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BBC Four Collections - | 0:00:01 | 0:00:03 | |
specially chosen programmes from the BBC archive. | 0:00:03 | 0:00:07 | |
God, what I could do for a nice, calm fashion show. | 0:00:07 | 0:00:11 | |
Nice, easy, calm fashion show. | 0:00:11 | 0:00:13 | |
All is forgiven, fashion. Come back. | 0:00:13 | 0:00:16 | |
Jasper did the costumes for my production of Sleeping Beauty | 0:00:26 | 0:00:30 | |
and I loved it so much I thought I should do | 0:00:30 | 0:00:32 | |
Swan Lake for Jasper to do costumes and sets, | 0:00:32 | 0:00:35 | |
which he hasn't done before. | 0:00:35 | 0:00:38 | |
I started getting nervous about Swan Lake three months ago, | 0:00:38 | 0:00:42 | |
so I called Jasper and said, "I haven't seen any designs yet." | 0:00:42 | 0:00:46 | |
And he said, "Can you get down to the fax machine?" | 0:00:46 | 0:00:49 | |
He knows it's downstairs. | 0:00:49 | 0:00:51 | |
'Established in 1978, New York-trained Jasper Conran | 0:01:05 | 0:01:09 | |
'has consistently designed classic yet directional collections.' | 0:01:09 | 0:01:13 | |
And the winner of the British Collections is... | 0:01:13 | 0:01:16 | |
Jasper Conran. | 0:01:16 | 0:01:18 | |
APPLAUSE | 0:01:18 | 0:01:20 | |
'Over ten years of designing has won Jasper Conran awards not only | 0:01:21 | 0:01:24 | |
'on the fashion catwalk, but also on the theatrical stage. | 0:01:24 | 0:01:27 | |
'This year, his designs for the theatre have earned him | 0:01:27 | 0:01:30 | |
'a Laurence Olivier Award for costume.' | 0:01:30 | 0:01:32 | |
Quite a lot of people are amazed by the fact that they look at my | 0:01:35 | 0:01:39 | |
clothes and they can't associate me doing sort of big, frilly dresses. | 0:01:39 | 0:01:44 | |
I wouldn't make theatrical clothes | 0:01:44 | 0:01:46 | |
for women for walking down the street in. | 0:01:46 | 0:01:48 | |
I don't see the logic in it. | 0:01:48 | 0:01:51 | |
I suddenly found that there was an area of my creativity | 0:01:51 | 0:01:55 | |
that I hadn't been using, and I'd been suppressing. | 0:01:55 | 0:01:59 | |
And that there was a theatrical side to me after all. | 0:01:59 | 0:02:04 | |
No, no, I'm not depressed... Yet! | 0:02:13 | 0:02:17 | |
Take a bit out of the curve. | 0:02:17 | 0:02:20 | |
It's just lost something along the way. | 0:02:20 | 0:02:23 | |
And I want it to be more like this than like that. | 0:02:23 | 0:02:25 | |
I mean, I'm trying to get information from Italy at the moment like mad. | 0:02:33 | 0:02:37 | |
And, you know, they're being very Italian about it. | 0:02:37 | 0:02:39 | |
Silver and gold, blue and green. It's all going to be shimmering. | 0:02:44 | 0:02:48 | |
Lovely. Lovely! | 0:02:49 | 0:02:51 | |
Here we are. Swan Lake. OK, Prologue, | 0:02:59 | 0:03:02 | |
which is a new invention, which is about three minutes long. | 0:03:02 | 0:03:07 | |
We fade through from the gauze. | 0:03:07 | 0:03:11 | |
Here we have the Princess. | 0:03:12 | 0:03:14 | |
She's coming along and she's picking the apples, the forbidden fruit. | 0:03:16 | 0:03:21 | |
Rothbart, wicked magician, | 0:03:25 | 0:03:29 | |
turns her into a swan. | 0:03:29 | 0:03:32 | |
So, Act One. There it is. | 0:03:33 | 0:03:36 | |
The little palace is three-dimensional | 0:03:36 | 0:03:38 | |
- and that'll have real lights in it. - Little real lights in the back. | 0:03:38 | 0:03:42 | |
Three minutes change. | 0:03:46 | 0:03:49 | |
Swiftly. | 0:03:49 | 0:03:50 | |
HE LAUGHS This I'll enjoy seeing. | 0:03:50 | 0:03:54 | |
Right, let's go. | 0:03:54 | 0:03:56 | |
Swan Lake. | 0:04:00 | 0:04:02 | |
- This is Act Three, Renton. - Yes. | 0:04:06 | 0:04:09 | |
Ballroom. | 0:04:09 | 0:04:11 | |
- Is it Jasper Conran blue? - It's JC Blue, yeah. | 0:04:11 | 0:04:15 | |
Yeah, I saw that in your bathroom or somewhere. | 0:04:15 | 0:04:19 | |
APPLAUSE | 0:04:19 | 0:04:20 | |
INAUDIBLE | 0:04:22 | 0:04:24 | |
HE SIGHS | 0:04:24 | 0:04:26 | |
You'd prefer a pattern in it? | 0:04:29 | 0:04:30 | |
After eight weeks of a tour, it can tend to get a bit tatty. | 0:04:30 | 0:04:34 | |
Well, repaint it then. | 0:04:35 | 0:04:37 | |
But that's time. That's time and money. | 0:04:37 | 0:04:41 | |
Another costume? | 0:04:41 | 0:04:43 | |
What do you mean, another costume? No, no, no, no, no. | 0:04:43 | 0:04:47 | |
The Scottish Ballet company is at the moment 40 dancers. | 0:04:51 | 0:04:56 | |
We have principal dancers, we have soloists, corps de ballet, | 0:04:56 | 0:05:00 | |
and then I invited some guests because we are doing 63 performances | 0:05:00 | 0:05:04 | |
of Swan Lake in the season and it's very difficult for principal dancers | 0:05:04 | 0:05:09 | |
to do more than three performances a week. | 0:05:09 | 0:05:12 | |
Injuries are a constant worry. One minute you can be jumping around, | 0:05:14 | 0:05:19 | |
the next minute you can be off for 12 weeks. | 0:05:19 | 0:05:22 | |
One girl broke her foot the other week. | 0:05:22 | 0:05:24 | |
I'm not sure, I think there's a couple of people with smaller things, | 0:05:24 | 0:05:27 | |
but they're just taking it easy now in the rehearsals | 0:05:27 | 0:05:30 | |
so that they're OK for performing. | 0:05:30 | 0:05:31 | |
Yeah, I think that's going to be a good idea. | 0:05:37 | 0:05:39 | |
It should be a bit like the night sky. | 0:05:39 | 0:05:41 | |
'What happens is the makers get a sketch, | 0:05:43 | 0:05:47 | |
'and they know that they should only go so far | 0:05:47 | 0:05:50 | |
'before they show me what they're doing. | 0:05:50 | 0:05:52 | |
'We have a fitting which is like a base fitting, just to get | 0:05:52 | 0:05:56 | |
'the fit on the corset right. | 0:05:56 | 0:05:58 | |
'And then I start doing my thing.' | 0:05:58 | 0:06:01 | |
MUSIC: Swan Lake - Dance Of The Cygnets | 0:06:01 | 0:06:05 | |
We all have to try and pretend it looks easy, | 0:06:35 | 0:06:37 | |
but in fact you're smiling through absolute pain. | 0:06:37 | 0:06:40 | |
And your feet are just absolutely aching. | 0:06:40 | 0:06:43 | |
The toes are all joined and squashed up. | 0:06:43 | 0:06:46 | |
It's absolute torture. It's really, really terrible. | 0:06:46 | 0:06:49 | |
But, at the end of the day, you've got to think of | 0:06:49 | 0:06:52 | |
all the advantages of all the stamina we'll have gained and things from it. | 0:06:52 | 0:06:55 | |
So just try and think of the good points to get you through it. | 0:06:55 | 0:06:58 | |
JASPER CONRAN: You expect ballet dancers to be sort of arty, | 0:06:58 | 0:07:03 | |
kind of, you know, pink chiffon-y people. | 0:07:03 | 0:07:07 | |
They're not. They are as rigidly trained and disciplined | 0:07:07 | 0:07:12 | |
as any athlete you could care to mention. | 0:07:12 | 0:07:15 | |
Where is she? That's why I was doing it. | 0:07:15 | 0:07:19 | |
She's changing it dark to a normal colour. | 0:07:19 | 0:07:22 | |
This is how these wigs start out in life. | 0:07:23 | 0:07:27 | |
So you go from... | 0:07:28 | 0:07:30 | |
probably that has ended up like that, you see. | 0:07:30 | 0:07:36 | |
Marvellous transformation. | 0:07:38 | 0:07:40 | |
Are you going to have them all outlined before you have the infill? | 0:07:41 | 0:07:45 | |
It's worked out that way. | 0:07:45 | 0:07:48 | |
Friends - the wonderful, wonderful Friends - | 0:07:48 | 0:07:51 | |
they are Friends of Scottish Ballet. | 0:07:51 | 0:07:54 | |
They do all our embroidery and things, which is fantastic. | 0:07:54 | 0:07:58 | |
Because we couldn't afford to do it otherwise. | 0:07:58 | 0:08:01 | |
I'm very fond of ballet. | 0:08:01 | 0:08:04 | |
Because I'm not working at the moment, | 0:08:04 | 0:08:06 | |
it's something that I enjoy doing. | 0:08:06 | 0:08:08 | |
Five hours last week and then an hour or so, two hours this week. | 0:08:08 | 0:08:12 | |
I think it's going to be, I'd say another five hours, | 0:08:12 | 0:08:16 | |
before I get that finished. SHE LAUGHS | 0:08:16 | 0:08:18 | |
- Oh, f... - Oh, what? | 0:08:19 | 0:08:22 | |
BLEEP | 0:08:22 | 0:08:23 | |
To have this embroidery normally | 0:08:23 | 0:08:25 | |
would cost thousands and thousands and thousands of pounds. | 0:08:25 | 0:08:29 | |
It's a huge, real help. | 0:08:29 | 0:08:31 | |
Bye, ladies. | 0:08:31 | 0:08:33 | |
Tell me, did you design all the embroidery? | 0:08:33 | 0:08:36 | |
Yes, I did. | 0:08:36 | 0:08:38 | |
Well, did you never think that when you did wee curly bits | 0:08:38 | 0:08:41 | |
that the bugle beads didn't fit? | 0:08:41 | 0:08:44 | |
They're little bugle beads. | 0:08:44 | 0:08:46 | |
They're not that little, so you're ending up with bits like swastikas | 0:08:46 | 0:08:51 | |
instead of nicely wee curly bits. | 0:08:51 | 0:08:54 | |
- You live and learn, now, don't you? - Yes. | 0:08:54 | 0:08:57 | |
Right. Today is Friday. | 0:09:08 | 0:09:11 | |
This is when most of the costumes will arrive, | 0:09:11 | 0:09:14 | |
and we've got swans fairly under control. | 0:09:14 | 0:09:19 | |
Um, lots of things are going to come in late. Lots of things. | 0:09:19 | 0:09:24 | |
They're all panicking like mad. I'm not, I'm not! | 0:09:24 | 0:09:28 | |
And... Two, three, four, | 0:09:28 | 0:09:31 | |
one, two, three, four... | 0:09:31 | 0:09:34 | |
REHEARSAL PIANO PLAYS | 0:09:34 | 0:09:37 | |
'We rehearse quite often until 6.30pm in the evening | 0:09:44 | 0:09:50 | |
'and by then I know that everyone is tired | 0:09:50 | 0:09:53 | |
'but I want to get as much as possible done as soon as possible.' | 0:09:53 | 0:09:57 | |
That's it, that's it, yeah. | 0:09:57 | 0:10:00 | |
And then still you can look more profile. | 0:10:01 | 0:10:06 | |
'We have three casts, | 0:10:06 | 0:10:07 | |
'but as yet they've only really rehearsed two casts. | 0:10:07 | 0:10:10 | |
'Even the second cast feel a bit under rehearsed at the moment. | 0:10:10 | 0:10:14 | |
'Galina often makes last-minute changes. | 0:10:14 | 0:10:16 | |
'For example, last Friday she has asked Lorna and I | 0:10:16 | 0:10:20 | |
'to learn new places in Swans for opening night,' | 0:10:20 | 0:10:23 | |
so the both of us are a bit worried about that | 0:10:23 | 0:10:26 | |
because we're thinking opening night we'll just be copying everybody. | 0:10:26 | 0:10:30 | |
Hopefully we'll get a few more rehearsals. | 0:10:30 | 0:10:32 | |
It's a bit of a battle to get the ostrich feathers. | 0:10:32 | 0:10:36 | |
But I think they work rather nicely because what we are going to | 0:10:36 | 0:10:40 | |
have to do is trim them down, just trim them down. | 0:10:40 | 0:10:45 | |
We'll give them a little hairdo, a little haircut, | 0:10:45 | 0:10:47 | |
because what I want is to get the feeling of the swans. | 0:10:47 | 0:10:53 | |
WOMAN: Once I started working with them, | 0:10:53 | 0:10:54 | |
I realised I was terribly allergic to them. | 0:10:54 | 0:10:57 | |
I've had to take antihistamine for virtually the entire length | 0:10:57 | 0:11:01 | |
of the time I've been working with them. | 0:11:01 | 0:11:04 | |
But we employed some extra people to sew the feathers onto the net | 0:11:04 | 0:11:07 | |
because it was easier than having me suffering too much. | 0:11:07 | 0:11:12 | |
SHE SNEEZES | 0:11:12 | 0:11:14 | |
I can decorate up the front of the tutu, | 0:11:14 | 0:11:18 | |
but I can't do anything on the sides. | 0:11:18 | 0:11:20 | |
I can't do any decoration on the sides | 0:11:20 | 0:11:22 | |
because they've got to be lifted on the sides so the dancers... | 0:11:22 | 0:11:27 | |
And they can really rip their hands open, the partners, | 0:11:27 | 0:11:31 | |
if they catch anything. | 0:11:31 | 0:11:33 | |
So you have to be very careful. | 0:11:33 | 0:11:35 | |
You obviously worry if you have a lot of dancing to do that your costume | 0:11:41 | 0:11:46 | |
is going to fit well and you're going to be able to move properly in it. | 0:11:46 | 0:11:49 | |
So that's another thing. | 0:11:49 | 0:11:50 | |
If you're wearing wigs and if you're wearing...whatever you're wearing, | 0:11:50 | 0:11:55 | |
you need to be comfortable with it. | 0:11:55 | 0:11:57 | |
Excellent. | 0:12:00 | 0:12:01 | |
Do you know, I was talking to a taxi driver the other day | 0:12:01 | 0:12:03 | |
and he said, "Och, what are you doing in Glasgow?" | 0:12:03 | 0:12:06 | |
And I said, "Oh, I'm designing a ballet." | 0:12:06 | 0:12:09 | |
He said, "You know, it's really interesting, | 0:12:09 | 0:12:12 | |
"why is it that the ballet doesn't appeal to me?" | 0:12:12 | 0:12:16 | |
He said, "What are they doing wrong? | 0:12:16 | 0:12:18 | |
"They're doing something wrong if I'm not motivated to go and see it." | 0:12:18 | 0:12:23 | |
I haven't got the answer to it. | 0:12:23 | 0:12:25 | |
I wondered whether it was his sort of macho... | 0:12:25 | 0:12:30 | |
You know, footballer thing that he couldn't be seen at a ballet. | 0:12:30 | 0:12:35 | |
But he was quite philosophical and interesting about it. | 0:12:35 | 0:12:38 | |
'I think what frightens people or puts people off on the whole | 0:12:41 | 0:12:45 | |
'is that they don't know about ballet.' | 0:12:45 | 0:12:47 | |
'In everyday life, look at any situation | 0:12:51 | 0:12:54 | |
'and you will see a form of dance.' | 0:12:54 | 0:12:56 | |
MUSIC: Swan Lake - Dance Of The Swans | 0:12:56 | 0:13:00 | |
We are resetting at the moment for this evening. | 0:13:27 | 0:13:29 | |
And we'll have three hours to run the whole thing for the first time. | 0:13:29 | 0:13:32 | |
So the main emphasis is on the flying, | 0:13:32 | 0:13:35 | |
the lighting and the costumes really at this stage. | 0:13:35 | 0:13:38 | |
Nicky wanted more gold in Act Three. I said no. | 0:13:38 | 0:13:41 | |
No taste, darling. No taste. | 0:13:41 | 0:13:43 | |
So Mike and I are coming in tonight at 9pm. And Jasper wants some extra | 0:13:43 | 0:13:49 | |
gold leafing, Dutch metalling, put on. | 0:13:49 | 0:13:52 | |
So, we're going to have quite a late night, I think. | 0:13:52 | 0:13:55 | |
Still a bit orange, my love. | 0:13:55 | 0:13:57 | |
That's white. That's actually white. | 0:13:57 | 0:14:00 | |
We're going to put a correction filter in. | 0:14:00 | 0:14:03 | |
Right. Good. | 0:14:03 | 0:14:04 | |
'The whole look of the thing is very storybookish.' | 0:14:04 | 0:14:08 | |
So we're trying to keep the lighting like that | 0:14:08 | 0:14:11 | |
so when the baddie comes on it sort of goes green | 0:14:11 | 0:14:13 | |
just like a kid's storybook. | 0:14:13 | 0:14:15 | |
The ambassadors... | 0:14:15 | 0:14:18 | |
The ambassadors should wear their costumes tonight if possible. | 0:14:18 | 0:14:24 | |
The what? | 0:14:24 | 0:14:26 | |
The ambassadors need to wear their costumes because... | 0:14:26 | 0:14:31 | |
Darling, do we have money for the time? | 0:14:31 | 0:14:34 | |
Unless they want to do it, I can't ask them. | 0:14:34 | 0:14:36 | |
- I'll ask them. - You ask them. That's fine. | 0:14:36 | 0:14:39 | |
As long as you ask, then it's all right. | 0:14:39 | 0:14:41 | |
Off, off, off. | 0:14:45 | 0:14:47 | |
SHE SCREAMS | 0:14:47 | 0:14:49 | |
The left arm in front. | 0:14:49 | 0:14:51 | |
Left arm in front of him, so that you're actually in front of him. | 0:14:51 | 0:14:54 | |
At the moment, you're behind. | 0:14:54 | 0:14:56 | |
Here's only got a 50-second change, | 0:14:58 | 0:15:00 | |
so what we do is spray the harnesses black | 0:15:00 | 0:15:04 | |
and they'll just go over him and he's all in black anyway. | 0:15:04 | 0:15:08 | |
Designer harness. Wow! | 0:15:08 | 0:15:11 | |
- So it won't look lumpy? - No, it won't, it won't. | 0:15:11 | 0:15:15 | |
It may look lumpy in certain parts, | 0:15:15 | 0:15:17 | |
but then why else do you come to the ballet? | 0:15:17 | 0:15:19 | |
The amount of people that will come up to you and say, | 0:15:31 | 0:15:34 | |
"But what's your other job?" | 0:15:34 | 0:15:35 | |
And it's like, you know, they think maybe you work in Marks & Spencer's | 0:15:35 | 0:15:39 | |
9-5 and turn up here put some make-up on and do it. | 0:15:39 | 0:15:42 | |
But you know, some people do have this stupid idea that | 0:15:42 | 0:15:45 | |
that's how we live. | 0:15:45 | 0:15:47 | |
You'll sit in the dressing room and go, "I can't do this tonight, | 0:15:47 | 0:15:49 | |
"I haven't got the energy, I don't feel like it." | 0:15:49 | 0:15:52 | |
But if you were injured and you couldn't do it, | 0:15:52 | 0:15:55 | |
you'd be sitting there going, "I want to do it." | 0:15:55 | 0:15:59 | |
It's that sort of thing. | 0:15:59 | 0:16:01 | |
'The guy who choreographed it | 0:16:13 | 0:16:15 | |
'obviously had an absolute hatred towards women.' | 0:16:15 | 0:16:18 | |
It's just the length of it. | 0:16:18 | 0:16:20 | |
You stand on one leg and then the next thing you got to do is | 0:16:20 | 0:16:23 | |
jump off that same leg you've been standing on. And it's gone to sleep. | 0:16:23 | 0:16:26 | |
We have to just stand in a position and not move. | 0:16:26 | 0:16:30 | |
Your calf muscles start to go. | 0:16:30 | 0:16:32 | |
Your feet start to cramp up. | 0:16:32 | 0:16:35 | |
And then you move another bit and it's like, "Oh, my God, | 0:16:35 | 0:16:38 | |
"Get me off the stage!" | 0:16:38 | 0:16:40 | |
You try and stand for, like, five minutes without moving. | 0:16:40 | 0:16:43 | |
It's very difficult. | 0:16:43 | 0:16:46 | |
Especially when you've got a light here that's making you hot, | 0:16:46 | 0:16:49 | |
sweat starts to get in your eyes, | 0:16:49 | 0:16:51 | |
you want to blink, you want to itch. So you want to sneeze. | 0:16:51 | 0:16:54 | |
There's nothing you can do. You've just got to stand there. | 0:16:54 | 0:16:58 | |
Phew, I don't know. I might ask you that question. | 0:16:58 | 0:17:02 | |
What is it that I love about ballet? | 0:17:02 | 0:17:04 | |
I don't know. | 0:17:04 | 0:17:06 | |
After you've had a little break from dancing, | 0:17:14 | 0:17:16 | |
it's a very daunting thought to go back to that. | 0:17:16 | 0:17:19 | |
You think, "Oh, it's going to hurt and it's going to be so hard. | 0:17:19 | 0:17:24 | |
"Yeah, forget it." | 0:17:24 | 0:17:25 | |
But, for some reason, it becomes so satisfying after a while. | 0:17:25 | 0:17:29 | |
Excuse me interrupting. What does that feel like? | 0:17:42 | 0:17:45 | |
- It feels pretty secure. - I'll come down later on | 0:17:45 | 0:17:47 | |
and check you're all right. | 0:17:47 | 0:17:48 | |
I've sewn it, but when you josh your head it still might come undone. | 0:17:48 | 0:17:51 | |
Ballet wigs have to be lighter, they have to be smaller. | 0:17:51 | 0:17:54 | |
Opera wigs are usually quite large. | 0:17:54 | 0:17:56 | |
And they can be quite heavy because the singer's going to sing, | 0:17:56 | 0:17:59 | |
but they're not actually moving in the same way. | 0:17:59 | 0:18:01 | |
They've also got to be very secure when they're pinned. | 0:18:01 | 0:18:05 | |
If you're putting buns, ringlets, plaits or bows or anything on, | 0:18:05 | 0:18:08 | |
they've got to be really, really secure | 0:18:08 | 0:18:10 | |
because obviously the person's got to dance in them. | 0:18:10 | 0:18:13 | |
Jasper wants the plaits back at the side. | 0:18:13 | 0:18:15 | |
- Do they get sweaty? - Yes, very. | 0:18:15 | 0:18:18 | |
They get very hot inside. | 0:18:18 | 0:18:19 | |
And they go a little bit white sometimes because of the salt. | 0:18:19 | 0:18:24 | |
That's why they have to be looked after and maintained properly | 0:18:24 | 0:18:28 | |
and washed periodically because otherwise they rot. | 0:18:28 | 0:18:31 | |
Play about with it. How it suits you. | 0:18:31 | 0:18:34 | |
'Ladies and gentlemen, this is your Prologue beginners call. | 0:18:34 | 0:18:37 | |
'Prologue beginners to the stage, please. Thank you.' | 0:18:37 | 0:18:40 | |
Oh, gosh. I'm late! | 0:18:48 | 0:18:51 | |
SHE PANTS | 0:19:05 | 0:19:09 | |
It's going all right, actually. | 0:19:11 | 0:19:13 | |
Better than I expected. | 0:19:13 | 0:19:15 | |
I hope everything that has to go wrong goes wrong today | 0:19:15 | 0:19:18 | |
and not next week. Excuse me! | 0:19:18 | 0:19:20 | |
Oh! I can't talk! | 0:19:22 | 0:19:24 | |
MUSIC DROWNS SPEECH | 0:19:29 | 0:19:30 | |
You know your bourree forward? It was lovely. | 0:19:34 | 0:19:37 | |
And it started really nice and then started to break down. | 0:19:37 | 0:19:40 | |
It was really dead right, | 0:19:40 | 0:19:42 | |
and as you broke down it just started to wriggle around. | 0:19:42 | 0:19:45 | |
Act One, did you feel uncomfortable in anything? | 0:19:45 | 0:19:47 | |
- Erm, just grey tights. - No, no! | 0:19:47 | 0:19:51 | |
- We had them over there so that... - But then I'm left-handed. | 0:19:51 | 0:19:55 | |
I thought that it should've been over this side. | 0:19:55 | 0:19:57 | |
I mean, it looks lovely. | 0:19:57 | 0:19:59 | |
It's just it needs one person an inch out and the other person behind. | 0:19:59 | 0:20:03 | |
Everyone was saying, "No, surely it should be opposite from..." | 0:20:03 | 0:20:07 | |
Or one person an inch and the other person half an inch | 0:20:07 | 0:20:09 | |
and it's an inch-and-a-half and it looks like miles. | 0:20:09 | 0:20:11 | |
On the left, this side. That side? That's what we did. | 0:20:11 | 0:20:15 | |
- I believe that's my left. - OK. Yeah, sorry. | 0:20:15 | 0:20:18 | |
Did you give him a note about the cape? | 0:20:18 | 0:20:20 | |
I mean, from one wing it's easier just to come on and you can see it. | 0:20:20 | 0:20:23 | |
The ambassador's beard, yeah? | 0:20:23 | 0:20:24 | |
You were right forward like this. It looks like you're like... | 0:20:24 | 0:20:29 | |
- Do you want me without it? - No, you should have a beard. | 0:20:29 | 0:20:31 | |
All the ambassadors should have a beard. | 0:20:31 | 0:20:33 | |
ALL TALK AT ONCE | 0:20:33 | 0:20:35 | |
Ladies, can we just do the curtain calls quickly just now? Sorry. | 0:20:35 | 0:20:38 | |
And we'll try and get more of the other stuff... | 0:20:38 | 0:20:40 | |
'What I've decided is just keep my cool because everything is late.' | 0:20:40 | 0:20:44 | |
You're doing quite well. | 0:20:44 | 0:20:46 | |
You think I'm doing quite well? | 0:20:46 | 0:20:49 | |
I am doing extremely well | 0:20:49 | 0:20:51 | |
because by now I should be completely hysterical. | 0:20:51 | 0:20:54 | |
Paranoiac hysteric! | 0:20:54 | 0:20:56 | |
I know that everybody's working very hard and doing it. | 0:20:56 | 0:21:01 | |
We'll have it all on opening night. That I know. | 0:21:01 | 0:21:03 | |
Well, we better! | 0:21:03 | 0:21:05 | |
If I've made a cock-up with this, I'm in serious trouble. | 0:21:21 | 0:21:26 | |
Buenos Aires, here I come! | 0:21:26 | 0:21:28 | |
Because, you know, these costumes cost a good 1,000 a go. | 0:21:29 | 0:21:34 | |
I always knew there was something not quite right. | 0:21:34 | 0:21:38 | |
I couldn't put my finger on it. | 0:21:38 | 0:21:40 | |
Couldn't put my finger on it | 0:21:40 | 0:21:42 | |
until I saw in the first dress rehearsal that we had, | 0:21:42 | 0:21:47 | |
I saw that what I'd done was there was just too much white onstage. | 0:21:47 | 0:21:52 | |
Hazel's never done this either. | 0:21:56 | 0:21:58 | |
The greatest bullshitters in town! | 0:21:58 | 0:22:01 | |
THEY LAUGH | 0:22:01 | 0:22:03 | |
I can believe it! | 0:22:03 | 0:22:05 | |
I keep on having to remind myself | 0:22:07 | 0:22:10 | |
that it's not what you're seeing up close. | 0:22:10 | 0:22:13 | |
You're not seeing this up close. You're seeing this from a distance. | 0:22:13 | 0:22:17 | |
We delivered the last costume about 6.30pm. It felt quite warm. | 0:22:24 | 0:22:28 | |
when we finished blow-drying it with the hairdryer and ironing it, | 0:22:28 | 0:22:31 | |
but I think there's a huge element of dampness still there. | 0:22:31 | 0:22:34 | |
I feel sorry for the dancer who's going to have to put it on. | 0:22:34 | 0:22:37 | |
Because it won't be comfortable at all! | 0:22:37 | 0:22:40 | |
'Ladies and gentlemen, this is your 15 minutes call. 15 minutes, please.' | 0:22:42 | 0:22:46 | |
- Excuse me. - Oh! | 0:22:49 | 0:22:52 | |
And three change. Thank you very much. Oh, sorry. | 0:22:52 | 0:22:55 | |
One? I've got two. | 0:22:55 | 0:22:57 | |
I think I'll have some more of these. | 0:22:57 | 0:23:00 | |
And then I would like... | 0:23:02 | 0:23:04 | |
..Firebird. | 0:23:10 | 0:23:12 | |
I'm sure I'm not off to the side. | 0:23:13 | 0:23:15 | |
- Yeah? - Is everyone decent? | 0:23:21 | 0:23:23 | |
Yeah. | 0:23:23 | 0:23:24 | |
Look, I told you about them, didn't I? | 0:23:24 | 0:23:26 | |
Oh! | 0:23:26 | 0:23:28 | |
'I want to defect back to Russia just before every opening night. | 0:23:35 | 0:23:39 | |
'I don't want to be here, I want to be somewhere else.' | 0:23:39 | 0:23:41 | |
ORCHESTRA PLAYS | 0:23:44 | 0:23:46 | |
BUZZING AND SPRAY-PAINTING | 0:24:09 | 0:24:12 | |
STAGE MUSIC OVER INTERCOM | 0:24:56 | 0:25:02 | |
APPLAUSE | 0:25:02 | 0:25:04 | |
You've got blue fingers. | 0:25:07 | 0:25:09 | |
It was a navy blue hand just earlier. | 0:25:09 | 0:25:12 | |
Yeah, we've ordered a bolt. | 0:25:14 | 0:25:16 | |
MUSIC DROWNS SPEECH | 0:25:16 | 0:25:18 | |
How are the feet bearing up? | 0:26:16 | 0:26:18 | |
Oh, they were absolute agony in Act Two, | 0:26:18 | 0:26:20 | |
but we've only got one act to go, and then it's all over. | 0:26:20 | 0:26:22 | |
One more act to go, then we all get drunk. | 0:26:22 | 0:26:26 | |
WOMAN: It was wonderful. Absolutely fantastic. | 0:27:20 | 0:27:22 | |
MAN: The dancing was first-class. Erm, colourful. | 0:27:22 | 0:27:26 | |
Really, really entertaining. | 0:27:26 | 0:27:27 | |
GIRL: I thought the swans were beautiful. | 0:27:27 | 0:27:29 | |
WOMAN: It was wonderful. Wonderful. Very emotional. | 0:27:29 | 0:27:32 | |
BOY: Well, it was OK. | 0:27:32 | 0:27:33 | |
It was a bit boring, but it's a lot better if you're at the front. | 0:27:33 | 0:27:36 | |
MAN: This is our first time at a ballet. | 0:27:36 | 0:27:37 | |
I thoroughly enjoyed the whole experience, the music and the dance. | 0:27:37 | 0:27:41 | |
GIRL: I liked the bit with the swans. | 0:27:41 | 0:27:44 | |
They were like birds. | 0:27:44 | 0:27:47 | |
MAN: Well, it is a bit arty-farty, but it's actually great. | 0:27:47 | 0:27:49 | |
When I told the boys at work I was coming, | 0:27:49 | 0:27:51 | |
I was virtually destroyed with laughter. | 0:27:51 | 0:27:53 | |
But I'll definitely come back. | 0:27:53 | 0:27:55 | |
Really, really enjoyed it. Really chuffed. | 0:27:55 | 0:27:57 | |
You don't do it like that, you do it like that! | 0:28:00 | 0:28:03 | |
Oh, I don't feel anything anymore. | 0:28:05 | 0:28:08 | |
Just on stage you're in pain, but after it you forget it all. | 0:28:08 | 0:28:12 | |
There's always a sort of sense of sadness | 0:28:17 | 0:28:20 | |
when you've finished something, | 0:28:20 | 0:28:23 | |
when you've been working so intently with so many people. | 0:28:23 | 0:28:27 | |
And, you know, you're leaving them behind. | 0:28:27 | 0:28:30 | |
Because you get very fond of them. | 0:28:30 | 0:28:33 | |
You know, I love being here. | 0:28:33 | 0:28:36 | |
I enjoy it very much. | 0:28:36 | 0:28:38 | |
Would you do it again? | 0:28:45 | 0:28:47 | |
Oh, yes. If I got asked, I'd be back in a minute... Yeah. | 0:28:47 | 0:28:51 |