0:00:04 > 0:00:06Everyone craves greatness.
0:00:07 > 0:00:10Everybody likes a winner.
0:00:10 > 0:00:13But success isn't a one-man show.
0:00:13 > 0:00:15Order! Order!
0:00:15 > 0:00:18Behind every star is a team -
0:00:18 > 0:00:21immensely talented, powerful in their own worlds,
0:00:21 > 0:00:23but invisible to us,
0:00:23 > 0:00:24until now.
0:00:27 > 0:00:29These are the stories of the stars
0:00:29 > 0:00:33and the teams who strive to make them shine.
0:00:33 > 0:00:36This is the world of the VIP People.
0:00:43 > 0:00:45DANCE MUSIC PLAYS
0:00:45 > 0:00:47This is Flawless,
0:00:47 > 0:00:51one of the best hardcore street dance crews in the world.
0:00:52 > 0:00:56MUSIC: "Dance of the Sugar Plum Fairy" by Tchaikovsky
0:00:56 > 0:00:59And these are the dancers from the English National Ballet -
0:00:59 > 0:01:02the ENB - one of the greatest touring companies of Europe.
0:01:02 > 0:01:05They employ only the finest ballerinas.
0:01:05 > 0:01:09Urban dance and ballet are two separate ends of the spectrum,
0:01:09 > 0:01:11total.
0:01:11 > 0:01:14In just six weeks, their two very different worlds,
0:01:14 > 0:01:16of street dance and ballet,
0:01:16 > 0:01:18will come together, for a one-off collaboration.
0:01:20 > 0:01:24It's a massive challenge, not just for the dancers,
0:01:24 > 0:01:27but for the VIP people behind the scenes,
0:01:27 > 0:01:28who make things happen.
0:01:28 > 0:01:32And, with the first night, in front of 4,000 fans...
0:01:33 > 0:01:35..it's kind of appropriate that the show's called
0:01:35 > 0:01:38Against Time.
0:01:38 > 0:01:39Five, six, on the beat.
0:01:39 > 0:01:41There'll be tears.
0:01:41 > 0:01:44I don't really know what to say.
0:01:45 > 0:01:47There'll be fears.
0:01:47 > 0:01:48Whoops!
0:01:48 > 0:01:51We could drop a girl, and we don't want that. That can't happen.
0:01:51 > 0:01:53And there'll be strains.
0:01:53 > 0:01:56Today, in particular, pushed me almost to my limit.
0:01:56 > 0:01:59But will these two dance extremes be able pull off
0:01:59 > 0:02:02the ultimate dance performance challenge?
0:02:07 > 0:02:10I'm actually getting quite scared, now.
0:02:17 > 0:02:21- Hello!- It's day one, and ENB
0:02:21 > 0:02:24and Flawless have come together, for the first time, to rehearse.
0:02:24 > 0:02:25- You OK?- Yes.
0:02:31 > 0:02:34The female lead dancer
0:02:34 > 0:02:37is English National Ballet's Alison McWhinney.
0:02:39 > 0:02:41She's been dancing since the age of four,
0:02:41 > 0:02:45and has appeared in 10 shows, but never before as lead.
0:02:46 > 0:02:49Her partner is Leroy, of Flawless.
0:02:51 > 0:02:55Leroy's a former football trainee and dance graduate, who's also
0:02:55 > 0:02:57playing the starring role, for the very first time.
0:02:59 > 0:03:03For the show's stars, Leroy and Alison, to succeed,
0:03:03 > 0:03:06they'll need the support of all their VIP People,
0:03:06 > 0:03:09from the choreographers and composer,
0:03:09 > 0:03:11to the costumer supervisor,
0:03:11 > 0:03:13the Flawless Crew, ENB ballerinas
0:03:13 > 0:03:15and Head of PR.
0:03:15 > 0:03:17Every one of them will need to give 100%
0:03:17 > 0:03:20for this unique collaboration to work.
0:03:24 > 0:03:28Something looks wrong. I think it's your head, it does...
0:03:28 > 0:03:33- It looks awkward. Something about it doesn't quite look right.- Right.
0:03:33 > 0:03:34So, I can't tell you what that is.
0:03:34 > 0:03:38Alison and I, we've got a nice duet that we're working on.
0:03:38 > 0:03:41It's a love duet. A lovey dovey dovey.
0:03:41 > 0:03:43That doesn't look right, either.
0:03:43 > 0:03:46Can you take it there, and then go back?
0:03:46 > 0:03:47Just see what that looks like.
0:03:47 > 0:03:49'I'm not trained in ballet,
0:03:49 > 0:03:53'but I did train in contemporary for three years.'
0:03:53 > 0:03:56But, for me, I'd say the most challenging part would be
0:03:56 > 0:03:59doing the partnering sequences, and stuff,
0:03:59 > 0:04:01cos it's a lot to do with working with the partner,
0:04:01 > 0:04:03and getting your hands in the right places,
0:04:03 > 0:04:05and making sure she doesn't fall down.
0:04:05 > 0:04:07# Would you make me a cup of tea
0:04:07 > 0:04:09# To open my eyes in the right way? #
0:04:09 > 0:04:11The area I'd like to improve is popping.
0:04:11 > 0:04:14It's hard to get the muscles to react,
0:04:14 > 0:04:16especially when they're so small.
0:04:16 > 0:04:18Oink oink.
0:04:18 > 0:04:22I think, Alison, you need to change. You do need to go de-dum...
0:04:22 > 0:04:25Working closely with Alison and Leroy, are the people
0:04:25 > 0:04:28who are probably under the most pressure out of everyone.
0:04:28 > 0:04:30They came up with the idea of Against Time,
0:04:30 > 0:04:33and need to create every step of every dance,
0:04:33 > 0:04:36in every minute of this performance.
0:04:36 > 0:04:39They are choreographers Jenna and Marlon.
0:04:41 > 0:04:44Their job is to work closely with Leroy and Alison,
0:04:44 > 0:04:47to create the dance moves for the ENB ballerinas
0:04:47 > 0:04:50and the Flawless street dancers,
0:04:50 > 0:04:52and push them all out of their comfort zone.
0:04:54 > 0:04:56That's it, there. Shape that one.
0:04:56 > 0:04:5926-year-old Jenna's been a ballerina
0:04:59 > 0:05:02with the English National Ballet since she was 16,
0:05:02 > 0:05:05but now, as choreographer, this is her big break.
0:05:05 > 0:05:08And for Marlon, this is a huge step up
0:05:08 > 0:05:11from his usual role as a street dancer.
0:05:11 > 0:05:14Neither of them have ever created a 90-minute show
0:05:14 > 0:05:16on this scale before.
0:05:16 > 0:05:21I think to create a show in six weeks is optimistic.
0:05:22 > 0:05:24Ready? Five, six, seven, eight.
0:05:24 > 0:05:25One.
0:05:25 > 0:05:28The first thing for this project was coming up with the script,
0:05:28 > 0:05:31and the narrative, and then you need to start thinking about
0:05:31 > 0:05:33creating movement, creating music, sounds, visuals.
0:05:33 > 0:05:36So, as much as me and Marlon are choreographing, I suppose
0:05:36 > 0:05:38we're directing the show, as well.
0:05:38 > 0:05:42'The success of the show rests on Marlon and Jenna translating
0:05:42 > 0:05:45'their ambitious vision into an incredible live show,
0:05:45 > 0:05:48- 'and they've got to do it quick.' - I think we'll bring it down.
0:05:48 > 0:05:51Right now, we are literally against time.
0:05:51 > 0:05:54Sorry, I just need to check we're in sync with what's happening here,
0:05:54 > 0:05:55could you do that once more?
0:05:55 > 0:05:57The show will flop without the right moves,
0:05:57 > 0:06:01but it's also essential that the dancers are looking good,
0:06:01 > 0:06:04and that's down to the Costume Supervisor
0:06:04 > 0:06:05at the English National Ballet,
0:06:05 > 0:06:07Wizzy Shawyer.
0:06:07 > 0:06:10Wizzy's used to dressing her ballerinas,
0:06:10 > 0:06:14but, on Against Time, she needs to create 73 costumes
0:06:14 > 0:06:17in total, for leads Leroy and Alison,
0:06:17 > 0:06:19and for the rest of Flawless.
0:06:22 > 0:06:26- We're taking a bit more, here. - Bring it out, yeah.
0:06:26 > 0:06:29Wizzy studied Art and Design at university,
0:06:29 > 0:06:33and her job involves choosing, buying and dying fabrics,
0:06:33 > 0:06:37organising fittings, and coordinating all the costumes.
0:06:37 > 0:06:41In 15 years, she's done nearly 50 productions with the ENB.
0:06:41 > 0:06:44These are some of the costumes we already have set up.
0:06:44 > 0:06:47We've got the maids' costumes, for the maids and butler scene.
0:06:47 > 0:06:49So the ENB girls will be wearing this,
0:06:49 > 0:06:53and the boys will be wearing a kind of butler's outfit.
0:06:53 > 0:06:56We've got a tiny budget for something with this many costumes in it.
0:06:56 > 0:06:58We've still got more fabrics to buy
0:06:58 > 0:07:01and more things to get out to the makers.
0:07:01 > 0:07:05Because she's working with a small budget, hardly any helpers,
0:07:05 > 0:07:06and limited time to do it all,
0:07:06 > 0:07:09there's even greater pressure on Wizzy to create
0:07:09 > 0:07:13fantastic costumes that'll give the production the wow factor.
0:07:15 > 0:07:16Running out of time fast,
0:07:16 > 0:07:20a lot to do, but...looking forward to it,
0:07:20 > 0:07:23and hopefully it'll all be there by first night!
0:07:23 > 0:07:25Back at rehearsals,
0:07:25 > 0:07:30another challenge for the choreographers, Marlon and Jenna,
0:07:30 > 0:07:34is to teach the Flawless boys how to lift and handle the girls safely.
0:07:34 > 0:07:39It can take 12 years to train male ballet dancers to do this,
0:07:39 > 0:07:42Flawless have a tiny fraction of that to master it.
0:07:42 > 0:07:45Partnering is a very specific technique,
0:07:45 > 0:07:48that boys train for years to learn, obviously.
0:07:48 > 0:07:51And, these boys, they have to learn it really quickly.
0:07:51 > 0:07:54It just needs to be done, so that it's safe for me,
0:07:54 > 0:07:56and it's safe for them, and it looks right.
0:07:59 > 0:08:01We are a boy group, as you can see,
0:08:01 > 0:08:04so, now we're learning how to do lifts,
0:08:04 > 0:08:06and handling them, because, obviously,
0:08:06 > 0:08:09the worst-case scenario, would be that we could drop a girl.
0:08:09 > 0:08:11And we don't want that, that can't happen.
0:08:13 > 0:08:14Whoops!
0:08:14 > 0:08:18That would have been good. If we went like that.
0:08:20 > 0:08:22You know...doosh, doosh!
0:08:22 > 0:08:24You don't want that happening. You don't want that.
0:08:24 > 0:08:26Can't have that.
0:08:26 > 0:08:28I mean, if they do drop you, if you land funny,
0:08:28 > 0:08:30if you land badly on your ankle, you could break something,
0:08:30 > 0:08:33- could sprain something. - Twist an ankle.
0:08:33 > 0:08:35Twist your knee.
0:08:35 > 0:08:36- Jar your back.- Yeah.
0:08:36 > 0:08:40- Fall on your arm.- Anything. - There's a whole lot.
0:08:40 > 0:08:45My ballet teacher, it ended her career, somebody dropping her.
0:08:46 > 0:08:48What? I'm just saying...
0:08:50 > 0:08:53A 90-minute stage show needs a lot of music,
0:08:53 > 0:08:57and finding, composing, and arranging it,
0:08:57 > 0:08:59is the next of our VIP People -
0:08:59 > 0:09:01Musical Director, DJ Walde.
0:09:03 > 0:09:06He's working closely with both the cast and the choreographers,
0:09:06 > 0:09:09to craft a soundtrack which mixes Flawless's urban beats
0:09:09 > 0:09:14with the ENB's classical styles, all in just six weeks.
0:09:14 > 0:09:16# They can last around... #
0:09:16 > 0:09:18Boom, boom, boom, cut. Yeah?
0:09:18 > 0:09:21Classically trained musician and bass player, DJ Walde,
0:09:21 > 0:09:24is a long time collaborator with Flawless,
0:09:24 > 0:09:27but this is his first time working with ballet dancers.
0:09:27 > 0:09:29There's lots of commercial music,
0:09:29 > 0:09:31there's lots of classical music,
0:09:31 > 0:09:33and it's a mix between the two, really.
0:09:34 > 0:09:37We use the music to heighten the drama in the show.
0:09:37 > 0:09:42One of DJ's tracks is for a scene in which three statues come to life,
0:09:42 > 0:09:43but the music has to fit
0:09:43 > 0:09:46Allan, Marlon and Paul's dance moves perfectly,
0:09:46 > 0:09:48so he's mixing it live.
0:09:48 > 0:09:52MUSIC THUDS MECHANICALLY
0:09:52 > 0:09:55He's actually watching what we're doing,
0:09:55 > 0:09:59- and creating it, to make it sound as...precise, as one.- Yeah.
0:09:59 > 0:10:02MECHANICAL THUDS
0:10:02 > 0:10:04I can't really lie, it's pretty cool.
0:10:04 > 0:10:07Pretty cool, but with time running out, DJ is struggling
0:10:07 > 0:10:12to deliver an amazing soundtrack in time for the first show.
0:10:13 > 0:10:16Meanwhile, the lead pair, Alison and Leroy
0:10:16 > 0:10:20are sussing out each other's dance styles.
0:10:20 > 0:10:24Leroy is really supporting me in doing the hip-hop side
0:10:24 > 0:10:27of the ballet, and, hopefully, I'm helping him out.
0:10:27 > 0:10:32Doing hip-hop, and learning a new style
0:10:32 > 0:10:34has been very hard,
0:10:34 > 0:10:36and my body doesn't want to do it,
0:10:36 > 0:10:39- but I'm trying.- Awww.
0:10:41 > 0:10:43The rest of the ballet girls
0:10:43 > 0:10:46have a challenge of their own to deal with.
0:10:46 > 0:10:48We're putting our trainers on, now.
0:10:48 > 0:10:50I think we're going to do
0:10:50 > 0:10:51some drills, or something.
0:10:51 > 0:10:55We never wear trainers. We wear...
0:10:55 > 0:10:57these things.
0:10:57 > 0:10:59They're quite different from trainers.
0:10:59 > 0:11:02DUBSTEP MUSIC PLAYS
0:11:06 > 0:11:08The boys really have to break it down
0:11:08 > 0:11:10into, like, baby steps, at a time.
0:11:11 > 0:11:14MUSIC ROBOTICALLY WHIRS
0:11:17 > 0:11:20They'll show us at the beginning what we're going to do today.
0:11:20 > 0:11:22Because they break it down for us,
0:11:22 > 0:11:24bit by bit by bit, it's amazing -
0:11:24 > 0:11:26all the girls are actually doing what they said
0:11:26 > 0:11:28we were going to do, at the beginning.
0:11:28 > 0:11:30- We're getting through it. - We're getting there.
0:11:35 > 0:11:36With three weeks to go,
0:11:36 > 0:11:39the show is unrehearsed, still changing,
0:11:39 > 0:11:44and they need to sell nearly 60,000 tickets for 33 shows.
0:11:44 > 0:11:47And this is what's worrying Head of PR, Rachel Branton.
0:11:52 > 0:11:55Rachel has to ensure the British public know about
0:11:55 > 0:11:56the unique collaboration
0:11:56 > 0:11:59between Flawless and the English National Ballet,
0:11:59 > 0:12:02and that they want to buy tickets for the 33-date tour.
0:12:03 > 0:12:06I shall e-mail you, as well. OK, thanks, bye.
0:12:08 > 0:12:11Rachel studied music at uni,
0:12:11 > 0:12:13and has been with the ENB for seven years.
0:12:13 > 0:12:17She's good at writing and communication, and started out
0:12:17 > 0:12:18as a marketing assistant,
0:12:18 > 0:12:21before landing her current job in PR.
0:12:21 > 0:12:23Publicity comes in all sorts of different forms.
0:12:23 > 0:12:27You've got print media, so newspapers, television,
0:12:27 > 0:12:29and then there's the radio.
0:12:29 > 0:12:30Our budget's not huge,
0:12:30 > 0:12:33so we can't afford things like side of buses,
0:12:33 > 0:12:35and huge billboards.
0:12:35 > 0:12:37You might think, "Why don't you just get a big billboard
0:12:37 > 0:12:39"outside Waterloo station?"
0:12:39 > 0:12:42Well, it's very, very expensive. We can't afford that.
0:12:42 > 0:12:44So we have to become more creative.
0:12:44 > 0:12:46Hi, Sara, it's Rachel.
0:12:46 > 0:12:49Just wondering if you have a technical schedule yet
0:12:49 > 0:12:50for Flawless.
0:12:50 > 0:12:54The dancers' hard work will have been a complete waste of time
0:12:54 > 0:12:57if no-one turns up for the tour, so the pressure's on Rachel,
0:12:57 > 0:12:59to get the word out about the show.
0:12:59 > 0:13:02At this stage, ticket sales could be better.
0:13:02 > 0:13:05Put it that way, they could be better.
0:13:15 > 0:13:18A week later, and luck seems to be on Rachel's side.
0:13:18 > 0:13:21After loads of e-mailing and phone bashing, she's pulled off
0:13:21 > 0:13:23a massive publicity coup,
0:13:23 > 0:13:26managing to get a big London glossy magazine
0:13:26 > 0:13:28to run a colour feature about the tour.
0:13:39 > 0:13:42It'll be three pages in the magazine,
0:13:42 > 0:13:44and alongside it, there'll be an interview as well.
0:13:44 > 0:13:47It's basically a big feature about the show, to promote it,
0:13:47 > 0:13:49which is great. I'm very excited.
0:13:50 > 0:13:54The light, right here, that will be brought up. Don't worry.
0:13:54 > 0:13:56All the detail's there.
0:13:56 > 0:13:58No, it's fine, honestly.
0:13:58 > 0:14:00Now!
0:14:00 > 0:14:03Doing this is such a good cause, cos they'll just help, you know...
0:14:03 > 0:14:06help the sales and get the awareness out there,
0:14:06 > 0:14:08so everyone knows about this tour.
0:14:08 > 0:14:12And Nathan is also giving up his body for the cause,
0:14:12 > 0:14:14and giving it some extra shine.
0:14:14 > 0:14:17I have to get some oiling. Oh, great.
0:14:17 > 0:14:19It's important, because the light
0:14:19 > 0:14:21needs to catch the body, right?
0:14:25 > 0:14:28Six, seven, eight, one!
0:14:28 > 0:14:31Everyone seems happy, but will the shots be enough
0:14:31 > 0:14:34to get those vital bums on seats?
0:14:36 > 0:14:39With just three weeks to go,
0:14:39 > 0:14:41all the VIP People are battling hard,
0:14:41 > 0:14:44to deliver the music, costumes, choreography and publicity.
0:14:46 > 0:14:50Coming up, Jenna and Marlon get to star on national telly.
0:14:50 > 0:14:53From the outside, looking in, it looks like it might be easy.
0:14:54 > 0:14:57And costume designer, Wizzy, has a major problem on first night.
0:14:57 > 0:14:59They've forgot to book the dressers.
0:15:04 > 0:15:08- Ah!- That bit might be a problem but we won't worry.
0:15:08 > 0:15:12Wizzy has headed to rehearsals for the crucial first fitting.
0:15:12 > 0:15:14I love it.
0:15:14 > 0:15:18I feel like Neo from The Matrix right now.
0:15:18 > 0:15:21I'm going to have a lot of fun with this jacket onstage.
0:15:21 > 0:15:23I feel a sense of authority.
0:15:23 > 0:15:27Wizzy is disappointed to discover that several of the outfits still
0:15:27 > 0:15:32need more work, and she has little time now to sort out the problems.
0:15:32 > 0:15:36We thought we'd fitted and bought all the varsity jackets for the boys,
0:15:36 > 0:15:39and then today they decided one of them was too tight,
0:15:39 > 0:15:43so we've got to try and send that back and get one in the right size,
0:15:43 > 0:15:45when we'd labelled it up and thought we were there.
0:15:45 > 0:15:46A few little challenges like that.
0:15:46 > 0:15:49Just when you think you've got something sorted
0:15:49 > 0:15:51and then you find a problem and need to change something.
0:15:51 > 0:15:54While Wizzy has new worries to deal with,
0:15:54 > 0:15:58back in Kensington, Rachel heads out to the news stands
0:15:58 > 0:16:01to see if her photo-shoot has made it into the magazine.
0:16:02 > 0:16:04I hope it's in there!
0:16:08 > 0:16:11Wow! That's a very beautiful photo.
0:16:11 > 0:16:15I feel really, really happy. It's exactly what I would have hoped.
0:16:15 > 0:16:18Hopefully people will see it and book some tickets.
0:16:22 > 0:16:24With just 11 days to go,
0:16:24 > 0:16:27the dancers head to a bigger rehearsal space in Kent.
0:16:27 > 0:16:31On the journey there, choreographer Jenna reveals that she's really
0:16:31 > 0:16:35feeling the pressure with the clock ticking down to the first show.
0:16:36 > 0:16:40I think the closer we get, the more problems you get.
0:16:40 > 0:16:43We get into the theatre, some of the set won't work,
0:16:43 > 0:16:46the lighting cues won't be on time
0:16:46 > 0:16:48and hat is part of it as well,
0:16:48 > 0:16:51but it's nerve wracking.
0:16:57 > 0:17:00With so little time left before the first night,
0:17:00 > 0:17:03the pressure is starting to get to the choreographers.
0:17:03 > 0:17:07Five, six, seven, eight.
0:17:07 > 0:17:09DRAMATIC MUSIC PLAYS
0:17:13 > 0:17:16Ohhh!
0:17:20 > 0:17:23Gave that note, no-one's listening.
0:17:25 > 0:17:29One, two, three, four. Yes, you need to be here by four.
0:17:29 > 0:17:30Sometimes you're a bit late.
0:17:30 > 0:17:33I think that's what throws it. Once more.
0:17:33 > 0:17:39MUSIC: "O Fortuna" from Carmina Burana by Carl Orff
0:17:39 > 0:17:42Everyone's looking happy with the book. It's not meant to be happy.
0:17:42 > 0:17:46It's meant to be more shocking. Let's pass the message on anyway.
0:17:52 > 0:17:54Don't ever call me love.
0:17:58 > 0:18:01Can we try and keep on centre? It's a bit weird, but... Happy?
0:18:01 > 0:18:03And then we exit.
0:18:03 > 0:18:08- They need to retain what we did. Or I'll kill someone.- Yeah!
0:18:08 > 0:18:13If you pass that note directly on, I will literally kill someone.
0:18:13 > 0:18:17So you've gone, you've flipped back, you've come forward.
0:18:17 > 0:18:20But at least Alison and Leroy's lead partnership
0:18:20 > 0:18:22is showing signs of improvement.
0:18:22 > 0:18:25We're less than two weeks away now so it feels very close,
0:18:25 > 0:18:27feels very...
0:18:27 > 0:18:30I'm always thinking about something about it,
0:18:30 > 0:18:32I can't get my mind off it.
0:18:32 > 0:18:36Four, five, six, seven, eight.
0:18:39 > 0:18:41One, two, three, four, five.
0:18:41 > 0:18:46It's nice to see she's learned so much and she's developed so much.
0:18:46 > 0:18:50It's good of you to say so, Leroy, but what about her street cred?
0:18:50 > 0:18:52Yeah, she's got a bit of street cred now.
0:18:52 > 0:18:54She's getting there, she's getting there.
0:18:54 > 0:18:58Much better than when I first met you.
0:18:58 > 0:19:01It looked a little bit sloppy then and didn't read quite so well.
0:19:01 > 0:19:04Eight, nine, ten.
0:19:06 > 0:19:09I was on the wrong count though, still.
0:19:09 > 0:19:11ALL LAUGH
0:19:15 > 0:19:17- Sometimes our position is a little bit difficult, isn't it?- Yeah.
0:19:17 > 0:19:19It's great, the connections
0:19:19 > 0:19:23that Flawless and the English National Ballet have made.
0:19:23 > 0:19:26I suppose we have to be the ones sending the discipline sometimes
0:19:26 > 0:19:28and stop the partying.
0:19:28 > 0:19:32- It feels... It's a hard position to be in.- It's tricky.
0:19:32 > 0:19:37The time that we have for the show is pretty tight.
0:19:37 > 0:19:41- A show like this that we are trying to create is...- In six weeks.
0:19:41 > 0:19:43In six weeks, it's very tight, yeah.
0:19:43 > 0:19:46So, Gem, you should be on the crack, come further back.
0:19:50 > 0:19:54Back in London, Head of Costume Wizzy is dealing with a new problem.
0:19:54 > 0:19:58Some of the clothes that have been designed for the boys
0:19:58 > 0:20:01aren't suitable for their highly energetic performances.
0:20:01 > 0:20:05The challenges we're facing are they are not really giving enough where they need to,
0:20:05 > 0:20:08because obviously these guys have got very extensive movements
0:20:08 > 0:20:10they've got to achieve.
0:20:10 > 0:20:14HIP HOP MUSIC PLAYS
0:20:17 > 0:20:19Kind of doing incredible body popping
0:20:19 > 0:20:22and head spins and all sorts of incredible things.
0:20:24 > 0:20:29And they just need to have full flexibility of movement.
0:20:29 > 0:20:30There's still a lot to be done.
0:20:30 > 0:20:34I was hoping we'd be a little bit further on by now than we are.
0:20:49 > 0:20:53Struggling to meet the deadline to get one track in particular finished for the show,
0:20:53 > 0:20:57DJ has taken his work home with him.
0:20:57 > 0:21:02This is one of those tracks that it's taking more time than you thought it would take.
0:21:02 > 0:21:05DJ wants every track to be perfect and hates a "make do"
0:21:05 > 0:21:08but this track is complex, so he's adding layers,
0:21:08 > 0:21:11playing with the tempo and refining his beats on the computer
0:21:11 > 0:21:12to try and crack it.
0:21:12 > 0:21:18It's trying to create a track which will reveal the statues as they come to life
0:21:18 > 0:21:23and making a track that they can also dance to as statues.
0:21:27 > 0:21:30With tickets sales still disappointing and time running out,
0:21:30 > 0:21:32PR girl Rachel has another success
0:21:32 > 0:21:37when she books Marlon and Jenna onto Channel 4 News
0:21:37 > 0:21:39and on BBC's Breakfast programme to promote Against Time.
0:21:39 > 0:21:42It's been literally a collaboration,
0:21:42 > 0:21:44so you wouldn't see Flawless on one side
0:21:44 > 0:21:46and English National Ballet on the other,
0:21:46 > 0:21:48we literally fuse the styles together.
0:21:51 > 0:21:53I thought my heart was going to come out of my chest.
0:21:53 > 0:21:55Yeah, that was really scary.
0:21:55 > 0:21:57Yeah, one of them is enough, thanks.
0:21:57 > 0:22:00Let's get back to the dress rehearsal!
0:22:00 > 0:22:04Job done, but will it help with sales?
0:22:04 > 0:22:06- CHRIS MOYLES: Hi, there. It's... - Friday.
0:22:06 > 0:22:07Sing it, kids!
0:22:07 > 0:22:10LITTLE KID SINGS: # International Radio One. #
0:22:10 > 0:22:12MUSIC: Down With The Trumpets by Rizzle Kicks
0:22:12 > 0:22:15CHRIS MOYLES: Rizzle Kicks, the song number one today.
0:22:15 > 0:22:17It's the day of the first show
0:22:17 > 0:22:20and the dancers arrive at the venue, London's Hammersmith Apollo.
0:22:20 > 0:22:23- Hello.- It's massive, isn't it, at the front?
0:22:23 > 0:22:25There's a lot of seats to fill.
0:22:25 > 0:22:29# Yo, you might hear me make a racket like Wilson
0:22:29 > 0:22:31# Cos I love summer No Rachel Bilson, yes... #
0:22:31 > 0:22:34The whole kind of realisation's setting in.
0:22:34 > 0:22:35- Yeah.- That this is actually happening.
0:22:35 > 0:22:37# We're bangin'
0:22:37 > 0:22:39# Chase her boyfriend Let's have him... #
0:22:39 > 0:22:44I'm really excited. I can't even put it into words right now.
0:22:44 > 0:22:45I've got butterflies.
0:22:45 > 0:22:50It's been hard, but, yeah, the day has come.
0:22:50 > 0:22:54# ..My trainers Um, I know a few guys hate us
0:22:54 > 0:22:55# They're as compelling as Neighbours... #
0:22:55 > 0:22:57It's feeling very real now.
0:22:57 > 0:23:00It's lovely to get on stage and see the auditorium.
0:23:00 > 0:23:03Yeah, scared but excited.
0:23:03 > 0:23:06ALARM BELL RINGS
0:23:06 > 0:23:08The last-minute television appearances
0:23:08 > 0:23:13and the glossy magazine article organised by Head of PR Rachel
0:23:13 > 0:23:15have paid off and given a boost to ticket sales,
0:23:15 > 0:23:19so the dancers will perform to a packed house tonight.
0:23:19 > 0:23:22We've seen a real jump in sales
0:23:22 > 0:23:26following the Channel 4 News and BBC Breakfast.
0:23:26 > 0:23:28Two really meaty national news stories.
0:23:28 > 0:23:33I think at least 500 seats have been sold.
0:23:33 > 0:23:35You can't say it's just publicity,
0:23:35 > 0:23:37but I think it has made a big difference.
0:23:39 > 0:23:40Well, that's the tickets sorted,
0:23:40 > 0:23:43but with just hours to go before the curtain goes up,
0:23:43 > 0:23:47costume supervisor Wizzy discovers that nobody has been booked
0:23:47 > 0:23:51to help the dancers switch outfits during the show.
0:23:51 > 0:23:55We've got no dressers, they forgot to book the dressers.
0:23:55 > 0:23:58So it's a little bit nerve wracking but I'm hoping that...
0:23:58 > 0:24:02My girls have stepped in to help out and I'm sure it'll be fine.
0:24:02 > 0:24:04But we'll just have to see how it goes.
0:24:04 > 0:24:07It's just a bit scary to not be able to do a dry run
0:24:07 > 0:24:09before opening night, that's all.
0:24:09 > 0:24:12Today in particular has pushed me almost to my limit.
0:24:15 > 0:24:17It's almost time for the show to begin
0:24:17 > 0:24:22and the cast are trying hard to keep the last-minute nerves at bay.
0:24:22 > 0:24:25Every dancer is definitely soldiering through right now.
0:24:25 > 0:24:27So you've got that pressure.
0:24:27 > 0:24:30Everyone wants the make the show the best it can be.
0:24:30 > 0:24:32I think the most exciting part is when the curtain goes up.
0:24:32 > 0:24:37Definitely the most excitement and the most nervous, everything.
0:24:37 > 0:24:40I want to come out. I just want to get on stage now and just do it.
0:24:40 > 0:24:43For Alison and Leroy, six weeks of hard work
0:24:43 > 0:24:46and the support of their VIP People,
0:24:46 > 0:24:50from the ENB and Flawless dancers to the choreographers,
0:24:50 > 0:24:55the musical director, the costume supervisor and the Head of PR,
0:24:55 > 0:24:57all comes down to this...
0:24:57 > 0:24:59Show time!
0:25:02 > 0:25:04MUSIC PLAYS
0:25:15 > 0:25:18It's amazing because we're not used to that sort of audience,
0:25:18 > 0:25:20cheering while you're dancing.
0:25:30 > 0:25:35Created on a tight budget, Wizzy's collection of amazing costumes
0:25:35 > 0:25:37really impresses the crowd.
0:25:37 > 0:25:39I've been wanting to burst into tears all day
0:25:39 > 0:25:41and I want to burst into tears.
0:25:41 > 0:25:42But, no, really pleased.
0:25:49 > 0:25:52DJ's music score, blends perfectly
0:25:52 > 0:25:56with Marlon and Jenna's inventive choreography.
0:25:56 > 0:25:59I feel relief, joy, exhaustion...
0:25:59 > 0:26:05# Maybe I'm just in love when you wake me... #
0:26:05 > 0:26:08So far the show has gone down a storm with the audience
0:26:08 > 0:26:13but what will they make of Alison and Leroy's romantic pairing?
0:26:13 > 0:26:18# Maybe I'm just in love when you wake me up. #
0:26:20 > 0:26:22They've come a long way since their nervous beginnings,
0:26:22 > 0:26:27just six weeks ago, but through dedication, hard graft
0:26:27 > 0:26:29and the support of their VIP People,
0:26:29 > 0:26:33Alison and Leroy pull off brilliant performances.
0:26:33 > 0:26:36There was a lot of emotions, happiness...
0:26:36 > 0:26:38just being really overwhelmed, really.
0:26:38 > 0:26:40CHEERING AND APPLAUSE
0:26:55 > 0:26:57All the hard work we've put into it, since the beginning,
0:26:57 > 0:26:59it's all paid off.
0:27:03 > 0:27:07Oh... I don't really know what to say.
0:27:18 > 0:27:21- We did it. We did it. - I know, it was...
0:27:21 > 0:27:23Magical. Yeah, yeah.
0:27:47 > 0:27:50Subtitles by Red Bee Media Ltd.