Category Archives: choreography
I don’t post video all that often.
Originally it was because A] I didn’t shoot video all that often and B] when I did, I usually couldn’t stand to look at it and didn’t want anyone else to look at it, either. (Or, well … sometimes also because the decent video I had was typically rehearsal video from someone else’s piece, and I didn’t want to post it without permission.)
Now I just rarely post video because I rarely think of it. I share clips to Insta on the regular, but more often than not they’re clips rather than entire pieces.
Anyway, today I was scrolling through my phone’s camera reel and happened to watch one of my movement research videos from March, when I was beginning to work seriously on the piece that originally became “January Thaw,” and is now just “Thaw.”
And in the process, I found the video below, and discovered that I loved parts of it: the weird parallel developpe that was originally part of this piece (I vaguely recall deciding that, because it had to transition into a turned-out arabesque followed by a penche, I should replace it with a normal developpe); the lovely precipite in the middle that was later eclipsed by a series of arabesques (at least, I’m pretty sure I decided to keep the arabesque version); this moment when I unfurl from a contraction in a lunge; these insane floating turns that reminded me that I can, in fact, turn beautifully when I bother to make the effort.
- Some of them are decidedly off-plumb, but they somehow wind up being beautiful anyway. *shrug*
There are flaws, of course. I’ve decided not to itemize them. I know they’re there; you know they’re there–I won’t gain anything by nattering on about them, so for once in my life, I won’t.
Anyhoo, the music, to which I own no rights whatsoever, is Alexandra Dariescu’s aching rendition of Chopin’s Prelude #4, Largo, E minor (Op. 28:4) on Chopin/Dutilleux, Volume 1, Champs Hill Records, 2013.
You can find it on Amazon and probably everywhere else, because seriously. This recording is so good.
Anyway, here’s the video. I hope you’ll enjoy it.
So, given the fact that you’re on the internets, chances are that you’ve heard about this whole COVID-19 thing.
Resource hoarding aside (I’m looking you, single dude who lives alone and who just bought 17 cases of toilet paper), the United States actually sense to be doing a sensible, public-spirited thing and closing a lot of things down for a bit in an attempt to reduce transmission of the virus.
And I’m all for that, but at the same time it’s kind of weird and surreal.
The company’s off for the next couple of weeks, and we have no idea what’s going to happen with our last show of the season right now (Cancelled? Postponed? Performed via livestream, in HAZMAT suits?).
We did class this morning and didn’t rehearse. Starting tomorrow, we’re technically on hiatus, though we’re trying to find out if we’ll have access to the studio so we can do class together.
I genuinely had never imagined this particular outcome. It’s a weird place to be. Not bad: just weird.
I guess we’ll figure it out, going forward, a bit at a time.
Meanwhile, my teaching job is moving to an online format that’s going to be … Interesting. I’m not at all certain how I’m going to make that work, given that my house is not danceable and my data plan is utter crap. But I’ll figure something out, anyway … If we have wifi at the studio, maybe they’ll let us look in and use it for streaming.
So that’s where we are in mid-March, 2020. Things are up in the air.
My class notes today were, in short:
- Turns in 2nd: really snap that second shoulder around
- “Always finish grand allegro with a double tour, if you can” (Not sure how practicable that is, but I like the audacity of it 😁)
- Don’t create extra work for yourself
That last one pertains to a couple of things I’m working on: first, unnecessary accessory movements that require additional adjustments to balance, placement, etc; second, keeping things engaged in the right ways so the body moves as efficiently as possible.
Not rocket surgery, but worth contemplating from time to time.
Lastly, (I think) I’m done setting the choreography for “January Thaw,” so I’m planning to start polishing it next week, and I’ve started work on a new piece that I’m developing through choreographic improvisation as well.
The new piece is longer (almost 6 minutes) and a bit more complex in terms of both mechanics and artistry, and I plan to take advantage of the extra time in my schedule to really crack away at it.
I don’t have a title for it yet, but the music is Chopin again. I’ve got some rather decent video from last night, so I’ll post that sometime soon.
I’ve been working now for more than a year (granted, that’s really not very long).
I probably imagined that I’d be used to it by now: that, perhaps, the first time that work felt like, you know, work, I’d sort of wake up and go, “Oh, yeah, I’m a professional dancer, this is my job now, no big deal” on a kind of visceral level.
Turns out, that’s not the case. It’s no longer terribly surprising on a rational level, and the Impostor Syndrome has slackened its grip a bit, but every time something happens that makes me realize that I’m doing this amazing thing I feel this little kind of giddy rush.
It’s like when you pick up some random thing at a thrift store, and you google it because it’s interesting, and you realize that it’s actually kind of a rare and unique treasure. It’s like, “I have this amazing thing, and nobody realizes it’s this amazing thing!”
Also a bit like, “Wow, I’ve been given this amazing gift … do They realize that They’ve given me this amazing gift?”
I could ask my friends who’ve been doing this much longer than I have, I suppose … but I also suppose that every answer would be different, because every journey is different.
I hope I never stop at least occasionally being surprised and delighted that, yo, the Universe seems to have decided on a whim that I should be a dancer, and people seem to agree with the Universe, including people who seem to want to pay people to be dancers.
Anyway, there you have it.
The Americana show went well, by the way. Better than I expected: the floor proved to be incredibly grippy … like, seriously, I think it’s surfaced in some Super High-Friction Space Age Polymer … but the costumes for the piece before ours had glitter tutus, and the tiny bits of glitter greatly reduced the friction, making turns and so forth far easier. My piqué turns in the manège at the end could’ve been better (for some reason, I didn’t crank my turnout … eh), but overall the effect of the piece was really exactly what I’d hoped for … and, of course, both Kathy and Christina are fantastic to work with and perfect partners.
We opened “Happy Birthday” tonight, and it was good 😀
First time I’ve done a front-handspring in front of a paying audience since I’m not even sure when (high school, probably?) … so that was pretty awesome. It’s a Vweird thing, because it’s basically a single front handspring with a leap out of the rebound, but the run-up is so long that it builds up a lot of power 😀
Anyway, I tried not to go Full VonRothbart this time, and I got to wear a pair of sparkly things on my face:
…I’m pretty sure that our AD copes with nerves by more or less literally throwing fairy dust at them. Like, initially, a few of us were going to wear jewels on our faces, and then a few more, but tonight while we were dressing he was like, “JEWELS ON EVERYONE! WE MUST ALL HAVE JEWELS!”
No complaint here. I’m really quite delighted that I got to wear sparkly things on my face, and even more delighted that they somehow survived the one-two punch of humidity and sweat, not to mention the trapeze and everything else. Eyelash glue: it’s like hot glue for your face 😀
Speaking of trapeze, my trapeze piece went rather well … though there was one somewhat alarming moment in which my tights gripped the trapeze but slipped around my leg whilst I was doing a drop transition to a single knee hang … EEK. But I played it off like that was supposed to happen, as you do.
I’m using my own trap for this show, which is cool. It’s a really, really nice trapeze from Patti at Aerial Animals. She’s a bit of a legend in my local circle of aerialists, especially amongst those of us who like our traps heavy. It’s basically an exact copy of the one my friend and trap teacher M uses.
In other news, I received an invitation to stage a piece as part of a benefit show for local refugee services, which was awesome. We’ll be doing a further iteration of the excerpt from “Tenebrae,” this time with both The Lovers and The Stranger.
I needed a name for my group, so I called it Antiphon Project. So I seem to have kind of accidentally launched a wee dance company? Or at least the germ of one.
- The name of the group (which might, someday, be just Antiphon, or possibly something like Antiphon Dance Theater or Antiphon Contemporary Ballet) is the result of a brain glitch from a long-ago Pilobolus masterclass. They usually end up the classes with compositional improv sessions, and one of the groups made a gorgeous piece that had this beautiful antiphonal movement style … but I couldn’t think of the word “antiphon.” At least, not until I was, predictably, lying in bed that night 😀 And thus did I decide that if I ever launched a dance company, I’d name it Antiphon for several reasons, but partly so I’d NEVER FORGET THAT WORD EVER AGAIN.
BUT FIRST! I have to survive a whirlwind trip to Connecticut and back for Teacher Training with Pilobolus :O I’ll be leaving directly from Fabled Fragments rehearsal on Sunday, driving straight through with a stop somewhere for a nap for a few hours, chugging straight into class, crashing out as soon as class is over probably, doing the second day of class, possibly crashing at Mom’s overnight, then turning around and driving back home.
I mean, like, literally.
I’m talking about weight-sharing, here.
When you weight-in, you pour your weight into your partner, who pours their weight into you. Ideally, you should find equilibrium: you’re not pushing Terry* over, and Terry’s not pushing you over.
*Our gender-neutral partner du jour
When you weight-out, it works the same way, except instead of pushing, you’re pulling.
This is the lovely thing about weight-sharing: it’s a style of partnering that depends on both partners carrying their share of the weight. If you’re distributing the load equally, you can do all kinds of crazy things that way.
The piece I’m setting to Barber’s “Adagio for Strings” (I’m kicking around the idea of calling it “Tenebrae”) combines traditional ballet partnering and weight-sharing, which makes for some interesting transitions: early in the piece, we fold from a shared arabesque en fondu through a moment of weight-sharing into a ballet-standard supported arabeqsue.
The challenge for K, as a ballet dancer who hasn’t worked in a weight-sharing modality before, is surrendering her weight into me at moments that it feels really counter-intuitive. She has the hard part of that move: basically, all I have to do is reach back with my free leg, set the foot on the floor, and get my arms to the right place at the right time so she can use them for leverage at one point in her end of things.
She’s tasked with the bizarre challenge of yielding her weight to me as I recover from the arabesque, rolling into my lap without bringing her working leg down, then fouettéing back into an arabesque.
She pretty much got it from the word go, which blows my mind. At first she wasn’t quite getting enough of her her weight down into me in the middle of all this, but it’s getting better and better. The fact that she springs right back into the traditional ballet mode with no difficulty is amazing.
Regardless, the more she pours her weight into me as we sit back together, the easier the transition is for both of us.
Anyway, the piece is going well. We’re well into the third minute of the dance. I’m not sure about the exact time because the last run we were behind the count and I left out a phrase that I’m pretty sure I want to keep. Regardless, given that we’ve put in about 2.5 hours, I’m very happy with how much we’ve built.
There will, of course, be some rebuilding involved once I start setting this with a larger cast—not least because right now we have the entire stage, and we use the heck out of it.
- Though, in fact, I need to dial back my travel … the space in which we’ll be showing it is smaller than the studio where we’re rehearsing, and there’s one point at which I’m not only off the stage but probably outside the actual building XD
We’ve started taking video of basically everything, because I have this habit of finishing the part we’ve already worked and starting right into the next section, and it can be hard to remember what, exactly, I did sometimes. Most of the piece is pretty clear in my head, but where it’s vague, I tend to just let the music drive and I, like, forget to remember.
Couple more for posterity 😉
This week I have one more rehearsal for this piece, plus one for Thursday’s show (ArtWorks) and about a million for Weeds, in addition to the usual class schedule.
Class, overall, is going well: I’m working on relying more on my inner thighs, working from my back down through the floor, and trusting my balances.
Oh, and also not doing dumb things with my hands or letting my shoulders creep into my ears when things get complicated. That, too.
On Saturday, a bunch of us from only weeds will rise in winter descended upon Churchill Downs’ opening night Fund for the Arts gala to perform excerpts from the show in pop-up form.
It went well (though I was a complete disaster on Sunday because I got dehydrated :P). We were a tad awkward at first, but as the night went on we got things nailed down and started tacking on a long-form improv after the set choreography. That just got better and better: the last round was awesome, even if almost no one was left to see it!
Anyway, I’m feeling more and more confident about weeds, even if I was a complete PITA to our choreographer-director on Sunday (sorry, AMS!).
- I was having an exceptionally difficult time with receptive language processing, but didn’t realize it ’til after rehearsal was over, so I was constantly screwing things up and being mad at AMS about it. Ugh.
In other news, I’ve started working on choreography for my PlayThink piece, and I think it’s going to be quite cool indeed. A friend of mine might be joining me, which would be even cooler. There are parts of it I can’t do very effectively in my house (too many obstacles!!!), but the performance takes place at an outdoor venue that doesn’t have a fancy floor, so now that it’s warm I can practice it in my back yard.
I’m hoping to have settled a group of dancers for shadowlands or whatever I’m calling it soon, because SUDDENLY IT IS ABOUT TO BE MAY WTF.
I am so not good at recruiting people, and really really not good at recruiting people when I have no idea where I’m going to take them to rehearse. Blargh.
On the other hand, L and I have come up with some really solid choreography for the CL/UofL collabo show, so that’s going quite well.
We also just launched rehearsals for the SPA show, which is going to be amazing.
Obviously, my schedule is completely wack right now, and I’m trying to learn how to eat and sleep in the midst of it. What works best food-wise, of course, is simply to cook a couple of huge batches of whatever when I happen to have time. Sleep-wise, on the other hand … eek, who knows?
So that’s it for the moment. Class notes later probably?
A few years ago I wrestled with composing a solo piece about grief set to Barber’s “Adagio for Strings.”
At nearly 8 minutes, it’s quite long for a solo, and I don’t think I had the choreographic wherewithal to make it work back then. I’m still not sure I do. I set it on the back burner, figuring maybe I’d come return it sooner or later.
I’m not sure, at this point, that I ever will. Instead, I’m setting a piece for seven dancers about being alone and unseen amidst the bustle of humanity to the “Adagio.”
The title of the original piece was “Shadowlands”–a reference to the film about C.S. Lewis and Joy Davidman, which is itself an exploration of grief, but also in reference to Lewis’ phemonenal book, A Grief Observed.
I might retain the original title. The new piece as it has evolved comprises seven dancers: the Four Sisters, the Lovers, and the Outsider.
The Outsider is consigned to the shadows at the edge of human connection, and often shadows the others.
That said, I’m leery of using that title, as it’s too close to Pilobolus’ Shadowland, which I hadn’t even heard of at the time I created the original solo piece.
The first draft of this piece will be shown at the June 1st meeting of Louisville Movement Exchange, a nascent choreographers’ workshop and dance-community connector. I won’t have a heck of a lot of time to set and rehearse the piece, but it doesn’t need to be polished (or even finished).
I’m trying to do as much development as I can beforehand, though I will very likely have to modify things based on the set of dancers I’m working with. I think I’m much better at imagining choreography than I was a few years ago—not least in terms of envisioning how to use the stage.
Given the exceedingly-limited rehearsal time at hand, I’m debating whether to concentrate on setting the first half and taking things from there, or just dive straight into the second half.
The advantage of beginning with the first half, of course, is that if we miraculously bash through it, we might get to the second half anyway … and, to be honest, it’s the part I feel less sure about.
The advantage of beginning with the second half is that I have a really strong, clear vision of it, and I’m pretty sure it’s going to be quite good.
I suppose, ultimately, my dancers will determine how I approach the piece: the whole thing builds to a group overhead press-lift, and I plan to try to set that first, since it’s the thing that’s most likely to be uncomfortable for them. Most of them will never have done that sort of thing before. It’s not actually very hard (it’s literally six people doing the lifting, and they’re lifting one person), but it can be daunting.
I also kind of need to decide if I want to be in this piece if I have enough dancers that I don’t need to be. But I’ll cross that bridge when I come to it. I would, in fact, love to perform this piece, but setting a piece and learning it at the same time can be problematic, since it’s harder to adjust things on the fly when you can’t see what’s happening until you watch the video.
I’m also back to slowly sorting out problems with Simon Crane.
I think I might set the “Bolero” for a later meeting of the Movement Exchange. I’m not 100% sure it’ll make the final version of the ballet, but I really, really want to set it, and it can stand on its own.
I’m also fiddling with the score still: I’m now fairly certain that the third act will be set to Rachmaninov’s 2nd Symphony (E minor).
I’m still not entirely sure what to do with the first act.
I would, however, like to finish this ballet before I die (not that I plan on doing that any time soon), so at some point I’m going to just force myself to make a decision about Act I. So I guess it’s back to listening to Romantic/Impressionist music and seeing what fits the story arc.
As regards Act III, I am deeply fond of Rachmaninov’s “Isle of the Dead,” but by itself it’s a bit on the short side, and it doesn’t afford quite enough range to really develop the story. I’d love to use it for something someday—maybe something that doesn’t even have an underlying story or concept—but trying to force-fit that with some other piece of music for the third act of Simon Crane isn’t going to work.
Saint-Saëns’ cello concerto will continue to anchor the second act; indeed, if I leave out the “Bolero,” it will be the entire second act.
So that—and the little piece I’m building for PlayThink, which is rather a lot of fun—does it for choreography projects for now.
More on the PlayThink piece later, of course.
Today I started setting my piece for CL’s upcoming collaboration with University of Louisville.
I tapped my friend L, who was my reader for Death Defying Acts and who I’ve had as a student in the Dance for Aerialists class that I co-taught for a while. I don’t remember exactly where the initial impulse came from, but it was a good one. She has time right now, and I think we work well together.
L doesn’t have a lot of dance training, but she’s an aerialist and she practices yoga, so she has the kind of “educated body” that dancers have.
I had two goals for today’s rehearsal: first, teach her how to Tall Ladies (the easy part!); second, set the first phrase of the dance. Both goals were achieved, and it turned out that L and I make really good collaborators. I put in, among other things, fish lift to fondu arabesque (ganked from BG’s piece :D); she added a sub-phrase developed from triangle pose that played really nicely with my instinctive “next thing.”
Choreographing this dance is going to be an interesting challenge. Since the musicians will be working within an improvisational framework (you’re right, that kinda sounds like an oxymoron), I’m programming a series of phrases that can either be used in a set sequence or mixed and remixed in an ongoing improvisation.
I came into this rehearsal with only the most basic sketch of an idea: start with Tall Ladies, set L down facing the audience, rise, work through a series of smooth, circular movements in which we appear to be working together to manipulate the ball (in fact, she’s doing all the ball work at the beginning of this phrase).
The lift grew organically out of the initial ball path: that was a cool discovery. L’s triangle sequence also came about on its own. She was experimenting to see where her body wanted to go from the arabesque (the ball passes from her hand to mine as she transitions out of the arabesque), and I liked what came out.
This is the first time I’ve actually set a dance that’s explicitly a partnered piece, as opposed to one in which bits of partnering occur incidentally to the greater momentum of the piece. I think I’m going to enjoy this particular challenge.
Coincidentally, this is also the first time I’ve partnered a girl who is significantly smaller than I am. L is legitimately tiny, which is both awesome and complicated. It’s awesome because she weighs next to nothing and is super easy to balance (she’s also great at engaging through her body, which really helps). It’s complicated because, in trying to be a good partner, I’m finding that I have to adjust a lot.
That’s actually really good for me, as a guy who enjoys partnering and wants to do more of it. The first three rules of ballet partnering for guys might be, “Don’t Drop The Girl[A],” but the fourth rule is Pay Attention to What She Needs.
Does she feel like she can get her leg under her coming out of Fish? No? Maybe you need a deeper fondu, then, doofus.
Anyway, I think the resulting piece is going to be pretty cool. L and I work well together, and I think we also look good together. That doesn’t hurt, either.
A. Appendix 1: The First Three Rules of Partnering
- Don’t drop the girl.
- DON’T drop the girl!
- DON’T DROP THE GIRL!!!
I … think? … I’m done with auditions for the rest of the month, at this point.
Yesterday’s was actually rather a soaring success, except for my usual habit of forgetting some bit of the modern combination and faking my way through that part so I could get to the next bit, then remembering it right after … but there are two thoughts that cheer me up.
First, nobody had the combo down cold. We all missed bits and pieces.
Second, that’s one of the skills they’re looking for at dance auditions. What happens when you fall off the script (because it happens even to top-tier dancers)? Do you freeze like a deer in the headlights, or do you roll on just as if you’re doing exactly what you’re supposed to? (Bonus points if you can fake your way through well enough to make it look like everyone else was wrong. I don’t think I accomplished that, yesterday, but I didn’t freeze, either.)
The dance improv bit was, of course, a blast, because I love improv.
The trapeze bit went pretty well despite the fact that apparently whatever demiurge manages music for trapeze auditions believes it’s great fun to mess with mine. I recovered from that and had to improvise a fair bit, but it turned out rather well. And, of course, I didn’t fall off the trapeze this time.
- Last year’s audition for “Orpheus” is still the one and only time I’ve fallen off a trapeze. It’s also my number-one go-to story to tell when, inevitably, groups of people start reminiscing about stupid moments in their lives. There’s something special about making what seemed, in the moment, a very logical decision to drop myself off a trapeze from ten feet in the air rather than risk breaking my arms. Dancers get it; circus people get it; athletes get it. That said, there are entire hosts of people who think I’m crazy, and they’re probably right—but I’d still do it again in a heartbeat.
Once again, at this audition, they’re not necessarily looking for a polished cirque-style act: they’re looking for expression, musicality, and the ability to command the audience’s attention (and also sound technical elements, obviously). The piece that I showed is one I’m slowly working on set to the Indigo Girls’ “Kid Fears,” and it’s intentionally struggly, so it probably didn’t really hurt anything that I was, in fact, wrestling with my own choreography (much of which I didn’t apparently remember).
The acting part was flat-out awesome, and reminded me how much I actually really like acting, my anxiety about struggling to memorize scripts notwithstanding. Maybe what I really like is cold reading. Who knows? Anyway. I really liked the part they handed me, and ran with it.
Today’s audition was also lovely. Almost nobody showed up, so it was really just three of us mostly doing some improv stuff. I already know that our AD likes the way I improvise, so that was just pure fun. I showed the bits of my piece that I could, given my lack of a partner, and described the idea as a whole. Both our AD and the guy from U of L whose group we’re collaborating with liked it, so it looks like it’s a green light there.
My next audition is a couple of weeks away, and I’m happy to have a bit of a breather. The stretch from the past couple of gigs through now has been pretty intense.
Not that I’m complaining. The other night I was kvetching about some company-related annoyance and suddenly though something like, “Oh, hey. I’m complaining about work because that’s what we do. If it wasn’t a pain in the *** sometimes, it wouldn’t be work.”
And that actually felt, in its own way, rather lovely: like, this is my work, and it’s work that I love. And I think I’m becoming rather good at it. Maybe not world-beatingly good or anything but, you know, serviceable. Which has, to be honest, always been the goal. As a ballet boy I’m smallish and muscly and I bounce like a rubber ball, which puts me squarely in the demi-character camp, and I’m fine with that. Not everyone always has to be the prince (and, honestly, there are a lot of ballets in which the prince never gets to do anything cool outside of the pas de deux). As a circus artist, I’m reliable, adaptable, and versatile: not a specialist, but a generalist, and the kind of generalist who can pinch-hit almost anywhere.
I feel like that’s a good thing to be. I’m not here for glory: I’m here because I love to move; because I can’t not move.
And if sometimes that means I’m stressed out and hounded from pillar to post … well, that’s part of it. That and Auditioning for Poverty are pretty much hallmarks life as a dancer, or indeed as any kind of performing artist, or indeed possibly as any kind of artist.
You do the Work because the Work is what moves you … sometimes more literally than other times.
After Pilobolus intensive, I semi-intentionally put Simon Crane on a back burner for quite a while. I had discussed it with a couple of people whose insights made a lot of sense, and I wanted to let their wisdom percolate for a while.
I meant to get back to work on it in a month or two, but life being life, I kept feeling that it wasn’t time yet.
Anyway, today it resurfaced on its own, with a very clear thought about Acts I and III.
Specifically, there’s a very explicit transition in Act I from the world of the marsh, which follows one set of (magical) “rules” to that of the city, where the “rules” at least seem more prosaic (I think cities have their own magic, but that might be a different ballet). This is part of what allows the arrival of The Flock, with its wild magic, to be threatening in Act II, even though The Flock believes it is acting in the best interests of its own lost member (that is, Simon).
The connection I had failed to make, though, was that the reverse should also be true. The journey of the Naturalist in search of his lost/stolen beloved must explicitly be one that involves the transition from the Naturalist’s world, in which he feels that he understands the “rules,” to that of the Marsh, where he does not.
This thought makes it easier to structure Act III: before, I wasn’t entirely sure how to frame to Naturalist’s journey, or to explain his trepidation even to myself. I don’t want him to be a swashbuckling hero (as much as I love a good swashbuckling hero/ine)! I want him to be a very human man caught up in something he doesn’t understand, doing his best to cope because that’s what you do when you love someone.
The other thing I’m contemplating is “Bolero.” I love the dance in my head, and I’m going to set it sooner or later either way—but E at PSW pointed out that the music already has a powerful life of its own, both as music-qua-music and as a famous ballet. It wouldn’t be wrong to use it, but it might overshadow the rest of the work.
I’m still thinking about that: I might be standing too close to the problem; it might also be that the “Bolero” section of Simon Crane really is strong enough to work.
Lastly, I think I’m going to revisit the score. I’m very unsure about Satie for the opening dances. I’ll have to listen to it again, and see what’s what. Act III might also need to be reset.
Class today was sound, given that I’m tired and sore from a very long Saturday. It took me til centre to really wake up, but once I did some decent work happened.