All language subtitles for Getting To The Nutcracker (2014)

(Silence)

(Silence)

*

I think Americans love
Nutcracker because

it's a timeless story.

It's a story about generations,

about families and children
coming together.

It's a story about a young
girl's dream

of growing up.
Ah, about finding love and

But it's not just a confection,

there is, you know,
Tchaikovsky's music.

And there is that
sadness to it.

The children love to
progress through the roles

and to look forward to
what they're going to be

next year
and the year after.

You know you see
the whole continuum,

the life of, the creation of,
a dancer.

Bow. 1 and 2 and 3... 4,

No. You're wrong.
One more time.

Guys, why you...
you heard it.

One more time, come on.

Marat was star of the Kirov
for almost 20 years.

It was really a golden period
for Russian Ballet.

He was invited to come
and guest teach in Los Angeles

and I was a student in his
class. That's when we met.

The first time I went out
with Marat,

a Russian man came and sat
beside me. And he said to me,

You must take care of Marat
he is Russian national treasure.

In 1996 we did start as The
Marat Daukayev School of Ballet

We started with two students.

I think I call myself Managing
Director, and in my mind,

I always say BARELY
Managing Director (laughs)

Before audition there
is a great sense of
nervous anticipation.

On everyone's part, I mean
I even feel it.

So, I can only imagine
what the children are feeling.

Especially if they're hoping
that this will be the year

they're selected
for an important role.

But there's also the fling
that it's a big party

that's just beginning and
everyone is looking forward to

the beginning of Nutcracker.

We audition and we see what
the raw material is.

It's sort of like making a
painting and you know that
it's got to fit on this canvas.

And you know you've got
these colors.

We see the level at which all
the kids are functioning
in the school.

Does this person have the
mastery, to be able to...
to do the role?

Because Marat really doesn't
like to reduce
the choreography

for the dancer.
The dancer has to rise up.

You know, this is our dilema
because we are a school
that's almost a company

and Marat's life has been
in a very great company .

He's absolutely true to that
standard of excellence.

And the kids know that,
they know it.

And that's why they're inspired
by him, that why they work

so hard for him because they
absorb that themselves.

It's the slow accumulation
of body knowledge

over a long period of time.

(director) The casting list
just came out right this week

(director) Was that a really
hard decision?

That's just one of the worst
things about Nutcracker,

is having to make that call
and having to dissappoint...

you know, a child...
a family.

We hate it. We dread it.

(director) Why do you choose
to email roles?

This is a school,
it's not a company.

Posting the cast list on the
board, where you have to

hold in your tears
and pretend that you're okay

in front of your friends
when you really want to go
and cry in your bed

We don't need to do that.
Just to have the privacy

to have your feelings
or your moment of joy,

that you got it! And that
you can jump around
and shout

and do whatever you want
and rejoice and not have to be

cognizant of the fact that you
got it and your friend didn't.

There's sort of the
assumption that, oh, you
want to be a soloist,

But to be in the corps
is a very big deal.

You're lucky to be in the corps
It's a great experience
and it's an honor.

The corps means "body"
it's the body of the ballet.

Because, when you are looking
at a group of dancers,

Your eye goes either to the best
one or to the worst one.

They have to breathe
with one breath.

Every student has their
individual path

So impossible to say
where it's going to take them.

Elizabeth always had that star
quality. When she was a

little girl, she would come to
the audition and walk across

make a little curtsy
for the director.

I get up last, she wakes me up,.

Usually I'll just eat at school
I go to Beverly Hills
High School.

I take a full day, I also
take P.E., very tiring.

I walk to my mom's office,
just like... rest in her car

and wait for her to get out
out of work and then
15 minutes before class,

get ready, stretch a little,
and then... ballet.

Then homework, then sleep.

(director) Do you have
a boyfriend?

No.

(director) So, what role
haven't you playedhat you would
enjoy dancing?

Tarantella is a fun dance,
just so... brilliant.

Well, of course
Sugar Plum, but that's like,
later in my life but....

Matisse is just, you know,
she loves to dance.

She has a great joy when she
dances and I think the audience
loves her, so much, for this.

She has great expressive
quality and fine feeling and
a love of dance

That really shines through her,
when she performs.

I've been here since I was 7
and I'm 13 now.

(director) So what do you you
hope to dohis year? What part?

Sugar Plum.
(director)
Think you'll get it?

I don't know... hopefully.

I got the e-mail, and then so,
I was reading the

Sugar Plum list, and my
mom, she didn't want to
spoil it or ruin it,

I got the e-mail and I was like.
ooooooh it was just crazy

and I started screaming and I
left a voicemail and the whole
voicemail was like,

(Screams)

And then I hung up.

I think it's everybody's dream.
I mean, I can't even believe it.

I watched the first rehearsal
yesterday and of course
I was crying the whole time.

And then, they did the death
drop. I was having a heart
attack and then crying.

It was just so beautiful. It
was just incredible.

It's gonna be something else.
It's an honor and she takes it
very seriously.

Finish. Stay. And Jump!

No, no, no, don't make kneel.
Stay, up.

Only demi plié little bit. Yes,
like this. That's it, stop.

Uhhhh, guys, thanks so much.

Yeah, we built a relationship
with the girls, it's fun.

It's fun.

Mikhael is, uh, very hard on
himself. I meahe's so...

handsome. And he's so...
beautiful. And his line,

If he would stop criticising
himself, it would help him
so much.

We call him hungry boy because
he'll eat a great big bowl

of pasta, like that, and say,
Is there any more?

and then he'll have a second
one and then he'll have

a salami sandwich and I'll come
down and then he's eating

Cocoa Puffs! I'm like,
"Oh my god Mikhael!"

Good thing you're
growing two inches a week,

Otherwise, you'd be busting
out of your tights.

(laughs)

(director) What do you hope
to play this year?

Uh, Spanish.
(director) Do you know yet?

Uh, a little bit of it, but
...I don't know.

(director)
Do you know that's
what you're playing?

No, I don't know yet
I'm just hoping. Yeah.

(director)
So you don't have time
for much else.

No. I get, I mean, I get
invited to lotof parties.

And it's like, I can't go,
I'm sorry. It really sucks.

Sorry, gotta go.

I mean you have a lot of
friends at the dance studio.

A lot od friends.

See you' not that much taller.

Okay. (laughs) You see, it's
always a competition.

(director)
It's like a big family.

(director)
Been together for so long.

Especially like all the boys,
too.

'Cuz before I was the only boy.
You know, but now you have

someone to, like, share your
feelings with, and stuff.

My mom's okay with it.
You know, she loves

me dancing and stuff. But
my dad's a little...

You know...

Yup... He doesn't really
I mean,

he doesn't really approve
as much as my mom does

(director)
Has he seenyou dance?

Yeah.

I don't think that's gonna
change his mind though.

Hopefully, it might, but...

Mikhael is very concerned

That his father
doesn't approve.

And I think that he looks
to Marat

For that acceptance

That his father
doesn't give him.

He really does
keep it separate

There's the ballet school
and there's his friendship

with Marat's son
Marat, Jr.

And... when he invites him
into his home,

there's no talk of ballet
it's all about family.

So I thank God every night
that I have that whole family

that has welcomed him in
because... it's tough.

He's already worried about
what he's going to say,

That he wants to be a
professional ballet dancer.

He does.
I just hope his father...

Comes through.

Edgar is such a talented boy
and he has such passion
for dance.

Most other schools when
you're a ballet dancer

and as a guy,
they tease you... a lot.

And this school is
actually an art school

and everybody, like,
dances... sings.

I hated dance. I did not
want to do it, at first.

My parents were dancers, so
I had to go sit and watch.

My dad used to dance in
Armenia. So did my mom.

My dad was a teacher and
my mom was a student.

(giggles)

Well, they wanted a better life
for me and my sister

So they moved here and
I actually stayed there.

I stayed with my grandma.

I actually thought my grandma
was my mom. Yeah,

I did not know my parents
at all until I came here

It was hard, but we
got through it

Recently, I broke my foot.
I fell from 16 feet.

I was in the hospital
for a week.

Right now, I'm actually
recovering.

And my muscles in my foot are
really weak.

And I can't do all the things
I used to do before.

This injury was just, I mean
I think the whole school felt

devestated by it.

Edgar appeared with his cast
I remember the day he came back.

and crutches in the doorway,
you know, just a cheer went up

from the students. I mean,
he certainly has

everything... everything.

And he's just such a wonderful,
wonderful boy.

I mean, he is so loved.

The doctor said I healed pretty
quickly, like, quicker than

I should have. So I actually
might be doing

Russian dance this year again.

(director)
The hardest part.

(Giggles) Yeah.

How Luis has grown. I remember
he came to the studio

as a little boy, basically
accompanying his sister

to the school. Which,
incidentally, is how

Marat started ballet, as well.

Many boys come to the ballet
as you know, just sort of

coming along with sister.
But he really has developed

in technique and also
in expression.

After I got offered a
scholarship with Marat

I was 13 turning 14.
I came from Guatemala.

My mom, she's raised me.

She leaves the house at 9:30
at night and she arrives

She babysits from 10 'til
7 in the morning.

She leaves her morning job
then goes to clean a house.

After that house cleans another
house. Drive home,

pick my sister up,
drop her off at her school

then drive to another house.
Clean it up, maybe get home,

sleep for 2 or 3 hours and
then do the whole thing again.

I owe a lot to her.
She's just a very strong woman.

This year specifically is
very tough.

It's like Luis, it's your year,
your last year,

before you audition
for companies.

The first 2 years were like,
oh I'm dancing, this is great.

Oh, I have a show...yay!

Now it's like we have a show
but, audition, audition...

Company, company, company.
That's my goal. (laughs)

Once I got back from
San Francisco this summer

I started taking classes here
and then Marat's like, well

we have Nutcracker
this season. If you stay,

there's a high possibility of
like, maybe you being

our Prince this year.

Prince, like, oh God.
(laughs)

Terror and excitement
at the same time.

(laughs again)

*

(applause on recording)

I was young, I was like, 7.

So, I was doing gymnastics,
I was doing hip-ho

I was... I just saw it as
another activity.

I wasn't serious about it until
I was 11, I think.

That's when I started figuring,
figuring out

what I wanted to do.

How Adam has grown up,
he's just, he's like a sponge.

He's exceptionally coordinated.

And he was a gymnast
before he came to ballet

so I think that really
helped him a lot

in that he sort of had
an educated body.

You know he, is a person
who doesn't have all those

self-doubts and questions
about if he can

and if he should
and is he good enough.

You know, he's supremely
self-confident.

And this is a great asset
to him.

He, you know he listens.

I mean he doesn't always listen

but you know
he's a teenager, too.

He goes through the period where
he thinks he knows everything

and then, you know, he realizes,

oh, you still have something
to teach me.

I'd like to go to a
classical ballet company first

and then do a
contemporary company.

I want to go to one of those
later as my body starts

breaking down.
(laughs)

Marat always talks about
amazing principal dancers

who don't even need to
play the principal roles

to convey what they
want to say as an artist.

So, I mean, to be Prince
would be great,

to be Snow again
would be great.

Whatever it is, I'm good.

(director)
What was the family's reaction

to Adam being cast as
Prince this year

or the first time ever
at this school? Home grown.

A lot of pride on my part.

Been hoping since last year
that it would happen.

You know, maybe they'll cast
him as Prince next year

but when it actually happened
we were both thrilled.

You know he doesn't light up
the room

when he finds something
like that out

but I know inside he was
very thrilled.

I'm a sophmore there so
it's my second year.

LA County High School
for the Arts.

Bye guys, see ya.
Bye.

You can handle more than
you give yourself credit for.

Yeah, but, my body hurts.
My body hurts, too, man.

Yeah, I know. I just
don't wanna...

You gotta get used to it.

I don't wanna get used to
hurting myself everyday.

I mean, what are you in this
profession for then?

Not hurting myself?

There are more girls and there
are more stereotypes

about girls in ballet

and the boys are kind of
blazing their own trail.

Depending on which train comes
we might have to get off again.

If the red comes first,
we get on the red

And then hop on the purple
If the purple comes first,

We just stay on the purple
all the way down.

The first time I did that,
I got really lost.

I got... I got really lost.

To be honest people are
pretty comfortable with it

around me as far as I can tell.
Kids joke around

But it's all joking around
you know?

It's like oh, you're
a ballerina. But in the end,

I know I'm a "ballerina".

Let's go to class.

Eli has been with the school,
for... really all

of his dance career.
He has all of the

natural qualities that
you would look for in a dancer.

He has long legs, he has
long arms and long neck.

He has deep feeling.
He's able to use his body

as a vehicle for expression,
and has come to that

fairly early.

He's coming through that period
where he's, you know,

getting the reins of his
emotions in his... in his hands

and you know he has
everything that he needs

to do what he would like to do
with dance.

I hope to be the Snow Prince
this year.

I've always been waiting
for that. And I know, like,

I'm too young to be
the Prince

Even though, like,
that would be amazing.

But, hopefully, next year.
Or some new role. like,

I'm always up for
a new challenge.

Something that allows me
to express myself on stage.

Ok so these are my white tights
that I wear for everything.

And um...
it's really uncomfortable.

'Course these are my giant
dance books collection.

This one's from Marat actually.
Wait, if I pull it out...

and he's in it....right here.
And he signed it for me.

It's really special,
I'm going to keep it forever.

So in my closet this is my
famous collection

of warm-ups.

But this one is
the most special

because Joaquin gave it to me.
Joaquin De Luz

from New York City Ballet.

and Baryshnikov gave it to him
and Baryshnikov wore it

and Joaquin wore it. That's
probably the most valuable thing

to me that I have
in terms of ballet.

Seeing all the work that they
do and how much they put in

and I could see that they
enjoyed showing all that work

and I enjoyed, like,
absorbing all that work

and it made me look
forward to what

I'm gonna be capable of
doing in the future.

How high they jumped.
How... their legs stretched

and how their feet pointed.

They felt like one person.
They were one person together

like, everything they did,
they did as one.

They were snug together...
she wrapped around him,

I was just like...

was totally... driven by it.

Kind of like my goal
in one night,

like, I saw my goal as a dancer.

Performing on the stage on tour
with an amazing company,

with an amazing corps,
with amazing principals

and doing an amazing ballet
with an amazing score.

'Cuz that's just, like,
what it's all about.

When we begin rehearsal, he's
already almost mapped out

the changes that he's going
to make to the production

by having seen the
level of mastery

that the students are at
at this moment in time.

So we have between 2
and 300 hours of rehearsal

that has to be scheduled.

Party scene, of course,
has to be very well rehearsed

because you have so many
little children on the stage.

And they really need to have
a very good sense of the action

and where they are
and what they're doing.

Make sure you're putting on
a straight line right?

We need to feel our friends
next to each other.

What else do we need to do?

Um, you have to, like, follow
the person in front of you.

And make it straight.

And 1, 2, 3, 4 and up,
and down.

Just yeah, just let's walk and
see if we can follow lines.

We're starting act 2,
let's go, let's go.

(unintelligible background)

(director)
You gotta go in there
aren't you in act 2?

Hold your back... good.

And... center is right here!

(squeals)

(laughter)

Um, let me give you to my mom
okay?

Javier?
(gasp) He's so cute!

Oh my goodness, Javier.

He is a child who was
just born to dance.

We were so sad when
we heard that, uh,

that they were moving
to Beijing.

But they decided they would
come back for Nutcracker.

Oh... this is for you.

Wow...I love it...
thank you.

It's the biggest Nutcracker
I have ever seen.

That's so awesome!

How are you guys?

And they said, you know
e thing that we will miss most

about Los Angeles is

Marat Daukayev School of Ballet
and dancing in The Nutcracker.

He started in boys class
and he was so focused

and he had such good, uh, sense
of tempo and rhythm

And, and... coordination and
he had such joy

in dance and he just wanted
to dance all the time.

I came here to do
The Nutcracker.

And see my friends...

all of my friends
at the ballet school.

I started ballet dancing
when I was 4 years old

and now I'm 7 years old
so that makes 4 years.
Four?

In China if you want to take
a class with a master teacher,

It's merciless.

I felt like it really was
stressful and it hurt lots.

But now I'm used to it.

(director)
Why didn't you give up?
Cuz I needed to keep on trying.

Quitters you can't get better.

And it's my dream to be
a famous ballet dancer.

So I'm really working hard.

I'm David Rishton. I'm 77.
And I've actually since 1975,

taken 5 ballet classes a week

except one operation
for a hernia.

Marat invited me to play
the role as the grandfather.

So now it's year 12 in
his Nutcrackers.

I've learned a lot by being in
his ballets, about ballet,

I watch and look and listen.
So I am grateful to Marat

for this experience I'm having.
It's great. I love it.

(director)
When did they rope you into
being a dancing dad?

First year. It was a smaller
company even 5 years ago.

Wasn't as many people in it
and they said,

Hey, we somebody to help.

I wasn't actually asked when
I first did it.

I came home one day
and my wife said,

Would you like to be a
dancing dads? And I said,

well, okay, sounds like an
interesting thing and she said,

Good, 'cuz I already
volunteered you.

I have a son who's in level 2.

I brought him to the first day
of rehearsals

figuring that the most
complicated thing

I'd need to do is sign him up.
And I walked up to the desk

and the woman said,
Would you like to be

a dancing dad?
And I looked down at Walter

and he was looking up
at me like,

Of course you would!
so, um, basically

I was roped right in,
on the spot.

But I asked, I said look,
we don't do any

dancing right, we just sort of
mill around the stage...

And they're like... oh yeah,
no dancing, no problem.

Of course then when the
rehearsing started,

it was a bit of a
bait and switch, but...

Eight step, 1, 2, 3, 4,
5, 6, 7, 8... and 5, 6,

And then... like this, yes.

And then they'll be a big, uh
boys make like big circle.

Got it.
Alright? Okay, one more time.

And a one...

This is my first year.

My first time, my first day.
This is my first day.

(director)
How did it go?

Very difficult (laughs)
Very hard to remember.

(director)
What was the hardest step
for you?

The one that he doesn't
know how to do. (laughs)

I have to remember...

Takashi, right, left, step,
left, right, step, right, left,

And now, change legs.

I just was worried cuz I mean
I've never done ballet

or dance and I kind of expected
someone to show me the steps

before the whole thing started
and everything just started.

Like this, yes that's it.

I just started following that
guy cuz he was in front of me.

People, people are not there
to watch us.

They're there to watch
the children.

We feel like the dads are
just walking around on stage.

You know for us, (laughs)
Really the steps

are almost nothing.
I mean

the choreography is so simple
and so easily mastered.

But I, I think this is just our
lack of perspective

on what non-dancing people
consider dancing.

When you're on stage and your
daughter is on stage

at the same time and you think
about, you know that,

taking off work early and
all those things,

you think, God, I'd do it all
again, in a heartbeat.

Because, you know, that
one moment when she

she looked at you and
she... her eyes,

you know, just caught
your eye... for a moment.

It's worth everything.

(director)
I can't keep from crying.

I have to keep from crying, too.

I mean I just keep wondering
what other moments

like that I'm gonna have
in my life.

There's not that many of them.

The little ones are
watching principals dance

and learning how to
pick up choreography

and it's amazing how
Marat will now come out

of rehearsal and say,

"First rehearsal,
they know everything."

And that's partly because
we have tradition in the

school that children have been
through Nutcracker

many times and they know
all the dances.

Too t)

Mommy.

Marat said that his teacher
only told him Good Marat

when he had already graduated
moved on and was

and was soloist and then
principal at The Kirov

and he said Good, Marat .

Well, the teacher is there
to tell you what to fix.

(applause)

The thing that was so amazing
to my wife and I

about this company
and working on the Nutcracker...

Our daughter is learning more
from failure than success

She didn't get moved up
as quickly

as some of the other kids.

At first, it's hard as a parent
because you are,

"Hey! What about my kid!
and, and...

Then you really recognize that
learning to succeed

when you've failed...
is a pretty important lesson.

It's not even about dance
at that point.

It's kind of the zen of ballet.
It's a vehicle through which

you define yourself and
define how you think

about work, how you think
about adversity, how you

how you make yourself resilient
how you come back from defeat.

How you become the
master of your mood

so that when you are less than
satisfied with yourself,

you have the energy left
to progress and to

put it aside.
That's all stuff that adults

struggle with and they have to
learn it so early.

And so the discipline
that they have here is

what we're really looking for.
The dance is extra,

you know. And then being
on stage is a bonus.

So between all of it,
it's um... it's unique.

Where's the tape?
We need tape on it.

Make a muscle.
(laughs)

(unintelligible
background voices)

The hardest part of rehearsal
is schedule.

Because, once they're all there
it's like a celebration.

*

(uninteligible) straight up!
Go!

Go, go back! Girls!

*

Mice stop! Stop!...
Stop mice!

Go!
Next on music!

Mice go!
Mice go...mice go.

(unintelligible
background voices)

*

Your preparation is done
in class.

And, your technique is at
a certain level.

And then rehearsal is
about the steps...

about the nuance,
about feeling.

About how you breathe
about what you're thinking,

about where you're looking.
About how you are feeling,

The...the meaning of...
your dance.

And, communicating that
to the audience.

*

(kiss sound)
(laughter, giggling, applause)

*

*

It's the magic of
the theater, too. (Yes).

How people move inside
and they come to a place

that is really a different
time and place.

*

You see their faces during
the production.

How they are coming to life
and they're laughing

and smiling and how it's like,

art lifts you up and how
having this, like, space

that you go into and you are
entering another world.

How it refreshes your... your
spirit and your heart.

*

*

(applause)

Costumes can sometimes be
a pain.

I'm getting in
little by little, so....alright.

(ughh) Thing to now...

It's fun to watch you struggle.
Yeah...

(gasp, choke, inhale)

Oh, this is cool. It's cool.
(laughs)

It's like there's a
bunny wabbit.

Yeah, and his wingspan is like
18 feet.

It's not 18 feet.
For God's sake,

it's probably not even
5 feet.

That looks so weird.

*

*

I took over the program book
5 years ago.

That's the number one
fundraising

That will help
the Nutcracker cause.

(unintelligible
background voices)

3, one more, ready 1, 2, 3...
Great job.

*

Very nice.

Let's get one... just put your
hands like this. There ya go.

Well you know so many of our
tutus are from great ballerinas.

Because Marat would always
call and say,

Do you have any tutus?
Because we don't have anything .

In the beginning.
we had nothing.

So when the Kirov would come,
someone would always come

with a little brown paper bag,

you know, like drugs or
something. Here...

here's something for Marat.

And we'd all go,
"Wow, Mahale's tutu!

and they all have their names
written inside.

And Joe is still altering
our boy's costumes today.

And we only have 6 days left.
We just got them yesterday

and they're too narrow for Adam
and it's not really fixable.

I just have to...
Yeah, a one piece collar.

The problem is, the costumes
were made in Russia

So they were never tried.
Joe has been making a new

pas de troix costume
for Mikhael and he keeps

bringing it back and refitting,
bringing it back and refitting

to make sure that it fits
Mikhael and he can move.

That wasn't done with Adam.
Adam couldn't lift his arms.

up... whatever I don't know
what that position is...

Third position. But we're so
lucky to have Joe.

He's a saint.
I'll actually get started a...

mock up right away.
Yes, you can take it off now.

Especially with the soloists.
They'll put on their costume

and then they go upstairs
and make sure Marat likes it.

And there's no such thing
as "can't". Like...

Da nyet?

And you want to do things
for him, you want to please him

cuz he's such a doll. You know.
And he's right... he's right.

It's just that we have...
don't have enough time.

loading the truck tomorrow.
It's just like, we're

Quick changes and many of them
we have to sew them

in their costumes. So we'll be
on stage sewing them, actually

in the costume and then
cutting them out of the costume

so that they can quickly
get in the next costume.

(director)
How do you know how to do this?

I didn't. (laughs)
From experience.

I mean. I, I still don't know.
(laughs) I don't.

We just, sort of figure it out.

I think it was Miss Yuko,
our wardrobe mistress, who said,

she said, I always dreamed
of being part of something

that is greater than myself.
And I'm so honored

to do this work."

Parents are basically the
engine that drives

this performance.
They're doing everything

to both support their children
and fund the production.

Parents really have come to
understand over the years

that they're in it too.
You know, it's

their production, as well.

When you give everything
and the result is good,

people want to join in
and help, too. So, almost all

of them have come to us
and said oh, I can do this .

You go out there, you know,
and people are busy.

You know, they're wrapping
things, they're, you know...

I'm in charge of
hair and makeup.

... then we'll give you a lesson
how to do it.

We're just so fortunate.
It's a family here.

I mean we're very inclusive,
you know, as long as you're

part of the Nutcracker family,
you're part of the whole family.

And, uh, I also do the
backstage crew.

This is the props.
Load in, load out.

Grandfather's clocks, chairs,
Christmas trees, presents

that you see moving
in and out of the stage.

It's...it's quite beautiful.

I mean, how could you say no
to ballet? How could you

say no to the production
of Marat when you see and watch,

You cannot say no
to the children.

*

(director)
You guys all look so different
in regular clothes.

We're rarely in
regular clothes. (laughs)

Can you imagine Adam as. like, a
grandpa in that chair? (laughs)

How often do you talk about us
at the dinner table?

No jokes. Like, seriously.

What does your family say
about me? (laughter)

Especially your dad who is like
who's this like, renown

ballerin... a, ballerin... o?
(laughter)

It's called a ballerone.
That's it, ballerone.

No you don't really think like,
that he's a world renown star.

Like, I do sometimes, like,
my dad did so many great things

for the dance world. But outside
of class I see him as my dad.

But inside of class I see him
as a teacher

and I don't really think of him
as my dad.

It's like a big... (difference?)
yeah, a big difference.

Yeah, I think like, everywhere
else people are like,

expecting their teachers to be
like, Oh my God,

you were perfect .
And in ballet,

the biggest compliment
that you can get is Good .

Like seriously, it's like,
the biggest compliment.

Like if you hear, good, you're
so happy. Especially from Marat.

It's just because of the, like,
lifestyle he's come from.

Like, there was not "perfect"
in Russian vocabulary.

And like, and I... I mean... but
I think that's just one of the

reasons why he was so amazing
and why the Kirov is

so amazing because they just
always strive for perfection.

Like they strive to be better
than perfect.

Like, he was telling us the
other day that they had

grading books where they
(oh yeah) where they

gave them grades and, um
no one in the studio, like,

in the Kirov company,
ever got an A. (gasp)

C, C plus... C plus,
was like a good grade.

(unintelligible)
And a "B" for them
was like, excellent.

But they would never
get an "A".

All ballerinas are
perfectionists.

Like, when you can't do
something, it's just like,

the worst feeling. I get like,
so frustrated

when I can't do something right.
Or like,

can't nail that triple turn
or something.

If you don't do it in rehearsal
you can't do it on stage.

You have to do at least 300%
in every class to get at least

like an 85% on stage.
Cuz, you lose everything

once you get on stage.
If you're just marking it

it in rehearsal, you're not
going to get better

and you're just going to
embarrass yourself on stage.

I respect that because if
they want us to like, make it,

which we want to do in like,
the "real world",

the real dance world, we need
to be prepared to have like,

one rehearsal and like,
be ready to perform.

Yeah, I think, I think
everybody's favorite season

is Nutcracker. I think
it's a magical week.

You're here 24/7. Literally,
like my mom's like

we should just buy you
a bed there.

People might complain
you know ughhh, I'm at

the studio from 12
til 8 today. But for me,

like I don't want to sound
like I don't have a social life

but like, you know,
after Nutcracker,

it's really like,
what do I do now?

We're all doing the thing that
we love. We're so much closer

to these people than anywhere
else. You're so much closer

cuz you knew each other
since you were like, 5.

I came from France
and I was the only boy. But

once I came to Marat's, it was
like, I'm not the only boy.

Wait, I remember when...
I build a relationship

with the guys...
and, and the girls.

I've... held everyone's
waist in this room.

I've travelled with most
of the people in this room.

I've slept in the same bed with
some of the people in this room.

We've gone literally to so many
different stages together.

All of this because of ballet

And that's what joins us
all together.

Like, I consider you guys as
my like, brothers and sisters.

I love you Edgar. (laughter)

We are like family
and brothers, sisters...

daughters, husbands, wives.

Well, Saya hasn't said
anything the whole time.

Well, number one, um,
it's been my dream to be Masha.

(cries) Oh, Saya, I feel you.

last year, everyone told me
that I was gonna get Masha.

and I got my hopes up.
(cries)

And, and I didn't get it.
And same with this year.

Um, everyone told me that I
was gonna get it

this year for sure.
And I didn't get it.

Um, I'm really happy for
the people that got it

last year and this year.
Um...but...um...

like someone said,
like, if you work hard for it

you'll be put in the front row.
And I've been working

since I was in level 1 and
it's been my dream to be Masha

since level 1. But I never
got it. Um... but,

I'm pretty sure there's
a reason for all this

and I'm happy with the roles
I got this year.

Um, so... yeah.

There's just so much,
so much time. So much time.

And we're, you know, we're
throwing everything into it

right now. But you'll get there
and all of the sudden

you'll have done Masha
or Sugar Plum or Prince

or whatever you did,
so many times that

you won't even want it
at that point. So, you know,

savor the, the hunting for it.
The, the wanting that role

Cuz it'll go away.
I mean they do 48

Nutcrackers at City Ballet.
48 Nutcrackers

in a season. It's just,
it's ridiculous, you know.

You end up doing that role
that you dreamed for,

since you were 7 years old,
a hundred times in a row.

But basically it doesn't
even matter.

Whether you're a principal,
whether you're corps de ballet.

I mean in the end,
it's all dance. It's all ballet.

That's what we're here for,
I mean, that's what we do.

There's no dividing lines
of reality.

We make them and we have
these judgements in our mind.

But actually... just one thing.

We're all just here to dance.

So... so cherish it.

(giggling, laughter
unintelligible voices)

(director)
What's your hope
in doing this documentary?

*

*

(whining sound,truck liftge)

Jeffrey came to us and said
Well, I have a catering company

and I have, you know,
several restaurants. And so

I would like to do your
catering next year."

I have a tent company come out
and build me a

fairly large tent. And we put
carpeting in it and we try to

make it a little bit nicer.
So basically all the performers

can sit down at one time
and eat.

Before we used to have a list
and we used to check off

who paid and who didn't pay
and Jeffrey said No. .

For the parents who had not
not paid, to see them say

"I'm sorry, you don't have
a ticket or a... a band"

Or whatever you know, "You
need to have you can't eat.

....really hard.

But I wanted to treat them
like performers.

so everybody
breaks bread together,

the same food goes
to everyone. I don't know

who pays and who doesn't.
Doesn't really matter to me.

Because, you know, how many
moments are we all

in the same place... together?
Nothing better.

I mean, what else...
what else is there?

Like our hot chocolates.
This is the best part

about the Nutcracker.
Especially when you

You put in perfect water
and everything. It's good.

Glad you're enjoying it.
I love.

It's really come together
long before we're in

the theater. I mean,
we have run through

always the weekend
of Thanksgiving. And by then

we're running the
whole performance from the top.

And everything is running
very smoothly.

People who are working
with props have all the props

going at the same time.
Costumes are all ready.

I mean we're almost ready
to do dress

in... on the weekend
of Thnksgiving.

So it's really just, you know,
the fine points after that.

*

(unintelligible
background voices)

Where are we going?
This way. Where are we going?

(unintelligible voices...
laughter)

Inside the theater everything
is bright and beautiful,

lights, and costumes,
performance.

You are, you are in a
magical world.

and in a very happy world.
And then you go outside

and everything is like
dreary and dull...it's reality.

(background voices)
Quiet!

Good discipline on the stage,
please.

On the stage, don't talk.

Thank you, thank you
everyone. We're so happy

This is the culmination
of many weeks of work.

You need to know exactly
where your marks are

Where you need to be
on the stage.... shhhhh.

And use these performance
times to really perform

And not just mark it
and run through because

because if you wait until
performance to perform,

You won't really be ready.

*

Each individual who dances
a role brings something

completely different
and unique to it.

So it's not that you're doing
the same old ballet.

you have a different energy,
you have a different feeling.

Each person is unique and
each performance is unique.

When you have a group,
you must follow each other.

You have to follow the lines
otherwise all your work,

all our work is nothing.

Look at each other.
Look across.

The diagonals.
Here's blue and blue and

blue and blue.
The red one is the center line.

Hasmik. (unintelligible)

It's beginning waltz girls,
girls make only like this.

Little bit, yes... next.

Ladies, men, only head.
No, no, no, only head.

Like this.
Don't forget you placement.

Alright... Don't forget.

Oh my gosh! Think this
is a fire hazzard?

I... uh... absolutely.
(laughter)

One on top of another, after
another...

We are at the computer.
We are about to start

our first rehearsal.

Face to face, like this.
Closer, closer.

Curtain coming! Curtain coming!

You face this way.
You in center... Cami... guys,

listen me.
This is center, right?

Close face for her
because is princess. This way.

QUIET!
Alright, music. Start now.

(PA) Music please start.

*

(PA) Yes, Tasha smile.

(PA keeping beat)
Ah, ah, ah, ah, ah, ah, ah.

(PA) Face this way, Fiona.
Keep going, keep going...

*

Be careful, be careful.
Check your spaces, girls.

*

(PA, unintelligible)

Girls I have to move you up
a little bit. Right, this one.

Ysa... Because they need to
cross in front right there.

You will be right here.

On this tape, like this wing,
you see this?

There's like too much of
something in... (Laughs)

(PA) Movement of props. Don't
be in anbody's way, mice.

Go forward, go forward,
go forward.

*

(PA) Stay altogether...
is better.

(PA) Go plié!

*

Guys...

Another boy, he's on entrance
so he pushes everybody back

(director)
So you understand?

Yeah, and I'm not an
entrance.

Today I was just looking
forward to being an entrance.

And my dad too was looking
forward to seeing me

cuz I was so cute.
But today he can't see me.

(director)
You still look cute. (sighs)

Cast 2, the coda?
Yeah.

Luis and Alex were
gonna do it but Alex
had a blister though

(director)
I know, it's huge.

So yeah, so they...
Hasmik just told me on
the side, Just do it.

I know, I put my costume
downstairs.

So I ran out and
got sewn in
to my costume.

*

(PA) No, to your right, Ava
Yes.

*

(PA) Ava you look like
you're chewing something. Smile.

(PA) Ava, turn your
back leg out.

Here. Hands to hands, hold.
See, you have big space here,

Move! move. Stay here.

Move back. Show them this is
how you stay. Stop. Like this.

Please... uh, music.

*

Go, go, go, up. Hands to hands,
hands to hands, hands to hands.

Everybody forward, forward.
Boys move back.

Boys move back, boys move back.
BOYS MOVE BACK!

You're not boys!

Boys move back. Stay girls.
STAY, STAY, STAY, STAY, please!

Stay, stay... step, 1, 2, 3, 4
One more time. Go back.

The curtain is coming in,
everybody out of the way.

But I really need more
rehearsal.

Cuz we had a really bad
rehearsal yesterday.

(director)
That's good, it's good luck.
I heard it was good luck.

So usually for breakfast I eat
apples with peanut butter.

Also either like bagels
or bread or brioche.

So uI usually just eat like at
applsunny side up eggs. r.

And then toast.

I drink... tea.

But like, the nerves are just
like, getting to me. Like I

really don't wanna...
it's just... scary.

(director)
Right before performance,
do you have to run

to the bathroom?

Well, in New York actually
this year, I was, I had to

go pee really badly but I
couldn't because I was sewn in.

Cuz competitions we're sewn in
and then obviously like,

when you're nervous you
have to go pee. So like,

'Til you're on stage and you
don't have to pee anymore.

It's... horrible.

It's bad. There were a couple of
extra little hops. Yeah.

I woke up at 10.
(director)
And you got up when?

Like just now, 10 minutes ago.
I just rolled him out of bed.

(laughs, coughs)
You're dying, man. (laughs)

Oh, man, I have more
than just one mosquito bite.

(laughing) Ha, ha
You're counting them?

By the way, is this normal?
(gasp) Holy shhhhh.

I wasn't kidding when I said I..
(director)
Those are spider bites, Adam.

Yeah.
Oh my gosh, what do we do?

Dude! You are
something else, man.

(director)
You need an anti-inflamatory.
Oh...God.

Let's go do my stuff
before we leave.

(director)
Okay, alright.

Today I might be a little more
nervous cuz of my back.

But I felt okay, you know, I
felt bad up until I got onstage

for tarantella and then
I could move again. And then

I got off stage and I felt bad
again. So, I assume

adrenaline will help.
I love ballet while I do it

and I love it so much
you know, but it doesn't really

hold the intellectual nutrients
yeah, the nutrients That I

need to feel, you know, full.
I want to end up

doing contemporary by the end
of it all. Where I don't have to

break my body anymore
but I can still dance.

(director)
Did you ever think you'd be
putting makeup on your son

Denise?
No, never.

I never...wanted this.

We had to make him do it
the first few times.

I don't like it at all.
It's so tedius and...

Hasmik does it for me
when she's with me

and she does a really
good job but it's like,

she does it like,
Armenian style, like

"Open it! Open it!"

Eli says, "Hi". (laughs)
Eli.

(director)
You're done with your makeup?
Yeah.

(director)
You sound nervous.

I mean like, I think I know
I can do it. It's just the heel.

I'm really scared for that.

And also,
I always get nervous.

It's a home made medicine.
It's crushed Tylenol.

Like, pain reliever
so it doesn't hurt right now.

She's just, you know,
a little bit concerned.

Cuz everyone was saying
they're under rehearsed.

This is, this is my concern,
oh my gosh.

Like I think I'm gonna cry
cuz I'm so nervous. (laughs)

*

*

Beef or chicken?
Oh my God, you didn't even

make it to
dinner last night
I know. did you?

(unintelligible voices)

I'm not dressed!
Why are you making it small?

Guys we have very little time
right now.

and I have to get through a lot.
We're not gonna do the red dots.

We're only doing the dress,
the bow, the hair.

There's only about 3 girls
looking up here.

So I really have to make sure
you guys can hear this.

* (background voices)

7 o'clock! 7 o'clock! 7 o'clock!

Don't move.
(kiss sound)

* (unintelligible voices)

Can I borrow it?

*

* More than you could
ever know *

* Make my wish
come true *

* Baby all I want
for Christmas *

* is you

* Choco with your nose
so bright *

* wont you guide
the girls tonight *

(laughter) This is my
personal hairdresser.

Real men know how to do
their own makeup.

How to do their own make up?
Yes. (laughter)

Am I good?
Yeah.

(giggling)

See mine's on the right lane
the right lane... right stage.

It's just the backstage
you know, cuz from the

front it's so organized.
Number after number.

From the side it's chaos.

So, at least to me
it looks like chaos.

Cheers. Have a toast?
Yeah. Woooo.

One more time. Like,
look like this. Ughhhhh.

Bite, right. No... yes!
That's... that's it!

Act like you're chewing beets.
Look, bread.

Ahhhhh.
Not like this. (laughter)

Here. Here. Walter, Logan there.
1, 2. 1, Slow, slow...

Hold your back, Walter.
1. 2...

You do exactly opposite
Buddy. (laughs)

*

(PA) Quiet everyone. Doors are
open now off the stage

and if we could get set up for
the top of the show,

that would be great. 3:50
Um... Start it again. Thanks.

*

*

(PA) Everybody needs to clear
the stage. Clear the stage.

*

(applause)

*

*

(lower music, background voices)

*

*

(noisy backstage, voices)

For her?

Oh yeah, go now. Go now.

(unintelligible
background voices)

Don't get out of order.
Hurry up, guys!

Ladies, lets practice now.

Girls, don't run, don't run,
don't run.

*

We get to go where
the audience is.

*

*

Right into the wings.
Keep acting like a doll

Right into the wings...

*

*

(clock chimes 6 times)

(clock chimes 6 times)

*

*

(Children's voices, lower music)

(Children's voices, lower music)

*

*

(applause)

*

(lower music)

*

(music gradually louder)

(music gradually louder)

*

(applause)

There was someone not in it
and then they put

an extra person in
so in the last line there was

one extra person.
So I didn't have a space.

It was just crazy.

Ughhh,
That did not go well.

Everyone was out there except
us and then we

ran out really late.

We got shoved out
and then we had no choice.

I'd rather not
even go out there.

First act was fantastic boys.
(dramatic sigh)

(background voices)

Oh wait, I got it, I got it.
Oh my God.

Go...1, 2, 3.

It means a lot for him to
come here and watch me dance.

*

*

(applause)

*

*

Shhhhhhh...

*

(clapping in time with music)

(applause, shouts)

*

*

(applause, shouts)

*

*

(applause, shouts)

It's the best dance.
This way, this way...

You got it, you got it...
Good job. Go sweetie!

*

(clapping in time with music)

*

(applause, shouts)

(loud music, heavy breathing)

(loud music, heavy breathing)

*

*

(whispers, toe shoes tapping)

(whispers, toe shoes tapping)

*

*

(music builds, crescendo)

(applause, shouts)

*

(music builds, crescendo)

(applause)

*

*

(music builds, crescendo)

(applause, shouts, whistling)

(applause, shouts, whistling)

*

(applause)

*

(applause, shouts)

*

*

(applause, shouts)

Go!

(loud music, heavy breathing)

Good job!

Leave this on
right next to you.

I know, I dropped it
yesterday.

Matisse...(heavy breathing)
Just relax, just relax...

Kiss you.
Thank you.

So were you.
That was so good.

*

(applause, shouts)

*

(music builds, crescendo)

(applause)

(music, applause)

(background voices)

Go, go, go, go!

(loud music, applause, shouts)

(loud music, applause, shouts)

(applause and shouts are louder)

(music crescendo, loud shouts,
whisltling)

(unintelligible, many
simultaneous voices)

(unintelligible, many
simultaneous voices)

Oh, there she is!

(music up. laughter, crying,
giggling, many voices)

(music up. laughter, crying,
giggling, many voices)

*

*

Hasmik! Hasmik! Hasmik!
Hasmik! Hasmik!

(cheers)

And I love you all so much.

I love you, too!
(cheers)

*

*

(applause, cheers)

*

(applause then fades)

(director)
Why are you so sad?

You had fun here?
Yes, I really did.

That means you have a family
here and you have a family

over there.
That's awesome.

And I'm really sad that
I'm leaving today.

Awwwww...

*

Bye... we'll miss you!

Bye! (director laughs)
Come on! Let's go!

*

*

(hip hop Nutcracker music track
through to end)

What do you say
when somebody
did something good?

Goodt.
(with Russian accent)

(director)
Say good the way
Marat says it.

Goodt.
(giggles)

Goodt.

Goodt.

Goodt.

Goodt.

Goodt.

There ya go.
Goodt.

Goodt-uh.

Goodt.
Wery good.

And he was like,
"Spot centah!
Spot centah!"

And everyone
thought he said,
"Spot Santa".

Goodt, geels.

Geels! Look at the
Aow-dee-ence!

Geels. Geels.

Boy. Boy. Boy!

Goodt.

He says it
like this,
Goodt.

Goodt. Goodt.
Goodt.

It's racist,
though.

Goodt.Goodt.
(director)
We got you. We got you.

Goodt.

Goodt.
Goodt.

Da. Da.
Da. Da.

Or he'll just
say, uh...
"Yes."

He doesn't say
"Good."

No goodt.
No goodt.

No goodt.

It's not true.
It's not true.

He says,
"Wery goodt,
for today."

Not how he
says it.

Goodt.

(laughter)

If they, they did
goodt, it's goodt.
Understand?

They did goodt,
it's goodt.
What? (laughs)

(laughs)

(hip hop music up)

(music fades)