Me, Dorothy...and This Road to Oz
Me, Dorothy…and This Road to Oz is an unprecedented immersive trip down the yellow brick road with the Kansas City Ballet as the cast and crew prepare for the world premiere of The Wizard of Oz. Follow composers, choreographers, costume designers, and dancers from first read through the final bow.
(somber orchestral music)
- [Amanda] My name is Amanda DeVenuta
and I'm a professional dancer
with the Kansas City Ballet.
I am going on my fifth season with the company,
and I'm really looking forward to performing
the role of Dorothy in the world premier
of Wizard of Oz.
Ballet is the meaning of life.
When I was three years old,
I walked on my tippy toes before I walked flat foot.
That's where I felt like I belonged,
and I really feel like that is my life purpose.
That I was put here to dance,
because when I'm on stage,
the feeling is indescribable.
I feel the most alive.
I feel the most myself.
I'm able to express all these different things
inside me that I don't even really understand,
and I think as humans,
we have so many things that we're constantly
searching for and trying to understand about ourselves,
and for me instead of trying to define it,
I dance it.
- A lot led up to becoming an artistic director,
25, 20 years or so of professional performing,
and 15 years of middle management,
if you want to call it.
Being a ballet master or associate director,
but when I came to Kansas City Ballet,
was kind of the proverbial, the buck stops at the desk.
Well, it's the artistic products stops at my desk,
so I've learned
how wonderful it is
to go on that adventure with audience members
over the years that have enjoyed
a lot of works that I've presented in the past
five years or so that I've been here now,
and I care about them,
and I want them to have a great time
every time they sit in their seat,
and the lights go out and the curtain goes up.
I really want them genuinely to enjoy themselves,
and the other side of that
is what's behind the curtain.
Our company has 30 professionals
and 15 second company members,
so that's 45 individuals that I'm responsible for,
for their careers.
That's a lot, you know.
I make decisions that affect their careers,
and in this business,
particularly in the dance business, ballet world,
the career is extremely short,
unlike a symphonic musician or an operatic singer.
You know, a dancer has,
a good career is 15 years and you're done
of professional experiences,
so the time on stage is brief
and sweet and precious.
- [Amanda] Takes me a little bit longer
to sew my pointe shoes than most people.
Most dancers use floss,
and it's apparently stronger than thread,
so you really only need like five stitches,
but I like to use normal sewing thread,
so I can have different colors and stuff.
It's fun for me.
that it takes this long.
Class is a dancer's morning ritual.
It's something that we do every day
to warm up our bodies and prepare us
for the long rehearsal day ahead.
We usually spend about 45 minutes
at the bar and that's where you have one hand
supporting you and you do the right side,
then the left side, and that's preparing us to be
in center and to dance freely.
- Back five and six and seven.
(speaks in foreign language)
Slide forward and slide back, one, cut,
and an 18 first, bending and stretching,
demi, demi, grand plié.
The usual squat back to first, and go ahead.
- Excited and anxious to get started
because when I hear 75 days out
and the ballet is not choreographed yet,
it's a lot to take in,
but usually with new productions like this,
I find that we're working on stuff
and changing things down to the last minute,
but for me,
it's fun to do that.
It keeps it fresh, it keeps it,
it keeps the mind racing.
I'm really looking forward to having Septime back.
I really enjoyed working with him.
- Audiences come with a strong expectation.
You don't want to disappoint them,
but I believe if I'm really successful,
I will be successful in a certain kind of bait and switch
that you provide enough of what the audience expects,
so they accept it,
but you provide it in a surprising way.
I don't wanna show them the movie.
They can just rent that on Netflix.
There's no reason to do a ballet
if you can't illuminate a facet of the story
that's not already illuminated by other forms,
so the ballet has to be different than
the book or the film,
otherwise there's no point to do it.
We've gotta find some aspect of the story
that can't be illuminated by the spoken word,
something that ballet does that dance does
better than words do,
which is to embody emotional content,
so the grand themes of good versus evil,
of friendship, these kinds of things
are at the heart of what ballet does well,
because we're doing it without language,
we're unencumbered by that,
and that's what, certainly, I'm focusing on,
is illuminating a different facet
of a well known story.
I like that a lot.
There you go, what I'm saying.
I think we should put, really,
we should be in parallel,
and Glinda up on white shoes.
Kind of passing the white and black shoes.
What's her leg?
Straight leg, turned out, same thing.
- Person that started to talk to
a variety of companies to see about,
and measure their interest was Septime Webber,
some were interested, some thought about it for awhile.
At the end of the day, there were three companies
that agreed that this would be an interesting project.
We're working with Colorado Ballet,
out in Denver and Canada's Royal Winnipeg Ballet
out of Winnipeg Manitoba.
It's a very cost efficient way
to be able to spend a significant amount of money,
significant in the sense of getting a high quality
production with really a bevy of high end creative artists.
- Three, four, five, six, seven, eight.
One, two, three, four, five, six, go seven, eight.
Go faster, fast, fast.
Four, five, six, seven, eight.
One, two, three, four, five, six, seven, eight.
Go, two, three, four, five, six, seven, eight.
One, two, three, four, five, six, seven, eight.
One, two, three, four, five, six, seven, eight.
For me it starts with the source material,
so I read the book,
and some of the other,
the sequels, a number of times.
I've certainly watched the film,
and watched The Wiz and some other source material,
but mostly from the book wrote a libretto
which was essential an order of scenes,
and I wrote it in detail enough
that the composer could write music,
it literally starts with farm hands doing their chores,
an energetic dance where we see
the characters of the three farm hands
who will become the Lion, the Tin Man, and the Scarecrow,
two minutes and 15 seconds.
(lively string music)
Inside there's a 16 measure passage
for Aunt Em and Uncle Henry.
Dorothy enters, two minutes.
We see her alone, we see Toto comforting her,
et cetera, for two hours,
so this libretto is essentially an outline
of scenes and in that process,
I discover what scenes I will include,
what scenes I will excise, how it will be different,
the book is quite long,
what elements from the book will I,
that were not included in the movie,
might we include,
how there might be some things
that are particular to my take on the source material,
which I've been living with Wizard of Oz
since I was six years old.
It's been really important to me,
so the first step is developing a libretto
and that me work with the composer for six months.
- You have to sit down with a choreographer
and, in this case, Septime and I sat down together
to talk about the story,
and how we were gonna portray
this amazing journey of Dorothy through the Wizard of Oz,
and not just referencing the film,
but also, through the book,
so start with the book,
and of course you can't ignore the film,
so you start with the story,
how are you gonna turn that story into a ballet
and that conversation moves forward,
and of course what comes first, really, the music,
because you have to think about,
okay, Dorothy's in Kansas, what does that sound like?
In the case of this show,
we have a lot of fun references
to popular music and Septime likes to play with
a lot of those references in the dance,
and so I'll listen to a lot of music,
we will listen to a lot of music and say,
is this how the Lion is feeling?
He wanted sort of a disco feel, cool feel,
for the Lion,
more down home country feel for the Scarecrow,
and the Tin Man had a soulful feel,
but the Tin Man's fun because I can use sound effects
with the oil can,
so I love sound effects,
and I love to integrate the sound effects
then into melodies that describe these characters.
The bicycle bell that's used in the show,
I picked out of a box of 20 children's bicycle bells.
The one that sounded the best,
and then I mounted it on a stick,
so the percussion play can play the bicycle bell
with his thumb.
- Oh, are you gonna start?
- Oh, yeah, it's okay.
- We're going. - It's okay, this is good.
- All right.
You pat, take his hand over there.
He's got you.
- You know, at first it was just,
I was picked for the photo shoot
for Wizard of Oz,
and you know, usually that means
you've gotten the part,
but there's always that chance
that you're just a good face for it,
but you know, in, I think it was January or February,
Septime came for a week,
and started choreographing,
and he worked with me one and one,
and we were just,
we just fed off of each other's energy.
- I think a dancer, a really great dancer
that compels me to collaborate with them
in a role like Dorothy
has certainly great technique, steely technique,
and also an appropriate physicality for the role,
but the passion that's so important,
amounts to a confluence of fearlessness,
and factor X.
Factor X is that ability
to take what's inside of them
and spill it outside of them to the audience.
All of the dancers in Kansas City Ballet
are passionate about their doing.
You wouldn't get to where,
that level if you're not,
but what's really special
is to be able to have that then
manifest itself into some kind of,
not exactly charisma,
because that sounds superficial, actually.
The ability to actually have the passion
show itself, radiate,
that's the factor X,
and also kind of a go for broke,
Dorothy was like a go for broke kind of gal,
and so I wanted that physicality, that readiness,
and Amanda has that in spades.
She just a go for it kind of gal.
- [Amanda] I remember as a little girl
going into the Boston Ballet costume shop,
and just being in awe of it.
The work and intricate details
that go into making a costume
or a tutu is so beautiful,
and luckily for the Wizard of Oz,
this is the first time I've had a costume
made on me to my measurements,
and it fits me perfectly,
and that's gonna be an amazing experience
to dance in something that feels like second skin on me.
- Of course we have the, also the impression
that a costume designer, it's very glamorous life, right?
You draw and then we finish,
and no, it's about five minutes, right?
This is five minutes,
and the rest of the whole hour is 55 minutes
or to choose fabric, to direct the shop
or the tailors about the way you wanted
things to be cut and the fits,
and then you follow the process of the production
of the costume, then the fittings,
the never ending fittings to make sure
that your idea really is reflected by the fabrics
and the shape and the fit, especially the fit,
and if it's comfortable,
and then you follow them on stage,
where you attend all these endless rehearsals
with the costumes or without,
to really understand what's going on,
and then you get to the premiere.
It's a process of many, many months,
and it's a very laborious,
because you first sketch,
and then you have to adjust your sketches
to the demands, depending technical demands,
budget, also changes,
or what the choreographer's vision
or director's, as a change,
it's a lot of hours.
- [Male Therapist] Start with your glutes and then I'm
gonna work my way down.
- Just straighten that.
How's everything been going?
- [Amanda] Good, weird.
Piecing things together.
- And it's almost all done.
- [Amanda] Yes, it excites me so much,
that I know how to get from one scene to another.
- Yeah, yeah.
- [Amanda] Ballet, as natural as it feels to me,
it's very unnatural for our bodies
to be doing the things that we're
forcing it to do,
and so that creates a shorter time span
on our careers, unfortunately.
The ballet provides physical therapy
for when things on our body are hurting.
But then I also think it's important
to be healthy in the way that
you're feeding yourself with things
that also feed your soul,
even if they're not super healthy,
so I love donuts for example,
that's obviously not a food
that a ballet dancer should be consuming all that much,
and I try and maintain a healthy diet
but also have balance and not
eliminate the things that make me happy
or bring me joy.
- Your bows aren't straight.
There's a height difference of the bows
by this much.
- Yeah, she redid my braids.
- This bow is lower and this bow is higher.
I wonder if we could fake it.
Pull this bow down.
We can't pull this bow up.
- Oh, I'm sure.
You can probably pull the whole thing down--
- Are these just tied? - A little.
- Oh, oh, oh, okay, yeah, I'll do that.
And they're not tied sideways,
they're tied, okay, that's close enough.
Now we gotta get the bow so it goes this way
as opposed to that way.
- And I don't know how to twist that
so it will stay.
See that one's nice, it's going like that.
- Look at this one over here. - Yeah.
- See how it's up and down?
Okay that might work,
except I need to get rid of...
- And I can't really see it.
I can kind of.
- Well, it's not...
I'm gonna cut some of that ribbon.
The ribbons are the same length.
- So many the bows might be a little smaller
on one side than the other.
Yeah, and I think the bows are a little too big,
so now we cut.
You got that?
Oh, I get so nervous cutting things.
Don't wanna do it wrong, there we go.
Now-- - Thank you.
- You're symmetric.
- God is in the details, of course,
and over time, when you're a choreographer
or a director,
and even as a dancer,
we're used to looking in the mirror
and seeing what's wrong.
That's what we do.
We dance in front of the mirror,
we dance in front of the mirror,
not to admire ourselves,
but to correct ourselves.
That's the function of that mirror
in the front of the studio.
Is to see what's wrong,
to make sure everything is right
and precisely in place.
What this does over time,
is it refines your eye,
so you can look at something and see precisely
what it needs to be,
and then as a choreographer,
I am looking for certain shapes
or stage pictures or I'm looking to discover something.
I'm looking with my refined point of view.
It's not that I refined taste,
but over time, I've refined the kind of shapes,
the kind of stage images
that seem to be logical to me,
to fulfill the storytelling needs,
and that means how you place a corps,
the ballet, how you position people on stage,
it means how long the ribbons should be
on Dorothy's pigtails,
it means how high the rods should be on the puppet
that's gonna fly by,
just virtually every detail,
a decision needs to be made.
- So this is one of our big wing monkey puppets,
and we have a scene,
of course this is an iconic piece
in the movie and we want to honor that in our piece,
and so we have a scene that has just a field,
an ocean of these puppets.
This is the largest one,
and then we have one that's about three quarters this size,
and another one that's just, you know, 18 inches tall,
and there is about, over 30 of them in all,
and they just fill the stage,
just to force the perspective,
and these are gonna be increased by the projections
behind the puppets,
so it just feels like it's an infinite field
of these puppets,
but it's very simple.
It's just a monkey on a stick,
but it has some really nice flow to it.
Let's see how we can do,
like I was saying, I think I mentioned yesterday,
a good way to do that,
instead of doing this.
A good way to do an angle change,
is the think about your upper hand
being your pivot point,
so you can even move it up a bit,
and just, you're just doing a pivot like that.
Mostly, I've always been into art growing up,
and I certainly watched Sesame Street a lot growing up.
That was, I grew up in rural Quebec,
and in a small town,
and so having Sesame Street was a great way
to bring international quality art
into my living room,
and so I was definitely exposed
to a lot of puppets at that point,
but I was mostly just interested in art in general,
and I did a few things.
I went to animation for a bit.
I did fine arts,
and then I decided to try theater,
and it was all about storytelling.
I like art but I also like characters and storytelling,
and the other thing is,
on my journey throughout these different disciplines,
is I notice I don't just like drawing,
like in animation.
Animation's really fun,
but it's just drawing.
I like drawing but I like making costumes,
I like doing voices, I like building mechanics,
I like painting, sculpting.
I like doing all those things.
I didn't wanna restrict myself to just one medium,
and so puppets became,
well, it was always in the background in my head,
but they became a really viable option
to really take advantage of all those disciplines,
and so I started that in 2013,
and it's been a fantastic journey.
This is Toto.
He's one of our main characters,
and he was built by Dan Luis in Portland, Oregon.
One of the best, not only puppet builders,
but puppeteers that I know,
and we wanted to get him to build this puppet,
'cause this is one of the main characters,
and he has to have a lot of life
and a lot of sensitivity,
and he's really good at creating that,
so this puppet is actually very simple.
He's just got these sprung legs,
and he's got a head rod and he's got a body rod,
and everything is done from these two rods.
There's no triggers, pull strings,
It's very low tech,
and we wanted to be very simple,
but very sensitive and lifelike,
and so he can do almost anything
a real dog can do,
and so we're gonna be working
with the performer to not only give him life
but find some nice connections with Dorothy,
because they're best friends,
and we wanna build that friendship.
- During Wizard of Oz,
I don't think I had ever been as tired
as I was during this process,
but for me, I actually feel more energized
and awake when I've had a long day,
even though my body is physically more tired.
Mentally, I guess I've been charged,
all day long with doing what I love non stop
from hour to hour so I feel very full
and rewarded at the end of each rehearsal day.
- To be successful, it's not a matter of multi-tasking,
it's a matter of changing gears very quickly,
being really on task 100%,
and then as soon as that task is over, changing gears 100%
and be 100% focused on the next task.
You can't be successful without being 100%
in the moment,
with all the different tasks,
and there's a lot of different tasks.
- As a kid, I loved architecture.
Didn't seem like an option for me,
and I truly had to find set design.
It took me a while.
I started out in music,
and then from music, I got into design,
and then, actually my MFA is in costume design,
and somewhere in there,
all the loves combined.
I think it's actually one of the best things possible
is to be given the opportunity to reimagine.
You're just walking in as an audience member
and bringing wherever you are that day,
and throwing it on the blank canvas in front of you,
anyway, so whatever you see,
you're gonna project how you feel that day on it.
That's where we start.
- There are some ballets that I've done
throughout my career that don't really have
any props or sets or specific lighting,
and then it's up to the audience members
themselves to create and imagine
what picture we're trying to paint as dancers,
and that's also fun in it's own way.
I was constantly amazed and surprised,
and there were some shows
that midway through the performances,
I would notice something on the screen
that was being projecting during the yellow brick road
scene that I had never seen before,
and it was amazing to me that
so much went into telling the story
the best way they could tell it.
- So the matrix will have one of the sends,
and then, once we program the sends inside
of wash out, we'll be able to switch it up,
so output one here,
comes into input one here,
which becomes however many outputs we want,
so input one and input four
will also, will go to output one, et cetera,
so that we have a full tracking backup
with the whole system.
- Being a set designer is part of storytelling,
but it's truly just a part of storytelling,
and the first thing is,
you have to be happy to be part of a group,
you have to be happy telling the story
with a group of people
and not just it being about you
and your own expression.
- The thing about lighting design
is the fact that you can affect a show
the same way an actor can.
You have control over the environment, the mood,
one single light source can say a lot,
and help an actor say a lot.
One single light source can help a dancer say a lot.
A lighting designer is really the last person
in the door.
Sound designers are as well,
and the fact that the two of us
come into the theater,
and we're the ones that are producing.
It's hard to show sound
and it's hard to show lights,
until you're actually really in the space,
and so we're the ones that really have
the most pressure to sort of,
I always call it design on a dime.
It's like you're forced to just churn it out
right then an there,
It's in color.
- It looks so good.
- We're making a big difference between realism
Once she lands in Oz,
it's a truly fantasy, pop art driven world.
- [Worker] Come down a little bit.
Put the wheels between your legs,
grab the handlebars.
- I'm just definitely popping a wheely.
I'm totally like this.
I actually feel like maybe something ripped
a little bit back there but--
- [Worker] He's redoing that.
- Because we're actually such good friends
in real life,
I just pretend that she's not Amanda,
and I really take it in.
When I'm in rehearsal, I become my character,
so I'm no longer Danny.
I'm Ms. Gulch or Wicked Witch,
and so when I look at her,
she really is Dorothy and--
- And I'm really scared of you.
- I'm, right?
During the tornado scene,
I'm riding a bike
on wires, flying, riding a bike,
and then I apparently have seven minutes
and 35 seconds to get painted and change
into Wicked Witch.
- The fun when there's, like, not just straight across
but also have a little bit there--
- Yeah, yeah, yeah.
- You can do a loop as you're running,
you know, run, and loop, then run on one side,
then we go down, so each pass
has a different kind of decorative thing.
- [Male Dancer] We're walking there.
- Do you know what they're doing, this here,
- I'm not sure because I'm gonna coming,
I'm gonna be flying off the little bed.
- [Stage Hand] Cameron, Elizabeth.
- So I'm just be going straight up,
I'm guessing, this middle one.
This was my first time flying ever in a ballet production.
I asked the crew members,
is there anything specific I should do,
and really the only thing they said was
to keep my focus up,
'cause if I put my head down,
that was a lot of weight going forward,
and with the lighting, it would just cast shadows
on my face and they said to keep my legs
as mobile as possible
because the tornado scene lasted for a very long time,
they said I could actually lose circulation in my legs
if I don't keep them moving.
- What do you do when you find out
you have a world premiere commission?
As a music director,
my first interests are
what instruments are you going to write for
and talk about that,
because we need to have the right instruments
in the orchestra pit,
and how big of an orchestra do you need
and all of those things that we work out
with the composer before he ever puts
a note on the piece of paper,
so we had worked through all of that with him,
and I have the score now.
It's this big pile here on my desk.
This is a conductor's score,
all 471 pages of it.
So if you read straight down on a line,
this is one bar of music,
and these are all the instruments
that are playing at the same time.
Now when I saw the score,
which was fairly recently because it's been
quite an epic mission for him
to write this much music,
I found out all sorts of wonderful things
that he'd done in the score.
For example, our percussion section plays 33
different instruments during the course of the ballet,
so there's lots of wonderful sound effects
and interesting ways that he's used
to create rhythms.
He also put in a tenor saxophone.
Very unusual for a symphony orchestra,
that's usually an instrument you associate with jazz,
so just thinking about that a little bit,
maybe there's a little jazz in this score,
which makes it a whole lot of fun.
- [Worker] Reading?
- What? - The con.
The high bar.
- [Worker] What about it?
- I usually,
I like to get ready really early
so that way I don't feel rushed.
So now it's 5:21 p.m.
I'm hoping to be done in here
by six, at the latest,
and then I'd like to go warm up,
because half hour is at 6:30 p.m. tonight,
and then we start our dress rehearsal at seven.
Normally I think the shows are at 7:30 p.m.,
so half hour is at seven.
We have a little more time,
but tonight because of how things went this morning,
I think we're gonna start earlier
so we have more time after
to work on things we need to fix before tomorrow.
Lisa told me to try and get a little bit more
of a pouf so I think I did a good job.
I already feel like I have a nervous stomach.
This is usually around the time
that while I'm getting ready,
it's hard for me to
There's a tornado happening inside of me right now,
like the build up and the wait to get onstage.
It's usually why I like to give myself
some time to do my makeup,
so that way I'm not rushing and shaky
with my eye-liner and...
(man speaks indistinctly)
- [Septime] Western, I don't think we need much
movement, I really think,
I like Alice coming in.
- I usually don't sew, I don't do this,
but now it's an emergency.
It's Glinda's bubble skirt.
At first it was supposed to be a bubble skirt
over her head with an umbrella under,
and then finally because of technical difficulties,
only her legs were gonna show like this,
and then it changed to this and to that,
and now she's on a swing,
you know, she arrives on a swing,
and this became a skirt,
which was not the intention so you
have to make it look like a bubble still,
so you know.
This is fun.
This is, I love that action, you know.
It's on the edge.
You have to like stress and adrenaline
to do that job because,
especially when it's a premiere, you know?
The first time we see it in theater with the costumes,
especially when it's very technical like this,
you don't know if it's gonna work, you know?
When you're too sensitive, you should not do that job.
- Baby ballerinas get dressed, please.
Baby ballerinas get dressed, please.
All right, I'll make an attempt at the keys.
I could be on the right page.
- [Director] You guys ready back there?
- All right...
- Yes. - Stand by.
- Thank you. - Spots.
We'll being in 14 minutes, right at 5:45 p.m.
- [Director] Thank you, right on the music,
with the knocks.
The knocks are a little unclear.
Be really clear with the knocks.
- Spot two to the stage left window.
Spot one out.
Spot two to the stage right window, go.
Lights to 95.5, go.
- [Assistant] For the quick bend.
- [Stage Manager] Elliot to backstage, please,
Elliot to backstage.
- She's on the side. - Yeah.
- [Assistant] How long, I'm sure, not right back, anyway.
- It means doing business with it.
- [Assistant] So, and so then,
you know, like, in the back--
- [Amanda] It's chaos going on backstage,
especially for the Wizard of Oz.
Actually they had said for no dancers
to be backstage if they weren't gonna be
going on the stage anytime soon,
and normally we're able to watch,
but there was actually no room
with all the props and the sets
and people running off to quickly change
into their harness to fly,
there was just so many intricate pieces
going on backstage
that the audience doesn't get to witness.
- And what do you want on your hairdryer?
That way, when it turns on it (vocalizes).
- During Munchkin Land, I ran off stage
behind the big flowers that came in
in the dark once the Witch came on,
and I had about 40 to 50 seconds
to get my red shoes on.
It felt like 10 seconds in the moment.
It felt very fast.
I usually always had someone helping me out.
Jen, our costume and wardrobe woman,
would always help me with the left shoe
and I would do the right shoe,
and I usually just made it out in time
for when I needed to be out.
This dress rehearsal for this production this year
was different because we had actually had to stop
during it, and normally, you know,
dress rehearsals are like a mini performance,
like a pre-show show,
we usually have a small group
that comes to watch,
and Devon always says at the beginning in his speech,
this is technically a rehearsal,
so if we have to stop, we will.
Usually, we don't but this is a first.
- [Devon] Okay, we need to stop for a second.
Okay, can we stay a turn here?
- [Light Director] Light's can go away.
- [Devon] Can we flame all the way out, do you think?
- [Light Director] Yeah, I think that's control--
- [Devon] I need, so...
- So before opening night,
I actually hadn't done the ballet fully
without stopping so it was very nerve wracking.
- Until that curtain goes up,
you never quite know what you're gonna get out there.
You know it's gonna be good.
You know it's gonna be a good experience,
you're just not sure how good it's gonna be,
and that's what's always exciting.
When the audience is mingling,
and they all get into the theater,
and there's that buzz, that conversational buzz
going on and then the lights quiet down,
and the conductor walks out
and takes their bow,
and then there's that hush right before
the first down beat,
and it's like...
Here we go.