Our run of Orpheus went well—it wasn’t 100% perfect, but it was close enough. Our audiences didn’t know it wasn’t perfect, and that’s all that matters. We got another really nice review, as well.
Surprisingly, Mom loved it! I wasn’t sure what she’d think, to be honest. She’s been an avid fan of the performing arts for far longer than I’ve even been alive. I wasn’t sure that the combination of silent theater, aerials, and modern dance would appeal to her. In fact, she thought it was great (and not just the parts I in :D). I don’t think I would have predicted that!
For me, there was definitely a trial-by-fire element. I’ve never had so much choreography to learn for one show, and we had such an oddly compressed rehearsal schedule. On Wednesday, we were still pretty shaky about some things; full of challenging doubts. On Thursday, though, everything seemed to suddenly gel. I guess that dancers, like beans, cook faster in a pressure cooker!
Anyway, it was a learning experience in all regards, and a good one. Nobody ever did call or email to tell me they’d cast me by mistake, so that was cool. Our playwright said that my portrayal of Eurydice’s strict, mean father (we nicknamed the role “Papa Eurydice”) was one of his very favorite parts 😀 (That was one heck of a fun role, too.) I discovered that I like the acting bits almost as much as the dancing bits, and the I love the acting-via-dance element like crazy.
I learned that two shows in one day is very doable.
I learned that I look rather good in a slick 1920’s coiffure 😉
The most important thing that I learned, though, is that I can recover from mistakes without telegraphing them. I only made a few (basically, one biggie per show), but they felt enormous—like, at one point, I wound up way off my mark before a sequence en manège, basically standing at 5:00 instead of 7:00. I still have no idea how that happened, but it did.
In a way, it was funny: I rose from a floorwork passage and thought, “Something feels wrong, here.” By the time I realized that I was way off my mark, though, it was too late to move. Instead, I jumped into the manège sequence where I was, then adjusted by pivoting around another dancer at the end so I would wind up in the right spot. She also tried to adjust, and we bumped into each-other, but we made it. The audience didn’t even notice.
This week, I think I’m going to take it easy a bit. I’m taking a day off-ish today, though I think I’ll be back in class tomorrow. Friday, we’re heading out of town to celebrate our 5th anniversary.
Speaking of which, D gave me a mind-blowing anniversary gift:
The amount planning and subterfuge that went into this is incomprehensible! On the other hand, if I ever need a team of aerialist secret agents who can keep a secret, I know who call! More or less everyone was in on this, and planning phase dates back to January; maybe earlier.
Meanwhile, I had literally no idea this in the works!
It’s longish, but pretty cool.
Opening night went well!
Too tired to write more, though 😛
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.