Ballet 422 Page #4

you were happier with that?

- I'm really happy with it.

- Okay.

- Yeah, yeah.

- Good.

Here.

Can it come down a little

tempo-wise, or no?

I can just make sure

that it... that it...

it stays very, very steady.

Yeah.

Yeah, that would be fine.

Tell me what number.

I'm just gonna say it.

My only concern, and it would

have nothing to do with you,

is that it's a lot of look.

There's a lot of, like,

things happening.

So, like, even when the whole

group is doing one thing,

it's... it doesn't become as, like,

solid as it would

- if there was, like, one color.

- It's okay. Yeah.

- Okay.

- As long as you're okay with that.

No, I think

the palette works so well.

Okay.

And it's...

I like the variety a lot.

- Okay.

- Especially, like...

The last piece I did

was so uniform.

- Very.

- And I don't want...

I don't want to do the same thing

over and over, so it's good.

- Okay. Yay!

- Yeah. Thanks.

This is really bad right here,

- and it, like, hurts to point.

- Okay.

I don't know.

No, it's, like, in here.

- More on the inside.

- Okay.

It feels like

it's fused to the bone.

Okay.

You're gonna flex up.

Good. Hold that, and relax.

And it just started today?

I mean...

Has it been starting

to bother you a little bit?

I haven't... I've had a lot...

I don't know.

I've probably

been ignoring it, maybe.

I felt yesterday, probably,

maybe not so much today,

but I felt like today

there was, or yesterday,

there was this disconnect

between what's happening here,

- which is very cool.

- Yeah.

You know, you're doing

a new ballet, a third one, right?

You're kind of this kid...

You know... I mean, it's cool.

- Right?

- Yeah.

But the orchestra's just...

You know,

they weren't immediately

crazy about the piece,

and, you know, it's not...

There's this disconnect

between the excitement

of actually what's happening...

And what it...

The reason I asked about Rabbit

was because if it was...

If you could go down and say,

you know,

"Thank you so much

for yesterday's Rabbit,"

and this is my third...

- You know what I'm saying?

- Yeah.

No, I almost said something

yesterday to them,

but I didn't want to, like,

overstep my boundaries either.

I think if you went

and if you could...

Are you gonna...

You're gonna sit out there?

Yeah.

I think if you went in and just

told Marquerite to wait 30 seconds

and you went to Andy

and you said,

"Do you mind

if I address the orchestra?"

Yeah. Okay.

I can do that.

I mean, I just feel like

you should make the connection.

- Yeah, that's really nice.

- Then they could rally to...

- Yeah.

- They'd feel like, "Yeah, it matters

that we play well,

and it's a big deal."

- Okay.

- You know? I mean... Okay.

Yeah, I appreciate that. Yeah.

No, that's great. Yeah.

I'll do that. Thanks.

Can I just say...

Can I just talk

to the orchestra for a second?

Is that okay?

- Yeah.

- No?

Yeah. Okay.

Okay.

Guys, hi.

I'm the choreographer.

I don't know if I-

If I know all of you,

but I'm Justin Peck.

I just want to say

that my whole process

of choreographing

is really, really, really

based on the music,

and everything I do

is about, sort of, like,

exposing the details

and, like, the complexities

and the textures of the orchestra.

It's really, really important

to play with, like,

a lot of energy and vigor,

especially in this piece.

I would really

appreciate that so much,

and I'm so thrilled

to have you guys.

Sounded great last night.

The string section

in Year of the Rabbit...

I was so happy with it.

Tempos were great and everything.

So, I'm really looking forward

to this premiere and everything.

So merde.

I just get really weird

when my hair's low for buns.

I know.

But this is not a low, low.

- It's not, you know...

- Yeah. Yeah.

I still gonna give you a neckline

as much as I can.

I know.

I know you know how I feel.

And such.

Dancers,

please sign in if you haven't.

- Hey. Merde.

- How are you? Merde to you.

Thirty minutes till

the first ballet of the evening:

Justin Peck's Paz de la Jolla.

Thirty minutes.

- So, yeah.

- It's great, Justin.

You know, we saw your Rabbit

two days ago.

- Oh, yeah?

- Two nights ago, again.

- I liked it. Again.

- Thanks.

I liked it better

than the first time.

No, I really did like it.

Actually, it just becomes

better and better.

How does it feel when you walk

on the staircase to the theater,

and there...

Robbins, you, and Balanchine?

Oh, my God. I am, like, freaking out

about that, yeah.

Olga, he was in your class at

the School of American Ballet?

Yes. Well, I mean... yeah.

Not in my class,

but I did with him...

- But we worked together...

- On Scenes de Ballet.

- On Chris Wheeldon's stuff.

- Chris Wheeldon.

- Oh, I see. I see.

- Yeah.

You got a good review.

You're at the same level

as Alexei,

Alexei Ratmansky

and Chris Wheeldon.

Yeah,

that's quite a statement, so...

No, it's great.

What you do is great.

- Amar?

- Yeah?

You want to try anything?

- I say we go for it.

- Okay.

- Yeah?

- Yeah?

- I'm just gonna grab those hips.

- The lifts and everything?

- Yeah.

- Okay.

I'm just gonna grab those hips

and do it.

- Okay.

- Cool?

- Cool.

- All right, baby. Give me a kiss.

- You look handsome.

- Have a good time.

You too. Merde.

- Merde.

- Merde, guys.

Guys, that was great.

Really great.

- All right.

- It's great.

- Thanks!

- Yeah.

It looks so good.

Dancer 2:
So good.

Fifteen minutes till

the third ballet of the evening:

Alexei Ratmansky's

Concerto DSCH.

Dancers to stage.

Ladies and gentlemen,

in this evening's performance

of Concerto DSCH,

please remember

to turn off your cell phones.

Places, please.

Places.

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