Dance Dreams (2020) Movie Script

["Dance of the Sugar Plum Fairy" playing]

It's gotta be perfect today.

We only have two more chances. Come on!

Come on!

Two, three, four, run, six, seven, eight.

Two, two, three, four,

five, six, seven, and one!

Where is the straight line? Guide left.

The person to your left

gets there before you. Nope!

She gets here before you,

so you got to line up to her.

Let's do it again.

All three groups, come on.

And one, two, three, four,

five, six, seven, eight.

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

Here we go, one!

Much better. Okay, okay. Are we okay?

Are y'all gonna remember

everything we did?

[kids] Yes!

-Because dancers are what?

-[kids] The smartest people on the planet.

[Debbie]

The most intelligent people in the planet,

and we remember everything, right?

[kids] Yes.

Okay. Go to makeup.

I'll see you in a minute.

[kids chattering]

-[boy] Thank you, Miss Allen.

-You're welcome, sweetie.

[sighs] Oh, God.

Okay, what's next?

["All I Want For Christmas Is You"

intro playing]

Anyone else for hair and makeup?

[female crew member]

I see why she's ended up using the…

-[Debbie] Come on, everybody here!

-[audience cheering]

[female fan]

That's Debbie Allen. She's famous!

-[Debbie] Hot Chocolate Nutcracker!

-[audience cheers]

-[females fans whoop]

-I am Debbie Allen…

-[audience cheering]

-…and I'm so ha-- Wow! Ooh!

I am so thrilled and so happy

to welcome you as our very first audience

for the Hot Chocolate Nutcracker

this year.

[audience cheering]

[kids singing]

♪ Hey, Mr. Santa Claus ♪

♪ Hey, Mister, er ♪

[solo kid 1]

♪ Only one more day ♪

♪ I wish that I could stay up late ♪

♪ Ooh, my mama says I gotta go to bed

'Cause Santa's on his way ♪

[kids vocalizing]

-[solo kid 2] ♪ I got a list so long ♪

-[kids] ♪ So long ♪

[solo kid 2]

♪ It just keeps going on and on ♪

-[kids] ♪ On and on ♪

-♪ Ooh, if he asks me if I was good ♪

-♪ I know just what to say ♪

-[kids vocalizing]

[kids] ♪ Dear Santa

I've been spreading cheer all year ♪

[female solo kid] ♪ And if you

Could grant me this one wish ♪

-[kids] ♪ One wish ♪

-♪ Then every kid could have one gift ♪

[Debbie] Shh!

I know some of you still need to learn

how to point your toes and your feet,

but none of that will come

if you don't learn

how to be quiet and listen!

Welcome to

the Hot Chocolate Nutcracker audition.

Um, I'm really happy to see you.

I see a lot of familiar faces.

I see some new faces.

I am looking for

young dancers that have life and energy

and want to be on stage,

that can become a character,

that can become a doll or a monkey

or a fairy.

So you have to think of yourself

not just as a dancer, but as an actor.

There's a lot of opportunity

for you to show me where I could use you,

and know

that I will do my best to keep you--

keep you where I think you belong.

And if you're not ready

after the end of today, don't feel bad.

Just know that you need

to train a little more. Okay?

We did so well last year,

and everyone is just waiting

for us to come back.

I'd like to introduce our ballet master,

Miss Giana Jigarhan.

-Madame Jigarhan.

-[all applauding]

And today,

she's gonna put you through some paces.

We may teach you

two different combinations,

and then Miss Eartha Robinson

is going to give you a jazz.

This is Miss McDonald, the director

of the Debbie Allen Dance Academy,

and Miss Cathie Nicholas, of course,

who's my right hand and left foot. Okay.

[Giana in Russian accent]

So let me-- Call me the names, échappé.

We'll go, one and two and three and four.

One and two.

And two, one and two, and three, and four.

So some people come

into the Hot Chocolate Nutcracker

at age four, five, and…

you know, at 12, they're still here.

They go all the way

through the dance academy,

and so some people are actually

on their seventh Hot Chocolate Nutcracker.

And then we have those first-timers.

[Debbie] Hop, hop, hop, hop.

Up, down, pivot.

There's so many people.

It was a little overwhelming. [chuckles]

There's a lot going on.

-This is my seventh time.

-This is my sixth.

Eight or nine years.

Basically half my life.

And one, two, three, four,

five, six, seven, eight.

Two, three, four, and that's it.

Will, what makes you think

you couldn't do that?

I-- I don't know.

I like-- I like teaching kids.

They drive me nuts sometimes,

and they're monsters most of the time.

[Debbie] Careful.

-Oh!

-[boy] Whoa!

-Are you auditioning?

-[instructor] Eight. Can I watch you?

-Okay.

-[girl] I just don't want to.

You don't want to?

Well, then sit down.

If you're not gonna audition,

just tell your--

I'll tell your mom, sit down.

[Giana in Russian accent]

I love what I'm doing.

And I always wanted teach children.

In a company, dancers already trained,

and they know what they doing,

but children,

you opening for them, beauty of ballet

and beauty of art,

and through that experience,

I realized they start appreciate,

um, beauty of life too.

I'm gonna keep my eye on you,

and I'll watch you in class.

If I have an opening, I'll come get you,

but now, I think you need to train more.

You just need more class.

-It hurts my feelings too.

-[crying] I love you.

[Debbie] I'm very happy.

You all did so great. Thank you very much.

-Say, "Thank you, Miss Allen!"

-[kids] Thank you, Miss Allen!

I'll see you tomorrow, one o'clock. Go!

-[clapping]

-[kids chattering]

[Debbie] As a young girl,

The Nutcracker was so important to me.

I was in the flower land.

We sang the…

♪ Welcome to flower land ♪

♪ What tidings have you to bring us? ♪

♪ Ta da da da da da da da da ♪

["Waltz of the Flowers" playing]

"The Sugar Plum Fairy"

was always my dream.

I love "The Sugar Plum," that music.

["Dance of the Sugar Plum Fairy" playing]

[Giana] The original Nutcracker,

Tchaikovsky create the music,

and, uh, Petipa, French choreographer,

he create a libretto for ballet.

First, The Nutcracker was performed

in, uh, Saint Petersburg,

in the Mariinsky Theatre in 1892.

Critics didn't like that,

but public got crazy.

[applauding]

The Nutcracker brand and name

is just so familiar to people,

and then our twist

is the Hot Chocolate Nutcracker.

If you go to see New York City Ballet,

they have adults

performing all the principal parts,

with kids that would just get up

and run across the stage, sit on a tree.

But our Nutcracker,

although we have

professionals and teachers

playing some of the roles,

the kids are the stars.

[Debbie] As a young child, I wanted to be

a Black fairy queen flying in the air.

I never saw any of that

when I was growing up,

but I still knew I wanted to be that.

[classical music playing softly]

[audience murmurs]

[Debbie] There had been a couple

of different Chocolate Nutcrackers

all over the country,

but I decided

to take it on and make it fun

and have a cultural identity of music

that was not tied to Tchaikovsky.

[hip-hop music playing]

[Debbie] So the Hot Chocolate Nutcracker

takes us on a journey

to real and imagined lands,

all done with different styles

of dance and music.

[percussive music playing]

[flamenco music playing]

In "Flamenco Fire," I am a roach.

-Yeah, we're fairies. We're Egyptians.

-"Egypt." [laughs]

We're "Bollywood."

I do "China."

I'm in "Birdland." I'm in the party scene.

Anything with a guy in it,

I'm in it basically.

I'm playing the Hot Chocolate Nutcracker,

or you can just call me "HC."

I'm a spider in the rain forest.

[Debbie] In October, we start rehearsing.

Oh, my goodness.

Shh!

You guys have to do your job.

Your job is to come to rehearsal…

prepared.

You also have to be responsible

at home too.

Miss Allen doesn't play.

You guys have to be role models.

You have to be model citizens

at home, at school.

Is there anybody in here that's three?

No.

-Good. Put your hand down!

-[giggles]

[Cathie]

Is there anybody in here that's four?

Four years old.

Come here.

Good girl. Come on.

Shh! Quiet!

Are there any five-year-olds?

Come on down.

Shh! Hey!

[whispering] Yes, come on.

Spread out. We're gonna be on this line.

Spread out, face the front.

Are you five for real?

You're tall.

Come on.

[Debbie] You need to practice.

You're not gonna get there,

switching and going around to the mall

and being cute in heels.

Take those high heels off

and get down on the floor and stretch.

[woman] Debbie expects a lot

of greatness out of these kids

just on every level,

not just one thing, but just everything,

and so, in the world…

things are not easy.

Even in this dance floor.

When they come across this floor,

some will fall,

but if you don't fall at least once a day,

you ain't reachin'.

I need a tilt that goes into six o'clock.

Trust me.

That's what they're gonna see

when you leave DADA.

They don't love you like I do.

I met Debbie when I was 16,

about ten years ago.

[laughing]

["Fame" playing]

So, I did Fame with Debbie.

You've got big dreams.

You want fame?

Well, fame costs,

and right here is where

you start paying with sweat.

She's the same right now.

It's absolutely brilliant.

I would never walk into a rehearsal

without stretching and doing my tendus

and having my legs ready

and being ready to go.

It ain't gonna happen.

You won't get to the next level.

I'm trying to help you.

Okay, if I'm kicking your ass,

it's 'cause I care. Okay?

[woman] My mama?

Tough.

She's tough.

[laughing]

Effervescent, the most talented,

a mother truly to all.

♪ Fame! I'm gonna live… ♪

[Vivian] She's a groundbreaker.

I mean, this woman

has choreographed the Oscars ten times.

♪ High! ♪

♪ I feel it comin' together ♪

♪ People will see me and cry ♪

Did I ever think I'd be here

on this big lot,

a producer, a director, a star,

a choreographer, a mother?

Absolutely!

♪ Fame! I'm gonna live forever ♪

[music fades and stops]

[Karen]

The pieces that involve more students,

we start with those pieces first,

and we only rehearse on the weekends.

[Debbie] All right, let's go

right at the top of "Toyland."

Enjoy coming alive.

Dolls, little dolls.

["Toyland" music playing]

[Cathie]

Da, da, da, boom, bop! Okay, okay.

What scene were you guys in?

-"Toyland."

-[Cathie] Come on, now.

And what scene are you guys in now?

-[dancers] Well, everything.

-[Cathie] All of them? Yeah, see!

See, "Toyland" is a stepping stone.

Everybody who's everybody

comes through "Toyland."

You are in "Toyland."

I've never even seen a regular Nutcracker.

The only thing I know is Hot Chocolate.

And I-- I kind of like that.

Kylie Jefferson.

She's the youngest person

that I ever put in the Academy.

I remember we walked into…

the Debbie Allen Dance Academy,

in Culver City at the time,

and there were so many people there.

And when we got to the table,

I remember them telling my mom

that I could not audition.

They were like, "She is too young."

She came in in first position,

hair pulled back… [inhales]

…and just so serious,

I'm like, "Oh, yeah."

And Miss Allen said, "Let her audition."

[Debbie] And they all looked at me

and said, "Miss Allen, she's too young,"

and I said, "I can change the rules."

Perfect.

Most of my students come from LA,

from various economic backgrounds.

Some of them live in Beverly Hills,

some of them live in Compton,

and those that are the most serious

about dance,

they come at least five,

maybe six days a week,

and they are required to take

no less than ten, up--

Some of them take 15 classes a week.

She wanted to have a place where,

regardless of what you look like,

if you want to dance, you can come dance,

which speaks to why we have a large group

of people that are on scholarships here.

A lot of our kids can't afford to come.

We find a way to…

get people into the doors

who want to be there.

[Debbie] We go, we go, we go.

We've always been raising money.

A lot of my friends

stopped taking my calls

after that first year. [laughs]

But no, my friends have all been so cool.

We started thinking about,

what brand can we use

that's in our toolbox

that can help generate more income,

that would be familiar to people?

When George Balanchine came to New York

to start the New York City Ballet,

he had to find something

that would raise money,

and The Nutcracker was what did it.

It was The Nutcracker

that helped fund the rest of the year

for the New York City Ballet.

[Eartha] The original Nutcracker

is a story told completely--

It's an opera completely in dance.

Our Nutcracker is a narrative.

Hey, Harvey! It's time to go!

The Nutcracker's awake.

We gotta go battle.

[Eartha] We have a narrator, or narrators,

who are taking us through the journey,

and it's more--

It's comedy in here that is spoken.

It's not mimed.

-[glass shatters]

-[screams]

Ooh! Who turned out the lights?

-Who turned out the lights?

-[audience laughs]

It just caught on like wildfire.

It's a huge part of our fundraising.

It's probably

our largest single fundraiser.

[Debbie] This is gonna tell me

who's doing this tilt. Ooh no!

Get the leg up!

You need to sit in that split

while you're watching TV, doing homework.

You all don't do that enough.

You all are too busy talking to boys

and doing other things.

Get the leg up higher.

Come on. I'm gonna get it this time.

Up!

Tilt over! Bend!

Yes, bend!

Yes, hold yourself and get the leg up!

That!

Well, my first memory of DADA

would be when I was 11.

I was so scared

'cause I didn't even know,

like, people could be this, like, good.

'Cause I was, like 11,

and I was, like, "I'm the best."

Then I was like, "Nope."

The teachers here, they're hard on you,

and they're tough, but they care.

I just feel like it's a family.

Miss Allen cares

about every single one of us,

which is, like, really good.

[girl] I've been at DADA for nine years,

since I was five, and I'm 14 now.

So… I've basically grown up in DADA.

When they first told me I was Kara,

I was, like, nervous and happy

because I felt like I had

such a big responsibility

to, like, make sure I wouldn't mess up

or, like, screw up the entire show.

Everybody wants to be Kara,

which is the lead role.

She's the little girl

who goes on an adventure.

And Miss Allen

always double casts the show

so that people

get to interchange their roles

and have different experiences.

[photographer] Nice.

-♪ Kara, Kara, won't you smile? ♪

-To the camera.

-♪ Take a look, tell me what you think ♪

-Tell me what you think!

I remember Miss Allen, she told me

that I was gonna be Kara for three shows,

and I literally freaked out.

♪ My dear, such a surprise ♪

♪ Surprise

Surprise, surprise, surprise! ♪

-[all] ♪ Kara, Kara ♪

-Kara!

♪ Kara, Kara ♪

[girl] You know we love you!

It's that feeling when it's like

you have a goal, and you reach it,

and you meet it, and it's like, "Yes!"

You know? So I was so happy.

[indistinct chattering]

[Debbie]

Now, let's talk about the Egyptian Doll.

You wanna get right under her little butt,

and you have her hand, if she needs it.

And you press her all the way up.

That is the position,

and you're on the other side.

I was the first Egyptian Doll.

My mother choreographed that on me.

[solemn music playing]

Boo!

And one and two.

One, two, three.

Single turn, open. Head, head.

[Vivian] I really started training

heavily and seriously in dance

at the Kirov Academy of Ballet.

It's about right here

that you start. She splits.

[Vivian] My third year there,

my teacher looked at me one day in class,

and goes, "Stop, stop, stop, stop, stop!"

And, um,

he looked at me, and he goes,

[in Russian accent]

"You never be dancer.

You go Alvin Ailey."

And that was a dig.

[Debbie] Like Alvin Ailey was nothing?

[chuckles] Alvin Ailey's our premier,

you know,

contemporary American dance company,

and, yes, it's mostly Black people, but…

that means she can't dance?

Child, I was coming through that phone.

I was getting ready--

I sent my husband

because I knew I was not gonna be nice.

For me, having my daughter gone

for a coup-- three or four-- three years,

it was time for her to come back home

in my eyes anyway.

He pulled me out of the school,

and that's when my mother decided

that she was gonna create

the Debbie Allen Dance Academy.

And so I started DADA, and she came home.

She was the inspiration.

She's my muse. She always has been.

[Karen]

There's something here for everyone.

You know, every shape,

every size, every color, every culture,

and that makes us very unique.

And she's gonna walk over,

and then you all recede back.

She is the one.

-She's adorable.

-And she's fierce.

-She's fierce.

-[instructor laughs]

[Debbie]

April is cutting where she has to cut.

You all need to keep coming around.

You can do it.

[April] I didn't start actually dancing

until I was eight years old.

I came here from North Carolina,

and I-- I received full scholarship

by Debbie Allen.

April is one of the most gifted dancers

I've ever come into my circle.

And I brought her here

so we could nurture her

because she needs it.

[April]

I have a part-time job at El Pollo Loco.

I'm a cashier.

So, right now, I'm a cashier.

People usually see me as a quiet person,

and, like, most of the time,

I have a lot to say,

or I have a lot on my mind,

but I just don't know how to…

you know, I don't know how to say it.

And sometimes, like,

I have so much emotions inside of myself,

and the only way I can get my emotions

or my fear or my anxiety out

is through dance.

[Giana] Ready?

[Bollywood music playing]

[Debbie] Breathe!

Beautiful!

Beautiful.

You're the most beautiful people

on the planet.

[Cathie]

Once again, it's about the mirror.

[Debbie]

The most beautiful beings on this Earth.

[shouts] Bop!

Bop.

-And one.

-[Cathie] The head, one person moving.

The whole rhythm,

this whole thing has to feel like

one person moving.

[Debbie] Look up!

Down.

[Jalyn] I wanna be in "Bollywood" so bad.

I've been trying to get in "Bollywood"

for the longest.

I know every step, but, you know,

I'm too young to be in "Bollywood."

[Debbie] Upper body!

[Karen]

When we go to a different country,

that allows

for new choreography, new costumes.

It allows for a new part of the story.

[Debbie] Back.

Travel.

Wherever you go,

you have an aura of superiority

and beauty and power.

Power!

This is about women's power.

Women rule the world!

I don't care what they say.

Voom!

Bop. Where am I?

Ta, ta, ta!

Ta, ta!

It's in the eyes, all of it.

"Bollywood,"

you would think it would be my favorite,

it's everybody's favorite.

It's something you, like,

dream about being in until you're in it.

It's five minutes

of straight full-out dancing,

and there's no time to breathe.

[Debbie in background] One. One.

-[Cathie clapping rhythm]

-[Debbie] And jump! Power!

[vocalizing]

Power! Bop!

[music stops]

[Debbie] And stay forever.

Stay. Stay there. Breathe. Stay.

Practice holding it.

It's good for you.

It's getting better, ladies.

Okay, break. Getting better.

Listen to me.

You're going much wider than you need to.

You're killing yourselves.

Okay, breathe,

then we're gonna do "Egypt."

Just breathe. Breathe.

You have two minutes.

Okay, so, Miss Nicholas.

Okay, we're really gonna be okay,

but they're just raggedy.

Too raggedy for me right--

I can't-- uh, '"Fairyland,"

I'm-- I'm not feelin' it. No.

So I'm adding, in yellow,

things that we're going to rehearse.

Okay, now, I gotta go terrorize

the fairies, I'm sorry.

[piano playing "Fairyland" music]

Because I came from DADA,

I didn't realize how big of a deal

that I was a Black girl who does ballet.

[Debbie] Lovely!

[Kylie] Like, the world

is so different from DADA. [chuckles]

'Cause, where I come from, we all do it,

and we were all good.

[Debbie] Lauren Anderson,

who was the first Black ballerina

in a major ballet company,

came here a year ago.

And a one, and two,

pas de cheval, enveloppé.

I never thought, "I wanna be

a ballet dancer," not at the age of seven.

I just thought it was fun

taking the classes.

So I just really didn't realize

the impact of being African American

and a principal dancer.

And I found out there weren't very many.

There weren't any at that time, really.

Unless you were in Alvin Ailey

or Dance Theatre of Harlem.

But I just wanted to dance.

That wasn't my big focus,

that I wanted to be

the first Black anything.

I just wanted to dance.

Plié, one, and stretch.

[lively ballet music playing]

[Lauren]

When I first saw April,

I thought, "Wow!

Where did that come from?"

That's somebody

that's born with everything.

[Debbie] Yes!

Love it.

What I need is something that sustains.

I feel like it's…

I want it to be lighter.

[scats softly]

[April] I don't think I ha--

necessarily have a ballet body right now,

as of this moment… [chuckles]

…because my legs

are just a little bit overdeveloped.

[Debbie scats rhythmically]

And when you get really serious, you start

looking at yourself in a certain way.

Chaîné, chaîné, chaîné,

chaîné, chaîné, chaîné, chaîné.

Stop on a dime.

And stay.

But when I'm in the ballet world,

mostly everyone is pretty thin.

In high school,

I really had no problem with it,

and then you realize

that maybe you should look at it,

because everybody else looks

at weight and…

Everything matters.

Everything is so particular in ballet.

She might not have the perfect legs

and feet. I didn't.

Most people don't.

Most people that do ballet

do not have perfect legs and feet.

It's something you've worked for.

Turnout you've worked for.

You don't-- don't just come out going,

"Chick-a-bah."

Some people do,

but most of us don't.

[soothing music playing]

There have been times

where I was so down on myself

about my body and just, like, so, ugh,

like, negative and insecure about it.

But… [exhales]

I had to stop playing the victim…

towards myself.

There was a moment where I realized,

like, "Look, if I wanna do this,

I have to figure out

what's gonna work for me."

But what was hard was understanding

that the craft that chose me

was not created in my image,

and that was a really hard realization.

But, at the same time,

you know, this craft chose me.

I have no choice but to do it

and to give it my all.

-[classical music playing]

-[Debbie speaking indistinctly]

[Debbie] You know, in Russia, they…

x-ray the children's feet

and their backs and their bodies

before they even accept them.

Well, I mean, that's the world of ballet.

[dramatic music playing]

In a opera, uh, they will select

only children who have voice.

They cannot make a voice. It is gift.

Same things with a ballet facility.

They have to have certain physiques

for that.

You cannot make it.

The Kirov

and the Russian method is important.

It is the technique

that I love the best to teach.

And that's why we have Madame Giana

who's from the Bolshoi.

But the dance world is evolving,

so I'm reinventing a bit,

for the teachers,

what their mission is

and how they go about it.

I want the spirit of the dance.

That's not something

you can take a picture of.

That's something you feel and you see.

You experience.

One, two. Not bad.

One, two. One, two.

Okay, not that bad. Go back.

It actually helped.

It looked better.

I'm sorry, Madame Giana,

it looked better.

No, no. I disagree.

-Because they look like this.

-I disagree.

-It's okay. It's all right.

-It's "Oh!

-[dancers laugh]

-Oh!"

It's all right. Five, six.

They're just practicing.

Six, seven, eight.

And one, and two, and one, and two,

and one, and two.

Some of you, uh, don't have the timing,

and you're a little stiff.

You know, you've gotta relax.

I'm sorry, but I have to just say

what I'm seeing right now

because, um, we don't have a lot of time.

And either they're doing it right

right now, or they're not.

Even though we're gonna clean it,

I know that.

But I know, technically,

if somebody's going like this,

that's not gonna change tomorrow.

Go back, ladies.

Five, six, seven, and eight.

And one, and two, and one, and two,

and one, and two, and one, and two.

Much better!

And two, and one, and two.

Much better! Much better!

Sorry, Madame Giana, it's better.

Okay, go back to the beginning.

It's better. You know it is.

[classical musical playing]

[Debbie] The teachers are so vested

and so dedicated to these young people.

They go home with them.

They give them food.

They'll scold them

if they need to pull them together.

You know, we go in.

We're raising--

we're helping to raise these kids.

I grew up in Houston, Texas.

Everything was segregated.

You know, white water fountain only,

colored bathroom…

We had experienced all that.

There was a great dance school,

but I was not allowed to go

because I was Black.

But I was very serious early on.

I knew I really wanted it and…

My mom always says

that, when I was eight years old,

I said to her,

"Mom, I'm trying to be a dancer.

How am I gonna get there

if I don't have lessons?

I need real lessons, Mom.

Real lessons."

At 14 years old,

I was recruited

by Madame Tatiana Semenova,

who came from the Mariinsky school.

I was so excited, I had to get up,

I had to go way across town.

My Uncle Lloyd would take me,

and I-- if I had to take a bus back,

it was two or three buses

to get back home.

And, uh, Madame Semenova

really embraced me in class.

It was a Ford Foundation grant

that paid for all of my classes.

I was a full scholarship student.

And when I danced,

it was a big deal because the board

didn't know that I was there.

I was there probably six or eight months

before the board knew

there was a Black kid in the school,

and some of them did not like it.

But Madame Semenova pushed me,

she scolded me, she humiliated me,

and she loved me.

[classical music playing]

All right,

welcome to "the hell that is Chantel."

-Here we go, so…

-[kids laughing]

I grew up as a foster kid.

This is the one thing

that saves somebody like me.

For somebody else to see and invest in me

and say, "We see what it is that you want.

We're gonna help you do this

and get you from point A to point B,"

I feel like that, in itself,

is the biggest thing that changed my life.

Boom, boom. Sit, sit. Boom, up!

Where you at?

I don't know.

If you do this bang again,

I'm about to be…

Elijah, go get me, um,

go get me a little rubber band, please?

[chattering]

[Elijah] Looks so cute, though.

[chuckles] Shut up.

Shut up, Elijah. Five…

Five, six, seven, cross.

Cross and sit, sit.

-I was an understudy, but I came--

-Yeah, Griffin…

Miss Chantel said

I could be in "Candy Cane," so…

Yeah, he was first an understudy,

but then he started trying to dance.

He's tr-- trying really, really hard,

and then he ended up being in the show.

"Candy Cane" is fun. It's hip-hop, so…

you just hype and fun and full out and…

Yeah, "Candy Cane" is really fun.

"Candy Cane," it's an all-boys scene,

and it's hip-hop, and hip-hop's

one of my favorite styles, so…

Unfortunately, I can't be in it,

but it's my favorite scene.

"Candy Cane" is for the boys.

"Fairyland" is the girls.

You gotta have the--

You know, DADA has always had

more boys than any school.

It's because I'm pushing them

and I want them.

And I have to--

I have to have something to give them.

[Chantel] Olivia, go in the center.

Scoot back, back up.

[female dancer]

My favorite scene would be "Candy Cane."

It's, like, the only hip-hop in the show.

It's all boys.

Six, five, behind him.

Are you going to put the girls in?

Going to put the girls in?

Yeah, I'm doing that.

-I'm gonna get in trouble, but whatever.

-[chuckles] Okay.

Da, da, da. Cross, cross, up, down.

So I need-- Yes!

I need to see cross, up…

That's almost like a élevé.

Over my dead body.

No girls in "Candy Cane." [laughs]

-Yeah, that's not happening. No girls.

-It got around.

It almost happened, though,

but, you know, it's okay.

-I'm in everything else, so…

-[laughs]

Sorry, girls. You know,

it's only us, you know. [giggles]

-[hip-hop music playing]

-[Debbie] Yeah.

Wow!

[man] Oh, it's definitely muscle memory.

When you have Chantel Heath

taking you to the depths

of, like, yourself,

you won't forget it too much.

[laughs, vocalizes]

Now run! [laughs]

And one, and two, down, bring it up.

Yeah.

Slide, one, two. Yup, it's--

The whole thing is still there.

[dancers chant]

Who are we? Candy Cane!

[Chantel vocalizing rhythm]

Throw! [vocalizing rhythm]

Turn, and one.

It's no joke, huh?

Some boys fall apart.

Some boys don't make it. I mean…

You know, they're like, "Oh, my God.

That was hard, that was hard."

I know, sit down.

Just a second.

What I know is, if I was doing it, I'd be…

still dancing right now

'cause the song would still be on.

Let's get it. All right, show's on!

Let's go!

But I tell them,

"Keep coming back, keep coming back,

because one of these days,

you're gonna get it."

I don't know if everyone sticks with it,

but I know for a fact that, if you

are here longer than a-- a semester,

me, personally, that it's inside you.

[Chantel]

Boom, boom, sit, sit! Boom, boom…

I've been walking

through the hall, but actually

in the studio for a class here,

it's been a while.

It's like…

That was a lot of sweat in these floors.

If somebody like lifted up

history out of these floors,

it would be kinda gross, but inspiring.

I played

the first Hot Chocolate Nutcracker

in the first production.

I left my biological family behind

when I was 13.

My mother and my three sisters

moved to Arizona, and I--

My mom made the conscious decision

to allow me to stay here.

So I moved in

with Miss Harris, Mama Harris,

and then I got full scholarship

in dance here.

The first time

I was the Little Nutcracker, it felt like,

"I'm-- I'm one of the principal roles. I--

Oh, cool!"

It was, like, Miss Allen believed in me.

[up-tempo classical music playing]

Now, Ryan Phuong,

he's the Little Nutcracker.

Thank God I did it first

because I would not wanna follow him.

[chuckles]

[Debbie] I want it to be magical.

You can't just go over here

and hit fourth position

like a Degas statue,

and go here.

No!

It's the Hot Chocolate Nutcracker, honey.

Alive! It's like,

"Oh, my God, look at him!"

[gasps, sighs] Oh!

It's gotta be that.

Look at me. Stop. Look at him!

You're so busy looking at yourselves.

Play the scene. [gasps]

"Oh, my God, he's moving!

Look at him! [gasps]

Oh, my God, I touched him!

Oh, my God, he's coming!

Oh, my God! Oh, my God! Okay.

-[giggles]

-[all laugh]

Oh, my God! Ah!"

It should be like that.

I came here for, like,

an open class, for hip-hop, right?

I think it was Chantel,

she was teaching,

and that was the only thing

I would ever do is hip-hop.

I did not plan on doing ballet

or anything.

This little boy,

I couldn't believe what I was seeing.

I was like, "What?"

[hip-hop music playing]

You put that hip-hop music on,

you would see like this little tornado,

like the little Tasmanian Devil, you know?

[chuckling]

[Debbie] He's been every Nutcracker.

He was the Littlest Nutcracker,

and now he's the young prince.

Ryan thought he was trying

to just take some hip-hop classes,

and that's how we reeled him in.

We give them something that they want,

but we teach them, in order to do that,

you gotta get this first.

Ballet, I… You know, it's…

For me, back then,

I thought only girls should do that.

[classical music playing]

I was really terrified to take class.

[Giana] Ballet training, very tough.

Who will go through the ballet training

and finish that ballet training,

they have strong personality

to go further.

And Miss Allen told me,

who she is,

it's because she went through th--

that tough, strong ballet training.

[Debbie] I went to the North Carolina

School of the Arts to audition,

after I'd been trained

by the Houston Ballet Foundation.

I was so hopeful about that,

and they used me in the audition

to demonstrate,

and when it was over,

I went to the man and said,

"Well, I just wanna know, how--

when would we start?

How is this gonna go?"

And he told me

I was not gonna be accepted,

and that I was not right for dance,

and my body wasn't right,

and I should do something else.

And It broke her spirit.

And she stopped dancing for a year or two.

[Debbie] It was very discouraging.

He told me, you know,

"Definitely don't think about ballet.

Just forget it," and, um…

Wow, that was hard.

So when I came back home

and it was time to go to college,

I was accepted to Howard University,

and so I was, like,

"Okay. I have to let the dance go.

I love it, but it doesn't love me."

And it was hard.

My mom just was really brokenhearted

when I got off that plane.

That was the hardest part.

You know, when I got off that plane,

and she was at the airport,

and she met me in tears.

And she said, "Deborah, you failed."

"Deborah, you failed."

[inspirational music playing]

My mom said, "You come home this summer,

you don't go and dance.

I'm gonna save the money

that I've been putting aside

to send you away to dance

and buy a car."

I'm like,

"No! No, Mom, no. No, I want to."

And that was the summer

that I met Martha Graham

and Meredith Monk

and Twyla Tharp

and Alvin Ailey.

It was a new wave of dancers

who were breaking the traditional mold,

doing something new and exciting.

When I saw Alvin Ailey,

it was everything for me.

I was like, "Child, take these snowshoes,

honey, put them somewhere else.

I wanna dance about feelings."

[rhythmic tapping]

I've been trying

for years to f-- figure out

what-- how could I really use

the language of tap in the show.

This year, Savion Glover's coming.

I've asked him to create

a piece called "The Train."

[scatting on drumbeat]

[Savion]

Miss Debbie Allen had an idea early on,

and then she put that idea

in my thought process,

and I was thinking about it

for the whole time,

and then I came back,

and, um, I was ready to go.

And her idea was that, you know,

to get this train thing moving,

to get us from one scene to the next.

[Debbie] Thank you. Thank you!

Beyond the choreography,

I just want them to come out

with a sense of empowerment,

a sense of greatness,

a sense of achievement,

a sense of expression!

This ability to think

about making someone think differently.

[girl] That was just my style.

He just told me

to freestyle at the beginning,

and so I just created my own little thing

at the beginning and end.

I wanna be just available

as a human being,

and I like that exchange,

that allows me to learn from them.

And hopefully, they learn from me.

-[drumming]

-[cymbal crashes]

[Debbie] We're gonna have a session--

We're gonna start having sessions

during the week

because, otherwise,

I don't think you're gonna get there,

and I-- I need to rearrange

some of your places.

And they're just

not getting the doll dance,

and I don't want them

to be on stage and not look fantastic.

I just got kicked out of "Dolls,"

like my sister too.

'Cause, um, she wants me

to be in the party scene.

[Eartha loudly] So you've gotta be in it

from the very top.

I can't be a monkey over here like this.

[man] Ooh.

I'm ready for fairies,

so when y'all in that wings,

I want y'all like this.

Ready to go!

I need arms swinging.

What happened to that?

[shouting] And a one, two, three, four.

And a up, up, up, up.

Yes, Tobal!

[all cheering]

[Eartha]

I need to make her a monkey. [laughs]

-I'm the-- Yes!

-[male instructor laughing]

[sighs] Come on, girl, get in there.

-[dancers cheering]

-[Eartha laughs]

I got the job of doing "Rainforest,"

and "Rainforest"

is one of the biggest production numbers

in the show.

[tribal music playing]

[Debbie]

"Rainforest" is beautiful. Butterflies,

monkeys, panthers.

[panther roars]

When you think about herds of animals

on the plains in Africa,

the migration,

everyone's going in the same direction,

and so there is a--

a journey that's taking place.

Oh, my God, how big is the cast?

You know, I don't wanna say it out loud!

Delorse, my costumer, might slap me.

When she saw the cast of people,

she said, "Miss Allen, really?"

I'm like, "Yeah, Delorse."

[loud chattering]

Shh. No more talking, please.

Who does not have a costume? Hm?

[Delorse]

Well, we have a cast of almost 200.

Each person is wearing,

you know, three-- two to three things.

Some kids are wearing five.

Okay, girls.

She went to go get more costumes.

[loudly] I still hear talking. Okay!

We're just… It's a little busy.

Everybody like their costumes?

-[kids] Yes!

-Excellent.

[Debbie] That's two people missing.

Oh! One, two. There's two.

-Who's missing?

-[costume helper] JoAnn and AuDrya.

[Debbie] And where are they?

Some lady was trying

to say JoAnn hit her car,

but she didn't,

so they're on their way. [chuckles]

I was eight

when I started at DADA.

This year, I've been kinda like

getting there when I wanted to,

like, just trying to be a teenager,

I guess.

[Debbie shouts] JoAnn!

You don't just walk in my rehearsal.

What happened?

-For what?

-[JoAnn] Speeding.

Stay here.

One, plié.

Go warm up at the bar.

One, plié.

And down, down…

[JoAnn] Whenever I feel

that I let her down, it was very…

[sighs] Like, it got to me every time.

So, I'm like,

"Dang, I can't let her down no more.

We can't have these talks.

The next few talks we have to have

have to be good talks."

[laughs] Like, instead of just

her telling me to get it together.

It takes a lot.

I don't know.

I think it comes down to heart and will

and wanting it for yourself,

wanting something more.

And…

Yeah.

Working your butt off.

I'm trying to help you

learn professional work ethic.

Say "work ethic."

[dancers] Work ethic.

Work ethic.

[dancers] Work ethic.

This should apply

to everything you do in life.

Your homework,

how you do your work at school,

what other jobs

and other career aspirations

that you have.

If you work in the post office,

if you are a teacher,

if you are a maintenance person,

if you work in Washington,

your work ethic must be the same.

If you work with children,

your work ethic should even be better.

Adolescence is difficult,

and it's sort of like

your mind leaves you for a bit

and you're just sort of out in orbit.

You're exploring yourself,

you're exploring things around you,

but the fact that you have something

to go to three or four times a week

and be responsible to

helps you be responsible

with your school work,

your homework, your chores at home,

and it gives you a sense of gratitude.

How do you think

you're going to get where we are?

Where are you trying to go in life?

Every day

is not just a rehearsal for Nutcracker,

it's a rehearsal

for the rest of your life.

You come in here late,

that's where you're gonna be

on your next job, and you're fired.

You walk into a Broadway show late,

you're fired.

The understudy is on.

They don't care how much they like you.

You're not professional.

-Do you understand?

-[dancers] Yes.

Every day is your rehearsal for life,

not just the Nutcracker.

Take it seriously. Make it into something.

We have a lot of work to do.

I wanted to see you…

Look, we're not in a bad place,

but we have literally a month,

which means we don't have a month

'cause we don't rehearse every day.

-So this is your homework.

-Thank you, Miss Allen.

[dancers] Thank you, Miss Allen.

[Debbie shouts]

Don't come to my rehearsal late.

Don't come to any rehearsal late again,

and I mean it.

Thank you. Dismissed.

-[dancers] Thank you, Miss Allen.

-Thank you, Miss Cathie.

-Thank you.

-[Debbie] Yes.

-Thank you.

-Yes.

-Thank you.

Don't come late, AuDrya.

If you're late, just stay out.

-Thank you.

-Yes.

-Thank you, Miss Allen.

-Yes.

-Thank you.

-Hmm!

Mm-mm.

-Thank you, Miss Allen.

-Yes.

-Thank you, Miss Allen.

-More joy. You're beautiful.

No, do you know how beautiful you are?

I don't think you do.

You're so beautiful.

Embody that. Embrace that when you dance.

Go away.

Yes.

Thank you. Get rid of those nails.

-Thank you, Miss Allen.

-Yes.

Thank you. You'll be doing it.

[Karen] The window of opportunity

to enter in the dance world is small.

You have to do it by a certain time.

You have to pull yourself up

in a way that, by the time

you definitely are out of high school,

you have to be able

to audition and compete.

April, you come from this side of stage,

and you basically tell them all to come.

[April]

I auditioned for Dance Theatre of Harlem,

and I wasn't accepted into the company.

Then I was auditioning for other places,

thinking that I would get in

somewhere else,

but it just didn't happen.

Like, as a dancer,

you're always trying

to find the next place to go

or trying to improve.

And sometimes, it feels like,

you know, you're just stuck auditioning

and not getting anything.

So, it's just, like,

the life of a dancer is very hard,

but, like, I can't imagine myself

doing anything else.

[Savoy] I applied to 12 schools.

I would always say, when I was younger,

I was like, "I'm applying for dance.

I don't have to do anything.

My grades don't matter.

Nothing matters.

I'm just gonna dance." And like, no.

Like, it's honestly, like, worse.

So, I'm freaking out a little bit.

It takes so much focus to succeed.

You can't let things get you down.

Whether your teacher is too mean,

or it's too easy,

you can't let it disturb you.

[Eartha] Six, hold. Up!

I need to learn that too…

because I do the same thing still.

You know what I mean?

I-- I-- I don't get a choreography job,

I'm immediately like,

"I'm not good enough. Forget it,"

and I quit.

Up, eight.

We have to work hard at what we do.

I don't care if you're eight years old.

There's eight-year-old actors

and actresses in movies right now

that are doing huge scenes.

You have to be engaged,

it doesn't matter how young.

[jazzy music playing]

[JoAnn]

I wanted to be, like, a company dancer,

so I wanted to go to school,

train, train, train,

graduate, then, hopefully,

get into a company like Alvin Ailey.

Everybody has that dream.

Everybody wants to dance professionally.

You see that in Savoy.

You see that in April.

You see that in JoAnn.

[Eartha] Sometimes,

you see it in their eyes, like…

Are they gonna make it?

Come on, girl.

You can make it! You can make it!

And, uh, you know, I know a lot of people

who don't become dancers,

who are incredible surgeons,

but have dance still under their belt.

[Debbie]

Well, Steve Jobs took dance class.

He did.

He bailed out of his math class

to go and take dance class.

That says a lot to me.

Like, I wanna go to New York

and go to these schools,

but I don't think I can do it,

then my mom is like,

"Oh well, this Ailey scholarship audition

is coming up in New York, so…"

And I'm, "Wait, am I going? Are we going?"

She's like, "You and Savoy are."

I'm like, "Oh, wow."

So it's just us two, both 17…

[chuckles]

…getting on a plane by ourselves

and going to New York

to audition for this school.

And then I went to San Francisco

for LINES.

I felt really comfortable there.

Very comfortable.

So after I got a scholarship

to their summer program, it gave me hope.

"Maybe I can dance in my future."

-[instructor] Good job.

-[applauding]

Then after that, they were asking,

um, for, like, payment deadlines,

right after the intensive.

[woman] Housing for a month

in San Francisco is…

because they don't provide housing

at the intensives,

it's just off the chain.

And going to Ailey,

she wasn't awarded any scholarships,

so just for a summer,

to go to Ailey, or…

It was pretty close to,

with tuition and housing,

probably like six, seven grand.

And that's just not…

anything, as a single parent,

I-- I could ever afford.

Yeah, that's when I figured out,

"Okay, maybe dance isn't for me,"

and things went left.

And then I was just like,

"Um, I need to find out

what I'm about to do

for the rest of my life." [chuckles]

[Chantel] See you on Wednesday.

[soft chattering]

[shushing]

[Terry] I started doing aerial

a long time ago, and Debbie was like,

"Okay,

how can we put aerial into the show?"

So, we started flying the Fairy Queen.

This year, Kylie Jefferson and April

were both the Fairy Queen,

but for my shows,

I mostly worked with Kylie.

Kylie's like a big sister to me.

I've always looked up to her.

She graduated from DADA

and went to Complexions,

one of the best

contemporary dance companies.

[Terry] Okay, boom! Hover.

I got into my dream company,

Complexions Contemporary Ballet.

[Terry] Down. Now…

[Kylie] I had been working

with the company for a few months.

I went over my partner's shoulder

for a lift,

and I just remember

hearing something, like, pop.

Crack, something.

It was a loud noise in my rib,

and I screamed onstage.

That was probably

the worst injury that I've ever had.

I came offstage, and I collapsed.

And I was just bawling

and in tears and in so much pain.

I thought it was over.

I kinda almost, like,

wanted it to be over.

I was like, "I don't wanna dance anymore."

My heart was so broken.

In this world,

there's gonna be a lot of pain.

Pain to your body,

but also it can be to your feelings.

But you have to pull up,

and you have to measure up to that.

You have to get-- like the athletes,

you have to stay in the game.

Are you gonna stay in the game?

Okay.

[shouts] Quiet! Shh.

Quiet! We're starting all over.

Music, go.

[uplifting music playing]

Bounce, bounce, bounce.

Bounce, bounce, bounce, happy.

Happy, right from the beginning.

Character's as important as the dancing.

And that's part of being onstage,

that's part of being a professional

is the entire package

that I'm trying to help them touch

and understand what it is.

[Karen] The party scene

pretty much involves everyone in the cast,

so rehearsing the party scene

is pretty amazing.

[kids] ♪ This is Christmas, ooh… ♪

[Debbie] Yes, Sophia, yes!

[laughs]

♪ We can, can, can… ♪

[Debbie] And up! Down! Down! Up!

[Karen] We don't have enough space here.

We need ten studios, really.

[Debbie shouting]

No talking! There's no talking!

[Karen] We always remind the students

that it's their dream

that we're helping them shape.

It means nothing if they don't respect it.

Quiet!

-[Debbie] You come out…

-[Cathie] Shh! Shh!

Could you all shut up?

My God.

I mean, if I could just fire

some of you right now,

it would make my life easier.

I'm trying to get you ready

for the professional world.

You won't work anywhere

the way you act in this room.

I don't care who you are.

I don't care what your role is.

Talk while I'm working, and you are fired!

If that doesn't mean

anything to you, great.

We'll find out.

We're gonna find out right now.

The rest of this rehearsal,

talk one more time.

You're so disrespectful

to all these professionals here

trying to make this show incredible.

I'm trying to do your bows.

[silence]

This is how it should sound all the time,

like this.

That's how it should sound, like that.

Miss Allen's nice… to me.

I don't know about all the rest of them

'cause they bad.

She don't know I'm bad.

She know I got in trouble once.

She didn't yell at me, though,

but she like me.

I like Miss Allen. She nice.

[nostalgic music playing]

[Debbie] When Madame Semenova

was teaching me at Houston Ballet,

do you think we would talk?

Do you think I would open my mouth

to speak when she's talking?

Oh, my God, she taught with that cane.

She would whack you.

That's why I taught with a cane on Fame,

in tribute to Madame Tatiana Semenova.

You know, she lived long enough

to see me become very successful

on Broadway and television,

and I remember our last lunch together,

Madame opened a bottle of champagne…

and she told me I had to keep the cork

because that was good luck.

I still have the cork.

We sat, and she pulled out

the programs she had saved,

programs with my name

and other students' names

that she had trained and loved.

And as we were drinking the champagne

and eating,

she says, "Well, you know,

I had to find you-- I had to find you."

I said, "What do you mean?" She says,

"Well, we would not keep the Ford grant

if we did not diversify the students.

I needed to find a Black student."

And I sat there,

and it kind of took me aback

because I was like…

I thought I was chosen

because I was really good,

not because I was Black.

But then I thought about it, and I said,

"I was good."

[Karen] We have two

and a half days in the theater

to get ready for opening night.

[Cathie] Are you on the line?

Are you on the line?

Load-in has to happen first,

then everybody's trying to get-- wonder,

"When are we getting on stage for tech?"

So Miss Allen brings in

the people who fly first,

and then maybe the mice,

and then the smaller groups

get to do what they need to do,

and then the masses happen.

Uh, no, no, no, no.

Where are you going? No.

Straight line. No, no, no.

-[You can't hear it upstairs--

-[Debbie] We need to figure that out.

[chattering]

-[Debbie] Unify us.

-[cast] Unify us.

-Don't divide us.

-Unify us.

-Don't divide us.

-Unify us.

-Don't divide us.

-May this ring.

-Of our power.

-Of our passion.

-Of our joy.

-Remain.

-Complete.

-Forever.

-With Hot Chocolate.

-Hot Chocolate.

-Hot Chocolate Nutcracker!

All right,

so April is our Fairy Queen today.

Good luck, April!

[cast cheering]

And we're welcoming back Prince--

Kris Nobles as our Prince.

[cast whooping]

All right, sign up

for your theater tickets

and get ready for the show.

I'll see you on the stage.

[Karen] We start what we call

the children's performances.

Whatever theater we're in,

children are invited

from everywhere around Los Angeles

to come in

and see the Hot Chocolate Nutcracker,

so children get to see

the very first performance every year.

[uplifting music playing]

[Debbie] Welcome, you all,

to the Hot Chocolate Nutcracker.

[audience cheering, applauding]

My name is Debbie Allen,

and I'm here to…

[audience cheering]

[Debbie] Thank you.

When you watch the show today,

I want you to think about,

what do you wanna be?

Do you wanna be

one of the dancers up here?

Do you wanna be one of the singers?

Do you wanna design the costumes?

Do you wanna do the makeup?

Do you wanna do the lighting?

There are many opportunities.

-Okay?

-[audience applauding]

All right,

so, I gotta go and get into character.

[in a mousy voice]

I gotta go! I gotta go! I gotta go!

I gotta go get--

get my character together.

I'm running. I'll see you later!

[audience cheering, applauding]

[audience applauding, whooping]

♪ Hang on the mistletoe ♪

♪ I'm gonna get to know you better ♪

-[adult male singer and kids]

♪ This Christmas ♪

[Nicholas] It's Christmas,

and everybody's having the big, fun party,

but then Frankie, Kara's brother,

he gets jealous that Kara

gets the Nutcracker instead of him.

So him and his friends

try to steal the Nutcracker from her,

but then the Nutcracker breaks.

So then, she gets sad, then magic happens,

and she's going

to all these different places.

[solemn music playing]

[Jalyn] I was just really nervous

before I went on,

and my mom was backstage,

helping me get ready.

And she was just telling me,

"Whatever happens, you can't change it,

but, as long as you do your best,

you know it's gonna be okay."

And that's what helped me

get through the show.

What makes me happiest about this place

is to watch their faces.

Some of them

that have never been in theater before

get standing ovations,

and to watch their faces, it's like…

it's unbelievable.

[epic music playing]

[Eartha] You wanna keep growing.

You never feel that you have arrived,

or you've made it,

or there's nothing else left.

Always keep growing.

Open yourself up to greater possibilities.

This is what they take away with them.

[music stops]

[audience applauding, whooping]

[applause fades]

[cicadas singing]

[mysterious music playing]

[Karen]

The process, from September to December,

it's pretty intense

Those students who participate,

I would say, grow tenfold,

in learning their craft,

in becoming a family,

being on stage in front of 1,800 people,

bearing their soul.

Children are not the same

once they do the Hot Chocolate Nutcracker.

They're brand-new.

[Chantel] Some of these kids had no idea

that they even want to dance,

but when they're introduced to it

and fall in love, it's something special.

And then some of them are off on Broadway,

doing things they never thought they could

and I think

that's what the arts does for people.

It can take you

wherever you want to be in the world.

[Bollywood music playing]

[Vivian] As a dancer,

it takes discipline and determination

and the willingness to continue,

no matter how many times you fall down.

[music stops]

Because success

is one step beyond failure.

[percussive music playing]

[Savoy]

My dream, dream, dream school is USC.

My audition is in, like, a couple weeks,

so I'm freaking out

a little bit, but, like,

it's cool-- I got a new leotard for it.

My mom bought me a new leotard. [laughs]

-[music stops]

-[audience applauds, whoops]

[rhythmic jazz music playing]

[JoAnn] One day,

I had a long talk with my friend,

and she told me, like,

"You need to teach."

I'm like, "Really? I didn't know."

She's like, "Yeah, that's your thing."

I taught my first class, and it was like,

"Wow, like, I do like to teach.

Maybe I should continue doing this."

[Chantel] The kids forget sometimes

when we're teaching them…

They think that, "Oh, they must be old,"

and, "Oh, they don't do this anymore."

They don't get to see the-- the--

the professional side of what we still do.

So here I am, the teacher one day,

but in that audition,

with some of these major artists,

on tours,

I'm right there in the same playing field

as some of my students.

It's good. It's healthy competition.

[Giana] Some surprises happen

during the teaching years.

Some student

that doesn't look very promising,

through the hard work and open mind,

will jump up.

[percussive music playing]

[hip-hop music playing]

If I ever make my own dance studio,

I want it to be, like,

a dance studio where you can come

and pay how much you're able to pay.

There's a lot of good dancers out there,

and they just-- they're not in dance class

'cause they don't have enough money.

[scatting and percussion playing]

[Savion] They can take this information

and go on and be better dancers.

They can take this information and go on

to be better humans, humanitarians.

It's the learning. It's the teaching.

It's how they receive it.

I want them to just walk out different.

[classical music playing]

[Lauren] I love the way…

it felt to become music.

If you could physically think

of what it feels like to be music,

to physically become music,

that's what it's like dancing.

Like… to become the note

or the instrument or the beat.

-That's what it's like to dance.

-[applauding in distance]

[Kylie] By the end of my recovery period,

Miss Allen called to ask

if I wanted to do the Fairy Queen part.

And I was scared. I was so scared

because I knew that Miss Allen called,

that means I am gonna

have to get back to the real work.

It was hard, but doing Fairy Queen

made me wanna dance again.

Like, I got that… like, that fight back.

I don't know how. I don´t,

like, know what made it,

but maybe

because I had to overcome myself.

[April]

I think the biggest sacrifice is…

time.

You spend so much time

training and training and training.

You sometimes just have to sacrifice

the regular middle-school,

high-school life

so when you're 20-something,

you're phenomenal.

[Karen] There's something about dance…

When you know

you're leaving your first dancing school,

and you're getting ready

to go out into the world,

with that wealth of information

that you've been receiving

since you were five years old

or seven years old or eight years old

is no longer just in your head,

but it is in your body.

It's in the way you talk.

It's in the way you walk.

That's when you become a dancer.

When the essence of what it is

and the essence of who you are

come together as one,

that's when you become an artist.

[audience laughs softly]

[applauding gradually intensifies]

This is a lifelong proposition.

It's a marriage.

It is, and it's one that I want to see…

have a continuation.

So that even past my prime

or ability to do what I do,

it will keep going.

'Cause I'm always gonna be

one of those kids.

I don't care if I'm 90.

I'm always,

in my heart, one of those kids

looking for that opportunity,

looking for who's gonna train me,

how am I gonna get to be

who I really know I could be?

Where's my opportunity?

I'm always gonna be

one of those kids in my heart.

["All I Want For Christmas Is You"

intro playing]

So listen to me.

Front line, you're the first ones out.

If you're not perfect,

everything else is a disaster.

You have to be what? Perfect.

[female singer]

♪ Underneath the Christmas tree ♪

[male singer]

♪ I just want you for my own ♪

[female singer]

♪ More than you can ever know ♪

♪ Make my wish come true ♪

♪ All I want for Christmas… ♪

-[female singer holding note]

-[audience applauding]

-♪ Is you ♪

-[song continues]

[Debbie] Five, six, five, six, go,

and one, two, three, four,

five, six, seven, eight.

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

and one.

Five, good!

And one, two, three, four,

five, six, seven, eight.

Two, two, three…

[Jalyn] In ten years,

I wanna be at the Royal Ballet.

It's my dream to go there

and be able to dance on their stage, so…

[Debbie] Five, six, seven, eight.

One, two, three, four, five!

Go!

I wanna go to Stanford

and double major in kinesiology and dance.

Ooh, look at you! [laughs]

[Debbie] Two, three, four, five, go.

[Cathie] One, two, three,

four, five, six, seven, eight.

[female student 1]

Hopefully, I'll become somebody

that changes the world, honestly,

'cause I-- I wanna see that happen.

[Cathie] One, two, three,

four, five, six, seven and one.

And five, six, seven…

I wanna be, like, a well-known dancer.

Maybe a choreographer,

but I love to dance.

Like, it's my passion.

[Cathie] One… drop, and here we go.

Probably be a lawyer, or-- and a dancer.

I'll probably have to do both of them

at the same time.

[Cathie] Five, six, next,

and one, two, three, four, five, six…

[female student 2]

In five years, I just wanna be

in the college of my choice, dancing.

I just really wanna be… [clicks tongue]

…stable.

I wanna have a permanent role on a TV show

or in a movie or something.

[Cathie] One, two, three,

four, five, six, seven, eight.

In five years, I want to travel,

either on Broadway

or with a dance company.

[chorus]

♪ All I want for Christmas is you, baby ♪

I wanna be a lot of things. I wanna be

an author, an engineer, a dancer…

the president

of the United States. [chuckles]

[audience applauding, whooping]

[male actor]

Merry Christmas, everybody!

[electronic dance music playing]

I'm doing Kara for the first show,

and then I'm doing "Bollywood"

for the second show. [chuckles]

[Wayne] I got accepted to be on Broadway

at 20 years old

for the production of The Prom.

I was talking to my mom,

She was like, "We're not surprised."

I was like, "What? Wh-- Why?"

She was like, "We all saw it."

Recently, I started acting.

I'm on a show called Young Sheldon,

and I play, like,

a recurring character called Tam.

This job is killing me.

You wouldn't understand.

You realize I have a job?

[laughs]

Dance Dreams (2020) - full transcript