Ballet Now (2018) - full transcript

Featuring New York City Ballet's Prima Ballerina Tiler Peck - the first ever woman to be asked to curate The Music Center's famed BalletNOW program - and a diverse cast of world-class ...

(orchestral music)

(projector clicking)


(pensive music)

(phone ringing)


I don't think I quite know
what I got myself into.

Yeah, I know.
So that's what's difficult.

It's like 22 dancers are gonna
get there on Wednesday

and the first rehearsal day
is Thursday,

so it's just whether or not
the dancers can get together.

I don't know,
I think maybe I'm...

trying to do too much.

Yeah, I know.

Dancing with people
that we've never danced with.

Fifteen minute rehearsals
with the orchestra.

I'm gonna have to meet
with the stage manager,

I'm gonna have to meet
with the dressing rooms.

I have to make sure
all the costumes are ready.

Fifteen different ballets,
pretty pas de deux,

two orchestra rehearsals,
physical therapists.

A list of the dancers,
a set of rentals,

getting them there.

Are you excited?

Yeah. A very big deal.

First I was kind of scared
to say yes.

New voices,
day of the show.

That piece,
really tricky.

(voice layering)

But I'm hoping...

Yeah, I know.
Supposed to be there...


And then having to dance well
on top of that.


No, the problem is is we don't
have, like, any time.

(mellow orchestral music)


Growing up,
ballet was my least favorite.

I was always trying to get out
of my ballet classes.

I'd tell my mom, "Oh, I feel
sick and I can't do ballet."

And she'd say, "Oh, okay,

well, then you can't do
your jazz classes."

Then I'd be like,
"Oh, I'm all of a sudden

feeling much better."

I mean, I'm glad she did that

'cause I never would be
where I am today.

When I was asked to curate
a show

at the Los Angeles
Music Center,

I jumped at the opportunity.

They gave me the freedom
to choose the dancers,

the pieces,

the choreographers
that I wanted to highlight.

I wanted to put together
a program that shows

that ballet isn't just
pink tights and a tutu.

Come on.

But I've never done anything
like this before,

so it's way out of
my comfort zone.

(bright music)

-My craft is all about
the stuff.


-I wanted to start
BalletNOW off

from the beginning

with a nontypical piece,

and so I'm starting it
with a duet

with Bill Irwin.

He's this extraordinary clown
and actor,

but he also is a dancer.

-I am going to get
the password for the WiFi.


-And I shall cause a stir
in the hallway.


You would never go
to a ballet evening

and see a piece with a clown
and a ballerina.

That just doesn't happen.

And that's what I thought
was so interesting

about our piece

and what I think is gonna

really make BalletNOW

something special.

I don't want to do ballet yet.

I'm doing it too early.

(making comical sounds)

This is a ballet show,
but it's not...

just a ballet show.

And this duet with Tiler,

it's about the abstract...

old baggy pants comedian

and ballerina.

It's about different kinds
of music

and movement from our genres.

-And then you always give
a little, like, thing

to your hat.

The very first day
I'd teach him phrases

and then I would try
to imitate him, you know,

to see if I could get
some of his clowning.

-Now move.

So it's kind of starting
from there

and then it finishes there.


(making comical sounds)

-Can you hold this
for one second?


Sometimes gags fit

and sometimes they're--

make you laugh
and they're good gags

but they don't--

it doesn't sit
within a story.

Could you crank me up again?


So I've been working
to really bring my shtick

to a place where it really fits
with her shtick,

and I hope it goes well.

So I am a little nervous,

but for me if I'm not nervous,

it makes me very nervous.

(Sylvan Esso, "Just Dancing")

Oh my gosh, every time.

Bill is all fun and games
until he's not.

-What are we doing?

-And since we don't have
much time

for these performances,

there was a lot of stress
happening there.



I'm gonna get it right
this time.

-I got you.

-♪ Just dancing ♪

♪ I'm fakin' it before
I even touch the skin ♪♪

-First of all,
I think that I can...

on the second one,

I think I come up too soon,

and then we have too much music.

-I don't think an evening

of ballet would be complete

without a romantic pas de deux

between a ballerina
and her partner.

So I do this,

and then if there's a way

where I can do a slower turn.

-Do you want to push off?

-Or do you want me
to give you a little...

-Well, let me see.

For this reason,
I chose "Carousel,"

and it's one of, I believe,

the most romantic pas de deux
there is.

-So, you want to just
walk through

from the beginning?

(orchestral music)

-It's the first time
the young girl

is with this very handsome man,

and she's finding love,

falling very fast,

and it's kind of scary for her,

and he's basically in control
of the whole thing.

An amazing partner has to know
your steps and his steps.

He has to know your choreography

to be able to anticipate
what you're gonna do.

And with Zach,
I can kind of do whatever,

meaning, like,
I know I can trust him.

I can really go out there
and be free and dance,

and I know he'll get me
no matter what

because he's really
in the moment with me.

Plus, he's kind of cute.


I don't often get to dance
in California,

but it's where I grew up

and it's where my family is.

So to have the performances

is a really big deal for me.

-Where's your ballet...

-Attire? and...?

-Well, I've been in them
all day.

This is the first chance
I've gotten

to be in normal clothes.

-I gotcha.

Tonight I have "Fancy Free."

Then I have, uh,
"Stars and Stripes," I think.

Hopefully that's all
I have left.

I don't--or I might not
be walking out of here.

-All right.

We'll see you later, honey.

-I love you.



-When did I know
she was good?

From the very beginning.

(piano music)

She would go to
her mother's dance studio

and watch,

and then before you knew it,

she was up doing it.

-She was like a three-year-old

in an adult body.

She just had movement

from the very, very beginning.

You just knew that
she was very different.

And the hardest thing
was knowing

that someone was that talented

and there was nothing
where we lived in Bakersfield

to let her train
and to get better.

-My daughter saw right away

that she couldn't give her

the kind of training

that she needed.

I took her to classes

in Los Angeles.

-Honestly, I spent more time
with my grandmother

than I did my mom
growing up

because I was with her
in the car.

My grandmother literally
drove me three hours

to dance and three hours back.

I'd be at dance from three
until ten at night,

and then we would drive home

four or five days a week

for six years of my life.

Now that I think about it,

I don't know how she did it.

(funky music)

-Yeah, I have clothes
to put on.

-Okay, great.

No, I'm gonna do it in this.

When I think about showing
how cool dance is,

one of the first names
that pops in my head

is Michelle Dorrance.

She's a tap genius

and I think she's elevated tap

to another, like, status



-There we go.

she has this amazing ability

to put together sounds
that you've never heard

with different forms
of dance,

and that's exactly what
our piece "123456" is.


-How you doin'?
-It's nice to meet you.

-Virgil, hi, I'm Michelle.

-Hi Michelle,
nice to meet you.

-Our piece,
it's with a hip hop dancer,

two tap dancers,
and then a ballerina,

and it's about how
we are gonna interact

with each other.

-Today I think we should just
run the structure.

-Except the things

that you'll have to practice
full out

are anything rhythmic
like clapping patterns

and things like that.

The piece is
largely collaborative.

Inside of it, every dancer
has the opportunity

to both improvise
and choreograph segments,

and then there are a few things

that I force everyone to do,

which is kind of fun.

(rhythmic clapping)

Now, if you guys can hold that,

you might be fine.

For us, it just--
hold onto it.

-Yeah, but then I have to go
the other way.

-No, we're gonna try that first.

But, yeah, that means
you're half done.

-I'm lost too.
-Yeah, I know, I know.

-I think the biggest challenge
with "123456"

is that we are the score,

we are making the music.

And so, you know,
clapping to them

is very natural,

and to me and Virgil,

I mean, we're, like,
so far lost with that.

It's, like, frightening.

-See, I, like, love clapping

and I love counter rhythms

and, like, I've never
had a problem.

The first time I did it
with Byron earlier,

it was a disaster.

So, yeah, so what you guys
have to do

is lock the hell in.

-Yeah, okay.

-When we were looking
for the hip hopper

in this piece,

we wanted somebody
who was very versatile,

and Virgil's just amazing.

He's excited to partner me

and to teach me his vocabulary.

Yeah, teach me some stuff.

-Yeah, yeah.

'Cause you're all ready
to do this.

-Yeah, that's just--
I don't know...

-I just kind of got...

-He'll do something crazy
and then I'll do it en pointe.



This type of event

shows that they're being open

to a lot of different styles
and genres of dance

and not strictly ballet.

And it's important
because it gives everyone

an opportunity to showcase
their work

and step outside their box.

-Um, try it.

One, two, three, four,
five, it's just two.

One, two, three, four, five...

The piece I helped design

the skeleton of the work

and then everyone gets
to insert

a little bit of themselves,

and then simultaneously
has to collaborate

with something they're
less comfortable with.

(rhythmic clapping)

And I think that that brings out

really interesting work.

(rhythmic clapping)

This is it right here.

-One, two, three, four,
five, six.

-Okay, uh, okay.

Is everyone--inside your head,

you feel good for tomorrow?

This is fun, yeah.

Now that we kind of started,
I'm, like, really excited.

-Oh, come on!

(mellow music)


-And then I get silence,
the thing...

-Thing, and then--yeah,
I think that seems right.

-Something like that, yeah.
-Mm-hm, okay.


The New York City Ballet,

we actually aren't
really supposed

to talk to the conductors.

kind of just wanted them

to do their thing,

and then we would just
kind of deal with the tempo.

So I've never really been
in contact

with a conductor
where he's asking me,

"Okay, what do you think
about this?"

and singing me
some of the pieces,

and letting me hear
the tempos.

So this was a first.

It's all kind of a first.

And if we can do it
really fast at the end,

-I'd really like that.
-Okay, yeah.

When the piano comes...

Um, the very, very end.



-Uh huh.


And it can keep getting faster.





(piano music)

-So I've been cueing off
at nine and seventeen,

and I'll play
the high register part right.



-That's what we mean.

In the dance world,
it's so run by men.

Most directors are male,

most choreographers
are male.

So it feels very important

to be a woman

and be in charge of this gig.

-Okay, that's great.

-Let's start from the beginning,

and just don't kill yourselves

because you guys gotta do

So just--it's a mark,
it's to be clean,

so clean arms and feet.

I think "In Creases"
was one of the first pieces

that I thought, "Okay,
this has to be on the program."

Somewhat faster, Rachel,
on your turns.

There we go.

I wanted a group ensemble

and I wanted to showcase
younger dancers

who had never really danced
this piece before

but I knew they had it
in them.


That's right.

-In our usual dancing season,

you have the full cast

for, like,
a solid chunk of time,

like, you know, three weeks,
and then you perform it.

This was kind of like

everybody learned it
on their own

and now we're coming together
for the first time full cast,

and so there's, like,
added intensity,

borderline anxiety,

like, you just kind of feel it.

Rachel, just in the solo,

all the steps are good.

Just more accent.

So when you reach,
like, reach.

I mean, développé, développé.

(imitating music)

Yeah, but, you know what I mean,

like, more with the upper body,

I definitely think

that they are feeling
a lot of pressure

but also I think
nervous energy is exciting

if it doesn't get in the way.

You can be so nervous
that you just lose it onstage

or it can bring this excitement
to the piece

that you can't get
from something

that's so well rehearsed.

Seven, eight.

One, two, three.

Okay, again.


(imitating music)

The first one's together,
the second one should--

all of you groups
should be together.

Okay, that's not happening.

-It's like this?
-It was my fault.

-I was keeping her square.

-These are roles
that I'm dancing

that I wouldn't typically dance
with the company,

and I'm in this atmosphere

of such crazy talent that...

I don't want to look like
the little kid in the back.

(tense music)

And I think everybody has
a very similar mentality.

-And one, two, three,
four, five--

See, there.
Maybe doing a little too much.

Yeah, okay,
let's try it one more time.


The sense in the room

is that everybody needs
to step up their game.

We go one, two,
three, four...

But also, I think I'm
definitely taking a huge risk

in putting "In Creases"
on the program

just because they've
never done this piece before.

Ready, five, six, seven,

and one, two, three...

I think we're gonna
pull this off.

I mean...

I hope so.

-Good afternoon,
ladies and gentlemen.

Your call is half hour.

Call is half hour.

(woman continues
talking in background)

(rhythmic clapping)

-I feel like
I have never learned that.

-Yeah, so...

(rhythmic clapping)

-So there's three at the end?

-There's two pickups.

-I always feel like
I'm a very musical ballerina,

but when I get in a room
with Michelle,

I all of a sudden feel like
I'm not musical at all...

(rhythmic clapping)

...because the way
she hears the beats

are just unlike anything
that I've ever heard.

(rhythmic clapping)


-We all have a set
of different skill sets.

(rhythmic clapping)

And I think just
getting us together

and on the same page
is gonna be the--

like, the trickiest part
of the whole piece.



(imitating rhythm)

Yeah, you know it.

You know better,
you know that.

I'm not worried,
you know that.

-What should we do?

-We should go from the top.

-Putting a piece together
in a short time for dancers,

that's normal,

but with different styles,

trying to create something
extraordinary and different,

that's something that's
unique and challenging.

(rhythmic clapping)


-One, two, three, four,
five, six.

-One, two, three, four,
five, six.


-I can't even do it.

I can't even do it here.

Let's do the beginning
one more time.

Okay, this is gross, all right.

-Yeah, I have
a half an hour right now,

and then I start...

I have three more ballets

-and then the interview.

-I think I have an interview
at some point.

I'm just gonna walk over now,
have a second,

I'll put my stuff
in my dressing room,

and then hopefully
eat something.

Do you have anything, Mom?

-They had bananas and apples
in there for you

they brought to you.

-I didn't get them.

-Nice apples.

-Do you need me to...
-No, no.

We just go over now

'cause I have to be there.

You're gonna walk with me?

-Do you want 'em?

-You really need food, right?

(soft orchestral music)

Christopher Wheeldon's
known for making

extremely hard pas de deux.

His partnering
is really difficult.

You just have to kind of
trust your partner

with everything

because if you're a little off,

you can really end up
on the floor.


There's always things
in this pas de deux

that can go wrong.

So I guess that's what's
exciting and scary

at the same time.

Like, just a little bit
upstage of the center.

(indistinct comments)

All right, now I don't even know
if I have time.

I might just have to go
straight to the rehearsal room.

What time is it?

Oh, I have 15 min--
is that right?

-No, this is fast.

-Tell me a little bit about

what were the main ideas

that were in your mind

when this was broached
to you.

-I kind of just really
made it a point

to find something
for everybody

and also kind of emphasize
the new voices of today

that I think, like,
a younger generation

is definitely
very kind of in tune with.

-So is that something
you're putting together,

you're responsible for
getting it rehearsed

and in shape?

I'm kind of responsible
for, like,

it all being rehearsed,
I think, and together.

-So also for you,
that's an example

of contemporary ballerina

going way out of her
usual comfort zone.

-Yeah, definitely.

You know,
I have a lot of ideas,

and to be able to put
something together

is really kind of just very
exciting and stressful.

I mean, I'm definitely, like,
a little nervous,

but I'm really excited.

I think we've put together
some amazing programs

that have something
for everybody.

And, um, yeah,
so we just have to hope

that everything goes well.

And we'll be up
on the fourth floor.

This is Nicole.
Have you met Bill?

-The stage manager.
-Hi Nicole.

-So she's--we're gonna give her
all the cues right now

so she can start partying.

Thanks for everything.

Okay, Nicole,
so first what happens

is the mu--wait.

Curtain comes up, yes.

-Curtain, yeah, curtain goes up.

-Curtain goes up,
'cause this is opening.

-Curtain goes up

and lights are already there,

and the music starts
and we're offstage.

"Time It Was,"
a lot of the comedic timing

is very dependent
on the orchestra.

Just the little, you know,
drum roll and the ratchet,

it has to be
just so perfectly timed.

And we have a stage manager
who doesn't know the pieces,

so we're gonna
have to go through cues,

especially the piece
with Bill and I,

there's so many.

And the metronome has to come
in, like, right on the--

you know,
we jump and when we land.


-Do you want it on the land
or on the step?

-No, on the step.

That's something that takes
a lot of rehearsal,

and we just don't really
have that time.

But hopefully
once we get onstage

with the orchestra,

then it will just kind of
all come together.


(mellow music)

We have, like,
15 minute rehearsals.

-And it's not enough time

to do the amount of ballets
that we have to do.

-Right, and if...
-And because there's

different casts...

it was like, okay,

I guess each rehearsal
gets 15 minutes.

And, you know,
the other thing is

that he will be in the audience,

he'll be at the table...

-So we can just shout at you.

-Yeah, no, yeah.

-If there's something wrong...
-You can call from the stage.

-Yeah, no, it's no problem.

So I don't actually know--

I'm curious about the history
behind this piece,

'cause I'm not very--
this is a new piece to me.


this is not the right piece.

-Time out, what?
-Is that what you've had?

-This is what Bill sent me.


-That's not our pas de deux.

Wait, am I in that?

-Are you playing bass?

-This is...

-I asked him for a video.

When I told him
I was reaching out

to the original designer,
he said,

"Oh, here's a video
that will help you

better understand the piece."

-What was he thinking?
-Yeah, I don't know.

-Maybe it was just for the look.

-Can you send it to him?

I just have to find it.

-Is there still the ukulele

and that whole,
like, musician thing?

-He gave me specific notes

on the ukulele and, like,
some kind of instrumentation.

So you should definitely talk.

-Wait, for real?
-Yeah, yeah, yeah.

(tense music)

No, that's not it at all,

it's just me and Bill.

-Well, it's good we're
talking about it then.



Was there anything that you saw

that you think that--

like "Man I Love,"
was it good?

Uh huh, yeah.

Looked really good.

How do the
(mumbles) look?

-Tell the boys to make sure
they tuck their shirts in,

because they all came out.


-You must be hungry.

You never eat
the whole sandwich.


-I just did literally
six ballets.

-I know.

Go with the flow.
Just dance.


I'm nervous that
I'm trying to do too much

and I'm just hoping that

it all doesn't
come crashing down.

I'm feeling so tight
down here,

like, it's kind of hurting
to walk.

-Okay, all right.

-I feel like
they kind of smell too.

I'm sorry,
they've been in shoes...

-Oh, I think I'm used to that.


-All right.

-Everything hurts.

My feet are hurting,

my back is hurting.

-Here. Hand under your head.

-I think I have, like,
a pulled inner thigh.

-Now let's stretch.

-I don't know
if it's the stress...

-Exhale and stretch.

-...but I feel
sick to my stomach.

-We should do that again.

-The up was really good.

-I just feel so low.

Like at the--I'm, like,
all the way down here.

-But you have to
to get my foot on the floor.

-I know, but I should be--
No, no, when I catch you.

-I think you should
be like that.

-But I'm really low.

-What I'm saying is
I'm, like, down here.

-No, I think that's right.

-Can we try it again?

-You're not Nilas's height.

That's the photo you've seen.


-Can we just try it again?


I'm sorry.

It's just because, like,

you aren't like this at all,

-I can't get--
-I'm still gonna do that.

Oh no.


Did I not get high enough?


-I don't think
you're jumping as much now.


-I need energy.
-But you're sick though,

so you get a free pass.

-Okay, let's skip that.

We did that.


I don't feel like
this is gonna be good.

(rhythmic clapping)

-One, two, three, four,
five, six.



(shrieking, laughing)

All the choreography
for "123456"

is centered around
this piece of wood

that we use to make the music
and rhythms of the dance.

That floor thing is--
I am slipping like crazy.

-I don't know what I'm gonna...

-It'll help, Slip NoMor
will change the game.

-For us too, you have to know.
-You like--for that too?

-No, for--this is like...

-I was, like,
spinning on my butt.

(rhythmic clapping)

Without some sort of coating,

this surface is like...

any dancer's worst nightmare.


-Okay, let's remember

to try Slip NoMor
for tomorrow.




-Wait, I must be two then.

Am I before you guys?

-Oh, she is.

(counting noise)

-Uh, uh, us?

-No way.
-I don't know.

-Uh, uh, you.

-We had to work through
so many complicated things

with "123456."

Fusing together
the different styles,

then getting together
the timing.

And it's just ridiculous
that the thing

that we're stuck on
is the ending,

which really isn't
that complicated.

It's literally four claps,
a turn, and a finish.

But we're really struggling
with it.


-One, two, three...
-No, no, we can't do that.

Let's go from my solo.

Five, six...

(vocalizing rhythm)



Are you okay?

You're gonna feel great.
You're gonna sleep tonight

and your stomach's
gonna feel better

and you're gonna be amazing
in everything.

-Is it gonna be amazing?
-No, yeah, totally.

-No, Tiler, you're gonna--

you're a stage beast.

-Don't stress.

If you ... up,
... up gigantic

and turn it into a solo, okay?

We're gonna get it together.

In a day.

I go off of your other leg.


It's a mess.

(indistinct chatter)

It always comes together
at the end.

Do you know that you sent
the wrong video

to the lighting guy?

-He was like--
-What'd I send?

-You sent him you,
Michelle, and Kate.

There's only just me and Bill.

There's nobody else
in our piece.

-How did I do that?

So how would that go
if we do that?

-Well, just like you were
talking about yesterday...

-So I--oh, I have the hat.

-Very in.

(soft music)

Hope I remember all of this
on the shows.

I feel like I have
so much choreography

in my head right now
that I'm like

getting them
a little mixed up.

Memory full.


-Look, I have someone
that wants to meet you.

Oh, Cali, come here.

-Her name is Alexa.

This is Tiler Peck.


Is that a Barbie?


-Can I see it?

-Does the Barbie have a name?

-The Barbie has a name?

What's the Barbie's name?


-You gave her my name?


My arm really hurts
from that lift in "Fancy,"

you know where I go over

and I have to hold on
and then go like this?

Oh my God, I feel like
it's, like,

ripping my shoulder out.

-Grandma really has a dress
she wants--

something she wants you
to see.

-Okay, I don't have time
right now.

-I have to go to rehearsal.

-Well, he said--you want
your turkey sandwich?

-I ate it already.

I ate it while I was
out there watching.

Is there a pin somewhere?


(elevator dings)

Mom, did you have one or no?

That's okay, I just need a pin.

Will somebody find a pin?

Hey, so you know before
the double turn

of the arabesque?

Can we go there
because you guys

weren't spaced correctly.

Also, the timing just seemed
a little bit off.

It's hard because "In Creases"
I'm not dancing in,

so in a way I feel like
it's out of my control.

But it's my responsibility

to show Justin Peck's

in the best light.

(piano music)

I can rehearse them

and I can try to give them notes
as best as I can,

but once they get out there,
I kind of just hope

and pray that it goes well.

But really,
once they're out there,

it's up to them.

That's good.

Okay, thank you.

Then the other thing is,
front line,

are you guys
supposed to be together?

-Yeah, that wasn't together.

Okay, let's do that.

Okay, you make sure
they're together,

and I'm gonna get
in my tutu.

-Oh, you have five minutes.

-Uh huh.
-Five minutes to tutu.

(tense music)

It's hard to describe

what she brings
to the table.

But for her to take on

the magnitude
of being the dancer,

being the curator,

assembling the dancers,

knowing who should be
doing what,

and then she'll put down
the clipboard

and run in and start dancing.

(rhythmic clapping)

It's overwhelming.



Hey girl, did you get
the "Red Angels" costumes?

Do they not fit?

-No, it's just, like,
for a child.

-Did you try any on?
-It's not going to be cute. No.

-You try that one on first.

Then I'll help you
put the jacket on

when you sit down.

Now here, which I do that
as quick as possible.

-Should we do that again?
-Yeah, let's do it.


Hi, I'm Tiler.
I don't think I met you.

-Shana, hi.

-Did you put these
in the right place?

-You have that break there.

-I think it was just to give me,
like, some lunch.

-I know.

It seemed like it was
two counts too early,

so let's just try it again.

-We're ready.


-One, two, three, four,

five, six.

Oh, sorry, guys!

(unintelligible conversation)

-Have you seen the sailors?

-Are they not here?

Does that microphone work?

Should we go over that
real fast?

Do we have, like,
one second or no?

(intense rhythmic music)

(rhythmic clapping)

Let me check the schedule.

I have, like,
a million things.

-That was better,
we'll just, like, play

when you have
those two minutes between

your 17 pas de deux.


(exhales deeply)

Cali, what are we gonna do
with 139 emails, huh?

For this thing.
What are we gonna do?


(moody ambient music)

Okay, I'm ready.

Okay, I don't know
where I'm going, though.

-She's on the party list
if she wants to come up.

I have her on the list, so...

-You got the F key?

-We're walking to this.

-Yeah, we're gonna go
across the way.

-I'll hang out with you
while you do your press round.

-Thank you.
-All right!

-All right,
shall we get started?

-You may.

-Do you want wine?

-Uh, water's good
to start with.

All right.

Smile for our camera.

(thrum of conversation)

-Gorgeous, stunning,
you're just like unbelievable.

-So continue on
with the reception,

and if you wanna talk
to Tiler personally,

she'll be wandering around.

(conversational hum)

-Great seeing you.


(flash popping)

-Thank you so much.
-Thank you!


-Clasp your hands.

-Okay, we'll get you over here.

Take a deep breath in
and roll toward me.

(Tiler breathes deeply)

That's it there.

And again, roll toward me.

Okay. Inhale.


Roll and rest.

(bright rhythmic music)

(soft piano music)

-Good, just again
from the rise.

-Tensions are really
high this morning.

Everybody feels like
we don't have enough time

to get this done.

And in the middle
of all this craziness,

Virgil comes up
with the idea

that he's gonna
teach everybody

a hip hop dance.

-So the first thing goes

one, two, and three, four...

five and six, kick seven,

eight, one, two, three.

-Yeah--one, two, three.

One of the guys asked me
if I could show him some moves.

So the next thing you know,

all the other ballet dancers
are behind me,

startin' doin' the same
hip hop dance.

I'm like, okay, we got
a big hip hop class now

with a bunch of ballet dancers.

(thumping hip hop music)

-At first I just thought
it was a huge distraction

and I thought
the dancers need to focus

on the choreography that
they're actually gonna dance.

(Future, "Wicked")

-But it honestly
couldn't have come

at a better time.

It really relaxed the dancers

and put them in
a better mind space.

Five, six, seven,
and one and two,

and three, four, five,
six, seven, eight.

One, two, three, four,
five, six, seven, eight.

Tell me how long
it's gonna be,

'cause I just have to be in
costume in 20 minutes on stage.

(indistinct PA announcement)

(overlapping conversations)

We're gonna make time.

We're gonna do
the percussion thing

one more time.

-Does he have a monitor?
-He does, yeah.

He was just saying
he'd love to do it

one more time
so it's perfect, yeah.

Good, so we're gonna do that
half-step again.


(sticks rhythmically tap rim)

-I think it's...

real short.

Like tikka-tikka-tikka.


(drumsticks rapidly tap rim)

-Yeah. That there,
that's great.


-And after the second ratchet,
when he does the head thing,

could it just be
a little "bonk"?

-I couldn't even see it.
-You couldn't see it, okay.

(ratcheting noise)

-Right here.

-So he grabs his neck
and then...

-I could give it,
I could give it.

-Okay, so here's
the ratchet.

(ratcheting noise)


(drum strike)


-Two minutes to the end
of the ballet.

Oh, oh!
She locked you out.

-Excuse me, can you hand me my
"Who Cares?" costume, please?

Mom, "Who Cares?"
the peach one.

"Who Cares?" All right.

Here you go.

-Look at--
-She's asking me if I'll--

-What is that?
-I don't know,

I just took it.

-I can't. There's
chocolate now on it.

-No, it was up there.

-I didn't put it up,
it was from up there.

Not I.

-Can I have
the actors on stage?

Tiler, if you're ready,
can you come out?

-I knew when I was
putting the schedule together

that our time constraint
was so tight.

I just wanna make sure
I get out to the front

before this starts.

(intense music)

Because I think we're
all a little, like,

"Oh my God, is this
actually gonna come together?"

Guys, the pushes
in the beginning

are still not together.

So we're gonna step six,
coupé seven, back eight,

so we're together.

Okay, whenever
you guys are ready.

(dramatic piano music)

Seven, eight...yes.

And the same time here.

One, two, three, four,
five, si--yes, much better.


(atmospheric rhythmic music)


Just be aware
where your arms are.

Open, so you're not like this.

No, it's an actual lift.

-All right, ladies and
gentlemen, we're moving on,

I need you to clear
the stage, please.

-Just make sure your arm
and your body go together.

(music intensifies)

Could we call wardrobe
to the stage?


-Grab that part.

Hey, girl, I just--

I have your headpiece
to give you for tonight.

-For this run?

For--just as long
as it's in the show,

that's all I care about.

Could we do the Slip NoMor
before this run?

-Why can't you do
Slip NoMor right now?

-Well, they're just talking
about the drying time...

-I didn't realize
they wouldn't have, like,

a call earlier today.

Because, like, when we
asked for it last night,

I thought it would be done
by the time rehearsal started.

-What time is it?

Wait, what time is it now?

Because if we put it on now,
we've got 20 minutes.

So, like, let's stop maybe
talking about it and do it?

-We can rehearse this,
like, over there,

while they're putting
Slip NoMor.

Hey, guys,
I'd love to do it now.

(music intensifies)

(door closes)

(soft, urgent music)

Hey, do you have hairspray?

-Oh my God, I was just
coming to get eyelash glue.

-I've got that.
-You do?

-I don't have hairspray, ugh!


-Hey, girl,
do you have hairspray?

What do you want me
to tell wardrobe when I call?

-I just want them to come
do my straps.

-Can I steal
your hairspray too?

Uh, it's Lauren's
that I stole.

-Wait, really?

No joke.

And Bella doesn't
have any either, so.

-Wait, what?

-Are you serious?

Okay, I'll bring it back.


(music intensifies)


(musicians rehearsing)

Got it.

-Half hour, half hour.

(murmur of conversation)

(soft, urgent music)

-Three, four, five, six,
seven, eight.

-One, two, three, four.

Three, two, three, four.

(humming to self)

(sandpaper scratching)

(indistinct conversations)

-Three, two,
three, four, five, six.

One, two, three, four,
five, six,

seven, eight.

One, two, three, four,
five, six, seven, eight.

Two, two, three, four,
five, six, seven, eight.

Three, two, three, four,
five, six, seven, eight.

-Are you guys set for places?

-All right. Places,
ladies and gentlemen.

(music builds)

(music fades)

(rhythmic tapping)


(tapping resumes)



(rhythmic tapping)


(rhythmic tapping)


(rhythmic tapping)


(rhythmic tapping)


(rhythmic tapping)


(rhythmic tapping)


(drum flourish)


(ratcheting noise)


(drum strike)


(extended drum flourish)


(rhythmic tapping)

(tapping slows, strings plucked)

(soft string music)


(rhythmic tapping)

(cheers, applause)

-I wasn't ready for you.

-I'm gonna need you
to leave, guys,

in like literally one second.

(tense music)

(door slams)

(sharp exhalation)

Oh my God.

I'm sweating profusely.

My earrings, two gold ones
to get out.

Is that crazy?

-I think you have another...

-I think I have another one next.

(serene music)

(music builds)


(dark rhythmic music)


-Okay, guys,
places, please, places.

(murmur of audience)

(strident piano music)


(applause, cheers)

-We did it!

-Oh my God.
-We did it.

(applause echoing)


(deep exhalation)

(bright rhythmic music)

Can we make noise?
Can they hear it?

-They can hear it
a little bit, it'll be fine.

-That's the part I feel
doesn't make any sound.

-Here. Hm.

(clapping, thumping floor)

-You're right.
-Switch, yeah.

-It's hard to both put it down
and support yourself.

(clapping, thumping)

-Five, everyone say "five."

-Like, say it?

-Like, out loud?

-Say "five."
-I got it.

-Do this one more time.

It was the sloppiest part.

-Yes, and I have
to put a lip on.

-And take my hair down.

And you have to change.
We're fine.

(orchestra tuning up)

(soft urgent music)

Where are my scissors?

(thumping, tapping)

Go over that thing
in the show one more time, ugh.

Oh, ...

-Ladies and gentlemen,
places, please.

Places for "123456."

Places, please, places.

-Forgive us our trespasses
as we forgive those

who trespassed against us.

Lord, we ask You
to guide our ears,

guide our bodies
to prosperity. Amen.

-Love you, B.

Love you, Tiler.
Love you, Virgil.

-Thank you guys.
-This is gonna be fun.

-I'm getting
a little emotional.

I gotta keep it together
till after the show.

-Stand by for the curtain.

(rhythmic clapping)

(rhythmic tapping, thumping)

(rhythmic clapping)


(rhythmic clapping)

(in unison) One, two, three,
four, five, six.

(rhythmic tapping)


(rhythmic clapping)

(rhythmic tapping)

(in unison)

(rhythmic clapping, tapping)

(in unison)
One, two, three,

four, five, six.

(rhythmic thumping)

(cheers, applause)

(bright, upbeat music)

(cheers, applause)

-Really, it was so good.

You guys!

-We did it, we did it,
we did it!


You guys were dancing,
it was just amazing.

You guys should be so happy.


I'm just so proud
of all the dancers.

I feel like they danced better

than I've ever seen them
dance before.

Thank you for dancing with me.

(overlapping chatter)

-So well curated.

Thank you! Thank you.

-Good job, good job.

-I thought it was so amazing.

(applause, cheers)

-BalletNOW was a gift to me
on so many levels.

(celebratory chatter)

You don't get opportunities
like this every day,

especially as a woman.

Drinks, drinks!

(chatter, glasses clinking)

-To Tiler, congrats!

-Chug, chug, chug!

-I hope this will inspire
younger audiences.

And I hope
they left the theater

with more of an appreciation
for this incredible art form.

I think that was a good show!

(Charlotte OC, "Medicine Man")

-♪ Hot in the night,
cold in the morning ♪

♪ The spirit of life
is calling my name ♪

♪ The healer inside
will pray for the lonely ♪

♪ Remember the time
you stole me away ♪

♪ You didn't know me
but once in my veins ♪

♪ You had a hold
but nothing to say ♪

♪ You got it all now,
the spirit alive

is calling my name ♪

♪ I don't know what you do
but it's making me better ♪

♪ Can we lay down,
lay down together? ♪

♪ I wanna take you like a drug,
can you take me to heaven? ♪

♪ Can you love, can we love,
can we love,

can we love forever? ♪

♪ 'Cause I want you,
I want you,

I want you, medicine man ♪

♪ Send me a sign,
send me no warning ♪

♪ I never know why
my heart's on a chain ♪

♪ You didn't know me
but once in my veins ♪

♪ You had a hold
but nothin' to say ♪

♪ You got it all now,
the spirit alive

is calling my name ♪

♪ I don't know what you do
but it's making me better ♪

♪ Can we lay down,
lay down together? ♪

♪ I wanna take you like a drug,
can you take me to heaven? ♪

♪ Can you love, can we love,
can we love,

can we love forever? ♪

♪ Why don't you,
why don't you ♪

♪ Why don't you,
medicine man ♪

♪ 'Cause I want you,
I want you ♪

♪ I want you, medicine man ♪

♪ Oh, you got me
in your loving arms ♪

♪ Oh, you got me in
your loving arms ♪

♪ I don't know what you do
but it's making me better ♪

♪ When we lay down,
lay down together ♪

♪ I wanna take you like a drug,
can you take me to heaven? ♪

♪ Can you love, can we love,
can we love,

can we love forever? ♪

♪ Why don't you,
why don't you ♪

♪ Why don't you,
medicine man ♪

♪ 'Cause I want you,
I want you ♪

♪ I want you, medicine man ♪♪

(film projector clicking)

(mellow music)

(bright music)