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Company The CD2

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- I'm married! - Congratulations.
Thank you.
Michael, bend down, pick up the skirt. Pick up the baby...
Cradle the baby. Rock. Put the baby down. Then start your bourres.
To the corner, reach. Two arms up. Two arms up Reach, reach...
Contract around.
That's good. 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 touch it...
Don't reach for it. Don't grab it.
- Well, how's he going to get it? - There's ways to get the material...
When you bring it round with you pull it to you like...
You changed it from something else to this yesterday.
Yeah that was yesterday. Now I want this.
- There's no other way. - It's organic, you see.
That's not organic. He has to bring the skirt to this point...
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 you're giving birth to the world.
He's a man. How's he going to give birth?
There's the baby. You go down with the baby. Pick the baby up...
- The baby's over here. - He's giving birth.
No. You're mixing up the babies. This baby is a metaphor.
- For what? - Giving birth.
- I like this, honey. This is good. - That's the same thing we just did.
- What? - That's the same thing we just did.
No, that's what I told him to do. Are you arguing with me?
We've been rehearsing for 2 hours and every time you change it.
There's no way he's going to learn it if you keep changing it.
We're done here. Honey, come on let's scramble some ideas.
Instead of some asshole who contradicts me all the time.
Who's heard of a man having a baby? Where's it going to come from?
Now, I got a million ideas here for music. Adam?
Just go work it out with them.
Now let's do a little... maybe a little contraction.
Oh she's really come on.
- Good. - Well done.
Julianne, she's really lovely.
But I don't know what it is. She's not quite there.
Something to do with the style.
- Should we stop for a second? - Yeah.
Julianne, let's stop for a sec.
Suzanne, would you start from the beginning? Just do it once.
Julianne, that was lovely. Just watch Suzanne.
- So Paul, from the beginning. - Fine.
See. Totally different. The height.
- She's got such lightness. - Yeah. Beautiful.
Oh my goodness.
Suzanne, are you alright?
- Adam's gone to get some 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.
- It's been bothering her. - Can someone call Keith?
- Can someone grab her phone. - We need to go on.
- 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.
Move it back a little bit.
That's great. Good memory. You remember everything that we did.
I think we need to add a circular arm right, you finish this...
We should add an arm there. It needs like a bigger break...
into this side motion. And don't be afraid to go down...
It's harder to shoot up the leg but it looks so much better.
Ok, so let's add that little phrase.
- Hi. How you doing? - Maia, Michael this is Josh.
- Dancers in the company. - Hi.
- You having fun? - Yeah.
- Good. Trinity. - You got to get going. Bowling.
- This is Josh. - Hi.
One of my best friends.
- Nice to meet you. - You too.
I've heard a couple of things.
- Hi. - How you doing?
This is Josh.
Good to meet you.
- I don't have bowling shoes. - Grab a ball.
- Take it from the finale please. - We're trying some costumes.
Try not to get distracted by that. That's our only section with counts.
- So let's stick to them. - Ready. 1, 2...
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.
Alright, ok good.
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. - 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.
Harriet, I need to see you in a minute.
What about this new kid? He can wait until later in the season.
Alec, are you dictating company policy to me?
- Do you have it? - Yes.
- Is it hot? - Yes. Careful.
It's a brilliant ballet, that's what you said, not me.
You have to learn to trust me. 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 here? - I hope not too long.
- I hope not too. - Are we threatening each other?
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 on this earth is the light of himself.
I have hopes for you. Don't throw out the baby with the bath water.
Ho, Ho, Ho. Merry Christmas.
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...
we would like to welcome you to the 5th Company Christmas Roast.
It's a great pleasure to introduce you to my hero, Mr. Antonelli.
Ok company, let's take it from the embrace.
Excuse me. Sorry. Sorry.
Hold it, company. 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. - Hi. 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, Robert Desrosiers.
Well, I just wanted to talk a little bit about my ballet...
It's sort of like a storybook.
Instead of a storybook opening the hippo's mouth will open...
you see, the name of the ballet is called Hungry Hippos.
The piece ends with a huge frog, but there is a problem...
- A little problem. - The frog likes to eat dancers.
- Is really great. - Do we wear pointe shoes?
You wear a pointe shoe with a heel. You can walk and 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. - No problem. Are you having fun?
- Having such a nice time. - Good.
You were really cute out there. That's pretty funny.
Thank you.
- I'm going to go and change. - Bye honey.
Ry! That was beautiful.
Take a picture with your dad.
- How you doing there, Rick? - Great, John. How are you?
- Is that a new boyfriend? - 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.
It's not like from Dramamine. My mom used it when she flew.
- Can you hold the rope? - Sure.
And Noel? Will you start.
There we go. All set.
- You got it? -Yeah.
Alright, here we go. And go.
Hold your middle. Good. Very smooth...
And... head, and arm reach up, feel the vastness of the universe...
And the coupe. And the split. Keep the back leg up. Good.
Get rid of those chairs, will you? Get them out of here.
- Do you want it from the beginning? - Just carry on. I'm not here.
Now let's take it from the arabesque spins.
And hold the arms...
Good, Noel. And into the attitude with attitude and swastika...
And bourres. That's it, spot, right.
Good Noel. Right into the cartwheels.
- 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 watch this. Just watch where she puts her hips here.
- You see? Keep the pike. - You see that?
Watch the right leg. Good.
And keep going. 2, 3. 1, 2, 3...
Nice. Good.
That's a good place to stop. Let's stop there. Thanks Paul.
So what happened there?
I want you to try to get her down on six...
No, no. 5, 2, on 3. Because the next step I have to do is...
Let's try if he puts you down on 6 ronde de jambe on two...
I don't know what the guys do but I've been doing...
The step's been missing. 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 6, 2, 3...
- Mr. A., you know - Edouard? Just a minute, doll.
Carry on, babies.
Deborah, come on back and let's try to put you down on 6.
I've been doing this ballet for 10 years. 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!
5, 4, 3, 2, 1!
- Good night. - Ok, good night.
I thought I was going to get out earlier. They wouldn't let me.
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 4 counts:
He's just behind all the time. He's not comfortable.
- We could get Michael? - I'm sure Michael can do it.
Let's stop.
That's not bad. As a group you 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 don't look comfortable with the movement.
I'm going to have to replace you. Michael, let's take it from the top.
Same thing. 4 counts lead in...
That's it. The energy's much better now. Keep breathing.
- 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 accept.
- I don't belong here. - You do belong here.
Mr. A. Do not 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. The time is 7 o'clock. Half hour please.
This evening's performance will begin in one half hour.
Anyone not involved in the crew 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.
The snake's coming through.
Standby snake mouth opening...
Standby light cue 908.
Standby snake mouth opening and smoke.
Standby mouth closing.
Is Ry standing by?
Light cue 927.
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 bouillabaise.
Yeah, I'm ok. I fell. I don't know how.
But I just pulled it.
- Sweetie, thank you. - How are you?
Hi, Angel.
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