Category Archives: rehearsals
My schedule has officially gone plaid again, so I’ll probably be brief for the next couple of weeks.
We’re in the theater next week, and with a little good grace from the Powers That Be, our piece will be lovely.
Here’s my epic developpé near the end:
… And here’s what happens when I wind up too close to the column right next to BG:
In other news, I thought I would hate having to wear jazz pants, but actually I kinda like these ones?
It’s super easy!
Just get yourself a nice case of food poisoning or a really aggressive gastrointestinal bug. If you can arrange for it to take hold around the time you go to bed, all the better–by the time you wake up and find that you can’t even keep liquids down, you’ll already have gone hours without eating or drinking!
Don’t worry. I do not, by any means, intend this as actual advice.
I was just really startled when I stepped onto the scale today and discovered that the roughly sixteen hours that I could neither eat nor drink yesterday–that is, the sixteen hours that it took me to remember that I had some really effective anti-nausea meds on hand–coupled with the profoundly minimal amount I have eaten and drunk since then has added up to a literal five pound drop in my weight.
Obviously, most of that’s water weight. That doesn’t make it any less startling as a demonstration, though. Dehydration is for reals.
Also, the wicked dehydration headache (unless the headache is part of whatever led to the, erm, gastrological pyrotechnics) is, you know, kind of 0/10 Do Not Recommend.
Fortunately, between the Ondansetron and my immune system having time to work on whatever this is, I’ve now regained the ability to drink and to eat dry, crunchy stuff like saltines (I’m still afraid to try anything else, thus far, though I literally had a very involved dream about chocolate milk).
I did grit my way through my endocrinology appointment yesterday (though I was very, very grateful for the single-user restroom, and was profoundly nauseated on the way home). Based on my previous labs, Dr. P prescribed a moderate dose of Androgel, which is kind of what I was hoping for. It should prevent the overdosing thing that happened last time I tried HRT.
I didn’t make it to either class or to rehearsal, and I find it absolutely hilarious that earlier in the day I imagined I actually would, somehow, at least make rehearsal. In fact, during the time that I would’ve been at evening class and rehearsal, I was asleep (though I was pretending to listen to podcasts).
I was particularly sad to miss this session, as KW from the company–AKA my Ballet Spirit Guide, since I inherited his tights last year–came in to teach class and do some cleaning and polishing of The Piece.
I hope the girls were okay without me.
Except possibly for the bits with C, I think it’s not too hard for them to mark through the partnered sections.
Meanwhile, I’m not usually very important to their spacing, while their spacing is critical to my ability to do my part. I’m forever running through flocks of girls in this piece, so if their spacing is off, it starts to look a bit like sportsball-sans-ball.
Anyway, while this was certainly the second-worst gastrological upset I’ve had (the worst, bar none, was the time I ate some bad shrimp when I was eighteen), I realized yesterday whilst contemplating my fate at the foot of the porcelain throne that it’s actually been quite a while since anything made me puke.
Also, despite being fairly dehydrated, my resting pulse yesterday clocked in at 53, which is pretty nice, and my blood pressure was 100/60, which is about typical for me. I figured my vital stats would be all over the place, but they were fine.
So that’s it for now. I’m planning to attempt to eat some yoghurt, after which I’ll probably resume “listening to podcasts,” also known as sleeping. BW’s class is cancelled tonight, conveniently for me, so I feel no great pressure to attempt ballet heroics.
We got the first 30 or 40 seconds of our dance last night.
I like it—it’s completely different in feel from last year’s, very Tango-influenced, rather than neoclassical. Both TS and I are videoing everything from different vantage points, so I was able to see that I dumped my shoulders and core on this wee en dedans turn with the working foot just brushing the ground. It’ll be better next week!
On the whole, though, rehearsal was good. There are 13 of us thus far, and I’m still the Onliest Boy.
I also had a good night in class. Beginner 1 is right before rehearsal, so we arrive in masse and take B1, which means some of us might be a wee bit intimidating to some of the B1 regulars. Still, I enjoy B1, because I don’t have to think about any of the steps at all ever, so I can concentrate on dancing beautifully instead.
Today I hooked up with my friend CP, who is a photographer, to get some headshots and dance photos done. We shot outside, which was interesting: the temperature was okay, but the ground was damp, uneven in places, and (of course) hard, so adjusting was challenging at times.
I got to see the on-camera previews of a few shots (CP shoots on a DSLR), and some were really cool.
One of my favorites, though, is a mostly-beautiful pas de chat Italien with ridiculously effort face. It’s hilarious and honestly pretty cute. (In related news, TIL that executing pas de chats from a standstill often evokes effort face!)
I’m looking forward to seeing the finished pix. They should be pretty cool.
I also snagged a few pix to update my Topless Boys Live! series (even though I don’t go back to Modern ’til next week).
So, there you have it.
I’m at that phase, fitness-wise, in which one says to non-dancers, “I’m still pretty out of shape right now,” and they give you this look:
But dancers will understand, probably.
I’m back from the Desert now, and catching up on life. Today was my first full day home, and I hit it hard—did a bunch of administrative life stuff, then booked it out to a 3-hour rehearsal.
Speaking of which, now that my name’s on the official cast list (or, as Autocorrupt suggests, “the official cat list”) I feel like I can stop being silent about one thing, anyway!
I’m seriously stoked about the fact that we’re performing in the Bomhard, which is one of my two favorite local theaters.
Sadly, I missed our headshot shoot (it got moved), so my headshot won’t be in the program, but it’ll be on the website. I’m performing on hammock in this show, in addition to other things, which is pretty exciting. It’s like silks for trapeze people 😀 There will, of course, also be dancing.
Rehearsal today went really well. I’m excited about working with this cat … I mean, cast … and I’m rather a fan of our AD.
That’s it for now. Insanely busy week this week, and next week will be huge if Irma doesn’t completely destroy Fort Lauderdale.
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… . . .
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.
Here’s how I memorize ballet:
- The Mark: Okay. Okay. Oh, crap! Wait, what? Okay. Maybe this? Okay. And okay!
- The First Run:Okay. Okay. Okay. Wait, what? Okay. Maybe this? Okay. And okay!
- The Second Run: Okay. Okay. Okay. Wait, what? Okay. Okay. Okay. And okay!
- The Third Run: Like a Boss, Like a Boss, Like a Boss, Like a Boss, etc.
- Next Rehearsal:Like a Boss, Like a Boss, Like a Boss, Like a Boss, etc.
Here’s how I memorize modern*:
- The Mark: WTF, even how, but what, can I just-, where do I, how do I, what do I, WTF
- The First Run: okay, even how, but what, can I just-, where do I, okay, what do I, WTF
- The Second Run: WTF, okay, but what, can I just-, okay, how do I, what do I, okay
- The Third Run: okay, okay, can I just-, where do I, okay, what do I, okay
- The Next Rehearsal: okay, okay, okay, where do I, okay, what do I, okay
- The Rehearsal After That: “Are we sure we learned this dance already?”
Modern: the struggle is real.
(Also: Autocorrect: the struggle Isreal.)
*Okay, so I’ll own up to a little hyperbole, here.
Modern today felt good. It was just me, and LF gave me a cool visualization thing to start with. We did lots of floor work and work with using weight and the head-tail connection to move through space. Very cool stuff.
At first my legs were like, “NO. NO, NO, NO. Nope. Screw you, buddy.” I’m experiencing the kind of achy, fatiguey weirdness that I have when my hormone levels are more out of whack than usual (read: when I’m essentially running on empty), which probably explains it. Seeing an endocrinologist is definitely in the plans for … meh, some time this year.
That said, the legs got over themselves by the of class, and I feel it was a good class overall. I finally admitted to LF that I get stressed out about remembering modern choreography, and she told me not to worry so much about it. On the last run of our final combination, I didn’t. Oddly enough, I remembered way more of it than I thought I would.
Dance Team was awesome today. They did some really good and really original work, and AS and I were really impressed. My own rehearsal also went well.
Ballet with BW was partly a private class—one of the owners of studio was with us much of the time, but had to pop out now and then to take care of admin things. Such is running a business!
Class was very intense—in a good way, as always. Interestingly, I got the exact same physical correction from BW tonight that Killer B me yesterday (or, well, one of them…). Obviously, my shoulders, neck, and chest are a hotbed of ballet problems right now.
I’ve realized that, too some extent, this grows out of a deeply internal focus. When I’m working hard, I to draw into myself mentally—and, it would seem, physically. I’m working on it, though!
Curiously, though, my legs had overcome the morning’s meh-ness … which is good, because I would have died of the rond de jambe combination alone, never mind the fondu and the grand battement, if my legs had continued to suck. The fondu/adagio, in particular, was challenging: slow fondu, slow relevé, slow fondu, extend avant then fondu attitude, hold forever, extend, sus-sous, continue pattern inside leg back, etc. The pace was what made it hard—it’s that combination of precision, restrained power, and grace that makes your blood boil at adagio tempo.
Speaking of grand battement, I realized that I haven’t been leading with the heel when closing from the back. It starts that way, then gets lazy in the last inch or two, which is no good. It makes for a lazy fifth and, over the course of the combination, works the supporting leg loose. I mentioned that to BW, and he gave me an extra set to the back only (though still finishing with plié-passé-attitude devant) to sort it.
We also did the dreaded Kneewhacker Turns, which went better than usual. Interestingly, I did whack my knee quite resoundingly once. It didn’t particularly hurt, but startled the heck out of me. I didn’t do it again, that’s for sure 😀 And, in fact, The Kneewhacker Turns that followed were whack-free.
At center we tendued (with turns) and then drilled double turns from fourth and second. BW had many thoughts my turns, all of which tie into problems I’ve been attempting to solve. My spot wasn’t as slow as it was the other day, except when I was being afraid of the Kneewhacker.
I called it a night after a nice waltzy combination across the floor. My toe had started complaining a little, so I decided to take the conservative route. Little jumps Saturday, maybe, and we’ll see how it goes from there.
After class I my fellow Bike Commuter Cabal operatives for a drink and a late supper. Ben and Jenn Folsom were in town, a rare treat for all of us. It was good to catch up with my bike peeps!
This is us with our fabulous impresario:
… And this is me goofing off my dressing room tonight:
My right hand is essentially behaving, but my left hand is like, “Um, Don Quixote? Maybe? Just a little?”
Tomorrow, WE DANCE!