Category Archives: performances
Leading up to PlayThink this year, I was bulldozed by a swift and nasty bout of your bog-standard “depressolepsy”—that fierce, crushing, exhausting depression that rocks up out of nowhere and smashes everything in its path. Thanks, Rapid Cycling Type I Bipolar, or whatever the hell is going on with my brain.
That’s been the case the past three years running, so I think it has to do with timing: the time of year; the timing of the onset of Summer Intensives and my inability to figure out how much GoGoGo I can take before I need to take my brain out and put it on ice for a couple of days; the timing of the stressful bit of my non-dance job; the timing of always effectively losing my husband to The Great Wave of Planning that precedes his standing summer plans (PlayThink and the Big Burn) just when I most need someone to help me stay afloat.
- This bit isn’t really his fault, btw. It’s more that I have a hard time broaching the divide between myself and other people, including D, when I’m struggling, and it gets even harder when he seems preoccupied. It’s something we both need to work on, together, and we’re doing it, but it takes time.
None of this was improved by my lack of security about our performance piece for the Friday-night “FlowCase,” which we hadn’t rehearsed anywhere near enough.
D offered time and again to cancel, but I couldn’t shake the feeling that it would be better to get out there and do the show than to back out. This is, for all its friendly down-home atmosphere, a professional gig—and the first rule in the performing arts is and always will be: “The Show Must Go On.”
- Corollary: if your name is printed on the official marketing materials, you’re part of the show.
- I consistently misspell this word, even though if I stop and think about it for a sec I actually do know how to spell it. Seriously, self: “Corolarry?” Really? Is that, like the cousin of Corojessica, or…? SMH.
Basically, getting out there and screwing up sometimes is part of the business—even Nureyev fell flat on his arse from time to time—but you don’t want to get a reputation for backing out of your commitments.
So I gritted my teeth and accepted that we might totally bomb; that the whole thing might go right off the rails. That life is, after all, pretty much an exercise in walking a tightrope in a maelstrom, for all our delusions of control. That the even inclusion of a twirling beach umbrella and faux 20s-era men’s swimwear might not pull my carefully-crafted little acro-clowning-ballet back from the edge of disaster.
- I had thought of also including fake moustaches, but forgot about them, so even they could not have saved us if things went south.
So we wrestled our way through a couple more hours of rehearsal rendered incredibly awkward by the lack of so much as a single properly-flat spot in which to rehearse, which in turn made the apex of the whole number—the candlestick-to-diver transition that we basically invented for this show—literally impossible.
And then we went on.
And you know that thing that happens when you get on stage and the whole world falls away and suddenly you’re ON and even if you literally put a foot wrong, you can’t put a foot wrong?
So, that happened.
Our performance wasn’t perfect in the literal sense. Because we hadn’t been able to nail the diver transition, we left it out (though we didn’t actually program in something else, just in case it magically came off: I simply sort of rolled out to the side, pulling D up with me).
We had already scuttled the bluebird lift at the end because we need more practice with it before we put it in a show. Right now, its hit rate at home is only about 25%; the rest of the time, I wind up hitting it for about .5 seconds while D struggles to figure out the balance point, then we fall out of it and I yell at him and then apologize for yelling at him.
And, yet, in another way, our performance was a million times better than I could have imagined.
D lit up in a way I’ve never seen him light up on stage (evidently, all you have to do is give him a beach umbrella and let him twirl it).
- I actually rather suspected this would be the case, which is why he got to twirl the beach umbrella (okay, so also it fit his character better than it fit mine). D has a lot of natural clown in him. I formulated this thing to play to that strength, and I think it paid off. Choregraphy Rule Number One: when you’re creating a piece on a group of dancers, create it on the dancers you have.
The piece filled up the music exactly (I was incredibly worried that we’d get ahead, finish early, and have to stand there grinning like eejits for 30 seconds or what have you).
Perhaps most importantly, the audience rippled with genuine laughter at all the right moments. It wasn’t that weird, “Uh … is this supposed to be funny?” laughter that we all secretly dread. All the jokes (physical jokes, not verbal ones) hit the mark.
When it was over, they cheered. Lustily. Thrillingly. Authentically. It was awesome.
Here’s a shot by the talented Jesse Miller, who photographed a lot of the festival.
So, score one for team Dawson/Taylor-Dawson. Not bad at all for a pretty complex bit of physical theater that had a sum total of maybe four or five hours of real rehearsal time and literally no full run-through with music.
Throughout the rest of the festival, we constantly heard how much people had loved the piece.
A few even commented on exactly the thing I’d hoped to bring to the table: the fact that the piece had characters and a storyline, which isn’t something I’ve seen in FlowCase in previous years. Our good friend reported that she was so proud she found herself tearing up. Someone even commented that my ballet (all three-ish steps that actually made it into the final piece!) was beautiful.
Needless to say, the success of the piece and the instantaneous lifting of the pressure of it off of our collective shoulders helped immensely. So did being done, and thus able to go retire to the camper and just read (I did stay for most of the rest of the show, though, until the mosquitoes emerged and began eating me alive).
I also discovered a technique that really helps D and me: right before we went on, we simply talked our way through the piece, back and forth, each of us simply stating the short-hand name for our moves.
- Except for the ballet part: since I do that by myself, and I sometimes find it quicker not to actually attempt to get the language bit of my brain firing, I just visualized and went, “Balletballetballet, maybe some other ballet” there.
We each went on feeling like the other knew not just the skills required, but the sequence in which they needed to be called up, and it let us both relax. Handy!
Anyway, there’s video of the whole FlowCase, but it won’t be ready for a couple of weeks. I’ll watch it, even though I’m not sure I want to (the performance felt really good, but when I watch video, I tend to get hung up in my flaws).
This week, I’m taking two days off to get things back to normal as much as I can before diving back into class and so forth. I am vaguely regretting not signing up for our AD’s master class, because I know a couple of people who are taking it and it sounds cool, but I also recognize that I need a breather.
I need a couple of days to just do day-to-day life stuff. Mentally speaking, I already feel like the summer is more or less over: I’m away for two weeks of July on dance intensives (LexBallet and Pilobolus), then possibly again for much of August and the first week of September (depending on a handful of circumstances) for Burning Man. Because I struggle with time, the idea of those giant pre-planned blocks makes it hard to understand that the rest of the summer, the windows between those bricks, exists.
Inevitably, when I take a couple of days off, there’s a part of my brain that remembers how nice it is to have the whole day to do the things that need doing (or, if possible, to do nothing, or do only things that don’t need doing). Occasionally, a very quiet voice in the back of my head whispers, “Wouldn’t it make more sense to do this than to pursue your insane visions?”
I remind it, of course, that “it makes more sense” hasn’t really worked out for us in the past—that I’m not actually great at predicting what makes sense; that (perhaps more importantly) the pursuit of impractical dreams, Quixotic though it may appear, keeps the wind in my sails.
Someday, I’m sure, it probably will make sense to ease off the accelerator a bit; to drop out of the big ring. Right now, though, I’m riding to ride the hills; I’m dancing to feel the sensation of soaring at the top of the grand assemblé porté.
And, yet, I think it’s good for me, having a life in which something as powerfully thrilling as Friday night’s performance is followed by something as entirely mundane as getting out in the backyard to chop up the branches that are still waiting there for me.
To misapply Jack Kornfield’s magnificent summary of Zen practice: “After the ecstasy, the laundry.”
So there we are. Back to class tomorrow, though I am sure I’ll sorely (ha!) regret jumping back in with Killer Class instead of something gentler.
D and I are now rehearsing our #Playthink piece.
It’s actually going much better than I expected it to.
As one does, I’ve re-written essentially the entire piece now that I’m setting it on actual people and not just on myself prancing about in the studio and waving my arms to vaguely represent the acro moves.
Initially, I had one vision in mind. Because I was futzing around with it by myself, it involved a lot of ballet.
Now, of course, that has changed. I mean, there’s still ballet: there’s always going to be ballet because, hello, it’s me. That’s kind of what I do, apparently.
But choreography has a way of getting away from you. You begin with one vision, and as you actually create a dance and actually set it on actual people, it transforms.
I suppose that this is because, in a way, a dance is sort of a living thing. It’s a little like having a child (though, of course, on a very different scale) or maybe an elaborate pet. You might think, of a horse, “I’m going to train this horse to be the best cow pony ever,” but the horse might actually not be any good at being a cow pony. It might turn out to be a dressage beastie or something else.
- My philosophy on training horses was very much shaped both by my childhood trainer and also by the trainer of my friend’s lovely Arabian gelding, which began life as what the Arabian show world in the US calls a “park horse,” morphed into what the Arabian show word in the US calls an “English pleasure” horse, did a brief stint in Arabian-show-world western pleasure, and then eventually found his calling as an endurance racer. Basically, the lady who was responsible for training the horse felt that you needed to figure out which discipline suited the horse, and then train it to be as good as it could possibly be at that discipline. I think that’s a good way to do it.
Anyway. I digress.
So this dance is now almost a steady stream of rather-balletic acro and physical theater, and I’m okay with that. One of my goals was to build a dance that tells a story, and in this case, the story is kind of funny and implausible, and acro and physical theater are good ways to tell it.
I’m not going to try to force this dance to be something it isn’t. I have an entire lifetime in which to craft ballet pieces on ballet dancers (I keep joking that I have this entire three-act ballet in my head, now I just need about fifty dancers and a million dollars or so to get it off the ground … but, really, I do have an entire three-act ballet in my head, and it’s taking up a lot of space!). Right now, I’m working with one ballet dancer (me!) and one Denis, and that presents its own set of challenges and limitations.
Honestly, in creative work, it’s so often the limitations that free us to innovate (just as necessity—or, just as often, laziness—gives birth to invention).
The neat part is that this has led us to inadvertently create a new acro move. I mean, probably someone, somewhere has done it before, but I’ve never seen it. It happens to be one that requires that the flyer have a legit center oversplit (among other things), so probably there are a lot of people who can’t do it. Bony impingement is real, it’s just not something that I experience.
Anyway, the sequence involves moving from this:
…via returning to a standard vertical candlestick, then opening to a straddle and rolling down onto the base’s feet, and then rotating your legs back and around into the position above (the arms also have to do a thing, obviously).
The same basic end could be approached by moving from the vertical candlestick into a pike candlestick and lowering both legs down that way, but I don’t think it would look anywhere near as cool.
Annoyingly, when I snagged these screenshots, I completely failed to get one of the straddle transition. At the time, I think I was like, “A still photo of this isn’t going to impart any useful information.”
Anyway, you really have to have a perfectly flat straddle for this particular sequence so you don’t just rip your legs off, because your hips take a lot of your weight in the middle of the transition. Basically, if lying face down in a center split feels stretchy, this isn’t the sequence for you.
You also kind of need really good turnout in order to do the rotation bit.
The fact that D literally cannot straighten his legs in an L-base also means that I kind of drop myself onto his feet. Eventually, I’ll reach a point at which I can do a complete smooth rolldown whilst upside-down in a full center split, which will make things a little easier, but right now there’s a gap between the end of my smooth rolldown and the end of Denis’ range of motion (because my core strength is still only pretty good, and not completely awesome).
I wanted to use a sort of grand rond de jambe as an exit, but that also takes more adductor power than D has right now. If I bring my downstage leg to second, then rond it over, the force makes his right leg (which supports my left hip) shift, and I fall off 😀
We’ll get it eventually, but not in the next two weeks.
So there’s that.
Anyway, classes were good-ish yesterday and today.
Yesterday’s, in fact, was fairly lovely. Today’s was our first Advanced Class with JAB (OMG, his initials are seriously JAB!!! XD), who really does actually give an advanced Advanced Class.
On the upside, I’m finally (FINALLLLLYYYYYY) jumping again for real: grand allegro and everything. Cabrioles with turny bits, even (though I think I kept turning them into some kind of cabriole-scissor hybrid and landing on the wrong leg).
On the other hand, possibly because I went to a party last night and didn’t get to sleep ’til almost 4 AM (and then had to wake up and eat a sandwich, which was surreal because I was still pretty tipsy and more than half asleep), my brain was for the birds today.
I struggled because there were gaps in my recall of Every. Single. Combination. once we left the barre. The bits that came off, though, mostly went pretty well (except for a weird disaster in adagio during which I basically fell off my leg and then couldn’t get back on because gravity is the worst thing sometimes).
I also hit up a new class at Suspend, which is basically floorwork for acro.
You already know how much I love floorwork, soooooo…
Anyway, we got to break out our improv for the last 10 minutes of class, which resulting in some video that’s party really cool and partly like WHY DO YOU KEEP NOT COMPLETING THE MOVEMENTS WITH YOUR ARMS, WHAT IS WRONG WITH YOU.
But, anyway, here are a few nice shots from this morning’s video, just because I like them:
Also, I feel like in the arch picture, my butt looks like a couple of angry badgers having a fight. Muscular angry badgers, though.
The tape, by the way, is just there because a tree stabbed me in the foot yesterday
Anyway, I was being annoyed with myself for not making the effort to do quadruple turns today, and then realized that I’ve somehow, like, sideswiped my ballet goals without realizing it. Like, basically, I’ve made a significant dent in them and didn’t even notice.
Basically, one of my major goals for this year was to nail down reliable triples and unreliable quadruples, basically. And, bizarrely, I have achieved that goal. I had this weird epiphany on the way home from class yesterday: I realized that, like, a year ago or so, even doing one little triple turn more or less by accident was the most amazing thing ever.
And now I’m like, “Meh, triples, yawn,” when I don’t try for quads.
So, basically, I need to pause and appreciate how much progress I have made.
For what it’s worth, I’ve also got turns in second sorted. They’re not always beautiful (or, let’s be honest, even pretty), but I can always do them. Just not always sixteen of them.
So, yeah. There you go. I feel like I’m “back,” more or less, right now.
Of course, Choose Your Own Intensive begins Monday, soooo… . . .
It’s longish, but pretty cool.
Opening night went well!
Too tired to write more, though 😛
Or, erm, pre-reviewed?
Anyway, you can read it here!
This has been a rough week for the show in a few ways (a serious illness, injuries, automotive shenanigans), so it’s heartening to see such a thoughtful and positive first look from of our local theater critics!
We threw a little viewing party last night, and I finally watched our video from Spring Collection.
There were a few WTF moments and a few really beautiful moments. On the balance, the rest was okay, especially given our highly-compressed rehearsal schedule. I’d say that analysis applies both to the entire group to me individually. It’s worth noting that essentially everyone’s WTF moments happened at different times, and the overall effect was surprisingly polished.
For my part, I was at my worst right of the gate: I came in too hot, and you can definitely tell. The first sauté arabesque turned into a bad saut de chat, and while the sauté arabesque that leads off the “arrow” was nice, I failed to failli through and the landing was fugly. Like, I started to relax the working leg to tombé onto it, then just didn’t even really bring it through. Eh.
I was at my most mind-bendingly mediocre in the tombé-coupé-balloné-sus sous part, during which my legs looked beautiful but my arms were way too far back and my shoulders creeped up. I didn’t know about the giant hat yet, then. The average of these two things —beautiful legs and feet, bad arms —is a flavor of mediocrity that must be highly specific to dancers who, as kids, weren’t into being beautiful and lyrical, but instead wanted to master the explosive jumps.
I will say, though, that your average person-in-the-street would not be able to pinpoint what, exactly, I was doing wrong. They might spot that something looked a little off—might even say, “The boy looks tense.” They’d be right, really: I was tense. That’s why my shoulders and arms were so weird. I was convinced that I was going to eat Marley at any moment, since that part follows on the tail of the part in which I threw a shoe.
Meanwhile, your entry-level balletomane would be able to identify the problem precisely—but that’s neither here nor there.
I was at my best, meanwhile, throughout the Homage to Apollo/Balanchine Noodle Experiment segment, in which I suddenly turn into this lovely danseur who seems to know what he’s about. I—who once despaired of every figuring out what to do with my arms at all, ever—do these beautiful, lyrical, expressive things with my arms whilst partnering four girls who, for their part, also look lovely.
The turn afterwards morphed into a kind of really high, lovely rond en tournant thing. According to D, if you don’t know that’s not what’s supposed to happen, it looks quite nice, though the finish was iffy—I gave it too much force and had trouble checking my momentum >.< I basically prepared for a normal turn in second, but gave it enough force to launch a rocket and, for some reason, brushed my leg up way, way too high.
The Apollo jump, meanwhile, was higher than I thought (which makes me wonder how high it would have been if I hadn’t been paranoid about missing shoe situation) and acceptable. Not brilliant, but technically sound, and nice enough.
At the very end of the dance, I think I looked a tiny bit lost, though that may be because I kept, for some reason, turning my head too far in these bits that should have in profile. The movements, though, were nice enough.
There’s a lot of improvement over last year’s video from Lexington: like, I can watch this one without wanting to crawl under a rock. The biggest difference is that I carry my arms and upper body so, so much better. I don’t keep dropping my arms and desperately searching the middle distance for … something.
- The fact that I didn’t run myself into the ground in the dress rehearsal probably helped, there.
In the Spring Collection video, there’s only one spot in which I did entirely dropped my arms, and it’s because I had to shimmy through a traffic jam on the way from the tombé-coupé-balloné-sus sous bit to the Changing of the Trains bit. I mostly managed to stay one step ahead of the weird things that inevitably happen onstage, but not that thing.
As a performer, I’m learning to adjust on the fly the same way that you do in the pack in a bike race. I think I’ve come a long way this year.
That said, I still have bad days and bad classes. Today was one. I’m having a wicked bout of body-image issues right now. I didn’t stretch after rehearsal yesterday, and I felt it all through class. I couldn’t get my brain to engage. I felt like I couldn’t move or engage all the things or maintain placement.
In the other hand, I got through little jumps and the first petit allegro without any major complaints from my foot.
In the long run, I’ve at this long enough now to know the taste of a plain old bad day. Although there’s a small part of me that’s loudly freaking out (you know the drill: worst dancer ever, no business dancing, etc), the rest of me is basically like, “Calm down, Felicia.”
Like: it wasn’t a wolf last time, it isn’t a wolf this time, so keep yelling if you want to, but we’re gonna get back to herding our sheep over here.
This week, we’ve got a bunch of late rehearsals; we’re basically running the show until we can do it our sleep (ah, tech week). Orpheus opens on Friday, runs for three shows, and I’ll be down to one performance to rehearse for the time being.
Then it’s on to summer, as unbelievable as that is.
PS: if we get permission to post the ballet video somewhere and everyone’s okay with it, I’ll stick a link out here.
You guys! We have graphics (stolen from the Facebook event) and everything!
…Here’s a plain text linky, too:
In other news, D and I started working on our PlayThink piece this weekend. I might have forgotten that he’s not accustomed to basing fish-hooks with danseurs who got dat grand allegro booty. I kept discombobulating him and, as such, he kept dropping me :O
Regardless, we got the first two verses sketched out. I just need to resurrect the ballet choreography from whatever room corner of my mental Dance Attic it’s crammed into.
I promise that this act is all kinds of silly and definitely not knock-you-on-the-head-political like “Fade to White.” Instead, it’s fun and light-hearted, and if you’re in the area you should to PlayThink and see it.
But mostly you should to PlayThink because it’s like everything you secretly hoped adulthood be like when you were 5, and that’s amazing.
In my head, I don’t necessarily choreograph for myself, but in reality, I often choreograph on myself.
As an artist, you kind of tend to work with the materials at hand—and as a dancer, the materials at hand are, more often than not, you.
Even if you have access to an entire dance company, they eventually get hungry and tired and cranky and want to go home: so, at the end of the day, at least 33% of the time (assuming the normal “8 hours for work, 8 hours for rest, 8 hours for what you will,” which is admittedly a really bold assumption, given that apparently even semi-professional dancers have completely insane schedules) it’s just you(1,2).
- And your kitchen, or possibly your living room, or maybe (if you’re lucky) the spare bedroom in which you’ve opted for an inflatable bed over a regular guest bed so you’ll have room to dance. As LF said once, “I suspect that my dances are basically always shaped more or less like my living room.”
- Possibly also your cat. Cats love to help with things like yoga and modern dance, especially if there’s floorwork. They’re generally more ambivalent about ballet. Thus, if you’re a Crazy Cat Person, I highly recommend choosing ballet as your choreographic discipline. Extra points if you actually succeed in training your cats to dance the corps parts. Mine only does floorwork. His primary and secondary curves, though? Legit.
Likewise, when you put your work out there as someone who’s just starting out in choreography, chances are good that you’re also going to find yourself performing it.
As it turns out, that’s surprisingly weird.
I’m sure I’ve mentioned my greatest asset as a performer: that wild (if momentary) overconfidence that makes me unafraid to get up in front of an audience and
make a complete ass out of myself dance like nobody’s watching. To be honest, that same wild overconfidence is one of my greatest assets, period: I have no fear of public speaking, for example, and I come off pretty well in job interviews as long as I’m prepared(2).
- The same can’t be said for ordinary conversations: they always veer off into unexpected territory, which makes it bleeding hard to study for them. If everyone would just stop going off script all the time, I’d be fine.
This weekend I discovered that my Magical Wild Overconfidence does not extend to performing my own choreography.
The nice part about being the choreographer is that when performance time rolls around, you can always just shut your eyes or spend the whole performance locked in a stall in the restroom, then slap yourself across the face a couple of times and come out looking fresh and rosy if and when you’re called upon to take a bow.
If you’re both the choreographer and one of the dancers, however, you lose that luxury. You have to go out there and do the thing, even if at the last minute you realize that the thing in question is terrible and that you’ve done something completely stupid with that entire passage from 01:34 – 2:39 (MORE THAN A MINUTE OF ABJECT STUPIDITY!!! OH G-D)(4).
- Don’t worry. This is not, in fact, an actual example from my own life. There are a couple of moments in which I wish I’d made different decisions because our rehearsal floor and our performance space were shaped just differently enough to turn circles into narrow lozenges, which sometimes made things weird momentarily, but nothing was that bad for that long.
Anyway, it seems that, when I’m performing my own choreography, I worry no more than usual about how well I’ll dance. The trajectory of my ability as a dancer seems to be pretty steadily upward, and I know what kind of mistakes I tend to make and how to counteract them (and that I do so with increasing success every time I learn a new piece).
Instead, impostor syndrome rears its ugly head and reminds me that, as a choreographer, I have no idea what I’m doing. And no qualifications. Like, none whatsoever(5).
- Except, you know, a lifetime of watching dance, something like ten years of actually dancing, and the fact that someone who has seen my choreographic ideas invited me to choreograph this piece. But, honestly, that doesn’t feel like much.
So, basically, part of me is like, “Here’s this idea, I hope you guys like it, please don’t throw rotten tomatoes if it’s terrible because I really can’t afford the cleaning bill.”
None of this was, in any way, ameliorated by the fact that I invited BW and his boyfriend to come and see my choreographic debut, heh. I also conveniently managed to acquire a nasty cold of some sort that cropped up around Thursday and was at its worst on Sunday morning, which didn’t help me feel any more secure.
As such, I was in fact hella nervous on Saturday evening: but we got through it and nobody died, and in truth I think it went pretty well.
Anyway, the “official” video’s up, and I got to see it today. It’s not public yet, as not everyone has chimed in with permission to make it so, but I don’t think that’ll be a problem.
It looks better than it felt, which is comforting. I felt like I was way ahead and screwing everything up the whole time. In fact, in the video, I’m mostly on point timing-wise (including the little bits that fall into a brief canon), not as awkward as I felt by half, and only the off-kilter extension a la seconde early on looks particularly meh. That was the cold’s doing, as it affected my balance.
There are a couple of moments in which I clearly didn’t think about what to do with my arms during a transition. If I get a chance to stage this dance again, I’ll program something in to fix that.
This is one of the challenges in working in a stream of dance other than ballet: you have to think about all that stuff. In ballet—particularly classical ballet—what you do with your arms is largely a foregone conclusion. The technique offers only so many options, and “forget to use your arms entirely” is essentially never one of them.
There are also some spaces that feel kind of blank: like, the action in this dance happens in flurries, and I don’t know that I’ve joined those flurries together terribly well. Those are things I’ll revisit somewhere down the line.
In the end, nobody died, and my piece was rather delightfully well-received. As a first effort, I’m pretty happy with it. The human origami bits (which, sadly, didn’t work as smoothly on the mats as they did on the dance floor) are my favorite parts, and I suspect that sort of thing will appear in my future efforts.
I don’t know if performing my own choreography will get any less weird as time goes by. I guess I’ll find out!
I feel like it might be less weird if the piece in question was strictly a ballet piece, because I feel more at home in the medium of ballet.
Obviously, all my thoughts on this aren’t terribly well organized.
I am, at least, getting over the cold now, which is good (although at yesterday’s rehearsal, our script-writer described my voice as “Totally Metal!” which was kind of awesome in its own way :D).
…And, of course, I’m already thinking about the Next Big Thing—which, in this case, Orpheus (not my choreography, but I’m dancing all the things), followed by PlayThink, where I’m performing a ballet-and-acro piece with Denis. Can’t wait!
Tiny update: just looked at a video of the second dance we’ve learned for Orpheus, and holy cow, it looks really amazing already! Can’t share that one because Orpheus is still in rehearsals, but I’m stoked.
Our performance last night rocked the house. We legitimately got an ovation of stunning enthusiasm, which melted my heart and went on after the curtain came down and made us hug each-other as we scurried off the stage.
That was great.
We were all together, the choreography worked, I hit the turns and the jumps, and the partnering bits were on point.
But the thing that made me proud of myself, be honest, is that I danced 3/4s of our piece in just one shoe and almost nobody noticed. One my friends who’s in theater noticed that I only had one shoe and thought it was intentional 😀
The shoe started peeling off almost immediately, and within the first minute was barely hanging on by the toe. It would definitely have come off in the next bit and potentially tripped someone, so I neatly flicked it into the wings on the upstage-right leg of a running figure eight and just went on without it.
Since it was the right shoe, this made The Apollo jump—which in this dance lifts off from and initially lands on the right foot—a bit alarming, because shiny tights are hella slippery. I did it anyway, a more cautiously than I wanted, but evidently it still looked good.
Anyway, all the girls were amazing, and I can’t wait to dance with them again.
I also can’t wait see the video. I’ve seen a 20-second pirate clip that looked pretty great!
That’s it for now. I had class and a 2 hour rehearsal today, so I’m ready for some R&R.
Tomorrow is a day off, and maybe even Tuesday 😉 We’ll see how it goes.
Coda: Apparently the faculty was very much impressed by how well we mastered quite a complicated dance in very little time.
I’m just exploding with joy it, still.
It’s 9:34 on a Saturday, which means that usually I’d be in the midst of being slowly fondu-ed to death in the interest Of Art.
Instead, I’m loafing in bed, reading the Internet, and generally being as lazy as is humanly possible.
A bunch of us who are who normally take the 9 AM advanced class on Saturday but who are dancing tonight decided to opt for 12:30 class instead. That way we’ll likely be on form, but not cooked, and there won’t be 10 hours between class and our performance.
I still woke up at 8 AM, and as such in disappointed in myself for failing to take full advantage the situation and sleep in properly, but what can you do? The cat and my bladder conspired against me, but I got a decent night’s sleep regardless.
There’s this terrible paradox about days like this one; to short-run performances. We’re performing exactly once, and I’m terribly excited about it, so I simultaneously want it to time to go and also want to savor every second of this day.
I suppose this is a good time for a of literal Zen: à le “Present moment, only moment.”
The moment of the performance will come either way.
Right now I can enjoy reading, resting, my husband, and our cat (who is being maddened by the sounds of birds visiting our roofline).
All things in moderation, then: including laziness.