The Company

We would like to remind you

that the taking of photographs...

is prohibited and is hazardous

to the performers.

Please turn off all cell phones

and pagers. Enjoy the performance.

The soap opera is when I asked him

onstage if he's been dating her...

and he's like,

Shut up.

- Get out of here.

- No, I'm serious.

It's too much drama.

- More than what it's worth.

- I know. He was pissed.

- Yeah I know, it's true.

- We'll see you in class.

I heard she said, 'So how long

you been f***ing her? '

- We need to talk.

- Ry? Don't be ridiculous.

Good morning.

Who's teaching today?

- Mark.

- Mark!

- Mind if I share this with you?

- Yeah. Sure.

I wanted to talk to you about Ry.

I'm having some issues with her...

Could you just pair her up

with somebody else?

- Who are we talking about?

- Loretta Ryan, Ry.

- Oh, Ry.

- Yes.

- Things aren't going smooth and...

- I thought you two...

Leave that part out of it

and stick with the dancing.

You'd like to sit in this chair?

You could run the company.

I'll stick with the dancing.

- Who's next, Cammie?

- We have...

There's no announcements,

so let's start with plies.

Left hand on the barre,

second position.

Ready, Paul? And...

Good.

A one...

Good.

Drop the chin.

Take the head...

1, 2, 3,

grand plie.

That's my spot.

Sorry.

Stretching to the bar...

Would you mind standing

over there. Thank you.

Forward, one...

Up to go back...

And demi...

Tondue, close arms and

legs together.

Good. A one, two...

Drop the chin...

And drop your tailbone.

Good.

And stretch to the bar.

Good.

Do you know how long we have waited

for a Lar Lubovitch ballet?

I'm glad to hear that.

Thank you.

- Mr. A is very grateful to you.

- I'm grateful to be here.

Please say hello for me.

I'll see him later.

Good morning. Is Alec here?

Alec have you warmed up?

You're warm enough

for lifting?

Absolutely.

Then let's start from the first

lift after the solo, Maia.

We'll get back to it

after Alec is gone.

Let's see what you've got and

then we'll just work on...

A little further over from center.

Paul if you'll play the two little...

I believe that's marked in

the score. Ready?

- And let's stop.

- I didn't let you get very far.

You're overworking that position.

More subtle, not so high in the knees.

A little bit more hung.

Mostly along the shoulders.

Not so much in the face. It's

beautifully expressive in the face.

But let's make it work in

the body first, okay?

Once more.

Good.

And up.

And stop please.

Are you working injured?

I have a neck spasm.

You shouldn't work injured.

Why don't you mark in the back.

Rest a little bit. We'll

pick this up tomorrow.

- It should be fine.

- I have to ask you your name.

- Ry.

- Ry.

- Domingo.

- Domingo.

- Is Ry short for something?

- Ryan.

Nice name.

Have you been watching this?

- So you kind of know it?

- Yeah.

Well, let's see what you've got.

Domingo and Ryan.

Same process, with music just

before the lift. Let's see.

And up. Up one piece.

Good, Domingo.

Melt. Music.

Lift, contretemps...

Swing, up and down...

Let's stop there. Good.

You have been watching.

How much we respect you as an

artist and senior dancer...

but we wanted to talk with

you today about class.

We'd like you to be an example

the new dancers.

And usually you are.

But if you change combinations

they think they can change too.

But I only change the

combinations at the barre.

- They look everything you do...

- But I'm 43 years old...

and when it comes to rehearsal

I do what I'm told to do.

- You could come in early...

- Let her do what she has to do.

Remember we had that girl that

used to come in an hour beforehand?

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

- But look at Margot Fonteyn...

Margot Fonteyn.

Robert knew her very well.

I knew her too but not as well

as Robert. We hear you.

You know, she was a dame.

Do you have anything else you want

to talk about before we finish?

Actually I'd like to talk about

the ballet Light Rain.

It's a great ballet, but I feel some

of the footwork is too fast.

- Like the jete, jete, step...

- So you don't want to be in?

Well, it's just that I look

like I'm working in it.

- Deborah, we hear you doll.

- We just wanted you to be first.

Thank you.

And I feel honored.

Where'd you get this salad?

It's terrible.

Who can do it?

Watch on walking lady lift,

the position of his arms...

She's not horizontal to the floor.

They may not be doing it perfectly...

This is the danger point for you.

Don't let that leg bobble.

Why don't we try that.

Okay?

Try without music. Let's just do a

little ronde de jambe preparation.

And attitude...

And ronde de jambe...

And up... more fragile in

the legs. Whoops.

Alec, can you give us a hand?

Have you been watching this lift?

The objective is to get her a bit

removed from your body...

And at a bit of a diagonal rather

than parallel to the floor.

Let me see how you would hold

her to accomplish that.

- Lf you stayed to the side...

- Fairly lower on her hip.

Good.

You know what the difference is?

He's locking his elbow in here.

Try it with music

and we'll see what we've got.

Mark, you're going to work with

Amanda and Willy.

And I would like to have

the four ladies over here.

Alright, Mark.

We're getting ready to start

from the fourth movement...

Take your places lease.

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