The Company Page #3

And say, Hey Mr. A let's make

good on your word...

about the ballet you'll create for me.

I know you wouldn't do it that way.

You know, totally vulgar.

But still...

Remember that evening at that

wonderful party? He dazzled us...

with his promise of building

a ballet for you...

- Where is he? Do you have any wine?

- In the fridge.

The fridge? I don't really feel

like white wine.

I love it that you have red wine

in the fridge just like your mother.

Now look, let's get down here

to brass tacks. Loretta?

- Mom?

- Darling, it's time.

I went to see Aunt Vynette today

in the hospital.

- How is she?

- She's sad, diminished.

I'm here to tell you...

I love your wig.

Life is short.

And it's time for you now.

You've been featured...

you've been acknowledged.

Your colleagues are wonderful...

- Mom, I'm going to be late.

- Those shoes are dangerous.

- No they're not. They're fine.

- You could break your neck.

- They're fine, Mom.

- Honestly. You have to go.

- This is yummy.

- Good. Coat.

I'm going back to the hospital.

This suit cheered her up.

- Give her my love.

- I'll give it, and I love you.

- You don't need this.

- I push you because you're modest.

- Your demur quality is enchanting.

- Let's get going.

You look very sexy right now.

I'm worried about you.

- It's fine.

- Talk to Mr. A.

Bring out his appeal to his

Svengali instincts.

Hey Dwayne.

I'm in trouble huh?

Can I get a Jack and Coke

and a screwdriver?

- I thought I'd pluck up the guts.

- So you did it?

- Yeah.

- I'll be back.

I did it. I got the balls up

and I did it.

- Do you have a condom?

- No.

Sorry to wake you. Do you have

an extra condom?

- What?

- Do you have an extra rubber?

Yeah.

Just one is fine. Thanks.

Don't worry about leaving.

- Just stay as long as you want.

- Yeah. Thanks.

Now I'm not going to stand here

and go on about our next recipient.

There simply aren't

enough words.

But suffice it to say,

that his work stands for itself...

and has been a source of

inspiration to Italian Americans.

So please join me in

welcoming...

the Artistic Director of the

Joffrey Ballet of Chicago...

Mr. Alberto Antonelli.

Thank you.

Please sit down.

You know, I really deserve

this thing.

Because you Italian guys made it

hard for me to be a dancer.

You know, you didn't help

one iota.

I had to hide my

ballet shoes.

And my Italian family,

they gave me such a hard time.

Listen, if your boys want

to be dancers...

please don't give them

a hard time.

That would really be

a special award to me.

- You better let me do that.

- Really?

- Yeah.

- It's probably a good idea.

Do you have a pan?

- I can make toast too.

- Toast is good.

- What do you like in your eggs?

- I don't know. Anything.

- What do you got?

- Not much. Let me see...

- Two tomatoes.

- Tomatoes are good.

- I have pepper. You want pepper?

- Peppers...

- Do you have onions?

- No, but I have onion salt.

No, that's ok.

- Can you close the door.

- Sure.

So, great we're finally starting

Blue Snake rehearsals.

I love it.

I just wanted to tell you a

little bit more about the piece.

We haven't had a chance to

talk about it so much...

so, here we are at

the beginning...

- What's happening?

- That's Mr. A's chair.

Oh, la chaise du maitre.

Je m'excuse. This one will do fine.

At the beginning of the piece

we've got the storyteller...

and the whole piece is like

stepping into a children's book.

So instead of opening the book

once he's done his opening solo...

the mouth of the snake opens

and the piece starts.

We have the zebra characters,

they are in black and white...

sort of representing the dualism

of the world that we live in.

And they come out like holding

hands and do a circle dance.

We enter into section two,

the mouth of the snake reopens...

we're into the red section,

the monkeys are coming out.

The whole piece is done sort

of in primal colors.

It's all very kind of fun

and very colorful.

And we go through a solo for

a female balloon head...

expressing sort of again

the joy of the child...

and eventually we come to this

finale which has the giant.

You still have a way to go

with your line.

And you also need to work on your

allegro, especially Mr. A's allegro.

I love allegro. If you can dance

allegro, you can dance anything.

If you're an allegro dancer,

there's nothing you can't do.

They're in love with the

lyricism and all that.

But you know what I call them?

Phony ballet. I hate it.

I fight with these guys

all the time.

I wanted you. I wanted Ry for

Snow pas, right?

Yes you did.

- You went out and she aced it.

- Yes she did.

Mark didn't want her for

Nellie Ely.

Then he saw her in rehearsals.

She was fantastic.

I know whereof I speak.

Edouard, yes?

- Mayor's office in 20 minutes.

- I'll be right there.

No, I can't right now.

I'm late for the mayor.

He's always late.

- You scared me. Hi.

- Hi.

- How'd you get in here?

- Oh, you gave me a key.

- Oh, right. How are you?

- I'm good...

- I think I need a bath though.

- No!

- I'm really dirty.

- No, I don't think so. No!

Get out! Go. I'll be out

in a minute.

- What are you watching?

- I found it up there.

- No. You can't watch this.

- What is this?

- Me, when I was little.

- Want a beer?

That's okay. I got some.

This is fascinating.

So work was good?

Yeah. You know...

- I missed you today.

- Well, I missed you.

- Can't believe you're watching this.

- It's great.

- It's humiliating.

- Which one is you. Right?

On the left there.

The far too enthusiastic one.

Horrible.

- Cute.

- Yeah.

I think if I really tried

I could do some of these moves.

- You think?

- I think so.

I bet you could.

Very good.

- I'm married!

- Congratulations.

Thank you.

Michael, bend down, pick up

the skirt. Pick up the baby...

Cradle the baby. Rock. Put the

baby down. Then start your bourres.

To the corner, reach. Two arms up.

Two arms up Reach, reach...

Contract around.

That's good. Stay low.

Reach back. Grab the skirt...

Grab the skirt with both hands.

Bring the skirt up to your chin.

When you get the skirt,

don't touch it...

Don't reach for it.

Don't grab it.

- Well, how's he going to get it?

- There's ways to get the material...

When you bring it round with you

pull it to you like...

You changed it from something

else to this yesterday.

Yeah that was yesterday.

Now I want this.

- There's no other way.

- It's organic, you see.

That's not organic. He has to bring

the skirt to this point...

It's organic. That's why it's

so beautiful because...

You're discovering new things

in it all the time.

You see here's the child.

It's like you're giving birth

to the world.

He's a man. How's he going to

give birth?

There's the baby. You go down

with the baby. Pick the baby up...

- The baby's over here.

- He's giving birth.

No. You're mixing up the babies.

This baby is a metaphor.

- For what?

- Giving birth.

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