0:00:03 > 0:00:08On stage, a ballet dancer is serene, elegant and measured...
0:00:10 > 0:00:14- ..but behind the scenes it's a different story.- Do this.
0:00:14 > 0:00:17Derek says this is what it is. Do it.
0:00:19 > 0:00:23With unprecedented access to English National Ballet...
0:00:23 > 0:00:25one of the UK's elite dance companies...
0:00:27 > 0:00:31- ..this series will reveal what it takes to put on a world class ballet.- We'll start again.
0:00:31 > 0:00:36- If you want to do that we can take you out of this.- He's taking me out. - If that's how you want to behave.
0:00:36 > 0:00:39This time, the dancers are under pressure
0:00:39 > 0:00:41in the most dangerous ballet in the company's repertoire...
0:00:43 > 0:00:45Romeo and Juliet.
0:00:45 > 0:00:48As I came to stab him, he caught the blade instead of my hand.
0:00:48 > 0:00:50Already this week, we have three guys off.
0:00:50 > 0:00:56- This is terrifying. - And with government cuts looming, major decisions must be made.
0:00:56 > 0:01:01Are we talking about fewer members of staff, you know, fewer dancers? Which is devastating.
0:01:01 > 0:01:05To succeed they must endure injuries and disappointment.
0:01:05 > 0:01:07Why do I go through the pain? Is it worth it?
0:01:07 > 0:01:09All in the pursuit of perfection.
0:01:09 > 0:01:13Now we can start to do bad cop and get them scared.
0:01:13 > 0:01:15It's a ball-breaker.
0:01:15 > 0:01:19English National Ballet is fighting for survival.
0:01:31 > 0:01:38Max Westwell and his friends James Forbat and Shev Dynott are dancers at English National Ballet.
0:01:38 > 0:01:39Thank you.
0:01:41 > 0:01:44If I tell someone that I'm a dancer,
0:01:44 > 0:01:47it depends. If I'm like this holding a pint they're like, "You're lying,"
0:01:47 > 0:01:50it's definitely a joke. Or like people are like,
0:01:50 > 0:01:52"You look like a rugby player or a swimmer or a..."
0:01:52 > 0:01:58- I know.- People are like... Generally I don't get believed. You get, "Can you do the splits?"
0:01:58 > 0:02:02- You get that a lot.- "Can you do the splits?"- It's quite a general thing.
0:02:02 > 0:02:05Generally you don't do the splits unless you've had a lot to drink.
0:02:08 > 0:02:10- I do the splits all the time. - I know you do.
0:02:10 > 0:02:14No, no-one ever says they don't believe me when I say I'm a ballet dancer.
0:02:14 > 0:02:17- Really?- Funnily enough. - So why do they believe James?
0:02:17 > 0:02:22- Um.- There's a simple answer to that question.- The simple answer is he's gay and I'm not.
0:02:23 > 0:02:25I don't know.
0:02:25 > 0:02:28I have no idea. Maybe I'm a bit bigger.
0:02:28 > 0:02:30< INTERVIEWER: So is that the stereotype then?
0:02:30 > 0:02:34Yeah, that they think you're gay. So me and Shev live together.
0:02:34 > 0:02:38We say me and Shev live together and they instantly think you're gay, even though you're not.
0:02:38 > 0:02:40I think it's a cool job to have.
0:02:40 > 0:02:43Because I don't wear little hats like this and sparkly tops.
0:02:55 > 0:03:03At the home of English National Ballet in Kensington, West London, 64 dancers rehearse daily.
0:03:04 > 0:03:09Max is one of 32 men in the company.
0:03:09 > 0:03:14Yep, your rhythm for the pirouette is ta da yada ta da ya pa ya ta te.
0:03:14 > 0:03:19He has been with English National Ballet six years and is a lower rank dancer.
0:03:19 > 0:03:20Yes, the same again.
0:03:22 > 0:03:27Max is one of the workhorses normally dancing the group numbers and bit parts.
0:03:27 > 0:03:29Other way, Max.
0:03:29 > 0:03:32'There's a certain amount of waiting in line.
0:03:32 > 0:03:38'I did about two years of literally just doing the lowest of the low and trying not to kill myself.'
0:03:38 > 0:03:43To move up the ranks and be promoted Max needs to be cast in a lead role.
0:03:43 > 0:03:46Something he has never done before.
0:03:46 > 0:03:49'There's always an eye watching you. It's massively competitive.
0:03:49 > 0:03:52'If you slack off, aren't in good shape and don't look good
0:03:52 > 0:03:55'and aren't improving then you're not going to progress.
0:03:57 > 0:03:59'You've got to deliver otherwise...'
0:03:59 > 0:04:04I mean, if she wasn't impressed then they'd go back up to the office and be like, "I'm not sure about him.
0:04:04 > 0:04:07"He doesn't look quite on top of it," and then they'd waiver.
0:04:07 > 0:04:13One, two, three, four, five. Keep up. Up! Keep your dance up.
0:04:14 > 0:04:17Up. Oh, bloody hell!
0:04:19 > 0:04:20God, Max.
0:04:20 > 0:04:22God.
0:04:24 > 0:04:27Where's your sex appeal, Max?
0:04:27 > 0:04:30You can't loose your sex appeal just because you're tired.
0:04:33 > 0:04:37At 24, Max is still hoping to be promoted.
0:04:37 > 0:04:40But for 36-year-old Daniel Jones, time is running out.
0:04:43 > 0:04:48He's been with the company for 19 years and has never reached the highest level of principal dancer.
0:04:48 > 0:04:50'I've had a very difficult period'
0:04:50 > 0:04:54with having injuries and...
0:04:54 > 0:04:59it's meant that I've been taken out of roles that I would consider to be good
0:04:59 > 0:05:02and that I could do and there's never any guarantee
0:05:02 > 0:05:05that I'm going to get opportunities again in the future.
0:05:07 > 0:05:09The glamorous dressing room.
0:05:13 > 0:05:15'You know, ballet's what I know. It's been my life.
0:05:17 > 0:05:20'I really believe that I've got more to give.
0:05:20 > 0:05:23'I wouldn't be here if I didn't think that.'
0:05:25 > 0:05:31The man in charge of who gets promoted is artistic director Wayne Eagling
0:05:31 > 0:05:34and Daniel is meeting him to discuss his future.
0:05:34 > 0:05:35Come on. Come on in, Danny.
0:05:40 > 0:05:43I'm asking this year everybody the same question.
0:05:43 > 0:05:48What is your aspiration within the company now?
0:05:48 > 0:05:53Do you see yourself stopping? You know, at a certain point, you know.
0:05:53 > 0:05:55Because we talked... What did you say?
0:05:55 > 0:05:57It was the twilight of your career.
0:05:57 > 0:06:03I am ambitious to get promoted. I am ambitious to go higher in the ranks.
0:06:03 > 0:06:07I'm understanding that there's lots that influence those decisions
0:06:07 > 0:06:11and there's other people, you know, around me that I'm up against.
0:06:11 > 0:06:13- Lots of people. Money.- Money, yes.
0:06:13 > 0:06:15But I am... You know, I'm...
0:06:15 > 0:06:19- Your ambition is to really go beyond being a soloist.- Yes, absolutely.
0:06:19 > 0:06:23My advice to everybody that's you know, beyond 30...
0:06:23 > 0:06:29is to start really planning, you know, what they're going to do
0:06:29 > 0:06:31and people just think, "Oh, I'm just
0:06:31 > 0:06:36- "going to keep going until... I don't know, until I fall off my perch or something."- Yep.
0:06:37 > 0:06:40- Thank you very much.- Thanks, Danny. - Bye, Danny.
0:06:45 > 0:06:46'They've got to be'
0:06:46 > 0:06:48really prepared
0:06:48 > 0:06:51to be told,
0:06:51 > 0:06:52er, that's it.
0:06:52 > 0:06:56'I mean, he works very hard. It's not like he's out of shape.'
0:06:56 > 0:07:00He's just chunky, you know, and that doesn't go well as you get older.
0:07:03 > 0:07:04Did you hear that?
0:07:04 > 0:07:09'Personally, I think he's kind of reached the level that he will get to in this company.'
0:07:09 > 0:07:13- <- Everything's cracking. - Everything's cracking. Huh.
0:07:16 > 0:07:19Well, it cracks at the beginning.
0:07:19 > 0:07:25But the dream never goes away, you know, so...and I kind of like that.
0:07:27 > 0:07:32'If I stay in the company and do walk-on roles, it's going to destroy me.
0:07:32 > 0:07:36'It's how everybody else looks at you and what do I do this for?'
0:07:36 > 0:07:39Why do I go through the pain? Is it worth it?
0:07:39 > 0:07:44'At the age of 36, people think you're a complete loser.'
0:07:49 > 0:07:53And one, two, three, four, five, six, turn! Nice.
0:07:53 > 0:07:56The dancers' next chance to win a significant role
0:07:56 > 0:08:00is in the upcoming production of Rudolf Nureyev's Romeo and Juliet.
0:08:00 > 0:08:03A huge cast is required.
0:08:03 > 0:08:08But the ballet staff are struggling, as there are not enough male dancers in the company.
0:08:08 > 0:08:10Everyone's going to do quadruple roles.
0:08:10 > 0:08:12The company was extended.
0:08:12 > 0:08:16Rudolf insisted that the company was bigger for Romeo and Juliet.
0:08:16 > 0:08:19Hence the fact it was 77 dancers.
0:08:19 > 0:08:24- That's why we have the problems all the time.- With the boys.
0:08:24 > 0:08:28Because there's just not enough boys in the company to do it.
0:08:28 > 0:08:31- I'm talking about 20 something less. - Less.
0:08:31 > 0:08:39At the moment, thinking about doing it again, everyone's going to do quadruple roles again.
0:08:39 > 0:08:42With the money from the Arts Council via the Government,
0:08:42 > 0:08:48it's not enough money to be able to employ enough dancers to be able to do our big productions.
0:08:48 > 0:08:51It's an opportunity for us to take a slight risk
0:08:51 > 0:08:54but it's a risk we have to take because we are undermanned.
0:08:54 > 0:08:59Yeah, but I don't think we can count it as a risk because something as big as Romeo
0:08:59 > 0:09:02is going to have to be people with talent that we think we can push
0:09:02 > 0:09:04a little bit further.
0:09:04 > 0:09:08We should know by the time we've cast them that they're going to be good enough to go on to do the roles
0:09:08 > 0:09:14and so in a way it is a bit of a risk, but the boys have to be in top condition
0:09:14 > 0:09:17otherwise this will be their undoing.
0:09:19 > 0:09:22It's the day of casting for Romeo and Juliet.
0:09:22 > 0:09:26The ballet staff are fighting to stretch the small pool of dancers
0:09:26 > 0:09:29across the demanding three-week tour.
0:09:30 > 0:09:34Every dancer must be considered for any role.
0:09:34 > 0:09:38- Rae.- Mm-hm.- Tagu.- Mm-hm.- Nakamura.
0:09:38 > 0:09:39Drummond.
0:09:39 > 0:09:44Casting is so important to the dancers, you know, it's their...
0:09:44 > 0:09:46'it's life and death sometimes.'
0:09:46 > 0:09:47Oh, my Dod.
0:09:50 > 0:09:55- Westwell?- No, not Westwell?
0:09:55 > 0:09:57I think Max is first Romeo.
0:09:57 > 0:10:00- He's never done a leading role.- No.
0:10:02 > 0:10:09'As a first artist when the casting goes up you, you expect to be kind of first cast for big group numbers'
0:10:09 > 0:10:14but anything more than that is a bit of a bonus.
0:10:20 > 0:10:23Fifth cast Romeo...
0:10:23 > 0:10:26and a whole load of other stuff.
0:10:26 > 0:10:31Max doing Romeo is such a great opportunity for him because he's got to that point now in his career.
0:10:31 > 0:10:34It's time to push Max to the limit, really
0:10:34 > 0:10:37'because this is the biggest thing he's ever done.'
0:10:37 > 0:10:42Realistically this is the last chance that I'll have of do Tybalt in Romeo and Juliet.
0:10:43 > 0:10:50'If I'm not down to do Tybalt then it's game over for me. It's literally I've got to go. I've got to leave.
0:10:50 > 0:10:53'I've got to wake up and realise that the dream is over.'
0:11:03 > 0:11:05It's good news.
0:11:05 > 0:11:10Although Daniel and Max have been give the major leads of Tybalt and Romeo,
0:11:10 > 0:11:17- Max has to learn another five more roles.- You're learning every role. - If it breathes and it's a man
0:11:17 > 0:11:19then I need to know it.
0:11:19 > 0:11:23I've had a lot of work before but I've never had this much.
0:11:23 > 0:11:27MUSIC: "Romeo And Juliet: No 13, Dance Of The Knights" by Prokofiev
0:11:47 > 0:11:53The production of Romeo and Juliet is being re-staged by Patricia Ruanne and Frederic Jahn,
0:11:53 > 0:11:58who both worked with the world-famous dancer Rudolf Nureyev throughout his career.
0:11:58 > 0:12:01'We basically have been given this kind of
0:12:01 > 0:12:07'responsibility, because both Ric and myself were in the original cast.
0:12:09 > 0:12:11'I created the role of Juliet
0:12:11 > 0:12:17'and Ric created the role of Tybalt. It is for us'
0:12:17 > 0:12:20to try to pass this on to this generation.
0:12:20 > 0:12:24It's a challenge and it's also very touching
0:12:24 > 0:12:26in a way because you think...
0:12:26 > 0:12:30'you really feel that you're bringing something back home to where it belongs.'
0:12:30 > 0:12:32Back just a bit, sweetheart, thanks.
0:12:32 > 0:12:35Just so we've got a bit more space between your frocks.
0:12:36 > 0:12:41Nureyev created most of the original work of Romeo and Juliet
0:12:41 > 0:12:45in the same English National Ballet studio 34 years ago.
0:12:45 > 0:12:47'It's quite a responsibility actually
0:12:47 > 0:12:50'because you have to reintroduce Rudolf the man
0:12:50 > 0:12:53'to this generation of young dancers.'
0:12:57 > 0:13:02'I'd come off a guest touring slot and bought myself a video camera.
0:13:02 > 0:13:06'It was one of the first brands that ever came out.'
0:13:06 > 0:13:09And I set this camera up right in the corner of the room here
0:13:09 > 0:13:13at the studios and just started filming.
0:13:15 > 0:13:20'Nureyev was a megastar, when stars were really stars.
0:13:20 > 0:13:28'He was the king of dance. And this is just gold dust, this film, now,
0:13:28 > 0:13:30'seeing the company 35 years ago.
0:13:32 > 0:13:37'Nothing has changed. This same atmosphere. There's a smell about a place.
0:13:39 > 0:13:42'Rudolf's presence is still there.
0:13:42 > 0:13:43'You can feel it.'
0:13:50 > 0:13:54In Romeo and Juliet, Nureyev revolutionised male dancing -
0:13:54 > 0:13:59- giving the best roles to the boys. - 'Suddenly you had a ballet where every act,'
0:13:59 > 0:14:03what you see most of is fellas doing their stuff.
0:14:03 > 0:14:11'He really did put male dancers on the map as people who had their own choreography created for them.
0:14:11 > 0:14:12'As opposed to'
0:14:12 > 0:14:16the old tradition, which was that the males were there just to make the ballerina look beautiful.
0:14:16 > 0:14:22Nureyev created the role of Romeo for himself, the most technical in the ballet.
0:14:22 > 0:14:25'Well, basically this is the biggest role I've ever got'
0:14:25 > 0:14:28and this was always the dream to do this one.
0:14:28 > 0:14:34'So I want to do it as well as possible and I've got a month to get it down.'
0:14:34 > 0:14:38So I haven't got a lunch break all week.
0:14:43 > 0:14:48'For anybody who is tackling a principal role for the first time it's a huge thing to take on.
0:14:50 > 0:14:53'Not just his technique but also his acting ability.
0:14:53 > 0:14:56'His partnering skills.'
0:14:56 > 0:14:58His stamina, that's for sure.
0:15:01 > 0:15:05'Max must be aware that he's carrying something that's really quite special.
0:15:05 > 0:15:09'Not to mention following in the footsteps of one of the greatest dancers ever.'
0:15:09 > 0:15:11Then she comes down again.
0:15:11 > 0:15:13Arabesque. Almost.
0:15:14 > 0:15:16'That was first rehearsal.'
0:15:16 > 0:15:18I've just got to retain it all.
0:15:18 > 0:15:25'I've now got to go upstairs and do Romeo and Benvolio jumping about at the beginning of Act Two
0:15:25 > 0:15:27'I think it is.
0:15:27 > 0:15:32'If it moves and it's male, I've got to learn it basically.'
0:15:32 > 0:15:38After four hours, Max is still learning Romeo and another major role at the same time.
0:15:38 > 0:15:40One, two, three, four. Then step...
0:15:40 > 0:15:47It's hard to get one, let alone both. I haven't even got one yet.
0:15:47 > 0:15:52The ballet staff have four other Romeos to train as well.
0:15:52 > 0:15:55To be honest with you...God knows.
0:16:01 > 0:16:04'A nightmare...'
0:16:04 > 0:16:09if I'm being honest. Just because it was very quick and I had to watch two places.
0:16:09 > 0:16:13But it's fine. It's always like that and we'll sort it out from there.
0:16:13 > 0:16:14But it's a lot.
0:16:21 > 0:16:24Daniel also has a busy schedule.
0:16:24 > 0:16:29As well as rehearsing Tybalt, his spare time is spent helping with the dancers' welfare.
0:16:32 > 0:16:34How to get money!
0:16:34 > 0:16:38He is one of the members of the dancers' committee who voice concerns to the management.
0:16:38 > 0:16:43'The dancers are always going to be pushing and fighting for as much as they can get because they are'
0:16:43 > 0:16:50in general for a short career that finishes on average at the age of 35,
0:16:50 > 0:16:52we're on a very low salary.
0:16:52 > 0:16:58Dancers at English National Ballet start on a salary of £23,000 a year.
0:16:58 > 0:17:01Only the principals can earn over £60,000.
0:17:01 > 0:17:08'At the moment there is a dispute as to what our pay increase will be from last April, so we've been told'
0:17:08 > 0:17:111% and we've been told
0:17:11 > 0:17:15'that they can't really budge.'
0:17:15 > 0:17:18The pay dispute remains unresolved.
0:17:19 > 0:17:21So I've come in for a meeting.
0:17:21 > 0:17:25But today, management have called the committee in
0:17:25 > 0:17:28on a separate fundraising initiative called Sponsor a Dancer.
0:17:28 > 0:17:34It's just finding new and unusual ways of trying to get people investing in the company
0:17:34 > 0:17:37and I think, you know, you are our biggest asset
0:17:37 > 0:17:40and people give to people so it's really important
0:17:40 > 0:17:47that we make the most of you as an asset. I realise that it could be quite contentious.
0:17:47 > 0:17:50Because obviously the money doesn't go directly to the dancer.
0:17:50 > 0:17:54Is it like Sponsor a Dog where you get a newsletter?
0:17:54 > 0:17:56WOMEN CHUCKLE
0:17:56 > 0:18:04It's only fair that if you're attracting sponsorship and it's going into the pot, I should get paid.
0:18:04 > 0:18:11And the company might be benefiting by £20,000 and it costs the company £50 to have that.
0:18:11 > 0:18:16- You know...- Please remember that the company isn't benefiting
0:18:16 > 0:18:21- from £20,000. We're all benefiting from £20,000.- It is the company.
0:18:21 > 0:18:27- It's not we. We're on the same salary. We don't... - You always get paid the same.
0:18:27 > 0:18:30We did get a very low pay offer this week.
0:18:30 > 0:18:33I don't think you realise what sort of financial situation we're in.
0:18:33 > 0:18:37- If we don't raise...- That's because we never, ever, see the figures.
0:18:37 > 0:18:40Well, OK, we can talk about that another time.
0:18:40 > 0:18:41I'm...
0:18:43 > 0:18:46Magic. Show us the figures and then we'll understand.
0:18:46 > 0:18:49I think that's fine. I don't see why we couldn't show you the figures,
0:18:49 > 0:18:55but I think it's important to know this £20,000 is going into the general pot that pays your wages.
0:18:58 > 0:19:02English National Ballet is facing financial uncertainty.
0:19:02 > 0:19:06Currently their £12 million annual budget keeps 200 staff employed.
0:19:06 > 0:19:10But since the new coalition government came to power,
0:19:10 > 0:19:13there is the threat that the £6.8 million subsidy might be cut.
0:19:16 > 0:19:21Managing director Craig Hassall is meeting management to discuss the latest speculation
0:19:21 > 0:19:24and what they should share with the company.
0:19:24 > 0:19:28The only information I have now is what you two have got from the Arts Council briefing.
0:19:28 > 0:19:30There is likely to be a cut in the following year.
0:19:30 > 0:19:33A one-year cut in the '11/'12 financial year.
0:19:33 > 0:19:40So even though it's not definitive, the fact that they're suggesting that 10% might be the amount,
0:19:40 > 0:19:42that's enough information to pass on to the company.
0:19:42 > 0:19:47That's nearly £700,000 a year that we have to find.
0:19:47 > 0:19:53I want to try and impress upon people that we're talking of a substantially different model of operation.
0:19:53 > 0:19:56We don't know what that is yet but it won't be like we are today.
0:19:58 > 0:20:03Something about restructure and redundancy. I just...
0:20:03 > 0:20:07I don't want to spook you all but I think I need to say we have to consider all ways...
0:20:07 > 0:20:12I think if you're going to use words like that, it's flexible working.
0:20:12 > 0:20:15It's, you know, reduced hours or...
0:20:15 > 0:20:18Because if we don't have something, something a bit radical,
0:20:18 > 0:20:22we just can't keep putting big story ballets on stage and touring the country.
0:20:22 > 0:20:26- It's not enough. - It's not enough. It's not enough for the future of the company.
0:20:29 > 0:20:36With finances tight, it's essential that the current production of Romeo and Juliet runs smoothly.
0:20:38 > 0:20:40But by its very nature,
0:20:40 > 0:20:42the production is unpredictable.
0:20:46 > 0:20:50DANIEL: 'It's quite a dangerous ballet because we have lots of props.
0:20:52 > 0:20:56'We've got the acrobats, the jugglers, the flags.
0:20:56 > 0:21:01'And then with the sword fights there are boys that slash at everything.
0:21:01 > 0:21:05'So as soon as you whip it to the side, someone gets whacked in the head.'
0:21:05 > 0:21:09This is the first rehearsal of Tybalt and Mercutio fight.
0:21:11 > 0:21:13It's going quick.
0:21:16 > 0:21:19We're short of boys so we're being very careful with them,
0:21:19 > 0:21:23we're trying to be but we've got to get the steps learnt in a very short period of time.
0:21:29 > 0:21:33'The weaponry in this production is about as real as it gets.
0:21:33 > 0:21:36'These are the types of blades and swords that you use
0:21:36 > 0:21:40'to nick your opponent so that eventually they bleed to death.
0:21:40 > 0:21:41'It is pretty gory.'
0:21:46 > 0:21:50'They get very excited with their...with their movements'
0:21:50 > 0:21:54and they put too much into it, that's when things go wrong. They have to be really so controlled.
0:22:01 > 0:22:02- ALL:- Oooh!
0:22:03 > 0:22:06- Are you all right? Are you all right?- Ouch.
0:22:08 > 0:22:10Are you all right?
0:22:10 > 0:22:13PATRICIA: This brings back memories.
0:22:13 > 0:22:14Esteban, are you cut?
0:22:19 > 0:22:21Yeah, good. Thank you.
0:22:24 > 0:22:27Are you all right? It's OK.
0:22:28 > 0:22:30Worse. Worse.
0:22:39 > 0:22:42It's bleeding now.
0:22:42 > 0:22:44It's all this fight with a sword.
0:22:44 > 0:22:46And with knife.
0:22:46 > 0:22:51As I came to stab him, he caught the blade instead of my hand.
0:22:51 > 0:22:52It would have gone through
0:22:52 > 0:22:57but I stopped and it went... And I heard it...
0:22:57 > 0:23:01We'll put this on and then put that on. Sorry, mate.
0:23:01 > 0:23:04'Already this week we have three guys off.
0:23:04 > 0:23:06'One with a head injury'
0:23:06 > 0:23:09from elbow hitting his head. We've got sword-fight injuries.
0:23:09 > 0:23:13We've got stress injuries already and we haven't even finished Act One yet.
0:23:16 > 0:23:23May I have your attention, please? You know we're a big organisation. We have a lot of people employed
0:23:23 > 0:23:28and one thing that's going to happen for certain is that there are going to be cuts to the arts budget.
0:23:28 > 0:23:32Now what that means in real terms is we have to reduce the company's size
0:23:32 > 0:23:38somehow because I don't think we can increase income by about £600,000.
0:23:38 > 0:23:40That's an awful lot of money.
0:23:40 > 0:23:46So for a company like us and we spend about £12 or £13 million a year,
0:23:46 > 0:23:49£600,000 is a lot of money.
0:23:49 > 0:23:53Our first part of the message today is this is not about us doing anything wrong.
0:23:53 > 0:23:57We haven't failed in any way at all. You know, our reviews are fantastic,
0:23:57 > 0:24:02but I suspect the cuts that are going to be foisted upon us
0:24:02 > 0:24:06for the following three years are going to be more than 10%,
0:24:06 > 0:24:10and I don't know yet how we're going to effect that scary amount of cut
0:24:10 > 0:24:12but it's going to have to impact on what we do as an organisation.
0:24:16 > 0:24:19I think everyone was a bit shocked really.
0:24:19 > 0:24:23Although it's hard to gauge.
0:24:23 > 0:24:26I think he said everything we needed him to say
0:24:26 > 0:24:31and it's not about ENB, it's about the environment,
0:24:31 > 0:24:34so that's the message which I think came across which is good.
0:24:36 > 0:24:39I think it's been inevitable
0:24:39 > 0:24:43that...cuts are coming.
0:24:43 > 0:24:45It's just hard to hear it.
0:24:45 > 0:24:50You know, despite the company having a dark cloud over it,
0:24:50 > 0:24:55we as a committee believe that we should fight for whatever we can get
0:24:55 > 0:24:57and that means pursuing.
0:24:57 > 0:24:59We're not greedy.
0:24:59 > 0:25:07Nobody, it's way below RPI and it is very reasonable what the dancers are asking for but...
0:25:07 > 0:25:13you know, if big cuts are coming, that's going to change everything.
0:25:13 > 0:25:15Pull a few strings?
0:25:16 > 0:25:19It's very interesting.
0:25:21 > 0:25:24It's still speculation at this stage.
0:25:24 > 0:25:27Nobody's saying anything for certain.
0:25:27 > 0:25:33What... I mean, the pay increase that we're doing, that we're going for what...
0:25:33 > 0:25:36I don't think we should be worrying about that.
0:25:36 > 0:25:38I don't think we'll get a pay increase at all.
0:25:38 > 0:25:41I think we should be worrying about whether the pay is going to go down.
0:25:41 > 0:25:43Or whether they're going to cut dancers.
0:25:43 > 0:25:49Because really, logically, dancers are the biggest thing that they have to pay for,
0:25:49 > 0:25:53so cutting our salaries would save a lot of money.
0:25:53 > 0:25:57We're not here because we want to make money or that,
0:25:57 > 0:26:00it's because we love being here and we love dancing.
0:26:00 > 0:26:06As long as we can make it work, I think the dancers would do anything to help that.
0:26:06 > 0:26:10We're not going to stand in the way of it and if there is a problem then we need to...
0:26:10 > 0:26:12address it, all together, as a company.
0:26:12 > 0:26:18You know, I think we're in a position now where we've got to justify our existence a bit more.
0:26:18 > 0:26:21That's how I feel.
0:26:21 > 0:26:26None of us wants to see the company fall apart. None of us.
0:26:29 > 0:26:35With two weeks left before the first performance, rehearsals have intensified as the dancers learn
0:26:35 > 0:26:40their own roles and fill in for the boys out through injury.
0:26:40 > 0:26:46That's a very bad line you gave her on the lift. Other leg, Sarah.
0:26:46 > 0:26:52You're partnering her from behind. Where's the interest?
0:26:52 > 0:26:54I'm sorry, I misunderstood the correction.
0:26:54 > 0:26:59Well, that's about the 25th correction that's been misunderstood this week.
0:26:59 > 0:27:00We'll try it again.
0:27:00 > 0:27:04The remaining boys are working harder than ever to finish off the production.
0:27:04 > 0:27:11One, two, three, four, five, six, seven, eight. One...
0:27:14 > 0:27:18- That's what we're looking for. - Are you all right?- Yeah.- Are you all right, Junor?
0:27:18 > 0:27:20- Went on the wrist. - Are you all right?
0:27:20 > 0:27:26- Very painful.- Junor, are you OK?
0:27:26 > 0:27:28Want me to get some ice?
0:27:31 > 0:27:33What's happened?
0:27:33 > 0:27:38He's really gone over on the hand during the acrobats.
0:27:40 > 0:27:43I knew those bloody acrobats would get them.
0:27:43 > 0:27:45It's swelling a bit, I'm afraid.
0:27:49 > 0:27:57The pain is coming from here to there and it's gone under...here.
0:27:57 > 0:28:00Because you had your weight through it and you know you've had that
0:28:00 > 0:28:03into that position there, we will have to check it out.
0:28:03 > 0:28:05You poor thing.
0:28:10 > 0:28:12It's part of being a dancer in the company.
0:28:12 > 0:28:16If you go through your entire career without an injury, you're unique.
0:28:16 > 0:28:20I didn't see it happen at all. I was looking at some casting.
0:28:24 > 0:28:27'It's on our shoulders to tell them that it's happened to us all
0:28:27 > 0:28:31'and that's the way it goes, unfortunately you'll get injured.'
0:28:31 > 0:28:34It was Junor's fault that he got injured,
0:28:34 > 0:28:37because he didn't listen to what Ric was saying.
0:28:37 > 0:28:40Instead of going out of the circle he went into the circle
0:28:40 > 0:28:42and Grant rolled on his hand.
0:28:44 > 0:28:52'We feel for them, yes, and we think "Oh, what a shame," but we don't have time to hang about for them.'
0:28:52 > 0:28:54Barry, we'll just test the waters here.
0:28:54 > 0:29:00'You know, we are short. Very, very short.'
0:29:00 > 0:29:03It's not the place to be at the moment, the staff room.
0:29:03 > 0:29:05It's a little bit....
0:29:05 > 0:29:09- Each day you come in and think who's injured today?- There's a big list.
0:29:09 > 0:29:11A big cross against their name.
0:29:11 > 0:29:14So it's getting a bit desperate.
0:29:15 > 0:29:17Not a good time.
0:29:27 > 0:29:34So I watched a little bit yesterday, I mean, some of those boys don't even know this step yet.
0:29:34 > 0:29:37I mean, I don't understand why they're so slow.
0:29:37 > 0:29:41We've actually got a cast, a certain cast which could be ready
0:29:41 > 0:29:46but because we have to mix them through the generosity of your casting...
0:29:46 > 0:29:49You know, because everybody gets a go here.
0:29:49 > 0:29:52It's the mixtures of casts, which create the problem.
0:29:52 > 0:29:57The touching different bodies. We've got all sorts of elements like that which cause problems.
0:29:57 > 0:30:00I mean, for example, Max yesterday was Romeo.
0:30:00 > 0:30:04They day before he'd been Benvolio, so in the pas de trois in Act Two
0:30:04 > 0:30:07he's meeting himself coming back the whole time.
0:30:07 > 0:30:11He's dancing, he's partnering himself in reverse.
0:30:11 > 0:30:15- Yes.- And understandably there are moments when he looks like...
0:30:15 > 0:30:17Yeah. Who am I?
0:30:17 > 0:30:19He doesn't know what his own name is any more.
0:30:19 > 0:30:23I'll be honest, my biggest fear at the moment
0:30:23 > 0:30:28- is the dramatic content, which most of the time is just not there.- Yeah.
0:30:28 > 0:30:33I mean, there's more liveliness in the Top Shop manikins coming up Kensington High Street...
0:30:33 > 0:30:38- Oh, really? OK.- And somehow we've got to get through to them they have to start practising that now,
0:30:38 > 0:30:40because otherwise the balance will go.
0:30:40 > 0:30:42There's only one week left.
0:30:42 > 0:30:44Now we can start to do bad cop and get them scared.
0:30:44 > 0:30:46- Yeah. OK?- Yeah, no problem.
0:30:53 > 0:30:56They're not on the same legs, I'm afraid, these boys.
0:30:56 > 0:30:58CLAP OF HANDS
0:30:58 > 0:31:00What did I just say?
0:31:00 > 0:31:03What did I just say you do on this step?
0:31:04 > 0:31:08The step I just stood up and demonstrated for you - what did I say?
0:31:08 > 0:31:11You said no pause that time...
0:31:11 > 0:31:14Oh, God. This is terrifying.
0:31:16 > 0:31:20'The feeling at the moment - and we're all a little frustrated with the company -
0:31:20 > 0:31:24'they don't seem to get it, that if you don't show us what you're doing now,'
0:31:24 > 0:31:27we can't rely on them to do it on stage.
0:31:27 > 0:31:31And we're still getting quite a negative response from most of them.
0:31:31 > 0:31:35Start again - if you want to do that we can take you out of this and we can...
0:31:35 > 0:31:37Please take me out. That's fine.
0:31:37 > 0:31:39If that's the way you want to behave...
0:31:39 > 0:31:42THEY SHOUT OVER EACH OTHER
0:31:42 > 0:31:47If you would get the corrections right that you're being given, then...
0:31:47 > 0:31:49Well, you're not doing it right.
0:31:49 > 0:31:54Go and... It doesn't matter about you - go and leave the room. Thank you.
0:31:56 > 0:31:58Jane, who have we got else to put in?
0:31:58 > 0:32:00Can I be allowed to say something to all of you?
0:32:00 > 0:32:06When you are given a piece of information, a correction, that's all it is.
0:32:06 > 0:32:08It's not something that's against you.
0:32:08 > 0:32:12It's something to make your lives easier when you get on stage.
0:32:12 > 0:32:16A correction is not a criticism, and you confuse the two.
0:32:16 > 0:32:20If we're spoken to like children, and the tone is really not nice...
0:32:20 > 0:32:23- We're all adults, we all should be spoken to...- OK, that's a valid point.
0:32:23 > 0:32:27Right, I'll throw the ball back in your court - when we say, "Have you understood?"
0:32:27 > 0:32:34and not one person bothers even to look at us or respond, you are treating us badly equally.
0:32:34 > 0:32:38You're not a company that feeds back.
0:32:38 > 0:32:41This flag dance is a show-stopper, it's absolutely amazing.
0:32:41 > 0:32:45But while there's one loose canon in there, they'll see it.
0:32:45 > 0:32:47The public aren't stupid.
0:32:50 > 0:32:55- <- Are you all right? - I don't want to talk now.
0:32:55 > 0:32:59Van Le Ngoc soon rejoins the other dancers in the next rehearsal.
0:33:01 > 0:33:03What do you want to know?
0:33:03 > 0:33:05We demonstrated the step to him.
0:33:05 > 0:33:10He then behaved like a five-year-old child, and did it
0:33:10 > 0:33:14under protest, so I asked him why he was doing it like that.
0:33:15 > 0:33:18You know, you can't go on stage being like a five-year-old,
0:33:18 > 0:33:21and then they say they're being treated like children
0:33:21 > 0:33:23when they behave like children. What more can you say?
0:33:25 > 0:33:28Pat is still battling to rehearse five separate casts,
0:33:28 > 0:33:32and Max is the least experienced of the Romeos performing.
0:33:32 > 0:33:36'This will be the last rehearsal that Max will have with the entire company.'
0:33:36 > 0:33:41Just getting to know how it's going to feel and where he's going to be,
0:33:41 > 0:33:44the places where he feels absolutely exhausted...
0:33:44 > 0:33:46'Stamina is part of the training.
0:33:46 > 0:33:48'It's like, run that extra bit.'
0:33:50 > 0:33:53- How are you doing?- Good.
0:33:53 > 0:33:55- Raring to go?- Yes.- Good.
0:33:55 > 0:33:58I don't want to stop you.
0:33:58 > 0:34:00If you want to stop, just stop,
0:34:00 > 0:34:06but even if I see things or something doesn't go right,
0:34:06 > 0:34:10- I'd rather you pushed on to see how you'll get out of it.- OK.
0:34:11 > 0:34:18Max and his partner, Sarah McIlroy, who plays Juliet, have never danced the whole ballet without stopping.
0:34:18 > 0:34:23'This is putting it all together, and it's working out a way to pace it. Because there's so much of it,'
0:34:23 > 0:34:27you can't waste your energy and, like, throw yourself about.
0:34:33 > 0:34:38'The worst point, I think, for all the Romeos is the beginning of the balcony'
0:34:38 > 0:34:43pas de deux, when he first begins to partner Juliet as opposed to dancing for joy.
0:34:50 > 0:34:56'There's this really bad moment when they are practically legless.
0:34:56 > 0:34:58'because they're so tired.
0:35:07 > 0:35:10'And you think, "Why don't we just bring the curtain down
0:35:10 > 0:35:14'"and ask the audience to give us a break and we'll start from the beginning"?'
0:35:19 > 0:35:22Thanks, Chris. Thanks, Chris, just hang on a sec.
0:35:22 > 0:35:25Shame. That's exactly when they need to push on.
0:35:33 > 0:35:37All right, pick it up while you're still out of breath, cos that's what it's going to be like, guys.
0:35:37 > 0:35:40Sorry to be unsympathetic, yeah? Push through.
0:35:40 > 0:35:42Second move.
0:35:45 > 0:35:48'There is this scary moment for the Romeos themselves,
0:35:48 > 0:35:52'because it's like all your blood is concentrated around what's really essential,
0:35:52 > 0:35:56'which is your heart and lungs, and it doesn't seem to get to the extremities.'
0:35:56 > 0:35:58Continue, continue.
0:36:01 > 0:36:04'And it's a horrible, horrible feeling.
0:36:04 > 0:36:07'You suspect that they might have a heart attack at that moment.'
0:36:07 > 0:36:10INAUDIBLE
0:36:16 > 0:36:19APPLAUSE
0:36:29 > 0:36:32OK, OK. It's coming. The beginning's not too bad at all.
0:36:32 > 0:36:37Sarah, you need to go from the first move again now, while you're tired,
0:36:37 > 0:36:41through to the end, because it's the end that it gets ropey.
0:36:41 > 0:36:43Because you've lost it by then.
0:36:43 > 0:36:47And this is now when it's most valuable, when you're knackered...
0:36:47 > 0:36:50- Yeah.- ..to get your strength and find out what you have to do.
0:36:50 > 0:36:53It's a ball-breaker. It's a ball-breaker.
0:36:53 > 0:36:56But this is how you get through - it's doing it again now.
0:36:56 > 0:37:01So, Max, put on a double jock strap and we'll go from the first move.
0:37:09 > 0:37:11Just don't panic.
0:37:11 > 0:37:13- Accept the tiredness and use it. - Yeah.
0:37:17 > 0:37:22It's harder when there's pas de deux because there's two of you that are tired.
0:37:22 > 0:37:24So in a way, you're fighting each other.
0:37:24 > 0:37:26It's harder for the boy than the girl,
0:37:26 > 0:37:28I don't know why I'm complaining! Ha-ha-ha!
0:37:34 > 0:37:38Everything goes a bit hazy, and you're really tight.
0:37:38 > 0:37:41You're like, you're running into just, like, a wall.
0:37:42 > 0:37:46But that's the beginning! There's a lot more to go!
0:37:51 > 0:37:55- It's good that you did it over again, but try and push through now.- Yeah.
0:37:55 > 0:37:59Yeah? Even if you can't lift her, just get through it - for stamina.
0:37:59 > 0:38:02And all of a sudden you'll find where your second wind comes from.
0:38:15 > 0:38:19After months of negotiations regarding the dancers' annual pay increase,
0:38:19 > 0:38:24both dancers and management meet with Equity to make their final decision.
0:38:24 > 0:38:27Just to give you a context, what we're talking about, the climate,
0:38:27 > 0:38:32which is why, I'm not being stingy in not giving you more than 1%.
0:38:32 > 0:38:35Even giving 1% was really, really hard,
0:38:35 > 0:38:41trying to also then accommodate £600,000 in cuts across the organisation.
0:38:41 > 0:38:44I mean, the difficulty we have, of course, is dancers having to live.
0:38:44 > 0:38:47Now, with inflation at 4.7%,
0:38:47 > 0:38:50albeit it's going down, it's still,
0:38:50 > 0:38:53you know, we've still got 1% against...
0:38:53 > 0:38:56- So dancers' salaries are going to be eroded.- Yes...
0:38:56 > 0:39:01A lot of arts companies have either had a freeze or they've cut staff,
0:39:01 > 0:39:02so we haven't yet done that.
0:39:02 > 0:39:07There's no magic solution to that problem, so we've agreed 1%.
0:39:07 > 0:39:11So we've taken off the additional 1%.
0:39:11 > 0:39:16- The dancers decided they'd rather do that.- We originally asked for 2%, I think.
0:39:16 > 0:39:19- So we'll accept 1%.- OK. - Yeah? So that's sorted.
0:39:19 > 0:39:21So that's done, all right.
0:39:21 > 0:39:25The biggest concern I've got really is the following three years,
0:39:25 > 0:39:32- as it's already 10% less next year, and they're talking about between 25-40% less.- On top of the 10?
0:39:32 > 0:39:35- On top of the 10.- OK.
0:39:35 > 0:39:36Which is devastating.
0:39:36 > 0:39:40It's going to wreck things that are going well,
0:39:40 > 0:39:45and wrecking the arts is of no economic benefit.
0:39:46 > 0:39:50Although the committee got a majority of dancers to agree on the 1%,
0:39:50 > 0:39:53not everyone on the board is happy with the decision.
0:39:53 > 0:39:58I'm just one of many, and I go with the majority, and that's fine, yeah.
0:39:58 > 0:40:01I think it's better to have them onside.
0:40:01 > 0:40:03But it doesn't change anything.
0:40:03 > 0:40:07The tricky situation is that we're negotiating by hypothesising,
0:40:07 > 0:40:11and that lead to us going, "OK, whatever you say".
0:40:12 > 0:40:15I don't think we said, "OK, whatever you say", but that's not...
0:40:15 > 0:40:19Yeah, but we did now! They offered 1% and we accepted.
0:40:19 > 0:40:22Yeah, because that was the sensible thing to do, but not by saying,
0:40:22 > 0:40:26"We'll just do whatever you want", I don't think that's what we said.
0:40:26 > 0:40:29No, but that's what we're doing.
0:40:29 > 0:40:32- I've got to go bust my body. - All right, see you later.
0:40:32 > 0:40:35You know, I've seen a lot of changes over the years.
0:40:35 > 0:40:40You're saying, "I'm sure there's going to be massive cuts", and if you're right, then you're right.
0:40:40 > 0:40:43If you were wrong, and if there were no cuts,
0:40:43 > 0:40:47then we've just taken a 4% cut for no reason.
0:40:49 > 0:40:53- Well, I don't think that's going to happen. - Exactly. And I don't know.
0:40:53 > 0:40:54See you later.
0:41:04 > 0:41:09After a month of rehearsals, the dancers go on tour with Romeo And Juliet.
0:41:09 > 0:41:16Over the next three weeks, the company will perform 20 shows in venues across the United Kingdom.
0:41:16 > 0:41:19Max's debut as Romeo is in Southampton.
0:41:25 > 0:41:29The cast have just one dress run left before their performance.
0:41:34 > 0:41:38But the gruelling rehearsal schedule is now taking its toll.
0:41:38 > 0:41:41Oh, my God.
0:41:41 > 0:41:44Mentally, too, it's not good,
0:41:44 > 0:41:49because we feel that we don't have enough time to rest.
0:41:49 > 0:41:52We rehearse every day.
0:41:52 > 0:41:55But...that's life.
0:41:58 > 0:42:03Injuries mean ballet staff are struggling to put together a fit enough cast.
0:42:04 > 0:42:06Hey, are you all right?
0:42:06 > 0:42:08- Chang is not going to be on.- Chang?
0:42:08 > 0:42:11Right. OK...
0:42:13 > 0:42:17Chang is playing Mercutio - a major role in the ballet.
0:42:17 > 0:42:20Just curl forwards and tell me when the pain kicks in.
0:42:20 > 0:42:23- No, not there. - It's there already?- Yeah.- OK.
0:42:23 > 0:42:25You've got acute spasm there.
0:42:25 > 0:42:27'He won't be able to do the rehearsal,'
0:42:27 > 0:42:30which means if he doesn't do the rehearsal, he can't do the show.
0:42:30 > 0:42:34So I've swapped it round so Juan's now got three Mercutios in a row.
0:42:34 > 0:42:38If you've got 24 men in a company,
0:42:38 > 0:42:40and six, seven are off,
0:42:40 > 0:42:42that's a third of the company.
0:42:42 > 0:42:44So, erm...
0:42:44 > 0:42:51you know, er, it will have implications for casting over the next couple of days.
0:42:51 > 0:42:56Jane came up to the dressing room to tell me that I have to do Mercutio now.
0:42:56 > 0:42:58She asked me to do it.
0:42:58 > 0:43:01Now I have to do it every day.
0:43:01 > 0:43:04And I don't know if I'm going to be able to do it! Ha-ha!
0:43:04 > 0:43:07Because it's really hard!
0:43:07 > 0:43:13The makeshift cast finally arrive on stage to get everything in place for the big night.
0:43:13 > 0:43:17For Max, it's his last chance to perfect the role of Romeo.
0:43:19 > 0:43:21Pace yourself.
0:43:24 > 0:43:29Basically, today is just trying to make it work in this theatre and space here.
0:43:35 > 0:43:39Trying to do as much as we can, but without killing ourselves.
0:43:44 > 0:43:46Max, it's his first Romeo.
0:43:46 > 0:43:49To be honest, he went a little bit too crazy.
0:43:49 > 0:43:51The sword fights didn't go very well.
0:43:51 > 0:43:55He got my finger, and I've got a really painful shoulder.
0:43:59 > 0:44:02'Max did say afterwards he's going to calm it down for tomorrow,'
0:44:02 > 0:44:06but I don't think so, because once the audience are in, it's the show.
0:44:06 > 0:44:09I imagine it will probably be twice as wild!
0:44:09 > 0:44:11Be a bit dangerous.
0:44:14 > 0:44:18Praying to the gods of ballet at the moment to let it just go back to normal again.
0:44:22 > 0:44:28- Put your thumb in it.- You want me to? - Just hold it, like, find the spot...
0:44:28 > 0:44:31Yeah, it's really tight up here.
0:44:31 > 0:44:36It's because that's the arm I'm fighting with, so it's gone into spasm.
0:44:36 > 0:44:41You did a full rehearsal yesterday, so the legs are a bit...?
0:44:41 > 0:44:44I get to a point, and then it kind of doesn't get any worse.
0:44:44 > 0:44:46Yeah. Good. And fluid and that?
0:44:46 > 0:44:47You're taking...? You need to drink...
0:44:47 > 0:44:50- Yeah, good, all right. - See you later.- Thank you.
0:44:50 > 0:44:54He's exhausted because he did every scene yesterday,
0:44:54 > 0:44:58just to get it over and done with, and now his legs are really,
0:44:58 > 0:45:00you know, just too tight at the moment,
0:45:00 > 0:45:01and he's not taken enough liquid on.
0:45:03 > 0:45:06'So he's finding it quite difficult at the moment.'
0:45:07 > 0:45:10Although Max has given his all, he still has more to learn,
0:45:10 > 0:45:13as he meets the staff to hear his final set of notes.
0:45:13 > 0:45:16There's something I thought in the wheel of fortune...
0:45:16 > 0:45:20- I started in the wrong place.- Yeah, you started in the wrong place.
0:45:20 > 0:45:25You were fine. You went, "blood", then you did another thing with him
0:45:25 > 0:45:28- that I think was... you don't need to do.- Yeah, too much.
0:45:28 > 0:45:31And stay in the light with Loretta.
0:45:31 > 0:45:33Basically, that's all I've got.
0:45:35 > 0:45:37- Erm...- It feels like it's kind of coming together.- Yeah.
0:45:37 > 0:45:42I feel you need to know that you elaborate on the positions.
0:45:42 > 0:45:44It was a little bit fast.
0:45:44 > 0:45:47Erm... All the sittings on the floor,
0:45:47 > 0:45:51you need to have a whole dialogue going.
0:45:51 > 0:45:54Erm, in the second act, when you're sitting there,
0:45:54 > 0:45:57imagine your cheek bones are illuminated.
0:45:59 > 0:46:07Max has over 30 corrections to address, and no rehearsal time left before tomorrow's performance.
0:46:09 > 0:46:12Oh, God. I'm not going to finish this.
0:46:12 > 0:46:15How do you take it all in?
0:46:15 > 0:46:16You kind of need a pen and paper,
0:46:16 > 0:46:22but you're not allowed a pen and paper on stage, so it's not really worth writing it down.
0:46:22 > 0:46:26It's got to be in here, and if it's not in there, then it's just not going to happen.
0:46:27 > 0:46:31It's 11:30 at night, and Daniel is back in his digs,
0:46:31 > 0:46:35accompanied by his wife Kay, who is also in the cast of Romeo.
0:46:37 > 0:46:41It's their first chance to eat a proper meal.
0:46:41 > 0:46:42How are you feeling?
0:46:42 > 0:46:44Well, I'm shattered.
0:46:46 > 0:46:51But my challenge was to get back from the knee injury, and now I'm back and I'm doing roles,
0:46:53 > 0:46:56I don't want to think about stopping.
0:46:56 > 0:46:59I want you to stop when you feel comfortable stopping.
0:46:59 > 0:47:04I want you to be happy when you stop.
0:47:04 > 0:47:08You know, when the time comes and I do stop, I mean,
0:47:08 > 0:47:14I've been preparing myself mentally since I got into the company for the time that I would stop dancing.
0:47:14 > 0:47:19I mean, it's just, you have to - it's terrifying but it's just the way it is.
0:47:19 > 0:47:21Whatever profession I go into next,
0:47:21 > 0:47:25I'm going to have to work just as hard to get the respect.
0:47:25 > 0:47:29I will never be satisfied just working at the lowest of the...
0:47:29 > 0:47:32You know, and just being in the corps de ballet of an office.
0:47:36 > 0:47:41I just hope I've got enough in the body for tomorrow, because we did a lot yesterday,
0:47:41 > 0:47:46and now we've run it, I'm going to wake up tomorrow feeling like I've been hit by a train.
0:47:48 > 0:47:51I'm not going to sit here and go over a million things,
0:47:51 > 0:47:56otherwise I'll never sleep, and you can go over and over and over it forever,
0:47:56 > 0:47:57and it'll just be a nightmare.
0:48:06 > 0:48:08It's Max's debut performance,
0:48:08 > 0:48:10and there's a full cast warming up on stage.
0:48:10 > 0:48:12Oh, my God.
0:48:12 > 0:48:15- Is it you today?- Yeah.
0:48:15 > 0:48:17I thought I'd give it a go(!)
0:48:17 > 0:48:18Thought you might as well!
0:48:18 > 0:48:20My only bit of advice is to you -
0:48:20 > 0:48:23don't shoot yourself in the foot straightaway.
0:48:23 > 0:48:26Just establish your character,
0:48:26 > 0:48:30take your time. All you've got to save it for is the balcony.
0:48:30 > 0:48:34Don't go over the top in the beginning.
0:48:34 > 0:48:37The problems we had today is the nerves - he's out to impress.
0:48:37 > 0:48:40He's out to impress us, he's out to impress his colleagues.
0:48:40 > 0:48:43So the problem will be that he could do too much in the first entrance
0:48:43 > 0:48:45and before he even gets to the balcony -
0:48:45 > 0:48:49which is the heart attack pas de deux - and he'll have nothing left.
0:48:52 > 0:48:55My hands are sweating like crazy right now,
0:48:55 > 0:48:59and my first entrance, I come on with all the swords, and I'm just very...
0:48:59 > 0:49:04Once I don't drop those swords, then I'll be a little bit more relaxed.
0:49:08 > 0:49:11Get it into, every time you turn your back, get it into the...
0:49:11 > 0:49:13- HE BREATHES DEEPLY - Get it into your legs.
0:49:14 > 0:49:17Yeah. I'm ready, I'm just going to go for it.
0:49:18 > 0:49:20It's... Ha, you can hear them!
0:49:25 > 0:49:32In Max's position, I mean, because this is his first major role, he's definitely on probation,
0:49:32 > 0:49:37and if he doesn't get the steps right and he doesn't get the character right,
0:49:37 > 0:49:40then it will affect his future, totally, with this company,
0:49:40 > 0:49:42because he won't be considered with other roles.
0:50:06 > 0:50:08I mean, you're very alone. It's like all about you.
0:50:08 > 0:50:12You have to kind of keep a sense of calm, and like, less is more.
0:50:19 > 0:50:23Corps de ballet, doing a principal role. It's a big deal.
0:50:23 > 0:50:28There's no way of beating around it, really, it is, and I want to do it as well as I possibly can.
0:50:29 > 0:50:32I've always wanted to do this role.
0:50:40 > 0:50:44I now have half a second where I've stopped and this is the first time in the show.
0:50:46 > 0:50:49I have to keep myself moving - like, if I sit down, that is it.
0:50:51 > 0:50:54Max's marathon is just beginning.
0:50:54 > 0:50:58He's going to be dancing the balcony scene, with Sarah, non-stop for six minutes -
0:50:58 > 0:51:02for them, the most technically challenging part of the ballet.
0:51:05 > 0:51:09This is the scene they struggled to complete in rehearsals.
0:51:09 > 0:51:12You have to kind of breathe and think down into the floor,
0:51:12 > 0:51:16and everything pulls up so much with adrenalin, you get rigid.
0:51:16 > 0:51:18It's...like drowning.
0:51:20 > 0:51:24I'll just go for it 100%, and when I die on the bed will be probably when I die properly.
0:51:50 > 0:51:53APPLAUSE
0:52:02 > 0:52:05I don't want to speak too soon, but...that was nice.
0:52:05 > 0:52:08I couldn't have asked for... anything more than that.
0:52:12 > 0:52:14Act 2.
0:52:14 > 0:52:16This is the biggest moment.
0:52:34 > 0:52:38After three months of speculation, news finally arrives from the Arts Council
0:52:38 > 0:52:43confirming the level of funding cuts to English National Ballet.
0:52:43 > 0:52:48Craig sends an e-mail to the company announcing the final figure.
0:52:48 > 0:52:50We thought we'd be cut by about 10%.
0:52:50 > 0:52:55We're only being cut by 7%, but the problem is, it's still bad.
0:52:55 > 0:52:58The Government will tell us in probably March of next year
0:52:58 > 0:53:01how we're going to be funded for the following three years,
0:53:01 > 0:53:03and that will definitely be a greater cut.
0:53:06 > 0:53:10So, it's going to be very difficult to work out how to keep doing what we're doing.
0:53:10 > 0:53:14We have to at least look at restructuring, which means redundancies.
0:53:19 > 0:53:24When you start to analyse it, you think, "Am I a sucker?"
0:53:24 > 0:53:27And, "Have we been taken for a ride?"
0:53:28 > 0:53:30The psychology is quite good, where you, you know,
0:53:30 > 0:53:33it's announced that you're going to get a really big cut,
0:53:33 > 0:53:36then you get a smaller cut, and you're so grateful.
0:53:36 > 0:53:38We're thrilled, it's only 7%, yeah!
0:53:38 > 0:53:44You know, so, it still affects the amount of touring we do.
0:53:44 > 0:53:46- Four weeks on tour.- Mmm.
0:53:57 > 0:54:03Eventually I'm the one that has to say, "I know this is your dream, this is a dream job,
0:54:03 > 0:54:09"but we can't afford to fulfil your dream." That's an awful thing to have to say to somebody.
0:54:09 > 0:54:12Because it's somebody's livelihood.
0:54:21 > 0:54:24- I didn't have to act! - And you went, "Urgh!" I was like...
0:54:24 > 0:54:26No, it was good.
0:54:29 > 0:54:32Well, I can't feel my body right now.
0:54:32 > 0:54:35I have so many more injuries from that scene.
0:54:41 > 0:54:43Erm, we're nearly there.
0:54:43 > 0:54:45I've got two more entrances.
0:54:45 > 0:54:48I'm absolutely knackered.
0:54:48 > 0:54:52I've like, I've bent my finger back so it's like throbbing.
0:54:52 > 0:54:55Something in the bottom of my pelvis feels funny.
0:54:55 > 0:54:58I'm absolutely on my last legs.
0:54:58 > 0:54:59I've got blood...
0:54:59 > 0:55:03I've got blood coming out of my tights, but I don't know...
0:55:03 > 0:55:06- That's from throwing yourself on the floor.- Yeah.
0:55:06 > 0:55:12- In the fight.- I can't take my tights off until the end, so I'm only going to know what I've done...
0:55:12 > 0:55:15- I've got this shoulder... - And the shoulder thing, yeah.
0:55:15 > 0:55:19I've got to see Dominic now, because I've got...
0:55:19 > 0:55:24I've got a massage at 5:45 in between, and then I've got to do this again, so...
0:55:24 > 0:55:27- You're after me in the massage. - Ha-ha-ha!
0:55:28 > 0:55:30All right, then!
0:55:30 > 0:55:34- So, hopefully...- My body's... I've got to do the servants tonight.
0:55:34 > 0:55:37Are you doing this?
0:55:37 > 0:55:40I'm like doing...
0:55:40 > 0:55:43The servants. It's a killer.
0:56:11 > 0:56:14Thank you very much, Daniel.
0:56:14 > 0:56:17- Fantastic. Excellent.- Really good.
0:56:17 > 0:56:18Really, really, really great.
0:56:18 > 0:56:21Yeah? I'm proud of you.
0:56:21 > 0:56:23Very good.
0:56:26 > 0:56:28- Last words?- Last words?
0:56:28 > 0:56:31It couldn't have gone a lot better, really, for a first go.
0:56:31 > 0:56:34I'm very happy with it.
0:56:34 > 0:56:35So, erm, yeah, very pleased.
0:56:37 > 0:56:39- Thanks.- Ha-ha!
0:56:47 > 0:56:52My pelvis feels a bit twingy down the bottom, which normally means it's slightly out of alignment.
0:56:52 > 0:56:55It's just really tight on this side down the bottom, just like...
0:56:55 > 0:56:59Interesting to see if this is...
0:57:00 > 0:57:01Wow!
0:57:01 > 0:57:04Max...you're level!
0:57:04 > 0:57:07Are you joking?
0:57:07 > 0:57:09See? Hypochondriac!
0:57:09 > 0:57:13- Yeah! That is amazing. - There's got to be something wrong!
0:57:13 > 0:57:15Ha-ha-ha!
0:57:16 > 0:57:19My finger's really sore.
0:57:19 > 0:57:23Yeah! Your back is really...is moving better than it normally does!
0:57:23 > 0:57:27Well, he's had a bit of an injury in the thoracic,
0:57:27 > 0:57:29so he's had a bit of a spasm.
0:57:49 > 0:57:53English National Ballet are delighted with Max's performance,
0:57:53 > 0:57:56and he will now be considered for future leading roles.
0:57:57 > 0:58:02Following his triumphant return to the stage as Tybalt, Daniel got a hernia in his next performance.
0:58:04 > 0:58:07That's very painful.
0:58:07 > 0:58:10He is unable to dance for at least six months.
0:58:15 > 0:58:19It is the biggest money spinner that we have, it's the Nutcracker -
0:58:19 > 0:58:21so this show has to be a huge success.
0:58:21 > 0:58:23Here goes for... No, whoa, whoa, whoa!
0:58:23 > 0:58:25Ballet's not finished.
0:58:25 > 0:58:27We're finished.
0:58:28 > 0:58:30It's a bit too late to do anything.
0:58:30 > 0:58:35We don't know what's going to happen, and the show starts in 20 minutes.
0:58:38 > 0:58:42I get, "It'll be OK." But it's never OK.
0:58:43 > 0:58:45I actually don't know the steps yet.
0:58:46 > 0:58:49You'll survive this. I don't survive bad reviews.
0:59:03 > 0:59:06Subtitles by Red Bee Media Ltd
0:59:06 > 0:59:09E-mail subtitling@bbc.co.uk