Dreams are like
Memories
We haven't created.
I know your hand is in mine.
But we haven't yet embraced it.
Awake
Knowing the time will come
For our two bodies
To link memories
And...
Dream together.
“Bow to the past, Dance to the present and leap into the future. There is always something to live and be grateful for.”
Break a leg
(3-5-2010)
Break a leg. Why did she ever say that? The words fell off of her tongue like a gypsy’s curse. Liz Sherman never wasted a kind word in my direction. Mere moments before I’m about to go out on stage, she dropped those tiny daggers. It was just to fuck me up. How dare she? On opening night. What a poor loser! Being understudy never sat well. My eyes must have registered a look of complete shock as I glanced back at her. Those pearly whites gleaming brighter than ever behind the widest fake smile I’ve ever seen. Looking back as I headed out on stage, the prom queen cheering me on. Liz couldn’t take me out herself. She had to put someone up to the challenge. That’s where the creepy old stagehand came in. Making my way across the stage I find my first mark. Across from the quarterback lead and in between the cheerleader co-star. My blue ‘x’. Beneath the pink and blue tinted spots. Center stage. Stupid bitch. Clapping and waving behind stage right. Decoy in the wings. Distraction from my cue. While a shady stagehand controlled my fate. The entire production booby trapped to keep my performance from being completed. Any misstep would mean my end. If I would have stayed five minutes in my first mark a sandbag would have taken me out. The entire stage was in an uproar after it fell. My move to a rear position meant having to dodge shifting scenery. My undoing was missing my final mark. Two steps backwards. If only I’d moved sooner, I would have been fine. One step too late from freedom. Open trap door. Down through the floor. Wedged between the stage and scenery. Right leg broken in three places. Break a leg? I did.
“Inspired by architecture by Santiago Calatrava, New York City Ballet tackled an interesting challenge by presenting the world premieres of five ballets with scenic elements (three with sculptures; two with painted drops) designed by Santiago Calatrava, one of the world’s leading modern architects, in a season based on the theme of “Architecture and Dance.” The new pieces also represent five leading contemporary choreographers: Melissa Barak, Mauro Bigonzetti, Peter Martins, Benjamin Millepied, and Christopher Wheeldon.”
“Having sculpture on stage is a challenge in terms of logistics,” says New York City Ballet’s resident lighting designer, Mark Stanley, who lit all of the new pieces. “We have to make the sets work in repertory and the sculptures have to come and go at intermission in a very short amount of time.” Stanley also explains that the design process was unique: “It wasn’t like having conversations with a set designer who comes in with sketches. Calatrava designed the sets independently, in the abstract, not specifically for each ballet. We worked to unify them into each piece and respect his design. He was not involved in the tech process.”