Ballet 422

1

Two to the back,

Two to the front

with a single turn.

So we have:
Two, two, two,

and a turn and down.

Two...

two...

and...

One, two, three, four,

five, six, seven, eight.

Fifteen minutes

till the third ballet of the evening:

Jerome Robbins' Glass Pieces.

Dancers to stage, please.

Onstage call!

- Sorry.

- One, two, three.

That was great.

No, it was really...

You know, you're doing the arms

out and around.

- Sorry.

- But you know what?

You make the mistakes

look really good.

I think we're gonna keep that.

I like that.

- Okay.

- Out and around.

I liked it the first time,

but now I kind of miss the...

after the turn...

Okay, so the first one, I'll do,

and the second one, no.

Yeah.

That's good.

You know what it is?

It's because here...

I'm kind of in the middle

of my legs.

- Oh, okay.

- I'm not...

- You mean for this?

- Yeah, that's why.

Do you want to go...

We can do the old way.

I have to just work on it

so that I...

because I'm, like, really...

What if... Yeah.

What if you thought of it moving,

like...

Yeah, constantly forward?

- Yeah.

- Like, here...

Start... I don't know, yeah.

That's too much.

Yeah.

Or it doesn't even...

I think you're over...

Maybe you're thinking about it

being, like, a full turn

and it really

should be more like...

I think I was just trying...

If I just keep it going from there...

- Yeah, that's fine.

- Is that okay?

- Yeah.

- Like, step, step.

Yeah, because what I'm trying to do

is here, and then I have to...

I think that's cool.

I don't think I've ever seen that,

- which is good.

- Yeah.

- Good.

- I was a little late.

Just make sure this saut,

after we do this turn,

the fourth...

- Justin.

- Yeah.

- Can we give her a five?

- Oh, yeah. Sorry.

Oh, that's fine.

- It's just been an hour.

- Yeah.

- It's okay. Thanks.

- So it's like the boys, Justin.

- If we stay like this...

- Yeah, yeah.

It's like what you said to the boys.

It's like a... It's a theme step.

I understand,

because it breaks up...

It should always be,

like, sometimes Amar,

he gets a little tired at...

you know, after the pas de deux,

when he finishes here...

Oh, yeah.

And he brises to there,

sometimes he gets really, like,

loose in his arms,

so keep an eye on him.

Okay.

I'll keep my eye on Amar.

I will, most definitely.

Okay, I'm gonna get some water.

Cameron, bravo!

I just heard him say,

"One, two, three, four, five, six.

One, two, three, four, five,

six, seven, eight."

Oh, he did?

Oh, okay.

I was just counting slow.

Okay. I'll count slow.

So you just count it

as an eight.

- Yeah.

- A slow eight. Okay.

I want you to turn.

Maybe if you kept her

on her leg.

So if you came back

and you came up,

sous-sous,

and then turned her somehow.

- Okay.

- I don't know.

Sorry.

Sorry.

He kept me on the side of him.

- On the side?

- Yeah.

- Of this side or that side?

- That side.

Forget it.

Go...

...up... dip.

Bring the leg up through

to extend out.

For you. So you'll go back.

You're in fifth.

Bring the right leg up through pass,

and then step out.

That's it.

Okay.

One, two, three,

four, five, six.

Ah!

Sorry.

Close.

That was good, though.

It's almost like

you need one more step, huh?

- Yeah.

- You need one more step,

do you think?

I think what it is, too,

I have to have distance.

- Yeah.

- If I'm too close to you

when I kick my leg,

I don't... I won't ever get flat.

Like, I almost

have to give him my...

Yeah.

I have to be a little further.

Or maybe I can move back.

Or something. Yeah.

- You can always adjust.

- Yeah. I'll pull back.

- It's totally fine.

- If I'm too...

- Yeah, if I'm too close...

- Let's try that.

I'd rather be a little further.

That was good, though,

up until... I mean...

The timing was great.

It's very musical.

- Cool. Can we try it from the...

- I mean, do you want to try it?

- Yeah, from the repeat?

- Yeah.

Yeah, let's...

Cameron.

Cam, we could do this

with you, yeah, I think.

Okay, Mike. That's good.

Eric, we can do the ground row.

Did you give spots their colors?

I told Penny this morning

51/55 for the bridge,

but I didn't say anything

for the front, but...

Good,

because Thor is here outside.

Okay.

That'd be good.

You want anything

other than 51 and 55?

Not now.

I think both of them have to go

towards soft just a little more.

That's it.

And the first one too.

Are you good everywhere else?

Yeah.

That's it.

Okay. Good.

If you cued the music

and not the dance,

you'd have a lot of light cues.

Yeah. Yeah, yeah.

So... because there's just

so many changes

in dynamics and tempo

and all of that,

so we just want to be sure

that we support

what you're doing

and not, sort of, overburden it

with too many other metaphors,

I guess.

Yeah, and I think

because there's already so much

structurally

with the choreography,

I think it's okay

for that to kind of, like,

stand on its own

in certain cases.

It's hard for me to picture

in my head,

because sometimes I'll, like,

talk about

sort of lighting aspects,

and in my head, it's much more

extreme than I think.

And then we get...

You know, we get down there,

and it's, like, ten percent

of what I thought it would be...

in a good way,

you know what I mean?

Like, I'm like, "Oh,

that's actually really nice,

and it's, like,

it enhances everything,

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