All language subtitles for The.Company.2003.1080p.WEBRip.x264.AAC5.1-[YTS.MX]

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Good evening,
ladies and gentlemen,

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

or the use of
recording devices,

is prohibited and is hazardous
to the performers.

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

Thank you,
and enjoy the performance.

(MUSIC PLAYING)

That's my little soap opera,

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

and he's like,
Shut up.

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

It's too much drama.

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

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

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

(BOTH LAUGHING)

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

Good morning.

Who's teaching today?

-Mark.
-Mark!

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

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

I'm having a couple of
issues with her,

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

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

-Oh, Ry.
-Yes.

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

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

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

No, I'll stick with
the dancing.

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

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

Left hand on the barre,
second position.

Ready, Paul? And...

(MUSIC STARTS)

Good.
A one...

Good.

Drop the chin.
Take the head...

One, two, three,
grand plie.

-That's my spot.
-Sorry.

Stretching to the bar...

Would you mind standing
over there. Thank you.

Forward, one...

Up to go back...

And demi...

Tondue, close arms and
legs together.

Good.
A one, two...

Drop the chin...

And drop your tailbone.
Good.

And stretch to the bar.
Good.

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

I'm glad to hear that.
Thank you.

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

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

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

You're warm enough
for lifting?

Absolutely.

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

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

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

work on tweaking the
fine points,

A little further over from
center,

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

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

(MUSIC STARTS)

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

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

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

Probably not so much in
the face,

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

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

Once more.

(MUSIC PLAYS)

Good.

And up.

And stop please.
Are you working injured?

I have a neck spasm.

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

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

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

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

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

-Ry.
-Ry.

-Domingo.
-Domingo.

-Is Ry short for something?
-Ryan.

Nice name.
Have you been watching this?

-So you kind of know it?
-Yeah.

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

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

And up. Up one piece.
Good, Domingo.

Melt. Music.

Lift, contretemps...

Swing, up and down...

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

Well you know how we
feel about you, Deborah,

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

but we wanted to talk with
you today about class.

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

And usually you are.

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

But I only change the
combinations at the barre.

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

But I'm 43 years old,

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

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

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

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

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

Margot Fonteyn,
you know Robert
knew her very well.

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

You know, she was a dame.

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

Now's the time.

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

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

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

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

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

Thank you.
And I feel honored.

Okay, thank you.

Edouard, door.

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

Who can do it?

(MUSIC PLAYING

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

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

This is the danger point
for you.

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

Why don't we try that.
Okay?

Try without music.

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

And attitude,
And ronde de jambe...

And up, more fragile
in the legs.
Whoops.

Now, okay, it's okay.

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

Can you show us how you
would hold her,

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

so she appears detached,

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

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

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

Good, good, good.

You know what the
difference is?

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

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

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

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

Alright, Mark.

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

Take your places please.

Wait a minute, wait a minute.

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

Now, come on, let's do it.

Every time we tell you this.

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

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

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

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

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

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

Here we go.

(MUSIC PLAYS)

Sharp jump...

Good, you guys.

Tell him to stretch his foot.

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

Stretch the knees.

Exit all the way.
Good.

Right on the music.

Good, Suzanne.

-Suzanne's gotten very strong.
-Excellent.

Good, Calvin.

He's come along
beautifully.

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

Tell Noel to burst from
the wings on her saute.

Good ladies!

Hold it a minute.
Hold it a minute.

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

You know how
I hate pretty!

Now come on.
Lift, thighs,

Lift up, not so loady.

And when you make those exits
hit the wall.

I want you to move out
and hit the wall,

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

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

(MUSIC PLAYING)

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

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

Merde.

And main curtain...

Go!

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

Sound.

Can you watch this
leg for me?

Careful, keep that from
flopping down.

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

If there's any water on
the stage,

I want you to cancel
the performance right now.

Hurry up.

What did they say?

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

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

(CROWD CHEERING)

-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!

Brilliant,
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?
Didn't I say that?

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.

Oh, your 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 you are,
how are you?

And you are?
-Ginger.

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 the
other day,

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 good, how you doing?
-Pretty good,
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 Lar?
-I know Lar,
he was the choreographer.

You know honesty,
I didn't appreciate being

the last one in the company
to find out about you guys.

-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 ballet masters...

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.

(MUSIC PLAYING)

(MUSIC STOPS)

Wait a minute you guys,
I want to confirm something,

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.
-Good, because I think 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.

Can you move that crap off,
get rid of those donuts
or those bagels.

Whatever they are.
Good, good.

So we start with a
giant snake, a giant puppet.

Susie, What are you
doing here?
Out, 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,
we don't see them,

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 shakti,
the energy in the spine.

Robert, I don't think you
understand our
financial situation here.

I'm working with mirrors
as it is.

I can tell you one thing,
this piece will be fantastic
on this company.

I believe you.
That's why you're here.

Thank you.

I mean, I'm going to have to
find someone to underwrite
this whole thing,

-I hear you.
-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, thank you,

-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.

It will 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?
-Yeah.

Thank you.

Got it.

Oh, John.

What are doing here?

Actually I was hoping if you
had any room,

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.

-Thanks a lot.
-Just for a couple of days.

What's going on?
I thought you were staying
with your family.

I was staying with my
aunt and...

I think she committed suicide.

Yeah it was her thing,
So I can't stay there anymore.

Can I use your pen?
Thanks

-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 in line
for the bathroom.
-Right.

Five, six, seven, eight.

and one, two, three, four,
five, six, seven, eight,

two, two, three, four
stretch,

five, six, step, step

three, two, three, four, five,

six, seven, eight, and four,

two, three, five, six,

seven, eight and one.

And cross the fifths.
And...

two, three, two up three,

three, five...

That's it, long arms.
Shoulders down, ladies.

Lots of bourres.
Shoulders down.

Big arch.

Hold, two, three, two...

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,
babies.

It's what's inside
that counts.

That's when you really
begin to soar.

Thinking the movement is not
becoming the movement.

(MUSIC PLAYING)

Listen up company.
Hello? Is this on?
Is it 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, Loretta,
she'd be so proud of you.

I want you to talk to Mr. A.
To make good his promise.
Okay?

And say, hey Mr. A let's make
good on your word,

you know about the ballet
you were gonna create for me.

I know you wouldn't do it
that way, and it won't
be right, that you did.

You know, totally vulgar.
But still...

Remember that evening at that
wonderful party?

He dazzled us all,
with his promise of building
a ballet for you,

in honour of you,

Where the hell is he?

-Honey, do you have any wine?
-In the fridge.

The fridge?
I don't really feel
like white wine.

I love 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.
-Thank you.

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,
I got to get going.

Oh, my God, those shoes,
honey, those are dangerous.

-No they're not. They're fine.
-You could break your
neck in those.

-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, and your sexy.
-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, and just do it.
-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...

that his life has been
a source of inspiration to
Italian Americans everywhere.

So please join me in
welcoming...

the Artistic Director of the
Joffrey Ballet of Chicago...

Mr. Alberto Antonelli.

(ALL APPLAUDING)

Thank you.

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.

In fact,
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.

* Photographable

* But you're my favorite
work of all

* Cause your mouth's
a little weak

* When you open it'll speak

* Don't change your
hair for me

* Not if you care for me

* Stay little valentine

-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.

Hi, gang.

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 overture,
the mouth of the snake opens
and the piece starts.

The first section is,

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
children 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.

Ry, 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.

I mean I know you've got the,
what I call "Ballet Dancers"

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,
didn't see?
-Yes she did.

Mark didn't want her for
Nellie Ely.

Then he saw her in rehearsals.
She was fantastic.

I know where of 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.

(SOFT MUSIC PLAYING)

-(SCREAMS)
-(BOTH LAUGHING)

-You scared me. Hi.
-Hi.

-How'd you get in here?
-Oh, you know
you gave me a key.

Oh, right.

-How are you?
-I'm good...

-I think I need a bath though.
-No, I don't think so.

-I'm really dirty.
-No, I don't think so. No!

Get out! Go. I'll be out
in a minute. (LAUGHS)

Jesus.

(SIGHS)

-What are you watching?
-I don't know.
I found it up there.

-No. You can't watch this.
-What is this?

Me, when I was little,
being a geek.
(SIGHS) Want a beer?

No that's okay. I got some.
This is fascinating.

So work was good?

Oh, oh yeah. You know...

(CHUCKLES)

Oh.

-I missed you today.
-Well, I missed you.

-I can't believe
you're watching this.
-It's great.

-It's humiliating.
-Which one is you. Right?

Oh yeah, on the left there.

-Mmm-Hmm.
-Aw.

RY: The far too
enthusiastic one. Horrible.

JOSH: Cute.
RY: Yeah.

(RY LAUGHS)

-I think if I really tried
-Mmm-Hmm.

I could do
some of these moves.

-You think?
-I think so.

I bet you could.

Aha. Very good. (LAUGHS)

(RY CHUCKLES)

(DANCE MUSIC PLAYING)

(CHURCH BELL RINGING)

(APPLAUSE AND CHEERING)

(PEOPLE TALKING
INDISTINCTIVELY)

Oh my God!

-I'm married!
-Congratulations.

Thank you.

MAN: Michael, bend down,
pick up the skirt.
Pick up the baby...

Cradle the baby. Rock.

Put the baby down.
Then start your Bourree.

To the corner, reach.
Two arms up.
Two arms up Reach, reach...

and fall.

-(EXHALES)
-Contract around.

That's good. Stay low.
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, don't touch it...

Don't reach for it.
You know, don't grab it.

Well,
how's he going to get it?

There's 20 ways
to get the material...

I mean when you bring it
round with you

pull it to you like it's...

-like it's a child.
-But this the way you wanted
him to do yesterday.

You changed it from something
else to this yesterday.

Well, yeah that was yesterday.
Now I want this.

But you're changing it.
There's no other way for him
to get his skirt.

-No. It's organic, you see.
-That's not organic.

He's down here and eventually
he has to bring
the skirt to this point...

See 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...

it's like...

you're giving birth
to the world.

He's a man, he's a man.
How's he going to give birth?

There's the baby.
There's the baby.

-You go down with the baby.
Pick the baby up
-The baby's over here.

-and your giving birth.
-This is a different thing.

No. No. No.
You're mixing up
the babies here.

That's a different baby. Okay?
This baby is a metaphor.

-For what?
-Giving birth. Huh?

You see here. See.
I like this, honey.
This is good here.

That's the exact same thing
we just did.

-What? No, No.
-That's the exact same thing
we just did.

That's exactly what I
told him to do.

Are you arguing with me?

Yeah, I'm arguing with you
because we've been in here
rehearsing for two hours

trying to do something
and every time you come in
you change it.

-Why?
-There's no way...

There's absolutely no way
that he's ever going to be
able to get this

to learn it,
if you keep changing it.

We're done here.

Honey, come on let's scramble
some ideas. Huh?

Instead of some asshole who
contradicts me all the time.

Whoever has heard of a man
giving birth to a baby?

Where's it going to come from?

Okay now,
I got a million ideas here
for music.

Um, Adam, Adam?

Just go work it out with them.
Okay?

Now let's do a little, uh,
maybe a little contraction.

(VOCALIZING)

(PIANO PLAYING)

Travel.

Oh she's really come on.
Don't you think?

-Good.
-Well done.
(APPLAUSE)

Julianne, she's really lovely.

But something,
I don't know what it is.
I can't point my finger...

She's not quite there.

You know what I am saying?
There's something to do
with the style.

-Should we stop for a second?
-Yeah.

(CLAPS) Julianne,
let's stop for a sec.

Suzanne, would you start
from the beginning?

Just do it once. Will you?

Julianne, that was lovely.
Just watch Suzanne.

-So Paul, from the beginning.
-Fine.

Ready?

(PIANO PLAYING)

See. Totally different.
The height.

-Yeah, she's got
such lightness.
-Yeah.

Beautiful.

Oh my goodness.

Suzanne, are you alright?

(INAUDIBLE)

-Adam's gone to get some ice.
-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.
-I'll see if we can get
some guys to help us.

-It's been bothering her.
-Can someone call Keith?

-Can someone grab her phone.
-We need to go on.

All right.

-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.

(PIANO PLAYING)

(APPLAUSE AND CHEERING)

Move it back a little bit.

All right. That's great.

Good memory.
You remember everything
that we did.

I think we need to
add a circular arm right,
you finish this...

I think we should
add an arm there.

It needs like a
bigger break into this...

side motion.

And don't be afraid
to go down with your body...

I know it's harder to
shoot up the leg
but it looks so much better.

If you go down, up.

Ok, so let's add that
little phrase.

ALL: Oh, gutter!

Hi. How you doing?

-Maia, Michael this is Josh.
-Hi.

-Dancers in the company.
-Hi.

Nice to meet you. (LAUGHS)

-You having fun?
-Yeah.

Good. Good.

Trinity. Hey.

-You got to get going.
Bowling.
-Uh-Huh.

-This is Josh.
-Hi.

One of my best friends.
(LAUGHS)

-Nice to meet you.
-You too.

-I've heard a couple things.
-Okay.

-Hi.
-How you doing?

This is Josh.

-Hi.
-Good to meet you.

Good to meet you. Here goes.

-I don't have bowling shoes.
-Grab a ball.

Take it from the
finale please.

We're trying some costumes
for the first time.

Try not to get distracted
by that too much.

That's our only section
with counts.

So let's stick to them.

Ready.
One, Two, Three and four.

Five, Six, Seven, Eight.

And One, Two, Three and four.

Five, Six, Seven, Eight.

And Two, Two, Three, four
Five, Six.

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.

Come in closer. That's it.

Woman: Six, Seven.

Alright, ok good.

All right. 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.
Thank you.

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.

Oh, Harriet, I need to see you
in a minute.

What about this new kid then?

He can wait until
later in the season.

Alec, are you dictating
company policy to me?

-Edouard?
-Yes.

-Edouard, do you have it?
-Yes.

-Is it hot?
-Yes. Careful.

It's a brilliant ballet,
that's what you said, not me.

You know baby,
you have to learn to trust me.

You know, 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
with the company, Alec?

I hope not too long.

I hope not too.

-Are we threatening
each other?
-No, No, 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 behind on this earth
is the light of himself.

I have hopes for you, Alec.

Don't throw out the baby
with the bath water.

(MUSIC PLAYING)

(MERRY CHRISTMAS PLAYING)

Ho, Ho, Ho.
Merry Christmas.
(APPLAUSE AND CHEERING)

(FEET TAPPING)

(AUDIENCE CHEERING)

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
and janitorial staff,

we would like to
welcome you to fifth annual
company Christmas Roast.

And now it gives me
great pleasure to introduce

you to my personal hero,
Mr. Antonelli.

Ok company, let's take it
from the embrace.

Excuse me.
Sorry. Sorry.

(ALL LAUGHING)

Hold it, company. Hold it.

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.
-Hello...

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,

monsieur, Robert Desrosiers.

Well, I just wanted to talk a
little bit about my ballet
that I am going to be doing...

It's sort of like a storybook.

And instead of a
storybook opening
the hippo's mouth will open...

you see,
the name of the ballet
is called Hungry Hippos.

(ALL LAUGHING)

And then the piece ends up,

with sort of like this huge
frog in the background

but there is a problem...

-A little problem.
-What problem?

The frog likes to eat dancers.

Is really great. Yes.

Do we wear Pointe shoes?

Actually, you wear
sort of like a Pointe shoe
with a heel.

So that you can walk around
and then 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
to your party

No problem.
Are you having fun?

-Having such a nice time.
-Good.

You were really cute
out there.
That's pretty funny.

Thank you. (BOTH LAUGH)

I'm going to go and change.
Okay?

-Bye honey.
-Bye.

Ry.

-Ry! That was beautiful.
-Hi.

Take a picture with your dad.

-How you doing there, Rick?
-Great, John. How are you?

-Is that a new boyfriend?
-Hello.
Oh, 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.

-I mean you don't' get tired
-It's not like from Dramamine.

My mom used to take them
when she flew.

I don't know why I am...

-Michael, can you come
and hold the rope, please?
-Sure.

And Noel? Will you start.

Okay.

There we go. All set.
Thank you.

-You got it?
-Yeah.

All right, here we go. And go.

And hold your middle. Good.
Very smooth...

And...

head,

and arm reach up,

feel the
vastness of the big universe

And the coupe. And the split.

Keep the back leg up. Good.

That's it.

-Michael, get rid
of those chairs, will you?
-Yes, sir.

Go on.

Nope, hang on, hang on, Noel.

-Do you want it
from the beginning?
-Just carry on. No, no.

-It's fine. I'm not here.
-Oh okay.

Now let's take it from
the arabesque spins.

And hold the arms...

Good, Good, Noel.
And into the attitude

with attitude and swastika...

And bourres.
That's it, spot, and right.

Good Noel. Now,
right into the cartwheels.

And

-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 show her

Just watch this, Noel.
Just watch where she
puts her hips here.

-Okay.
-All right.

You see? Keep the pike.

-You see that?
-The pike.

Watch the right leg. Good.

(SOFT MUSIC PLAYING)

And keep going.

two, three. One, two, three...

two, two, three,

three, two, three, four,

four, two, three,

one, two, three, six.

six, two, three, seven, two

Good!

two, two and three.Good!

Four, two, three

five, two, three, six.

Nice. Good.

Seven, two, three and eight.

That's a good place to stop.
Let's stop there. Thanks Paul.

-So what happened there?
-Good.

You know what,
I want you to try to
get her down on six...

No, no. Five, two, on three.

Because the next step
I have to do is...

Let's try if he puts you down
on six ronde de jambe
on two...

I don't know what the guys do
but all these years I've been
doing five, two, three...

That's the thing.
The step's been missing
all these years

I have been looking
onto the video. 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
six, two, three.

-Mr. A., you know
-Edouard?
Just a minute, doll.

Okay.

Carry on, babies.

Good, Deborah, come on back
and let's try to put you
down on six.

I've been doing this ballet
for over 10 years.

And obviously,
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!

(CLUB MUSIC PLAYING)

ALL: Five, four, two,
three, one.

(MOUTHING)

-Good night.
-Ok, good night.

(MY FUNNY VALENTINE PLAYING)

Hey.

So sorry, I thought I was
going to get out earlier.
They wouldn't let me.

Josh?

Okay. 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 four counts,

Five, six, seven, eight,

One, two, three, four

five, six, seven, eight,

one, two, three

Five, six, seven, eight,

One, two, three, four,

Five, six, seven, eight,

Justin's not getting it.

He's just behind all the time.
He's not comfortable.

-We could get,
Michael to get in here
-I'm sure Michael can do it.

Let's stop.

That's not bad.

I really think that even as
a group like we 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 really don't look
comfortable with the movement.

I'm going to have to
replace you.

Michael, you come in,
let's take it from the top.

Same thing.
four counts lead in...

Five, six, seven, eight.

One, two, three, four,

five, six, seven, eight,

one, three,

five, six, seven, eight.

One, two...

Five, six, seven.

That's it. The energy's much
better now. Keep breathing.

Hey.

-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 go along with it.

-I don't belong here.
-You do belong here.

This is not a decision.

Mr. A's policy is not to
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,
ladies and gentlemen,
The time is seven o'clock.

Half hour please, half hour.

This evening's performance
will begin in one half hour.

Anyone not directly involved
in the cast or crew,
in Chicago

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.

(MUSIC PLAYING)

MAN: Standby snake mouth
opening...

Standby snake mouth
opening and smoke.

Standby mouth closing.

Is Ry standing by?

Light cue 927.

(WHISPERS) 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 bouillabaisse.

Yeah, I'm ok. I fell.
I don't know how.

But I just pulled it.

Thank you.

Hi, Angel.