Oh. - Sweetheart.

It's okay.

(applause)

- [Man] Yes.

Yes.

(orchestral music)

(applause)

(bright music)

(applause)

(orchestral music)

(applause)

(dancers speaking over each other)

(birds squawking)

- Scott, wait.

I think I'm go get in.

- Oh, really?

- [Woman] The sand is so hot.

- [Man] Dig into, it's cool,

dig down underneath.

There you go.

- Yes, Amanda.

Yes.

- [Photographer] Beach bunny on three.

Beach bunny, say, beach bunny, Amanda.

- [Amanda] Beach bunny?

- [Together] Beach bunny.

- My what big shoulders you have.

You want your whole back?

- Is there enough lotion for my whole back?

(vocalizes)

- That's all?

You wanna, oh.

- Oh, sorry.

- Like Robert, can you stay in that lock.

What? - What the hell.

- Oh, Gabby, you have sand on your hands.

- [Gabby] John, you're at the beach.

It happens.

- [Woman] I have a straw hat.

You wanna wear my straw hat?

- [John] Hot.

- [Woman] Claudie, I love your suit.

- [Claudia] You like it?

- [Woman] It looks so great on you.

- [Claudia] Thanks.

- [John] Oh, that is cute.

- Wind bag change.

- Does it only blow up one half at a time?

- Yeah.

- Oh, my half's done.

- [Woman] I can't use my Sprint card, though,

in this hotel.

- [Man] Oh no.

- [Woman] It won't work.

- I wanna go water skiing tomorrow.

I didn't wanna do it the other day

'cause I was afraid it'd make my back sore

but if I do it tomorrow,

then I won't be sore until the travel day.

- You'll be really miserable.

- I'll be on the plane like,

"I had a great time water skiing."

- [Gabby] Boy, it's gonna be chilly

when we get to Copenhagen.

Haven't gotten out of a swim piece all week.

- [Man] Got it, what are you doing with Ricario?

- Sylvia. (speaking foreign language)

Tchaikovsky. (speaking foreign language)

Leans and Don Q.

- [Man] Where?

- Tokyo, Osaka, Nagoya, Yokohama.

- [Man] Oh, are you kidding?

- The usual.

- [Gabby] When are you going back?

- The usual circuit, yep.

- [Man] That's not all in one show, though?

Is it?

- No, it's two different programs.

Don Q and Leans or--

- [Man] Oh, you do two a show?

- Yeah, two a show.

So...

(birds calling)

(grunting)

(beach goers chatting)

(insects chirping)

(engine revs)

- Call is half hour, half hour, please.

Call is half hour.

(piano music) (dancers chatting)

Tonight's the night.

(piano music) (dancers chatting)

- The directions are right there.

It's a half hour before.

- It's gonna be sucky.

- Oh.

She's trying to get it to rhyme to drop.

- [Dancer 1] I need that eye to be done.

- [Dancer 2] Yeah, but she wants to leave.

- [Dancer 3] You tell her, my life.

(dancers speaking over each other)

(insects chirping)

(gong rings)

(crowd chatting)

(orchestral music)

(crowd chattering)

- That's my favorite. - Where's Griff?

Oh my God.

- I think Griff's over there. - Okay.

Yeah, I can't do it.

- [Dancer 1] Oh no.

Do I do anything with her?

- [Dancer 2] You went over.

Just get to all that catch.

- [Dancer 1] Get to what?

- [Dancer 2] Get to build up.

- [Woman] That was so funny.

Aren't they?

They're like Ritz.

- That's my foot. - I'm sorry, Shawn.

- Peter? - Yeah.

- [Dancer 1] I need some IT bands.

- [Dancer 3] I want a hot bath and some food.

(dancers chatting)

- [Announcer] Calls one into places, please.

- Yo, thanks, Dad. - Thanks, appreciate it.

- [Man] You know.

(dancers chatting)

(orchestral music)

(applause)

(upbeat music)

(man singing in foreign language)

(speaking foreign language)

(cheering)

(man singing in foreign language)

(upbeat music) (cheering)

(speaking foreign language)

(upbeat music) (clapping, cheering)

(sultry music) (cheering)

(speaking foreign language)

(sultry music) (cheering)

(whistles)

(sultry music) (cheering)

(speaking foreign language)

(sultry music) (cheering)

(cars driving)

(piano music)

- And a one.

(piano music)

Now closing fifth, fondue into the second.

(piano music)

And passe.

And one.

(piano music)

Now single pirouette.

(speaking foreign language)

Stretch.

Two and a one.

(piano music)

You're right up on the left side and one,

and a one.

And one.

(piano music)

Okay, let's have second group.

(woman speaking indistinctly)

- It's long.

Just put this here, Scott.

- [Woman] Yeah, it makes all sorts of noise.

- He is there.

- [Woman] Sundays I would go to the dentist.

I need to have my service cleaning.

- [Man] Hi.

- [Doctor] You know what, can you get the sun supplies?

I think that means you've hit the point of no return.

- You think so?

- [Doctor] Yeah.

- After, it's very strange

because you think lying down is the best thing for it,

but after I, when I wake up in the morning.

I have to push myself over.

I can't roll over.

I have to push myself over.

- [Man] Oh, you were at the cabin?

- That's not good.

Is it? - No.

- [Doctor] It's not.

How 'bout the numbness in the leg?

Has that changed at all or, with the foot?

- No, but could you just do a quick strength test.

Because I don't--

- You know something? - Okay, okay, okay.

- [Doctor] I don't really feel a need to do that, Scott.

- All right, okay.

- Because some of that is gonna stay the same.

It's not gonna change. - Yeah, okay.

- I don't want you to get hung up on that.

- Okay. - Okay?

- [Scott] It obviously isn't going to get better.

- Right, right.

Not this quickly, anyway.

Even if the problem were not there,

chances are it would still take better than six months

to a year to really improve,

so that's why I don't like to get hung up

on doing that every day or every week,

kind of a thing, 'cause you just don't see changes

and then you just get depressed

because you don't see the change,

but we don't expect to see a change.

- [Scott] I know, we have to hang on.

- It's wishful thinking.

- Yes, yes, I just thought maybe

there was a Danish faith healer or something

that might just be able to pop that puppy into place, but...

- [Doctor] It would be great if that would work

but unfortunately, the human body doesn't let that happen.

- We don't think so.

- [Doctor] Not in this kind of a situation.

- [Man] You know, they can rough it for a week.

- [Woman] I can do a small placement.

- We'll see how this goes.

Any pain with that one?

- [Woman] No one did anything to you.

- [Man] Where, here?

- [Woman] Yeah, I mean, gorgeous.

- [Man] Since it's a play.

- [Woman] Did you see?

- [Man] I can't even tell.

- [Doctor] They don't know the difference

between what's just a bone fragment

and what's an infection,

so the inflames is a protective kind of a thing.

- [Woman] Yeah, wouldn't just listen to...

- Any pain with that at all?

Okay.

I think Christine was here before you, Antonia.

Was she or not?

I really don't recall.

Ooh, my goodness, yes.

- Am I?

- You're way off, by about two thumb widths.

- I knew it. - Yeah.

- My back feels horrible. - Yeah.

You're up on this side.

Your psoas has obviously grabbed,

and if you could just lift your legs straight up

and bend the knee and then slide down.

And up again.

And down, good.

After a while, I lose track of who came in when

when it gets busy.

(crowd cheering)

(crowd chatting)

- Where are we now?

- We came in this way.

- And we're over here?

- And we crossed the bridge. - The kids stuff is here.

- See, this is bridge we crossed.

Yeah, this is the bridge we crossed.

- Okay, so we're in the kiddie section.

- The kid area.

- [Short Haired Woman] They have a haunted house here?

- [Blonde] Oh, do we wanna?

- [Brunette] Oh, we gotta do the haunted house.

- Yeah.

- [Short Haired Woman] We have to sent Mark Frost

into the-- - Okay.

Well maybe we should stay in this area

and go on the roller coaster as soon as it opens.

- Okay. - It's over here.

- [Blonde] It's opening in like two minutes.

- Yeah. - Okay.

So why don't we go get tickets

and go on the roller coaster?

- All right. - You wanna do that.

- [Blonde] There's a wax museum.

- I hate those.

- [Brunette] Wanna walk around some more and go...

- I hate those, you go in the wax museum.

- We picked up a pamphlet. - The fun house.

- I have it, it's called the Erotic Museum.

(laughing)

I wanna make a joke to Gabby about it.

- [Short Haired Woman] It's probably

like a really sick wax museum or something.

(laughing)

I really don't know.

I'm not sure.

- [Blonde] Oh, that's the town hall.

It's a huge thing.

It's closest to the theater.

- [Brunette] Okay, stand against there.

- [Short Haired Woman] Come on, Frankie.

(laughing)

(screaming) (laughing)

All right.

Too fast.

(screaming)

(crowd chatting)

(bell rings)

(crowd chatting)

- [Woman] Come on.

Come on, hurry up.

(crowd chatting)

(screaming)

- This is great. - My god!

(screaming)

- I can't look down.

(screaming)

- We made it to the top.

(screaming)

(trolley bell ringing)

(machines running)

- [Woman] It's kind of like the dying swans.

(laughing)

Whoa!

(laughing, cheering)

(crowd chatting)

(piano music)

- Four open.

One.

Both hips open.

Two, plie

and two and two.

Try to see the back of your knees in fifth,

and back.

Two.

Two and plie, straight one,

two and two, once more, little larger.

And open, two,

and two, plie.

(piano music)

Two, that's fine.

Two.

(piano music)

(speaking foreign language)

(piano music)

- [Makeup Artist] See that's what I like.

I like to make it into a paste.

Then we just lightly

into our light, like that.

If you want, I mean, I can do some stuff.

- [Dancer] How bout Ethan?

- [Make Up Artist] Oh, him?

(laughing)

Oh, him.

- [Man] It's only for the matte.

- [Ethan] Hi.

- [Make Up Artist] Hi, Ethan.

- [Ethan] Oh, the camera's on.

Oh, we're doing something with the tapes and things.

- Got it? - Yeah.

- [Make Up Artist] No, no, what'd you do with it?

You had it in your hand a second ago.

- [Woman] One more.

Is it possible?

See this one kind of goes together?

- Oh, I just fell asleep.

- You look like you fell asleep.

- Time to make the donuts.

- I load up his cot.

- You did, oh, that's what I did too.

- [Man] Over here.

- Claudia.

- [Man] We're gonna need a...

You say, you've got the door.

(yawning)

(flute music)

- See, I've looked earlier.

I couldn't find them.

(orchestral music) (dancers chatting)

Not there.

- [Dancer] Take a breath.

(orchestral music) (dancers chatting)

- We have wall space. - Yeah.

How do we want to put it on?

(orchestral music) (dancers chatting)

(grunting)

- Too stiff for this today.

Let's talk about...

(hammering) (dancers chatting)

- Just start... (vocalizing)

- Okay, over there? - Yeah.

That's the promenade, I'll walk you to the...

- How many couples in front?

- You'll be the farthest.

One couple in front of us and then...

- Okay.

- And I know that we have to wait,

after they go, we have to wait nine counts.

- Nine counts and then one-- - One, two, three.

- The switch, do the switch.

- Oh, you want me to do it, okay?

- Okay, go ahead. - That's here.

- Good and then hop, hop, hop, hop.

- And then hop, hop, hop, hop.

- And then we go... - We go forward.

- Three, four. - Yeah, okay.

Pirouette, it's kind of obvious.

- And we start the pair.

(dancers chatting)

- [Stage Hand] Oftentimes, too.

(instruments tuning) (dancers chatting)

(instruments tuning)

(orchestral music)

(applause)

(crowd chatting)

(instruments tuning) (crowd chatting)

- No, yeah, they were on the side.

At the top.

- Not on my side, they weren't.

(crowd chatting) (instruments)

- Yeah, we've gotta make this one down here.

- [Stage Hand] Terry, hold it.

How's that, that feel better, or?

- [Terry] Yeah, it's good.

Great.

- [Stage Hand] Is it better or no?

Check the first one.

(orchestral music)

(sweeping music)