All language subtitles for Dance Life (2024) - S1E01 (Brent Street)

[indistinct chatter]

[Cassie] Hurry up, guys!

Already, you're talking.

Would you talk in an audition?

- [students] No.
- [Cassie] No.

Shut your mouths. Focus. Yeah?

Five, six, seven. Ta, ta, ta, ta!

Run it. Hold!

Ah!

[Billie Eilish: "You Should See
Me in a Crown" playing]

[Stephen] Trying to make a name
for yourself in this industry,

it's gotta be all-consuming.

It's your life.

[Kim] Doing this in this environment

is the scariest thing
I will probably ever face.

[Lucas] I know that a lot of you have been
terrified of this for a little while,

but it's time to step it up.

[Cassie] If the energy next to you
is not very good,

leave them behind.

[Billie Eilish: "You Should See
Me in a Crown" continues]

[Samuel] Being a performer is tough.

There's so many more noes
than there are yeses.

There could be only five people
that really make it this year.

[Erin] I think I probably
will be one of the five

that makes it as a professional dancer.

I'm not gonna lie.

[Arabella] I want to be on
every billboard you see.

I want to be on every stage
you've ever heard of.

[Max O] I'm doing Full Time
this year because this is it.

This is where you discover who you are.

[Emily] This is where
your dreams come true.

Give it up for T, guys!

[Lucas] You've gotta hold your audience.

Dance better than the person
next to you at all times.

What that means is then
the whole group together

can achieve greatness.

We all kind of want to be famous.

For our own reasons.
We all do it for different reasons.

[music continues]

Do not let one moment go by that
you are not fighting for your life.

[Billie Eilish: "You Should See
Me in a Crown" continues]

Every man for themselves down there.

[crowd cheering]

[song ends]

[solitary beat]

[techno music playing]

[train honks]

[Stephen] Brent Street Studios is located

just outside of
the central part of Sydney.

But the main thing
that Brent Street attracts is just

the best dancer from every walk of life.

[Lucas] We have trained

more working performers than any other
institution in Australia.

[train honks]

Everybody that comes to us is usually
the best of where they're from.

I've arrived from Auckland New Zealand,
or, specifically, Waiheke Island,

which is just off the coast
of New Zealand.

Population of about 3,000 people
on a good day.

[Jacob] Back at your old studios
in, like, your little towns,

we were, like, the better students there.

Now, you're just small fish
in a big, big pond.

- Very big.
- Like, a large pond.

Overly large pond.

[Aleksander] I come from Brazil,

and I've been saving money

and trying to be cor… courageous

to… [laughs]

… to join the course.

They come here to be put in the room
with the best people from all around.

Now, what that does is creates
an amazing energy

where everybody works off
each other's strengths

to be able to lift the entire group.

So, it is that thing of,
if you want to be the best,

you've got to train with the best.

[clock ticking]

[up-tempo music playing]

[indistinct student chatter]

[indistinct chatter continues]

[Lucas] Good morning, everybody.

[room falls silent]

Welcome to the Full Time class of 2022.

Over 90 percent of the working
commercial dancers in Australia

are all Brent Street-trained
from this very course.

We had over 18-hundred people
apply in 2022.

The future of the Australian
performing arts industry

is right here in this room.

You are all young adults now
and expected to step up,

to show maturity,
and to never, ever give up.

Full Time is a nine-to-four

brutal dance extravaganza.

[Cassie] Focus!

[sexy beat playing]

[Cassie] It's training, basically.

It's training you to be
a professional dancer.

Dancing from nine to four
five days a week.

[Stephen] Eight, go, one, two,
and a three, and a four.

A five, six, and shoot!

Mentally, it's... it's...

Oh, hang on, wait. What do I want to say?

[neck cracks]

Um, crack, crack.

See? That's what it does to your body.

This course is extremely hard work

and not all of you
will make it through the year.

Our ballet and tap grading
is later on today,

and in a week's time,
we will have our jazz grading.

These students need to be trained
in every genre

to make sure that they're
as employable as possible.

We usually start the day with ballet.

[Jess] Tum, tum. Better.

Stretch the supporting leg
when you extend.

Up and last one, up!

Tendu, close, finish.

We also do a lot of training in lyrical
or commercial contemporary styles.

Two, three, four.

[rhythmic tapping]

Tap is important.

It's… it's featured throughout

multiple musical theatre productions
at the moment.

[playing piano melodiously]

[group harmonizing]

- [music stops]
- [Matt] Good.

Three. Remember, five.

[Lucas] Musical theatre classes at
Brent Street cover singing, acting,

and the dancing is very much tailored
to that Broadway style

with that beautiful Broadway line.

From here, you need to
make yourselves tight.

If you're going to nail the stick out,

this has to be so small.

So then you… yeah, people.

You gotta stab that floor.

Must the old lady show you?!

[scattered laughter]

Goodness me!

We do everything here, but it's
the commercial jazz that people come for.

Cassie just gets better and better at it.

Five, six, seven, and eight, and...

Heaps better than that. Ready?

Five, six, seven, hit, hit,
tick, tick, tick, boom!

Clap! Ha, ha, ha, ha, boom!

Yeah, definitely no head.

When I'm auditioning kids
and I'm interviewing them,

I say, "Oh, why do you want
to come to Brent Street?"

And they go, "I want Cassie to train me."

They know that they're going to get
that commercial jazz edge

from Cassie.

Five, six, seven! Ta, ta, ta, ta!

Nope. Five, six, seven!

Ta… ugh, it's getting worse.

Cassie as a teacher,
she's definitely tough on you.

But tough out of love.

She's literally God to me.

I love her. I'm also really scared
of her, but I love her.

[announcer] Come on, come on,
give it up for Cassie Bartho!

I think people would describe me as,
what's, what's the word I'm looking for?

Like, hard, like...

I'm a hard-ass.

Yeah.

[producer speaking]
And how would you describe yourself?

A hard-ass.

Down! Down! Down!

[Cassie] Some of my biggest achievements
are probably dancing for Dua Lipa,

Sam Smith, Katy Perry,

working on, like, X Factor
and all those TV shows.

Boom! Get it right!

Ta, ta, go, boom!

Tat… oh, God.

[Michael] Cassie is just so damn talented

and so inspiring,

the students

adore her and look up to her.

[Cassie] Go again from...

[students hoot and cheer]

[Michael] She's on this great trajectory
as a choreographer.

Great trajectory as a creative.

And so it's exciting to be around that

and for the students to do
their absolute best around her.

[Cassie] Hold it! Lift!

And down!

[producer] Do you think Cassie is going to
help you both get work after Full Time?

Oh my God. Praying for that queen.

See? Communication. Love it.

[up-tempo music playing]

[music turns pensive]

[Cassie] My life revolved around dancing.

Just, from four till now.

So, my mum owned a dance studio
in Newcastle.

Dance teacher's daughter's always there,
always training.

I guess it taught me to have a thick skin

from a very young age.

And so she grew up in the craft.

Her parents moved Cassie
to Sydney to go to

the Brent Street Academy for high school.

Yeah, I've literally entered Brent Street
when I was 16, and I haven't left since.

Like, I go out and I do my gigs,
but I always come back.

Like, I'm literally there
more than I am anywhere else.

[grunts] Oh my God.

This is so heavy.

A lot of people teach and they…
they do it for the money.

Or they do it to fill the time in-between.

I'm like, you have to be
passionate as a teacher.

If you're not, you're doing
the kids a disservice.

When they're feeling low,
I'm trying to build them up.

To be like, "You can do this.
Come on, fight harder."

And I say to the kids all the time, like,
"If you don't want it, don't do it."

[birds chirping]

I guess growing up as a dancer, I've
always just been so excited about, like,

the thought of Full Time.

And...

being able to do that now is just
something I can't even, like,

put into words because...

Oh my gosh, wait,
I've lost my drink bottle.

Where'd my drink bottle go?

Oh, wait, okay, it's already in my bag.

- She's been longing for it.
- Yes.

She's been living for it for the last...

- Oh, five years at least...
- Yeah.

… that it's been a goal.

[Emily] I guess you could say
I'm a bit, I guess, anxious?

But, like, excited as well?

Because, you know, this is where

everything that you have worked for
has come together

and this is where you learn, you grow,

and this where opportunities come.

She told me she's going to Brent Street,
and, ah, that was it.

I said, "Brent Street?"

Yes, we nearly...

"That's Sydney."

- … fell over.
- Yeah.

I said, "How are you
getting in there?"

[Emily] Well, I am nervous
about being graded.

But, obviously, you'd always hope
to be in the best class.

[Archer] Everyone knows that
you have to, like...

You have to just keep trying
to get up there to the top.

And in Full Time,
that looks like Jazz 1.

There is 90 of us in our Full Time course,

and 30 people get into Jazz 1.

Like, do I want to be
one of those 30 people?

Yes, I do. I want to be in Jazz 1.

Everyone wants to be in Jazz 1.

Jazz 1.

Quick spray 'cause I've gotta
smell good for class.

Give me one.

[laughs] You're gonna smell like a boy.

I have my own.

It's, like, normal for me just to be
in one of, like, the best schools.

That's just how it always has been,
so it's not really intimidating for me.

[up-tempo beat playing]

I just don't know
what I would do without dance.

I'd just be, like… normal.

Like...

But that's not fun.

I'd rather have dance.

[up-tempo beat continues]

I've known Max Simmons since he was five.
I was his first jazz teacher.

He was torture but talent.

[silence]

[up-tempo beat resumes playing]

Max Simmons. I love him.

Like, he's one of…

He's one of my kids that I've taught
since he was, like, eight years old.

And I remember him

on the speaker

dancing to Beyonce.

I don't even know, like,
another profession I could take.

[up-tempo beat keeps playing]

Some people you just see
work harder in class than others,

and some people put more effort in.
You know what I mean?

I think everyone wants the dream
just as much, but...

sometimes it doesn't always, like, show

in what everyone does.

I'd say I'm quite loud, flamboyant,

I don't want to say self-centred...

[up-tempo beat keeps playing]

To be a dancer, I've...

I don't think I've really given up much.

I have given up my education

and, like, going to a normal school

and the normal social life of school...

Are you going to write something
nice, like, "Enjoy your year"?

So, I wouldn't say I haven't given up
much to be a dancer, but...

just kind of that.

"This is the best locker at Brent Street.
Previous owner: Max Simmons."

[Cassie grunts]

[Cassie] Hey, hey!

[students] Hey!

How are we all?

[students] Good.

Good? How's your bodies?

[students] Sore.

Good. So they should be.

I really want to see you work
your butts off today. Yeah?

Even if that means you're
falling on your face.

Great. At least you've given it
a good smash, yeah?

Today, we'll just do a quick warm-up

and then we're gonna learn the combo that
we're gonna do next week in grading.

[Kim] I want to be in that class
because I want to be

against the best people in the course.

Because I want to become one of them.

Okay.

Hard. Hitting. Clean. Lines.

It starts nice and simple,
gets harder as it goes along.

Being in Jazz 1 throughout the year
gets you seen more by the teachers.

You get more connections.
They notice you more.

They maybe want to
consider you for a routine.

Jump our feet. Cross.

Down that way, yeah?

So, we're going one, two.

Five, six, seven, go!

Ha, ha!

Again. Five, six, seven, go!

Ha, ha!

Head should be down and then eyes.

Five, six, seven, eighty,

and a one, two, three.

[laughs]

Technique, my people.

It's a double pencil turn.

If you can't do one of those yet,
God help you. Yes?

Swerve, boom!

Run it back!

Yeah, work, ha, ha, ha!

Ba-da-da-boom and a ta-da-da!

Back and my one, two, three,
four, five, six, and seven.

I want sharp, clean dancing
exactly how I asked it.

That's what's going to get you
into that 1 class for me.

I know I'm a bit of a psychopath
sometimes, but honestly, it's...

if they can't handle what I'm giving them
and what all the teachers are giving them,

they're not going to be able to
handle it in the real world.

That person that's standing next to you,
you're gonna be like, "Watch me."

"I am ready to kill you." Yeah?

[exhales]

- I'm not ready for this.
- [Cassie] Well, let's do it!

I'm literally gonna die.

[Maison Ware & Madeaux:
"Body On Me" playing]

Five, six, seven, go!

Ha! [shouts indistinctly] Ha!

Bigger!

Big! Ha!

[Maison Ware & Madeaux:
"Body On Me" continues playing]

[Cassie] I honestly think that's
your make-or-break moment.

We get to this, and then I'm like,
"Oh, you're a 2."

Full Time dancing is 100 percent
a competitive en-environment.

[Cassie] It's never gonna get
better unless you fight for it.

Ah-choo! Suck that in. Squeeze.

I. Need.

Your.

[Maison Ware & Madeaux:
"Body On Me" resumes playing]

[Cassie] Ha! Ha!

Hold! Now, step it up and fight for it.

I don't care if you get outside
and, like, almost vomit.

That's what it should be.

You should be fighting that hard
every single time.

Your stamina is not where
it needs to be. Yes?

If you don't want to work hard, and, like,

you know when you have a day
and you're like,

"God, I don't feel like
working hard today."

And then you see
you have Cassie, you're like,

"Shit, like, I'd better work hard."

[Maison Ware & Madeaux:
"Body On Me" continues playing]

Ha! Quick! Down! Go!

Pull that over.

If your neck is not hurting tomorrow,
you're not doing it hard enough.

Five, six, seven, go!

Ha, ha, ha! Pull, ha!

[Maison Ware & Madeaux:
"Body On Me" continues playing]

Right, pull, left, then jump.

Seven, up, all change, up, up!

Hold, boom!

Please practice.

Please, please, please
practice that. Yeah?

Because we started probably better
than we ended, to be honest.

Because you get tired. Stamina.

You need to keep pushing.

- Yes?
- [all] Yes.

- [Cassie] Thank you very much!
- [students] Thank you.

[pensive music playing]

[shoes squeaking]

As a dancer, I would probably
describe myself as

very emotive.

Um...

I personally don't find myself

as, like, someone
that's very open to the world.

More often than not,
I struggle to express myself

in a vulnerable and emotional way.

As a person.

What I'm hoping to achieve
out of Full Time is

what, obviously,
everyone goes in and wants,

with the big goal of getting an agent,
getting recognised,

having a good grad, and then
working straight out of Full Time.

But I don't want to start the year
and finish the year

the same person or dancer.

The growth I'd like to experience
by the end of the year

would probably be to let more people in.

And, like, I guess,

not deal with everything that I'm feeling

by myself.

[James Arthur: "Finally" playing]

[song ends]

[Cassie] Max Ostler is a powerhouse.

His strength, his clarity,

his technique is, like, unmatched.

You have elements of a Max Ostler
in different people,

but the fact that he has style,
he has strength,

he has technique, he has charisma...

He's got everything. It doesn't
come around very often.

[pensive piano music playing]

[Max O] I'd love to walk
out of Full Time with an agent,

prepared to work straight off the bat.

That, obviously,
doesn't happen for everyone.

[Lucas] Max Ostler is a funny one

because there's a lot of ensemble work

where you have to lift a girl
above your head.

He won't have the career that
maybe he should have

because of his height or his build.

He's so talented,

but there's minimal spaces
for him to fit in.

[pensive music playing]

[music ends]

- [Michael] Morning.
- [class] Morning.

- Are we awake?
- [all] Yes.

It's like school. This is freaking me out.

Um... okay, cool. So,

there is a gym in Studio 7.

Males especially, I'm talking to.

We need to not look...

so, um...

young

with our bodies.

I'm not saying I need everyone
to walk out of here

looking like beefcakes.

I get that.

That's not gonna happen.

But I need to make sure that
we look developed and strong

and that we can hold a lady
above our shoulders.

Yes? That's what I'm after.

I've been told a lot of times that
I need to act more masculine

or more a certain way
to be able to get any jobs,

but I think, um…

that's so stupid.

[Michael] I would really think about it.

What did happen last year was
there was a few people,

agents were like, "Love,

I just gotta give them a year
to look more grown."

Should I talk to Michael
about, like, the gym,

or do you think I should just leave it?

- No, I think you should.
- Okay, because I don't...

Do you think they're gonna want me to?

Well…

just because you use the gym,
doesn't mean you need to get like…

- Yeah, exactly.
- Like, you can use it for other ways.

Like...

And you still can be…like…
you could get more toned.

- Yeah.
- Like, if you want to.

Yeah, for, like, fitness and stuff.

Yeah.

But I don't want to be beefy anyway
because I can just lie... not lie.

Mostly it's 'cause of dysphoria.

I don't want to look like a man.

[calm music playing]

[Archer] I go by they/them pronouns.

That's just what's comfortable for me.

A lot of people think of non-binary
as, like, the third gender.

Like, there's a new one.

But the whole purpose is that
it is the exemption of gender.

- This looks so good
- Thank you.

How's the modelling been going?

[Archer] Uh...

You look so famous on Instagram,
I'm like - "I know him!"

They know.

Everything.

[Archer] "Them."

Him! You!

- Them. You know, yeah.
- Oh, sorry, sorry, sorry.

No, it's okay.

Don't be sorry. I know it's,
like, an adjustment.

Walking down the street, like,
at least once a week,

there's, like, a "faggot" tossed at me
or something or other.

It's, like, terrifying,

especially having just come out
as non-binary

and everyone already so unsure.

I just get so nervous

or so insecure or, like, worried.

I know there are certain silhouettes,
or, like, certain things I can wear

or what I can't wear,

or, like, things that are feminine

but, like, not too feminine
for the general public,

or not too "queer".

And if I really want to wear something
that's, like, super slay,

I'll, like, bring, like, a T-shirt
or a hoodie to wear over it,

and when I get to the venue,
I'll, like, take it off.

[producer speaking]
Where do you fit in the industry?

[laughs] I haven't... I have no idea.

But I think that's part of... part of it?

Um...

is like finding where I belong.

[indistinct student chatter]

Body image is a massive thing for dancers.

And, yeah, you're told
to look a certain way

and, and be a certain way,

and when you're maybe not, it's… hard.

That... Ooh, that looks...

- Kind of like slay?
- Interesting.

[Arabella] Do you,
do you model or something?

- [Kim] Oh, fuck off.
- [Arabella blows raspberry]

- [Arabella] Let's go.
- Oh, the back.

[sexy pop music playing]

[Kim] I came into Brent Street
already with an agent.

Not in front of my face, I think
that a lot of people would say,

"Oh, she's just got that
'cause she's got the look."

And I, I might have it,

but I don't want to be known
for just someone

who's got the look and they just
get everything because of that.

[Nathan] This is a class
where I need you to embrace

everything that you are as a woman.

You're embracing your figure.

You're embracing your sexualness.

And realistically is
what is going to push you further

and make you a successful dancer

is that.

[sexy music continues]

[Emily] I've struggled a lot with
confidence, growing up as a dancer,

not only, like, mentally,

but also physically.

[Nathan] Who is, like, afraid

or uncomfortable with being sexy?

Don't feel ashamed if you are
uncomfortable about it.

Yeah?

Anyone else?

No?

[Emily] Everyone's different individually,

and you're being pushed to be this person

or be this figure or look like this person

when you're really not.

[crows cawing]

[pensive music playing]

Emily as a dancer, well, she's different.

She's not your most super-technical,

and she's not your most flexible.

But she does have that something
when she's on-stage

that actually makes you want to watch her.

[Emily] My nan and pop have been there
since the start, and they're, like,

everything to me because...

I guess, when certain people
weren't there,

they were always there.

[Dale] Emily is a very
strong-minded person.

She's had a lot in her life,
and she's gotten through it

without ever giving up.

[Dale] Emily tends to forget

a lot of the things
that went on early days.

So, we try and make it

the best picture that we can
for her of her true parents'

characters.

- That's it?
- Mm. Sorry.

Yeah.

Tissue.

- [Les exhales heavily]
- [sombre piano music playing]

[Emily] My nan and pop call me,
like, a miracle baby.

My mum, she had special needs.

She just couldn't process things properly?

My dad would hit her
when she was pregnant with me

or force her to drink alcohol,

pressure her into doing stuff that
she shouldn't have been doing

whilst being pregnant.

When I was born, I did have
a slight dent in my head.

Like, this part of my skull was just...

because of, I guess, all of...

the hitting and stuff?

It kind of affected me as well.

When I think I was about three weeks old,

my dad did not like the thought
of me crying at all,

so got quite aggressive and violent.

Mum had to call the police,
the police came and got me,

and then that was it.

From then on, I wasn't living
with my mum and dad anymore.

Mum would still come and visit me
like every day, every week,

because she loved me so much.

And then I was three years old,
about to turn four,

my mum passed away

from a, like, blood clot on her heart.

My dad, he... I guess you could say
he gave up on being a parent,

even though he wasn't really
a parent in the first place.

To this day,
I still haven't seen him because

it's so hard to face someone that, like,

gave up on you?

I know, like, three words I'd want
him to say is just, "I love you."

That's one thing I just
want him to say, but...

I guess just...

those three words aren't meant to be
for me and him.

But… yeah.

[pensive music playing]

Growing up, all I've done is dance

and that made me

that I could be something
and not just, you know,

be an average kid.

I do have potential to be a great dancer

and actually recognise myself
for how good I am

and keep improving on that
throughout the year

and working on that confidence
to go in to audition

and, like, not think

I'm not as good as everyone else.

[indistinct student chatter]

Ready? Six, seven, eight.

Boom, boom.

Just watch your head.

I feel like you're going like…

Yeah?

Hold it. Like, think more in your muscles.

Out of the people we've met, I think Tiana
would definitely be in Jazz 1.

One hundred percent.

Tiana is amazing.

Full stop.

[Cassie] And five, six, seven, go!

Ha! Clean!

[Maison Ware & Madeaux:
"Body On Me" playing]

Body! Body!

Watch that leg. Ha!

Jump!

Second leg!

Ha!

Plie.

Almost. Breath.

I was never, like,
the it person, like, ever.

I was always in the shadow of someone else

until I came to Brent Street
and I got noticed.

I was no one before.

Like, I was back corner, terrible,

like, they probably say,
"Oh, she's a potato,"

like, I actually was so bad.

- Hi! Um...
- [class laughing supportively]

I'm Tiana.

My big goal is to be

the most in-demand and working performer

in Australia.

I actually thrive off
being told that I'm bad

and being yelled at.

I love it.

Seven, eight, one, two.

I mean, it was a bit of a mess.

I hear all these stories, like,
"I used to come out of class crying

because the teacher
was hitting the floor."

I'm like, "Make me cry. Make me cry.

And make me go home and make me,
like, want it even more."

[Cassie] Yeah, I think
your biggest thing as well,

when you, like, are, like, nervous.

- I know, I go so hard.
- You go so hard.

Yeah? So, it's like,
control it, contain it.

[Tiana] Mm-hmm.

I can already see myself now going,

- "Tiana…"
- I know. "Calm down."

"Bring it down."

"Settle."

- Yup?
- Yup.

Everyone here goes out on the weekend.

I don't go out on the weekend.

I literally spend my Saturdays here.

- Her whole life is just dancing.
- Dance.

- I said...
- And doesn't want to go out.

And doesn't want to talk about
anything else but that.

I'm like, well,

you're not going to meet anybody
like that, you know?

[indistinct chatter]

Well, that's funny.

Hi, I'm Tiana. Nice to meet you.

I don't really want
to dirty your shirt, but...

That's absolutely fine.

This is so lame.
I've never even had a sip of alcohol.

Like, I don't know
what it's like to be a teenager.

On my 18th birthday, I was in my bedroom
while everyone was partying downstairs.

I was sleeping, so.

[laughs]

- Oh my God.
- [Cassie] Huh?

I'm about to pass away.

[indistinct student chatter]

[Kate] All right,
do we all have our stuff?

[student] Wait, there's some outside.

[Kate] We are doing conditioning today.

I did the same thing with the other class.

So, we're gonna go for, like, 45 minutes,
conditioning stretch,

and then go into technique.

Elbows. Take a breath.

Fix your… fix your block.

Two, three. Head down.

Two and one.

Hold it out. Flex the foot.

Eight, seven, six.

Hold it, Chelsea. Five.

Four, three, two, rest.

Good. Ten seconds,
you meet me back on the floor.

[dance music playing]

And go open that left arm,
and round, round, and...

[students exclaiming]

Gorgeous.

[Kate] Push the floor away all the way.

Face the sides. Set it up.

Bit more narrow.

And in under your shoulders. Seven!

- [class cheering]
- Hands either side.

On!

Chest up. Chest up.

Good.

Four.

Three.

Two.

- And rest, good job.
- [cheering, applause]

[dance music continuing]

[Cassie] I want to see

things that I haven't seen
from you yet, yeah?

If you're a flipper,
if you're, I don't know,

if you've got a leg
that I've never done in a combo,

that's what I want to see.

Yeah? So what can you add
to someone's routine

that they wouldn't
have thought of themself.

Semi-circle. I'm just going to tap you.

You're gonna go in
and just do your best trick,

your best stylistic choice.

I don't care what it is. Just go for it.

Six, seven, eight!

- Five!
- [CHAII: "WOW (Look At Me)" playing]

Hold!

Hold!

Hey!

[CHAII: "WOW (Look At Me)"
continues playing]

[Cassie] That's what
it should be like all the time.

I shouldn't have to ask because, like,

imagine if you did that with every combo
where we'd be.

Do you know what I mean?
'Cause that's amazing.

Such a step up from yesterday.

And, like, that energy,
just fighting for it,

that, like, sheer, like, passion
and just being, like,

"Who cares? Stuff it, let's go."

That's, that's what changes lives.

[CHAII: "WOW (Look At Me)"
continues playing]

[cheering]

[supportive shouts, cheering]

[Cassie] So good!

Far out.

That's called improvement.

- [class cheering]
- Boom!

[pensive music playing]

[indistinct chatter]

- It's like head down.
- [Kim] Yes.

Cha, cha, cha. Swerve. Ka-ka-ka-ka.

[scat singing]

[tense music playing]

A lot of people think that they're at
the level that they need to be,

but when they get here, it's… it's…

it's tough,

it's their first step into

a professional space.

The very first reality check
of their career

is when they step through those doors.

[indistinct chatter]

Good luck.

You'll do great.

[tense music continues]

[Lucas] You're all very quiet.

[Cassie] I know.

[Lucas] Is everyone scared?

[students] Yes.

- [Lucas] Good.
- [Cassie] I love it.

[Cassie] Good. So you should be.

[Lucas] So, jazz grading.

The day has arrived.

We really want you to bring it.
We want to see what you've got.

I'm ready to be impressed.

I don't want to see you
standing there going,

"Here we go. One."

I want you, like, on the floor,
out the door.

Make me watch you that first time.

Make me want to work with you. Yeah?

We're looking at you guys,
to be in Jazz 1,

to really work with those core people
to do amazing other things.

Yeah? Let me see what you have.

If you've got another skill that's not
in the combo, show me somehow.

Fight for it. Bring it.

Two at a time, from the back.

You're going to give me
the most basic kick.

Step, front, step, front,
step, side, step, back.

[wailing violin music playing]

[Lucas] You can't just bash
your leg up there.

You have to remember the process
of the technique.

There was not much brushing through first.

There was not much, um,
correct alignment in your supporting leg.

It just looked a bit like a…
a desperate bash.

Pas de bourree pirouettes, nice and slow.

Yeah? Six, seven, go.

One, two, three, four.

[violin music continues]

[no audible dialog]

[Cassie] I want the full stop
at the end. Yeah?

Four and eight is a full stop.

You're not going, "foo,"
into the next step.

Yes?

Finish it off. Clarity.

[violin music continues]

[Lucas] Yep. Just you.

[Cassie] Go, Max.

[violin music continues]

[music ends]

Says a lot.

Yeah? That says a lot

of who's gone home,
who's actually worked at it,

and who wants to get it right.

All right, let's listen up
for your groups.

[Michael] Maddi Maguire, Max Ostler,

Max Simmons, Roseanna,

Sophie Walker, you'll be Group One.

Anyone confused?

Okay? All right, cool. Thank you.

[Lucas] Group One, let's go.

[tense music playing]

[student 1] Just shows how much you know.

[student 2] Thank you.

Okay, don't get that in my head now.

[Georgia] No, you'll be fine.

[tense music playing]

- [Cassie] Great. You got it?
- [Michael] Relax.

- [Max S] Yeah.
- [Michael] You look nervous. Relax.

[Cassie] Yeah? Take a deep breath.

- [Michael] Chill, chill, chill.
- [Cassie] You got this.

[Cassie] Yeah? Because you've
practiced all week for this.

So just do it.

[Maison Ware & Madeaux:
"Body On Me" playing]

[Cassie cheering]

[Cassie] Hey!

[song continues]

[Cassie] Enjoying it!

A-ha!

Ha!

Ooh! Nice!

- [music ends]
- [teaching staff clap]

- [Michael] Nice.
- [Cassie] Max Simmons.

- [Lucas] So good.
- [Cassie] My lord.

[Michael] Yeah.

[Cassie] You're on fire today. So good.

[Lucas] Maddison,
performance quality is so good.

[staff clapping]

Very nice work, guys. Thank you very much.

That's exactly what
I needed it to be today.

- You got half an hour.
- [student] Did I?

[indistinct chatter]

- [Erin] What?
- [Emily] How did you go?

- [Erin] Pardon?
- [speaking indistinctly]

[Emily] I can't hear you.

- [Eliza] I can't breathe.
- Huh?

She complimented me.

[Lucas] All right. Who's next?
Anybody good?

[tense music playing]

I'm interested to see if
Tar… Tiana's gonna

crack under pressure or not.

Ah.

I love it. She stresses herself out.

- Does she?
- Yeah.

All right, well, let's see her.

[Tiana] I need energy right now.
I need it. Come on.

[indistinct student chatter]

[exhales] Oh, far out, man.

[Tiana exhales forcefully]

[sexy music playing]

[Cassie] Tiana, you give me
all I want in dancing ever.

Do you know what I mean? Like,
you're so clean, you're so sharp,

and that's exactly what I want.

You're doing everything that I've asked.

[scat singing]

Archer, remember what I said.

Use your face.

You look, like…

scared.

[sexy music continues playing]

- [Lucas] Next. Next, next, next.
- [Cassie] It's all right.

[students panting heavily]

[Arabella] Oops.

[sexy music continues playing]

[Cassie] Up. Just need more.

And I feel like I just
want you to go... [growls]

Well, you all did it wrong.

Nah.

That was not it.

I think that you guys are gonna need
to go out and sort that out.

Yeah. Not a good start.

Go. We'll call you in at the end.
That's nowhere near enough.

A big mark.

A big, fat lazy mark.

Mm-hmm.

[Lucas] You'd better bring it.
The last group was tragic.

[Emily] Is there an order we have to...?

[Cassie] Tragedy. Emily can go,
let's go Emily centre.

And give us some
performance quality, guys.

Okay? It's not just steps.

[Cassie] Bring it.

Bring it.

Step it up!

[Maison Ware & Madeaux:
"Body On Me" playing]

[Cassie] Ha!

Bigger!

[Lisa] Better.

[Lisa] Almost.

[Cassie] Eyes, come on!

- [Lucas] Okay.
- [Cassie] Hm.

The music started, and then

Jade was really the only one that
gave me anything at the beginning

to, like, draw me in.

You all stood there like...

[woodenly] "I need your body on..."

"Oh, here we go."

Like, if that was me in an audition,

I'd be, like, looking the panel
dead in the eyes...

- One second.
- [producer] It's all right.

[exhales, sniffling]

I'm a little bit upset because...

I don't know, like, I thought
after I did it, I, like,

I used my… I tried to use
my performance quality,

like Cassie taught me

and tried to take on Lucas' notes,

but, in the end, they just
kind of were still blank.

So I was just a bit,
I don't know, confused

on what I should think
if I actually did well or not.

[Cassie] It's an audition process, yeah?

Remember what we spoke about
the other day?

Remember?

[Eva] I feel like
they just wanted more from us.

- Yeah. That's, yeah, that's what I said.
- [Eva] They just wanted us...

- But I couldn't give any more.
- [Eva] You can't give any more.

- I…
- [Eva] Yeah, I know what you mean.

Yeah.

[Lucas] The students have just
completed their jazz grading

for the year ahead.

The waiting game is the worst part.

It's where you sit alone in your thoughts
and be playing back

through everything you did.

[Kim] Not getting in would just feel like

I thought I was good,
and then I just got humbled.

I feel like Archer and Kim, for me,
are the, the two that I'm like...

I honestly think it's one or the other.

- What are we gonna do?
- It's either Kim or Archer.

- [Michael] Yeah.
- Oh well...

- [producer] Good job. Good job.
- I'm praying.

[Lucas] There's a certain thing
that I look for.

If they have any type of rejection,
that it's gonna light a fire in them

and it's not going to destroy them.

I think there's more to Archer than
there is to her.

- [Archer] Yeah.
- This is Full Time now, so...

- we'll see what happens, I guess.
- Yeah.

Maybe you're not good enough
for Brent Street, so...

She's better than her.
She's better than her.

She's better than her and her.
I'm saying she's at 1.

It was really nerve-racking
because it was like,

they treat it like an audition.

So, I'm not really sure.

[Michael] Emily.

If she's put into 1,
will she rise to the challenge?

Will she step up to the plate in the short
amount of time that we need her to?

- [Cassie] Yeah.
- [Lucas] Mm.

Cause it's, like, what? Four, five weeks
we need this to start happening?

[Michael] Yes.

Will she get there in four weeks?
I'm not sure.

- I just feel like she's not quite there.
- Not there.

- I don't...
- Not quite ready for that step.

- She... she may well be…
- [Cassie] Yeah.

- I feel like...
- [Lisa] In six months' time.

[Cassie] Exactly.

I wish I had another chance
to do it again.

And if I got another chance,

I would do it over and over and over
until I at least, like, you know,

got a smile or something good,
positive feedback back,

but I didn't get anything, so...

yeah.

[Lucas] Ah.

It's pretty much a precursor

to what their lives are gonna be like
out in the industry.

You're just waiting to hear a yes or a no.

[pensive music slowly fades]

[theme music playing]

[music ends]