RMPBS Presents…


Tour De Force

Tour de Force is a film celebrating the spirit of unity, inclusion, and diversity in Denver’s dance scene as three companies, Colorado Ballet, Cleo Parker Robinson Dance, and Wonderbound, unite to create contemporary dance works. This behind the scenes story takes us into the compelling world of ballet where three choreographers create new and compelling works of art that come to life on stage.

AIRED: September 02, 2021 | 0:56:43

(gentle music)

(woman singing in French)

(woman continues singing in French)

(gentle music intensifies)

(woman continues singing in French)

(gentle music continues)

(woman continues singing in French)

(gentle music intensifies)

(woman continues singing in French)

(lively piano music begins)

- When I first came to Colorado Ballet,

in the summer we used to have a,

there was a performance in the park

that the city would put together

and ask several dance companies to perform one evening there

and just do, you know, a short piece.

Each company had come out.

And I wanted, I just wanted to put something together

where an audience could get that diversity

from three companies on the stage.

- Tour De Force was just fabulous when I heard the idea.

When Gil came to me and said, you know,

Cleo, I'm thinking about bringing our companies together.

Wonderbound, Colorado Ballet,

and Cleo Parker Robinson dance.

And I went, that is brilliant.

- I think the thing that I love about Tour De Force

and the entire idea of this project

is that it handles one of the most challenging questions

about how you collaborate across organizations

that are working in the same corner of the art world,

in a really wonderful and thoughtful way.

You don't know until you get inside it,

inside of it, what it's gonna look like.

But with Colorado Ballet

being a beautiful, classical ballet company,

with Wonderbound being a contemporary ballet company,

and then Cleo Parker Robinson

being a modern African American dance company.

They each are entirely unique in the world,

and that allows them each to shine in their own way.

But then also, we're able to have an outcome

that is greater than its parts

because they are each so unique.

(lively piano music)

- All right.

Good morning everybody, welcome back.

Glad to have you here.

Glad to have Cleo's dancers here with us.

(dancers applauding and cheering)


Pretty awesome.

And we also have Ms. Cleo Parker Robinson

coming in right here.

(dancers applauding and cheering)

- Thank you.

(dancers applauding and cheering)

Wow, wow. - All right,

so needless to say, it's very exciting to have Cleo in here

and have her company working with our company.

So I'll turn it over to you Cleo.

- Well, I have to say Gil, thank you so much.

I am so honored and Tour De Force

is gonna be a tour de force.

We're gonna have a ball.

So here we go y'all.

You ready to feel the spirit?

Ready to feel it? - [Dancers] Yeah.

Well I walked in today and I saw the dancers and I went wow.

To imagine them together with my dancers.

What was wonderful is that when I brought,

I don't even think I had them say their names

or where they were from.

I just brought their bodies and energy together

and start moving them and feeling the energy.

And they just connected.

Now, feel as though you're going here,

like you're there with him.

He's letting you out.

He's letting you out.

Okay? So it's like here, go down.

I didn't go in with a concept.

I went in with an inspiration.

And I didn't go in with steps.

I went in with let me see

how their bodies are moving together and how they connect.

And that was thrilling for me.

And I was very honest.

I said, all I know is it's thrilling to be together.

And we'll discover this.

What's wonderful is that we give dance a voice.

And when I thought about this piece

I was thinking about the civil rights movement.

So I want this piece to be about,

what does it feel like to have a movement?

Because I'm trying to find out where is the movement?

So often dancers are a little bit removed

from the real world.

And I was sort of saying, you know,

I'm gonna bring a little bit of that reality to you,

of what my reality is

as a woman of color in this country right now.

(dancers clapping) ♪ Ain't gonna let nobody

♪ turn me round

♪ I keep on walking

♪ I keep on talking

- Very inspiring I have to say.

She's very passionate and lots of enthusiasm every day.

(dancers clapping and singing)

She would sort of like give like a daily speech

and it will never cease to amaze me

to see how much gratitude she has in her movement.

She's a grateful artist

who's giving a lot back to the art community.

(dancers clapping and singing)

- I loved what I saw happen between them as people.

And that, that was wonderful.

And so as I began to sort of challenge them

as it would come out of me,

I went, y'all are this new civil rights movement.

You are the movement.

And I wanted them to see me not just as a choreographer

but let me tell you some things about what,

how I got to this journey.

And you all have your own story

and I want you to bring some of that.

I want you to tell me a little bit about who you are

as we are creating this.

Because who you are is who we see on that stage.

(bright music)

- Cleo likes to move from the heart.

We really felt like we accomplished so much.

And we don't have far to go before it is,

it's gonna be a great piece.

- Cleo's process was more grounded movements,

more organic movements.

Movements that you'd find

in more popular dances around the world.

She takes from different cultures.

So, that's been really fun to dive into

- Cleo is amazing.

She's so much fun.

She's really inspiring.

- Once we started to move together,

we were like, oh.

This is different.

So coming into a atmosphere which is ballet dancers,

you see the different way of like they're moving

and then like, oh, well, let me see if I can do that

and try that and put that in my modern aesthetics.

And, you know, we took a lot from each other

which was really, really great.

- Being able to get down,

and I don't know if dirty is not really the right word,

but just like down and going through the roots

instead of staying up and finding that balance

it's really fun.

And it helps with what we do normally.

- Cleo has been just a whole new experience.

She brings such a vitality to the studio.

And just around her persona,

you could just sense the energy that she has.

So I was really, really impressed

and excited to get to meet her.

- Working with Cleo is a blast.

And just having those dancers come in

and bring their energy with them

and bring their stories, and you know,

talk about their purpose.

It was really something.

- Cleo works like nobody I've ever met.

She works on spirit and on energy.

And on the value of your character.

- The other day I watched the rehearsal,

I was just blown away.

I just think she's a genius.

And a lot of her works have some so much meaning behind them

and mean so much more about our human race,

and equality and our diversity.

I love that, that she's bringing that to our company,

and our company is bringing it

to all of Denver with her company.

I think it is a beautiful, beautiful statement in the arts.

- Hang on, sorry.

It's our last day. - Oh gosh.

And I want to thank Cleo for this process.

I can't tell you how fun it's been to

watch the smiling faces and what's happened in this room.

(dancers applauding) - But I love y'all.

- I love you. - Oh honey, bravo.

- As I like to say.

As I like to say when we do the first performance

next year in March, let's kick some ass.

Okay. - Oh, all right.

- The goals for this process

is to bring all the companies together.

Everyone, we had the artists work together,

experience each other, learn from each other.

And so we'll have Derek coming in next to work on that.

And then over the next few months

we will bring it back in

once or twice a week and get everybody together,

keep it fresh and then put it all together

and put it on the stage.

All right, everybody gather around.

This is Garrett Ammon, Wonderbound.

(all applauding and cheering)

And then Dawn Fay, Producing Director for Wonderbound.

(dancers applauding and cheering)

All right.

So obviously the past couple of weeks, we did one.

We're gonna knock out the second one here on this.

And again, I can't tell you how excited I am to

have this collaboration going on, so.

- I'm so excited to do this.

The first-- - Several years ago,

we were approached by Gill Boggs,

Artistic Director of Colorado Ballet.

And he said, Dawn, come down,

let's have a meeting, let's talk.

We'd like to do a big collaboration

with you and Cleo Parker Robinson dance.

And I said, great.

So I went down to Colorado Ballet.

We had a wonderful meeting,

just talking about ways that we can bring the art

that we all do to a broader cross section of the community.

So this is a prime opportunity for people

to get to see all three companies

in their element fused with these Colorado Ballet dancers.

- The classical art forms, classical performance art forms

whether it be symphonic, music, ballet, opera,

are all built around ideas of doing things

that are superhuamn.

That the feat of doing what you do every day on stage

is superhuman.

Opera, man, when you hear an opera singer,

that just, right?

It's superhuman.

Classical ballet is superhuman.

And then what I look to try to do is take that

and go the other direction to the ultra human.


So superhuman means that you've foregone your flaws.

You've moved beyond your flaws,

that you've eliminated them

and you've become something, a superhero.

But if you go the other direction

and you try be ultra human,

then you revel in your flaws,

you revel in those things that you hide from the world.


Then we get to climb around

in some really interesting things.

(spirited music)

- Garrett's choreography is not easy.

It can be very challenging

and might not always make sense on the outset

of where he's going with things

but they jumped in with both feet

and they were so receptive to it.

So the whole thing felt incredibly authentic and organic.

And that enabled the work to come

into existence in a really short timeframe.

Because Garrett created a 41 minute work

in two weeks and one day, which is, it's unheard of.

But we all know he's brilliant.

(gentle piano music)

- Garret's style is very earthy, very grounded.

He always talks about trying to make as much contact

with the floor and your partner throughout the process.

- We're very excited because it's a real opportunity

for us to really get to discover our body

in a different way.

What is very exciting about working with him,

he has like a theme in his head.

He builds the movement inside his head.

He's very quiet.

And then all of a sudden he shows you

like, what he wants you to do, you know,

and how to express yourself

to the fullest extent of your abilities.

He's trying to create something on you.

Almost like sculpting on you,

which is sort of like one of the best thing you can hope

for as a professional ballet dancer.

- Getting to work with Garrett, watching him work

and learning his process has been very interesting for us.

We always work with the mirror.

And he likes to have the mirror closed with the curtains

and feel everything instead of looking at it.

And how does it look?

It's more about the feeling

and which has been actually really, really nice

and relaxing almost.

- Garrett's was a little bit more existential.

Even though it's still

in the realm of what brings us together.

It's from a more personal perspective

of what it means to be human

- Three, keep it up, you're almost there.

And one, two, three, four, five, six.

- It's already been fantastic.

I love the atmosphere.

Everybody's really focused.

My work tends to pull from classical

as well as contemporary forms.

And I just love how everybody's kind of grabbing a hold

of all of it and searching their way through it.

- First of all, wow.

Pretty amazing. Thank you, Garrett.

(dancers applauding and cheering)

I know I got what I wanted

so I hope you enjoyed the process over the last few weeks.

I also want to thank Dawn

and Wonderbound dancers for being here.

(dancers applauding and cheering)

- Thank you for inviting us to be a part of this.

It's been an amazing experience.

I've never choreographed this many steps

and this much music in this short of a time.

(dancers laughing)

But that's a testament to all of you.

I didn't have any idea

just how amazing this process would be.

Just thank you.

Thank you all so much.

(all applauding)

(light lively music)

- Travelling alone was choreographed

on Colorado Ballet by Amy Seiwert.

Back in 2011 we originated the piece.

She came out here and worked with us

and picked who she wanted and created it.

It was so fun to be part of that process with her.

And she's a genius.

- All right. Everybody welcome Amy back to the building.

(dancers applauding and cheering)

And just happy to say that we happen

to be the first company to do one of her best works ever.

So, and it's back. - And it's back.

- Okay, they're all yours. - All right.

- All right. - Cool

Dance around.

Let's see where we're standing.

(light lively music)

- In selecting Traveling Alone to be on this program

I knew the style, the choreography

that I was gonna get from Cleo and Garrett,

and I wanted something that was obviously

going to be distinct from their styles, yet contemporary.

There's a lot of talk in the dance world

about how women choreographers are not used that much.

So I wanted to certainly represent them in this.

And just watching it come together,

it was something special.

- Plie, pass de that arm.

So I created Traveling Alone back in 2012.

And at the time I was doing a lot of commission-based work

traveling around the country quite a bit,

and living in hotel rooms

for two weeks, four weeks, six weeks at a time.

It was very isolated as far as community goes.

So that became the genesis of this work.

Where do you find home when you don't quite fit in?

Chris, come more forward right now with your shoulder?

Yeah, and don't yeah,

so you can be more this way.

(Amy laughing)

- Just watching her work. - So if you're more--

- And I mean, I can't even really explain it.

She would just have people change different directions.

And all of a sudden it was like, ahh,

this big like masterpiece.

And you're like, how did you see that in your head?

That is amazing.

(gentle lilting music)

- Amy is a fabulous choreographer.

And her piece just took to our dancers like a glove.

To see them now perform it, they're just so owning it.

And it's so beautiful,

because they've had the years of experience with it.

And it's so natural for them.

- I use the classical ballet language.

But often in ways people don't expect to see.

I've got a personal mission to explode preconceptions

about what people think ballet is.

(gentle lilting music continues)

- A dancer's life is very, very hard.

It's a very demanding form of athleticism.

It's very grueling.

There's a lot of pain involved in it.

- [Interviewer] But then you come out here

and it looks graceful

and they're doing multiple performances a day?

- It's what they live for.

You know, they live for both.

They live for the rehearsal, learning,

and then to take it to the stage

and, you know, insert their personality,

and perform for an audience.

It's, you know, there's something inside that feeds that.

(jaunty upbeat music)

(jaunty upbeat music continues)

- [Dancer] It's like one of those dream places,

you know what I mean?

Like it's super big,

there's all this fancy lighting, huge wings.

- [Dancer] It's a little bit breathtaking.

I know that the Colorado Ballet performs there quite a bit.

I'm very humbled, actually. I'm a little nervous.

- [Gil] It's a beautiful house.

When I interviewed for this position,

I walked into this amazing complex

with seven or eight theaters.

I had no idea, it's like Lincoln center.

And I just could not believe that this theater,

this opera house was here in Denver.

So it's very special.

- [Jasmine] I'm curious, am I going to be determined?

Am I gonna be nervous?

Am I going to be like, am I ready?

- As a performer, I find it very fulfilling

to be out on stage but very few things

leave you so satisfied when you leave stage

knowing that you've put everything you had out there

and left nothing else behind.

- Three companies all in the same theater

and we're all sharing it.

And we're finally here.

It's what we've been working towards,

and you know, it's finally coming all together.

- [Dancer] This dance community is very small

and I think that's sort of the purpose, right?

It's to bring our dance community even closer together

in Denver, but also that's sort of

like a microcosm of what Cleo is trying to do.


It sort of make us realize that we are all in this together.

- It's thrilling to finally come out of the studio

and to be right on stage.

But you have a whole other set of challenges.

From spacing, to lights,

and you can't even see the audience,

and trying to find the right lighting

and where are you gonna exit,

where you're coming on.

So the dancers have been working.

They've been working hard.

And I'm so proud of them, I'm just thrilled.

- [Sandra] Everybody's really ready and focused

and excited to be finally getting this to the performance.

So to be out on stage for rehearsing, I think is

the next step for them and getting them ready.

And they're thrilled about being there.

- Yeah, when you shoot through

like the back of my head right now,

I'm gonna try to get high and then go to penche.

So come up before you go down.

And again, you don't have to go down very far.

- So yesterday in a rehearsal

for actually Wounderbound's piece.

my shoulder subluxed in a lift.

And I didn't realize it at the time.

I knew something had happened

because it was a different pain

than I already had in my shoulder.

So today they were rehearsing another girl

just to make sure, in case something happens again,

that they have a cover for me.

I hope I could do it.

I don't mind dancing through pain.

It's fine, as long as I can just do it,

because I really want to do it.

- She was unable to lift her arm above her shoulder.

And she was in all three pieces

and she was just struggling with it,

but they're all so resilient

and they love what they do so much

that she was gonna do her best to be out there.

- That's a shoulder that's not doing so great.

And one of her understudies has a concussion

and our other understudy has a broken toe.

We have now had to teach another beautiful woman

this ballet, and she just started learning it this morning.

- So Amy is here the choreographer.

And she chose Leah to learn the lead role

and to do the pas de deux with Domenico.

So they are, they worked on it yesterday

and rehearsed it onstage.

And they're gonna work on it today again.

And we'll see how Dana does.

If she holds up, she'll be out there.

And if not, we're gonna be seeing

one of our youngest dancers out there doing a lead role.

- I didn't actually even think I was going to be

in this piece at all.

Cause I was just an understudy for it.

But I'm going into this,

just trying to really enjoy this moment

because you don't get, I mean,

you don't get opportunities like this all the time.

So you have to take advantage of it

- She's an apprentice, so this is a pretty big deal

for her to just step in and learn a principal role.

I've been in that position when I was younger

and that's how your career starts and picks up.

And it's a pleasure for me to just, you know,

be there for her and with her.

- When things do go wrong,

that's when the real test starts, right?

That's when you have to make choices.

And that's when the individual's ego can get hurt.

There's a lot that can happen

when things don't go the way

they were expected to or hoped to.

- Dance injuries are very common.

Usually we deal with things like ankle, feet, knees, back,

and a lot of it can be from overuse.

You know, you want your best people out there, too.

And the choreographers love those people

and they tend to be in all of them.

- Dana was my lead in my piece and she's been the lead

in all the other works, and she's been out.

And so today she said, I think I can go in.

And I went, let's not push it.

Why don't you go into one work?

And then every night we'll just take one step at a time.

- You know, it's always hard being injured

and watching somebody else do your part

but she's young and she's so talented.

And I just want to help her and, you know

let her have this experience as well

because it's such a fabulous ballet.

- I'm kind of excited.

Cause we don't know what's gonna happen this weekend.

- Wow.

Fantastic work.

I can't, I don't even have words for the journey

across the past two weeks.

Thank you so much.

Thank you.


- Please wrap yourselves in bubble wrap tonight,

and go to sleep. (all laughing)

- Yes, okay.

Wonderful. - And a helmet.

- Yes, helmet and bubble wrap.

No, fantastic.

Thank you very much.

(all applauding)

- So I will tell you that what I hoped for, we got.

And I want to thank Garrett and Dawn,

and I want to thank Cleo, shout out to Cleo.

I know they're gone, but you guys, Wonderbound dancers,

Cleo dancers, thank you so much.

And our dancers.

- Yes. (all laughing and applauding)

- Okay?

So, the old adage, let's kick some ass this weekend.

(dancers cheering)

(bright lively music)

(bright lively music continues)

- [Garrett] Opening night is always exciting.

And full of a new energy.

The community has really, really shown up.

I mean, the house is huge,

and it's just really exciting

to feel that sense of community.

- [Gil] People really take to dance in this community.

And it's been nice to see.

- It just motivates.

It motivates the dancers just to at least touch one person.

And I feel like if we can touch that one person

then maybe that one person can tell the next story.

- Right over left, right arm over the left arm.

The right hand is giving, the left hand is receiving.

And I just have to look at everybody, baby, thank you.

Thank you, thank you, thanks.

- [Dana] Cleo has this thing where we circle

and we do right over left.

- [Ralaya] And we do breath together

in order to get to the place artistically

that we need to get to.

It will normally be mixed up.

We'll be all mixed up in between one another.

That way, everybody's feeling a different type of energy.

And we're just gonna support them

because we're gonna need their support as well.

They're gonna feel it.

They're gonna be able to tell the stories.

So are we, we're gonna be able to tell it together.

And the audience is going to be able to tell,

that oh, everybody worked really hard.

- [Jasmine] I am excited for that last inhale

because I feel like that will be the breath

that will bring this piece alive.

That's basically just breathing that life into the work.

And I'm excited to just to feel that moment.

And just to know that we're about to touch somebody.

- Do it, do it, do it, do it, do it, do it, do it.

Show them where they are honey.

Cause it's historic.

That's what I wanted to say.

This is history, making history.

So I just wanted to say to you

I think what we've done is unbelievable.

It really is the hard work.

But when I said I wanted to do a piece

about the civil rights movement,

really y'all, I had no idea,

because what I see is when you use all

of everything you have,

you believe in it, you come totally committed, totally.

Showing that we work together in a way

that the world needs to see.

The world needs to see what you do

and what you do is fantastic.

And we have to know that, open up,

so the people tonight will dance with you.

Tonight, you know, take care of yourselves,

take care of each other, take care of the work.

And take the audience with you.

So enjoy that, love.

Thank the person next to you.

And let's just rock it, bring it up, bring it up,

bring it up, bring it up.

♪ Because they feel the spirit, try to get near it ♪

♪ Feel the spirit, try to get near it ♪

♪ Feel the spirit

Rock it in your hips a little bit.

(dancers singing) Don't knock 'em out though,

cause y'all got work to do.

Uh-huh, now drop it down.

Let's say got creative.

All the way down, think it.

Think about what you're gonna do tonight.

It will be phenomenal.

Thank you for the gifts you bring

because we're gonna take it out

to the rest of the world.

Take it on out.

Take it out, take it out, take it out,

and give up some love y'all.

(dancers applauding) Give it up, give it up,

give it up, give it up.

- There's nothing like the feeling

of the minute that that curtain comes up.

That is sort of why dancers dance.

Just stepping out on that stage

and sort of letting it transform you a little bit

and take your art to a whole different level.

(audience murmuring)

- Five minutes on stage, five.

(audience murmuring)

- [Cleo] Injustice anywhere

is a threat to justice everywhere.

- [Man] Martin Luther King was shot and killed tonight.

- [Cleo] Martin Luther King was shot and killed tonight.

- [Man] He dedicated his life to love.

- [Cleo] He dedicated his life to love.

- [Man] And to justice between fellow human beings.

- [Cleo] And to justice between fellow human beings.

- [Man] He died in the cause of that effort.

- [Cleo] He died in the cause of that effort.

- [Man] He died in the cause of that effort.

(lively music begins)

(woman vocalizing)

(lively music continues)

(woman vocalizing)

(woman vocalizing)

(lively music continues)

(woman vocalizing)

(lively music continues)

(woman vocalizing)

(soulful music begins) (lively music continues)

(soulful music ends) (lively music continues)

(lively music continues)

(lively music continues)

(lively music ends) (soulful music begins)

♪ It's been a long

♪ A long time coming

♪ But I know

♪ A change gonna come

♪ Oh yes it is

♪ Oh

♪ Then I go

♪ To my brothers

♪ Oh-Oh

♪ And I say brother

♪ Help me please

♪ But he wound up

♪ Knocking me

♪ Back down

♪ On my knees

♪ Oh

♪ There been times

♪ That I thought

♪ I couldn't last for long

♪ But now I think I'm able

♪ Oh I'm able father

♪ To carry on

♪ It's been a long

(soulful music begins)

♪ So different from what it seems to be ♪

♪ Life

♪ Will not kill the dreams

♪ That I dream

♪ Oh yeah

♪ Oh yeah

♪ Life must not

♪ Kill the dreams

♪ That we dream

♪ Yeah

♪ Oh

♪ Oh-Oh

♪ Oh-Oh

♪ Yeah

(audience applauding and cheering)

(soulful music ends)

(audience applauding and cheering)

(all applauding and cheering)

(audience applauding and cheering)

- Oh my dream, I was so excited.

Y'all gave it up.

- We did it, first one done.

Three more to go.

We're doing it.

- I don't think they were cued.

- Standby on the (indistinct)

(dancers murmuring)

(crowd murmuring)

(light electronic music begins)

(light electronic music continues)

(light electronic music continues)

(light electronic music ends)

(gentle piano music begins)

(gentle piano music continues)

(gentle piano music continues)

(gentle piano music intensifies)

(piano music ends)

(airy music begins)

(airy music ends)

(ethereal music begins)

(ethereal music continues)

(ethereal music ends) (gentle music begins)

(gentle music intensifies)

(gentle music continues)

(audience applauding and cheering)

(gentle music ends)

(audience continue applauding and cheering)

(audience continue applauding and cheering)

- Thanks for everything.

- Thanks for having me.

- Thank you, appreciate it.

- I'm relieved.

It was emotional.

The whole week has been like, kind of stressful.

Leading up to it, am I going to be able to do it or not?

So this was a really big relief

and I'm happy I was able to do it.

- Oh you cracked it.

Beautiful, beautiful, beautiful.

Thank you.

For those dancers, they're having a really,

truly visceral emotional response.

And in my position, I have no control whatsoever

on what's gonna happen.

So you actually have to just

throw it up to them and trust,

and you know, they have the tools

and they know what they're doing.

- [Interviewer] And they did it.

- And they did it.

(dancers chatting)

(crowd murmuring)

(dancers murmuring)

(dramatic music)

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(lively music)

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(audience applauding and cheering)

(audience continue applauding and cheering)

(audience continue applauding and cheering)

- Yeah. Success.

A little relief, right?

Right? Yeah.

Yeah. Nah, how exciting.

- [Interviewer] Success?

- Ah, you ask them.

Yeah, I'm happy.

Look at the dancers,

everybody, they're all hugging each other.

The audience they stood for every ballet work.

I got what I wanted.

Let's just put it there, that's why I'm happy.

I got what I wanted.

- [Interviewer] Tour De Force.

- Tour De Force.

- Riveting.

The first piece, going out on stage,

like give it all you got.

Just feeling everyone's energy

all the ballet dancers energy,

our company's energy,

just like working together as one community and unified.

It was unbelievable.

- We've been rehearsing this

since the beginning of the season

and you know, leading up these past few weeks,

it's been a lot of rehearsal.

It's been a lot of hard work

that everybody from each company's put in

and there's nothing like an opening night

and that's really, really exciting.

It's just that feeling, that build up.

And then finally being able to sort of

release all that energy.

- I actually loved the process.

The process was the best part, honestly.

And just experiencing different emotions

with the other people in the collaboration.

And just seeing everybody's different energies

in language through their dancing and stuff.

It was really, really good.

- I feel great.

I feel so good.

It's always nice to get opening night over with.

- We did it. - We did.

- I still am on a natural high.

- You know, for me, all the pitfalls

that I thought could happen didn't happen.

- I think I'm just so proud of everyone

for how they grabbed onto it.

Everyone was pushed into territory that was new for them.

And they had to get beyond their ego.

They had to get beyond the fear,

beyond, you know, and kind of journey into it

and through it to make it all happen.

And everybody did it.

- And I think the reason they got beyond it

was because of these two,

and you know, the attitude that they brought in with them.

And that, you know, we're here to create

and they were just wonderful with our dancers.

- For me, it didn't really end

at the end of the performance.

There's this wonderful movement that's happening.

It's an extension.

And I think the fact that we

were able to work artistically together is really wonderful.

We need to do more of that.

- You know, I think it was just a healthy,

wonderful adventure for all three companies.

(upbeat music)

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