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Company The CD1

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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 fucking 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...
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?
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.
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.
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.
Company, just move all this crap! You're going to trip over it.
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.
Sharp jump...
Good, you guys.
Ell him to stretch his foot. - All the way in the wings. Go
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 sautÚ.
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.
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.
- Oh my God, a storm. - I think it's just the wind.
Have a good time. Most importantly enjoy it. Ok?
And main curtain...
Follow spot one on the girl. Nice and easy, follow spot.
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 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.
- 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!
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?
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.
- 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. And you are? - 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.
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 fine. How you doing? - 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 know Lar, the choreographer. - Yes.
I didn't appreciate being the last one to find out about you.
- 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 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.
Just to confirm: 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. - 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. Get rid of those bagels.
Good, good.
- So we start with a giant snake. - What are you doing here? 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. 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 energy in the spine.
I don't think you understand our financial situation here.
I'm working with mirrors as it is.
This piece will be fantastic on this company.
I believe you. That's why you're here.
Someone has to underwrite this. 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.
- When we'll get the music? - The music is being written now.
- Well then for rehearsals? - There is no music.
No counts. I like the dancers to feel their own rhythm.
- And then the music can come in. - Well, it'll 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.
Are you a dancer?
Thank you.
Got it.
Oh, John.
What are doing here?
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.
What's going on? I thought you were staying with your family.
I was staying with my aunt and...
I think she committed suicide. So I can't stay there anymore.
Can I use your pen?
- 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 for the bathroom. - Right.
And cross the fifths. And...
That's it, long arms. Shoulders down, ladies.
Lots of bourres. Shoulders down.
Big arch. Hold, 2, 3.
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. It's what's inside that counts.
That's when you really begin to soar.
Thinking the movement is not becoming the movement.
Listen up company. Hello? Is this 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, she'd be so proud of you.
I want you to talk to Mr. A. To make good his promise.
And say, Hey Mr. A let's make good on your word...
about the ballet you'll create for me. I know you wouldn't do it that way.
You know, totally vulgar. But still...
Remember that evening at that wonderful party? He dazzled us...
with his promise of building a ballet for you...
- Where is he? Do you have any wine? - In the fridge.
The fridge? I don't really feel like white wine.
I love it 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.
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. - Those shoes are dangerous.
- No they're not. They're fine. - You could break your neck.
- 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. - 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. - 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?
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...
and has been a source of inspiration to Italian Americans.
So please join me in welcoming...
the Artistic Director of the Joffrey Ballet of Chicago...
Mr. Alberto Antonelli.
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.
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.
- 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.
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 mouth of the snake opens and the piece starts.
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 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.
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.
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. - Yes she did.
Mark didn't want her for Nellie Ely.
Then he saw her in rehearsals. She was fantastic.
I know whereof 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.
- You scared me. Hi. - Hi.
- How'd you get in here? - Oh, you gave me a key.
- Oh, right. How are you? - I'm good...
- I think I need a bath though. - No!
- I'm really dirty. - No, I don't think so. No!
Get out! Go. I'll be out in a minute.
- What are you watching? - I found it up there.
- No. You can't watch this. - What is this?
- Me, when I was little. - Want a beer?
That's okay. I got some. This is fascinating.
So work was good?
Yeah. You know...
- I missed you today. - Well, I missed you.
- Can't believe you're watching this. - It's great.
- It's humiliating. - Which one is you. Right?
On the left there.
The far too enthusiastic one. Horrible.
- Cute. - Yeah.
I think if I really tried I could do some of these moves.
- You think? - I think so.
I bet you could.
Very good.
Caccia alla volpe - After The Fox
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Crow The - City Of Angels 1996
Cruel Intentions 3
Crumb (1994)
Cube2 Hypercube 2002
Cube Zero
Cure (Kiyoshi Kurosawa) CD1
Cure (Kiyoshi Kurosawa) CD2
Curse The
Custer of the west
Cut Runs Deep The 1998
Cutthroat Island (1995)