0:00:05 > 0:00:09On stage, a ballet dancer is serene, elegant and measured,
0:00:09 > 0:00:14but behind the scenes it's a different story.
0:00:14 > 0:00:17Do this. Derek says this is what it is. Do it.
0:00:20 > 0:00:24With unprecedented access to English National Ballet,
0:00:24 > 0:00:26one of the UK's elite dance companies,
0:00:26 > 0:00:28this series will reveal what it takes
0:00:28 > 0:00:30to put on a world class ballet.
0:00:30 > 0:00:36This time we follow the turbulent creation of a brand new Christmas Nutcracker.
0:00:36 > 0:00:39This production is the jewel in our crown.
0:00:39 > 0:00:41People will think back on tonight
0:00:41 > 0:00:43as a defining moment in the success of the company.
0:00:43 > 0:00:45He goes for...no, whoa, whoa, whoa.
0:00:45 > 0:00:47Ballet's not finished.
0:00:47 > 0:00:49We ain't finished.
0:00:49 > 0:00:52Dancers and staff are fighting to pull the show together for opening night.
0:00:52 > 0:00:57We don't know what's going to happen and the show starts in 20 minutes.
0:01:00 > 0:01:03I get, it will be OK.
0:01:03 > 0:01:06But it's never OK.
0:01:06 > 0:01:08I actually don't know the steps yet.
0:01:08 > 0:01:10You'll survive this.
0:01:10 > 0:01:12I don't survive bad reviews.
0:01:25 > 0:01:29The artistic director of English National Ballet is Wayne Eagling
0:01:29 > 0:01:34and he's heading into the companies home in Kensington, West London for rehearsals.
0:01:36 > 0:01:40Wayne is responsible for the creative vision of eight ballets
0:01:40 > 0:01:43a year and oversees the 64 dancers who perform them.
0:01:52 > 0:01:53I was a dancer
0:01:53 > 0:01:56and then I've been Artistic Director of English National Ballet
0:01:56 > 0:02:02for five years now, and of course right at this moment we're busy
0:02:02 > 0:02:06with doing a new production of the Nutcracker.
0:02:06 > 0:02:10It will be the tenth production that the company has done.
0:02:10 > 0:02:11So it's majorly important,
0:02:11 > 0:02:14artistically and financially, that it's good.
0:02:18 > 0:02:20To celebrate the company's 60th anniversary,
0:02:20 > 0:02:26Wayne has been invited to choreograph a lavish new Nutcracker.
0:02:26 > 0:02:29Management rely on the ongoing success of the Nutcracker
0:02:29 > 0:02:32to bring in 30% of their box office sales.
0:02:32 > 0:02:35They're replacing their old version after eight years.
0:02:36 > 0:02:38I liked the last Nutcracker
0:02:38 > 0:02:40but people complained that it was too avant-garde,
0:02:40 > 0:02:43it was too cartoonish and it wasn't traditional.
0:02:43 > 0:02:46There wasn't a Christmas tree in the way that it normally is
0:02:46 > 0:02:50and so to have one that's set in Edwardian London with gas lights,
0:02:50 > 0:02:54All the stuff that we have, if this works - which, touch wood, it will - that solves that.
0:02:54 > 0:02:58It is the most important show that we do. Not just this one, but ever.
0:02:58 > 0:03:01The Nutcracker, as you well know, is our bread and butter.
0:03:01 > 0:03:04This has to sell better than anything else we're doing.
0:03:04 > 0:03:08He's definitely feeling the pressure and, you know, just trying to get
0:03:08 > 0:03:10to trying to pin him down
0:03:10 > 0:03:13anywhere except in the studio is impossible.
0:03:13 > 0:03:16So creating a programme for his Nutcracker, I just made it up
0:03:16 > 0:03:20because he hasn't got the time to sit down and talk to me about it.
0:03:20 > 0:03:24And also Wayne is choreographing this Nutcracker on top of being
0:03:24 > 0:03:27Artistic Director of the company, so he doesn't stop doing that.
0:03:27 > 0:03:30He still has to do all the things that he does normally.
0:03:30 > 0:03:33Casting, repertoire, all of that has to still happen.
0:03:33 > 0:03:39You know, Wayne is rather chaotic in the way he works but when you see him work, he's brilliant.
0:03:39 > 0:03:42Wayne has been planning his new Nutcracker for nine months,
0:03:42 > 0:03:46but as he has been overseeing numerous other productions
0:03:46 > 0:03:50he is struggling to find any spare moments in which to choreograph.
0:03:50 > 0:03:51This is my out door office.
0:03:51 > 0:03:54Up in the office there's always somebody knocking on the door
0:03:54 > 0:03:58or some question being asked and here it's a little bit less hectic.
0:04:00 > 0:04:02I enjoy the process of choreographing
0:04:02 > 0:04:05and do a lot with choreographers and...
0:04:05 > 0:04:09I know, I sort of, when I look at things I know what I like.
0:04:09 > 0:04:11I think I'm a craftsman.
0:04:13 > 0:04:19Wayne is a world renowned choreographer, having created more than 25 ballets.
0:04:19 > 0:04:23One of the most successful was the Nutcracker at the Dutch National Ballet.
0:04:26 > 0:04:31But for the English National Ballet it's too big to tour
0:04:31 > 0:04:34so Wayne must recreate 75% from scratch.
0:04:34 > 0:04:39I'm having to change things to make it not just a reproduction of the Dutch National.
0:04:39 > 0:04:44I'm, you know, constantly brought back because it took two years to work out that.
0:04:46 > 0:04:50So now there's a lot of pressure to do a production
0:04:50 > 0:04:53as good as that with a lot less time.
0:04:53 > 0:04:58With just six weeks of dedicated rehearsal time, Wayne is under pressure.
0:04:58 > 0:05:03Daily rehearsals have started and he's working on one of the most technically difficult group dances
0:05:03 > 0:05:08called the Mirlitons, featuring 21-year-old Ksenia Ovsyanick.
0:05:08 > 0:05:11I'm stretching for my Mirlitons rehearsal.
0:05:11 > 0:05:14It usually requires a bit of extra warm up.
0:05:14 > 0:05:18I mean, some people would say it's quite crazy to stretch
0:05:18 > 0:05:20from, you know, so high up.
0:05:20 > 0:05:22It is quite technically hard.
0:05:22 > 0:05:24There are some high legs and big jumps.
0:05:24 > 0:05:28I spend more time than usual warming up for Mirlitons because...
0:05:28 > 0:05:33it's quite like it's dance starts straight, full on.
0:05:33 > 0:05:35She's here. She goes forte, forte.
0:05:35 > 0:05:38Ksenia has been with the company for two years
0:05:38 > 0:05:41and is a member of the Core De Ballet, the lowest rank of dancers.
0:05:41 > 0:05:47I really love dancing. I know it's part of me to dance.
0:05:47 > 0:05:49I am quite a perfectionist.
0:05:49 > 0:05:53I do have the goal to be a principal one day.
0:05:53 > 0:05:54You're never sure. Can I?
0:05:54 > 0:05:58Am I good enough to be hoping for this?
0:05:58 > 0:06:00And up. Usually Core De Ballet dancers
0:06:00 > 0:06:04don't do much partnering so I've made some of the things
0:06:04 > 0:06:07as difficult as if they were doing principal roles
0:06:07 > 0:06:10and I want it to be a challenge to do.
0:06:12 > 0:06:14Yeah, it's too kind of clumsy.
0:06:14 > 0:06:20For Ksenia to master the complex dance, she relies heavily on the three boys who lift her.
0:06:20 > 0:06:25Max Westwell. Pedro Lapetra and Anton Lukovkin.
0:06:25 > 0:06:28Just go round. Let me just see how this feels.
0:06:28 > 0:06:33With some choreographers have it in their mind what they want to do
0:06:33 > 0:06:37and I work differently, I set an idea and I hope that the dancers
0:06:37 > 0:06:41will experiment with what they can bring to it.
0:06:41 > 0:06:44I don't know, they just need to try something. I don't want to do it.
0:06:49 > 0:06:51No, it can't be like that.
0:06:53 > 0:06:54He goes forward.
0:06:54 > 0:06:56He goes for...no, whoa, whoa, whoa.
0:06:56 > 0:07:02He goes forward. That's forward. Now you turn.
0:07:02 > 0:07:07Anton, you're going to have to improve your partnering otherwise I don't think you can do this.
0:07:08 > 0:07:11It's not going to help when somebody's saying this doesn't work.
0:07:11 > 0:07:15I know it doesn't work I'm trying to make it work.
0:07:16 > 0:07:18That's it, now come...oh!
0:07:19 > 0:07:21You just come down, don't say anything.
0:07:21 > 0:07:25Don't show like you didn't like it, or something like that.
0:07:25 > 0:07:28Don't pull her legs passed 90 degrees.
0:07:28 > 0:07:29No.
0:07:29 > 0:07:31Go. No.
0:07:31 > 0:07:34When you're creating, you keep stopping and nothing works.
0:07:34 > 0:07:36It's frustrating.
0:07:40 > 0:07:42If I'm spending time on the Mirlitons,
0:07:42 > 0:07:45which I should have finished by now,
0:07:45 > 0:07:49that means I've got more time pressure to do the rest of it.
0:07:53 > 0:07:55Turn.
0:07:55 > 0:07:58And down.
0:07:58 > 0:08:01I'll have to cut that out, it's too violent.
0:08:22 > 0:08:25I think we can run with her a bit more,
0:08:25 > 0:08:28four, five, six, seven.
0:08:30 > 0:08:32God, I hate this number.
0:08:37 > 0:08:44Wayne's ambitious glitzy new Nutcracker requires the creation of elaborate sets and costumes.
0:08:44 > 0:08:47Lizzie Shoyer and Cathy Hill from the wardrobe department
0:08:47 > 0:08:50have been working hard for the past six months.
0:08:50 > 0:08:55My job on Nutcracker is to bring the costume designs to the stage
0:08:55 > 0:09:00and to make 150 costumes and to supply
0:09:00 > 0:09:03the wigs and the shoes and all of the accessories.
0:09:03 > 0:09:08That's the first cast only. There will be multiples of that.
0:09:08 > 0:09:11Each costume can take up to five weeks to make.
0:09:11 > 0:09:13Clara's nighty.
0:09:13 > 0:09:15This is the king rat.
0:09:16 > 0:09:18Nutcrackers.
0:09:18 > 0:09:20A mouse king costume.
0:09:20 > 0:09:24The most intricate costume has been made for Clara, the female lead.
0:09:24 > 0:09:29Her Sugar Plum Fairy tutu requires hundreds of crystals to be hand-stitched.
0:09:31 > 0:09:34Senior principal Fernanda Oliveira is trying on the tutu
0:09:34 > 0:09:37having just returned from maternity leave.
0:09:39 > 0:09:40How does it feel to be in this dress?
0:09:40 > 0:09:42It feels all right.
0:09:42 > 0:09:47It's just the first try because I couldn't do any fittings before
0:09:47 > 0:09:51because I was still with the pregnancy weight.
0:09:51 > 0:09:54It couldn't even closed on the first fitting.
0:09:57 > 0:10:00I was fighting to come back. I think I took 16 weeks.
0:10:00 > 0:10:03I think I had to prove something to myself,
0:10:03 > 0:10:06you know, if you really put yourself a task
0:10:06 > 0:10:09and you set your head to do it, you can do anything really.
0:10:09 > 0:10:12Do you still need an extra bit round your bum
0:10:12 > 0:10:14or is that going to be OK now it's lower?
0:10:14 > 0:10:19But when you put a tutu on and you can see everything, there's nothing to hide.
0:10:19 > 0:10:24Everything is out that's showing to the audience, so it needs to be like perfect.
0:10:24 > 0:10:28- Are you safe? You're not going to... - No, it's not going to go anywhere.
0:10:28 > 0:10:30It was hard to get my body back in shape.
0:10:30 > 0:10:36I had to do a lot of Pilates and I think because I started rehearsing quite,
0:10:36 > 0:10:39quite soon I think that helped a bit.
0:10:39 > 0:10:42But I still have some of the weight.
0:10:42 > 0:10:44It hasn't all gone yet.
0:10:44 > 0:10:49Fernanda is one of five dancers who will perform the lead role of Clara.
0:10:49 > 0:10:54The multiple casts are needed for the 33 performances
0:10:54 > 0:10:58across the gruelling Christmas season at the Coliseum Theatre.
0:11:01 > 0:11:06Czech dancer Daria Klimentova is the most experienced of the five Clara's.
0:11:08 > 0:11:12Well, "kind of" casting's out on paper
0:11:12 > 0:11:16and, yes, my name is first, so we'll see.
0:11:17 > 0:11:20I'm still laughing. We'll see how long it will stay
0:11:20 > 0:11:24when the pressure will hit in.
0:11:26 > 0:11:31The dancers are under pressure because Wayne's choreography is behind schedule.
0:11:33 > 0:11:38At this stage the company hope they will be able to rehearse the whole ballet
0:11:38 > 0:11:42but Wayne still has 12 minutes to create.
0:11:43 > 0:11:47As you get closer to the timing, the pressure builds.
0:11:47 > 0:11:51What I don't want to do is, in the last two weeks, think,
0:11:51 > 0:11:53"Well, I'll just have to do any old rubbish
0:11:53 > 0:11:56"because I've got to get it on stage."
0:11:56 > 0:11:57I want it to be good rubbish.
0:12:07 > 0:12:11In Marden, Kent, English National Ballet have a huge store room
0:12:11 > 0:12:14where they keep thousands of costumes and sets
0:12:14 > 0:12:16from previous productions.
0:12:16 > 0:12:20This space will be used for the next three days of rehearsals
0:12:20 > 0:12:25to help accommodate the large scale production of Wayne's Nutcracker.
0:12:25 > 0:12:29The next three days gives me a chance to look at where the flaws might be.
0:12:29 > 0:12:34There's lots of gaps that I need to do a little bit here, a little bit there,
0:12:34 > 0:12:37so this will give me an idea, if I run it,
0:12:37 > 0:12:40I can see what I need to do, what I need to change.
0:12:41 > 0:12:43Although there is missing choreography,
0:12:43 > 0:12:46the plan is to run the ballet from start to finish
0:12:46 > 0:12:51so that the costume and technical departments can show Wayne all their work.
0:12:52 > 0:12:56It's a big production.
0:12:59 > 0:13:02The next three days are vital for us, really,
0:13:02 > 0:13:04cos it's our only chance before we get to the theatre
0:13:04 > 0:13:08to fix any technical issues with the costumes, the props and the scenery.
0:13:08 > 0:13:12Cos there's hundreds of props that we still need to get
0:13:12 > 0:13:14and, you know, we've got two weeks left.
0:13:14 > 0:13:16Probably better here, right?
0:13:16 > 0:13:19Worse case scenario is that we get to the Coliseum
0:13:19 > 0:13:22having not tried a lot of this stuff.
0:13:22 > 0:13:25In Amsterdam the scene was there but it was lit...
0:13:25 > 0:13:28Wayne's production is a visual extravaganza with elaborate props,
0:13:28 > 0:13:32dancing and theatrical stunts all happening at the same time.
0:13:33 > 0:13:37Children, masks, pantomime horses. Cheese.
0:13:38 > 0:13:41All the props, guns, swords. All of that.
0:13:48 > 0:13:53People expect shows and television and cinema to be interesting.
0:13:53 > 0:13:55It takes a lot of things happening.
0:13:55 > 0:13:57I don't want the audience to be...
0:13:58 > 0:14:00..bored ever.
0:14:12 > 0:14:14CHEERING AND APPLAUSE
0:14:17 > 0:14:19Inspired by seeing the production come together,
0:14:19 > 0:14:23Wayne can't resist adding more details to the choreography,
0:14:23 > 0:14:25instead of running the ballet as planned.
0:14:25 > 0:14:28And you'll be sitting in this thing for the first bit,
0:14:28 > 0:14:32and we'll sort out when that is, and you'll skate on and skate off.
0:14:32 > 0:14:35Then you'll come back on and you'll get out.
0:14:35 > 0:14:38Ready? And go. Push.
0:14:38 > 0:14:41So we're a little bit behind schedule at the moment
0:14:41 > 0:14:43but these things, that's how they go.
0:14:43 > 0:14:46It's very difficult cos Wayne has to see that it all works properly
0:14:46 > 0:14:47before we can move on.
0:14:47 > 0:14:50Like the scene teaching the sledge. Or just not teaching them.
0:14:50 > 0:14:53Just trying to invent something for them to do,
0:14:53 > 0:14:57and Wayne says, "Just bring them on there, spin them round a bit and go off."
0:14:57 > 0:14:59But in what counts? How do you want them to be?
0:14:59 > 0:15:01Do you want them to be having fun?
0:15:01 > 0:15:04Do you want them to be in awe of the tree or the house or, or what?
0:15:04 > 0:15:06Go. Mind, mind, mind.
0:15:09 > 0:15:10Wayne. Wayne!
0:15:13 > 0:15:17We're trying to help out as much as possible but everything is in Wayne's head.
0:15:17 > 0:15:23Yes, we know that this goes here, that goes there, but then we don't know the little bits in between.
0:15:23 > 0:15:26They're still back there.
0:15:26 > 0:15:28No, no, still back there.
0:15:28 > 0:15:31I've spent an hour on it and then he'll say, "I don't like that."
0:15:31 > 0:15:33Still back there.
0:15:33 > 0:15:35We're going to change this.
0:15:38 > 0:15:45With Wayne making changes, the wardrobe department are bracing themselves for alterations.
0:15:46 > 0:15:52Julie Heggie, the shoe mistress, is more nervous than most as today is the first time
0:15:52 > 0:15:57Wayne has seen the 600 pairs of new shoes she has made.
0:15:57 > 0:16:02Everything that they wear on their feet is down to me, full stop.
0:16:02 > 0:16:03That's the remit of the job,
0:16:03 > 0:16:06and I do this single handed.
0:16:06 > 0:16:11I don't have any help, so it's quite pressurised when it's a show like this.
0:16:11 > 0:16:18There's only so many hours in the day where you can actually stand and paint ballet boots.
0:16:18 > 0:16:22Ra-da-da-da-da, tut-al-at-ta-ta five, six, seven, eight.
0:16:31 > 0:16:34It's great. It's fantastic. I'm very pleased.
0:16:34 > 0:16:37Maybe stick fur on the boots?
0:16:37 > 0:16:39Not that I know anything about design.
0:16:39 > 0:16:40MUFFLED CONVERSATION
0:16:40 > 0:16:45- Yeah.- Well, we can make another ballet shoes.
0:16:48 > 0:16:52His boots, we're thinking maybe we might just put them in ballet shoes.
0:16:52 > 0:16:55- OK. For all the rat kings?- Yeah.
0:17:03 > 0:17:04SHE LAUGHS
0:17:04 > 0:17:07I'd do that if I were you.
0:17:07 > 0:17:09They might not have the boots after all.
0:17:11 > 0:17:13What is he going to wear on his feet then?
0:17:13 > 0:17:15Ballet shoes instead.
0:17:15 > 0:17:21For once it's the one thing that he's already bloody sorted
0:17:21 > 0:17:23and now I'm going to have to do an alternative.
0:17:23 > 0:17:26Oh...
0:17:26 > 0:17:30- Don't cry yet.- It's already started. I had a good howl last night.
0:17:30 > 0:17:33- No.- Yeah.- Serious?
0:17:33 > 0:17:36Seriously and I got very upset.
0:17:37 > 0:17:42- It's not anything to get overwhelmed by.- I am overwhelmed by it, Cathy.
0:17:42 > 0:17:50You know I'm overwhelmed by it. It is totally overwhelming,
0:17:50 > 0:17:52and as I get older it gets harder.
0:17:52 > 0:17:58Let me know what I can do to help and...mmm. OK.
0:17:59 > 0:18:00Oh, dear.
0:18:00 > 0:18:03So, guys, let's go from you coming on again.
0:18:04 > 0:18:09After two days in Marden, Wayne has made an array of changes
0:18:09 > 0:18:13and so will now not be able to rehearse every scene in the ballet.
0:18:16 > 0:18:20The speed of light. No, it's very slow.
0:18:28 > 0:18:35Ksenia and her three male partners have been waiting all day to perform the unfinished Mirlitons.
0:18:35 > 0:18:39A dance that Wayne has found the most difficult to choreograph.
0:18:39 > 0:18:40I think maybe you just go like this.
0:18:40 > 0:18:43I'm going to do this.
0:18:43 > 0:18:46You're on the shoulders.
0:18:46 > 0:18:48I think I've done it.
0:18:48 > 0:18:49No, we haven't done it.
0:18:49 > 0:18:54Well, I haven't got the video and I can't remember it, so let's just do it next week.
0:18:57 > 0:18:59You've got it on your phone?
0:19:00 > 0:19:02Max!
0:19:02 > 0:19:08The dancers turn to a video on a phone of Wayne's old production to learn the finale of the dance.
0:19:08 > 0:19:10- Learn it off the phone?- Yeah.
0:19:13 > 0:19:18He wants like a variation of what they did here,
0:19:18 > 0:19:21cos he hasn't got time to choreograph something,
0:19:21 > 0:19:22or I'm not quite sure why,
0:19:22 > 0:19:25so we're learning it off the video
0:19:25 > 0:19:28and... I'm sure he'll tweak it to what he wants.
0:19:28 > 0:19:30We're just taking some initiative.
0:19:36 > 0:19:40Then he said, "Done, boring." OK, fine.
0:19:40 > 0:19:45But the thing is, we're going to be on stage, not...
0:19:45 > 0:19:48We have two weeks left and it's...
0:19:48 > 0:19:49Still time.
0:19:49 > 0:19:51There's still these two weeks.
0:19:52 > 0:19:54But it's so far from ready.
0:19:56 > 0:19:58Does it worry you?
0:19:58 > 0:19:59A bit.
0:20:01 > 0:20:03It's just the attitude
0:20:03 > 0:20:05that they have, doesn't help.
0:20:05 > 0:20:08They don't, they're not trying to help us, they just blame us.
0:20:08 > 0:20:10It kind of doesn't help.
0:20:16 > 0:20:18I'm quite worried, to be honest...
0:20:20 > 0:20:24..because obviously, like, I want to go on stage and do my best.
0:20:24 > 0:20:28Especially because it's opening night and all the reviewers go
0:20:28 > 0:20:30and it's quite important for a dancer.
0:20:36 > 0:20:41And when you get blamed for doing it wrong it makes you feel worse.
0:20:46 > 0:20:49I hoped that miraculously it would happen
0:20:49 > 0:20:52but when it doesn't it is quite upsetting, but...
0:21:02 > 0:21:06That was a glorified costume fitting, wasn't it, really?
0:21:06 > 0:21:10For me it was six hours of wasted time
0:21:10 > 0:21:15so it's a major stress for me because I've got to whip up choreography that
0:21:15 > 0:21:20normally would take much longer so the danger is you just do
0:21:20 > 0:21:24any old shit to fill in the time and the music to get to the end.
0:21:24 > 0:21:30So when it gets to the Coliseum next week there are no gaps.
0:21:30 > 0:21:36So that's the danger. I mean, we may be lucky and do fabulous shit.
0:21:36 > 0:21:41You know, you never know, but you don't have the luxury of time.
0:21:41 > 0:21:44I mean, I thought of having them just stand still
0:21:44 > 0:21:46for the bits I hadn't done
0:21:46 > 0:21:50and then people going, "What a genius,"
0:21:50 > 0:21:52you know, just freeze,
0:21:52 > 0:21:59and possibly some, some people might find that just fabulous.
0:22:01 > 0:22:04You know, in the end it has to be finished.
0:22:15 > 0:22:20But it's not just the missing 12 minutes of choreography Wayne has to worry about.
0:22:20 > 0:22:26The UK has been hit by the worst early snow fall in 20 years.
0:22:26 > 0:22:32The dancers are able to rehearse back in London but the store rooms in Marden are cut off
0:22:32 > 0:22:34and Al Riches, the technical director,
0:22:34 > 0:22:38is struggling to get his team working on the sets and props.
0:22:38 > 0:22:43I spoke to Roger today, it took him, like, five hours and he didn't get anywhere near it
0:22:43 > 0:22:46so bring a bag and I'll find you a hotel or a B&B
0:22:46 > 0:22:49or just stay in the offices, or whatever you want to do.
0:22:49 > 0:22:52Yeah, I felt quite comfortable three or four days ago
0:22:52 > 0:22:56but now it's like we've lost two days
0:22:56 > 0:22:58and not only two days but there's been people
0:22:58 > 0:23:00who have been just spent three days at work
0:23:00 > 0:23:04and spent four hours or eight hours sleeping in their car or stuck in...
0:23:04 > 0:23:08You know, I just need to get them to stop work and not work tomorrow,
0:23:08 > 0:23:11get down there on Friday, hopefully.
0:23:11 > 0:23:15I don't want people sitting on the motorway for five hours and getting knackered.
0:23:15 > 0:23:19I want them just to have some rest, go in there and work. Whatever it takes.
0:23:20 > 0:23:25I'm asking them to do extraordinary hours to get this done.
0:23:28 > 0:23:31In Kensington, Wayne and his staff must finish
0:23:31 > 0:23:35the ballet in the studios before they move to the Coliseum Theatre.
0:23:40 > 0:23:44Wayne knows what he hasn't choreographed and it is about ten to 12 minutes.
0:23:44 > 0:23:46Well, he's only had five weeks, I think,
0:23:46 > 0:23:48to choreograph a two-hour ballet,
0:23:48 > 0:23:52but normally if we're in a tight situation like this,
0:23:52 > 0:23:55when we do the Albert Hall, The Gershwin or The Swan Lake
0:23:55 > 0:23:57we'd normally only have one cast on
0:23:57 > 0:24:01because there's no time to rehearse any other cast,
0:24:01 > 0:24:05but at the Albert Hall there's only 12 shows or 13 shows.
0:24:05 > 0:24:08We've got three ½ weeks for this so we can't just have one cast.
0:24:09 > 0:24:14With so many casts to rehearse, the dancers must grab whatever time they can.
0:24:16 > 0:24:23But with childcare difficulties, senior principal Fernanda also has to look after her young son.
0:24:23 > 0:24:26Can you look after him for a second?
0:24:26 > 0:24:29I'm going to go and change and then I'll come back.
0:24:36 > 0:24:41I have to go through rehearsal this time because I'm not really sure about it.
0:24:41 > 0:24:43But it's going to be all right, I think.
0:24:43 > 0:24:48He was trying to choreograph and we're just on the side trying to pick out every single section
0:24:48 > 0:24:50because we have to do the rehearsal today.
0:24:50 > 0:24:52At the back.
0:24:53 > 0:24:57'You try to get as quick as possible in our bodies as well.'
0:24:57 > 0:25:02It probably takes us another week to be comfortable doing it
0:25:02 > 0:25:07so we are trying to get everything that he's saying to us, and what he wants as well.
0:25:07 > 0:25:09Three, four, five.
0:25:09 > 0:25:12We have to add these rats here so it's another thing to do later.
0:25:12 > 0:25:14Just keep playing.
0:25:14 > 0:25:16So we have to do this.
0:25:21 > 0:25:23King rat.
0:25:23 > 0:25:25So we have to do this?
0:25:25 > 0:25:28It's all got to be done.
0:25:28 > 0:25:29This bits not been made yet.
0:25:32 > 0:25:34This bit is a bit of nothing at the moment,
0:25:34 > 0:25:37there's no choreography as of yet.
0:25:37 > 0:25:39I don't know how I'm going to finish.
0:25:39 > 0:25:42If all the rehearsals have to keep going back
0:25:42 > 0:25:44and redoing everything we've done.
0:25:48 > 0:25:50I can't say anything.
0:25:58 > 0:26:00OK, we'll finish it later.
0:26:00 > 0:26:01Just keep...
0:26:01 > 0:26:02LAUGHTER
0:26:05 > 0:26:07Oh, God.
0:26:08 > 0:26:12I wish I could blame the snow but it's not the snow.
0:26:15 > 0:26:17What news on puppets?
0:26:17 > 0:26:19I think he's too big.
0:26:19 > 0:26:23I've just had a two hour call and got as far as the puppets.
0:26:23 > 0:26:26- It just looks a bit odd. - I'll ask them what they can do.
0:26:26 > 0:26:29So it's just a bit behind at the moment?
0:26:29 > 0:26:31It's got a very big behind.
0:26:31 > 0:26:33SHE LAUGHS
0:26:33 > 0:26:38Yeah, we're very behind... and we open a week tomorrow.
0:26:40 > 0:26:43And that's scary. Well, I'm scared.
0:26:55 > 0:26:56So what is it now?
0:26:56 > 0:27:02It's quarter to 12, I've got another 12 hours to go possibly.
0:27:02 > 0:27:04It's the final day of rehearsals
0:27:04 > 0:27:07at English National Ballet head quarters
0:27:07 > 0:27:10and Craig Hassall, the managing director, wants an update.
0:27:12 > 0:27:15In the second act I've got the death of the Mouse King
0:27:15 > 0:27:17and the entrance of the Mouse King.
0:27:17 > 0:27:22- Puppet theatre because that was crap. - Oh, yeah. Gone?
0:27:22 > 0:27:25No, I have to do it but you couldn't move them,
0:27:25 > 0:27:29they were just these huge heads with stick bodies.
0:27:29 > 0:27:31OK, Wayne.
0:27:31 > 0:27:34He has six minutes left to choreograph which is a bit worrying.
0:27:34 > 0:27:38Normally by now it's all ready and done and dusted and we're running the ballet,
0:27:38 > 0:27:41so he's going to have to... during the first rehearsal
0:27:41 > 0:27:44block the show and also create six minutes of ballet,
0:27:44 > 0:27:46which doesn't sound like much but it's an awful lot
0:27:46 > 0:27:49when you're in the production week of the show.
0:27:49 > 0:27:51Running out of time.
0:27:51 > 0:27:55Wayne decides to split his rehearsals into two studios.
0:27:57 > 0:28:03Upstairs, Ros and her team work on the completed choreography and fine tune the dancing.
0:28:03 > 0:28:09We're just trying to iron every single eyelash and finger nail before we get on stage.
0:28:09 > 0:28:13And I really need to see that one, then I need to see that one,
0:28:13 > 0:28:15and then that one and the next one.
0:28:15 > 0:28:19And everyone's doing everything they can at the moment to pull it all together
0:28:19 > 0:28:23and we only have the rehearsals that we have so, yeah, things are very, er, tense.
0:28:26 > 0:28:33Downstairs, Wayne has set himself the task of creating from scratch the missing six minutes.
0:28:33 > 0:28:36There's a lot riding on this. It's his first full-length ballet for the company.
0:28:36 > 0:28:39It is the biggest money spinner that we have.
0:28:39 > 0:28:42It's the Nutcracker, so this show has to be a huge success.
0:28:42 > 0:28:46We'll be bringing our funding bodies. The government's coming.
0:28:46 > 0:28:48Our sponsors are coming. Our key donors are coming.
0:28:50 > 0:28:54So he understands the stakes are very high.
0:28:54 > 0:28:56I'm not quite sure how this is going to work.
0:28:58 > 0:29:04So the Nutcracker will be here and then it's going to be quite dark here
0:29:04 > 0:29:09and then I want Prince to come on with a black thing.
0:29:09 > 0:29:16We'll see the Nutcracker sort of walking back like this in the light which will go out.
0:29:16 > 0:29:17Yeah?
0:29:17 > 0:29:20That's the idea.
0:29:20 > 0:29:23'Choreographing is a very kind of lonely sort of thing
0:29:23 > 0:29:27'because everybody expects you to have all the answers
0:29:27 > 0:29:31'and I guess some choreographers can do that.
0:29:31 > 0:29:35'I start with more questions than answers.'
0:29:35 > 0:29:39And...and twirl.
0:29:39 > 0:29:43PIANO MUSIC BEGINS
0:29:44 > 0:29:48I think it actually needs more scratching time.
0:29:49 > 0:29:53'I don't know, you feel that it's not going to work.
0:29:53 > 0:29:56'You know, everybody's standing looking at you going,
0:29:56 > 0:29:58'"So what happens next?"'
0:30:03 > 0:30:05'Yeah, I've had sleepless nights.'
0:30:05 > 0:30:09Something, something, something, something, eugh...
0:30:11 > 0:30:13If we gave him another three weeks
0:30:13 > 0:30:15we'd still be in the situation today.
0:30:15 > 0:30:19He leaves things to the last minute. He knows what he's doing. He's accomplished.
0:30:19 > 0:30:24I mean, he does seem calm but I bet underneath that he's thinking, "Bloody hell, this better work."
0:30:24 > 0:30:27PIANO MUSIC PLAYS
0:30:31 > 0:30:34Stop! MUSIC STOPS
0:30:35 > 0:30:39Well, you know, the worst feeling in the world is to face a room
0:30:39 > 0:30:45full of people looking at you going, "OK, genius, do something," you know.
0:30:47 > 0:30:50All right, we can't force it.
0:30:50 > 0:30:53Because we've got no time to do this.
0:30:53 > 0:30:55I can't force it. It's doing shit.
0:31:14 > 0:31:17And they stand there looking at me like I'm...you know.
0:31:17 > 0:31:19So what have you got to do?
0:31:19 > 0:31:22I've got to do the death of the Mouse King and the...
0:31:22 > 0:31:24and I have to do the...
0:31:25 > 0:31:28- ..just two bits, two more bits. - Two more bits?- Yeah.
0:31:38 > 0:31:41No, we're nearly there. We're nearly there.
0:31:41 > 0:31:46The only problem is I have to really look at it and see what needs to be fixed.
0:31:46 > 0:31:48If it's not right.
0:31:48 > 0:31:49Do you know what I mean?
0:31:49 > 0:31:52- If something doesn't look right... - What, the set, you mean?
0:31:52 > 0:31:54No, no, the choreography.
0:31:54 > 0:31:57I think we'll have to tweak that next year.
0:31:57 > 0:32:00Tweaking is next year. We don't tweak now.
0:32:00 > 0:32:05- To me...- It can't go on.- ..really in the end they've had enough rehearsal now...
0:32:05 > 0:32:10- Yeah, but...- ..all these casts... - ..but they haven't done it on stage. - ..and if I haven't finished,
0:32:10 > 0:32:12if I haven't finished the ballet,
0:32:12 > 0:32:17it's more important for me to finish the ballet than for them to do a good performance.
0:32:17 > 0:32:20Eh?! No way! Excuse me!
0:32:20 > 0:32:24- I have to finish the ballet. I can't have...- You have to finish the ballet
0:32:24 > 0:32:27- but what's important...- If I don't finished the ballet
0:32:27 > 0:32:30there's no point in them going because people will go, "Oh, it's not finished."
0:32:30 > 0:32:33- I do understand that.- So if I don't have time to finish,
0:32:33 > 0:32:36they have to give up their rehearsal time.
0:32:36 > 0:32:38They'll have to do it in their own time.
0:32:38 > 0:32:40Do what in their own time? There is no own time.
0:32:40 > 0:32:43- They've nowhere to go. - They'll have to just, you know...
0:32:43 > 0:32:47We have to be able to run it otherwise the whole thing's going to look like shit.
0:32:50 > 0:32:52- It has to be finished.- I know it has to be finished...
0:32:52 > 0:32:55- That's the prime importance.- ..but both things have to be done.
0:32:55 > 0:32:58It has to be finished and they have to be able to do it.
0:32:58 > 0:33:02They can't do a new production and not have been on the stage.
0:33:05 > 0:33:11Well, it has to be finished, that's priority number one.
0:33:11 > 0:33:13Yeah, but we can't spend all day doing it.
0:33:15 > 0:33:19Wayne must now hope he can squeeze his missing choreography
0:33:19 > 0:33:22into the crucial technical rehearsals at the Coliseum.
0:33:24 > 0:33:30So it's even more important that there are no problems with the set and lighting coming from Marden.
0:33:35 > 0:33:37Er, very stressed.
0:33:37 > 0:33:40And this is the worst snowfall in living memory...
0:33:40 > 0:33:46in my living memory. The week before we're just going to the Coliseum,
0:33:46 > 0:33:50for this to happen disrupts everything so much. It's a really crucial time.
0:33:52 > 0:33:53We'll get it done, though.
0:33:53 > 0:33:55It will all be there on the night.
0:33:58 > 0:34:01All those changes from Wayne, did you manage to do that?
0:34:01 > 0:34:05We don't know yet whether he wants them...
0:34:05 > 0:34:07cut or not.
0:34:07 > 0:34:09So I've got to do either or.
0:34:09 > 0:34:12- You've done both, have you? - I've got to do both.
0:34:32 > 0:34:34The sets have finally made it to the Coliseum
0:34:34 > 0:34:39and Wayne is seeing the staging and lighting for the very first time.
0:34:39 > 0:34:42So we're seeing it in two dimensions rather than just the design.
0:34:42 > 0:34:45It's just when little problems show themselves.
0:34:45 > 0:34:50The next few days are the kind of times that we find out what kind of condition we're in.
0:34:50 > 0:34:52How's it been so far?
0:34:52 > 0:34:54It's only five minutes so far.
0:34:56 > 0:34:59We're just trying to work out how they fly.
0:34:59 > 0:35:02We'll have the flying balloon that comes in at the end of act one
0:35:02 > 0:35:04which all uses the same system
0:35:04 > 0:35:08so we're trying to work out how to change it over during the show
0:35:08 > 0:35:10to accommodate one giant basket.
0:35:10 > 0:35:12It's not our favourite cue.
0:35:12 > 0:35:16It's quite stressful when you get things like this involved.
0:35:16 > 0:35:20The elaborate flying stunts were an exciting feature of Wayne's original Dutch ballet
0:35:20 > 0:35:23and he's determined to bring them to the London stage.
0:35:26 > 0:35:29The flying system is also used in the end-of-show finale.
0:35:29 > 0:35:31It's been quite a lot of time since we discussed
0:35:31 > 0:35:33how the ending was going to be
0:35:33 > 0:35:37so I wanted to them to walk off like they're hovering in the air,
0:35:37 > 0:35:39because it shouldn't look like Peter Pan.
0:35:39 > 0:35:40Go.
0:35:46 > 0:35:48But we don't have two wires?
0:35:48 > 0:35:52I haven't got the right sort of harnesses here to do that. I can get them.
0:35:52 > 0:35:54I can't get them tonight. I can get them for tomorrow.
0:35:54 > 0:35:58- OK.- It's a decision for you guys. - Let's see what it looks like with two wires.
0:35:58 > 0:36:01- Yeah? So two wires tomorrow? - OK.- Yeah.
0:36:01 > 0:36:04- That looks too much like flying. - When tomorrow?
0:36:04 > 0:36:06Because we fitted this months ago.
0:36:06 > 0:36:10We got all the costumes...for each cast is fixed for the one wire.
0:36:10 > 0:36:14We tried it and of course it didn't work but, you know, for six months...
0:36:14 > 0:36:18nine months ago I said, you know, it really needs a harness, a double harness.
0:36:18 > 0:36:23It's kind of disappointing when you get to it and you think, "Was I crazy?
0:36:23 > 0:36:25"Did I not say this is what I wanted?"
0:36:25 > 0:36:27The more things that are wrong,
0:36:27 > 0:36:32the more pressure there is time-wise to get the show to look good.
0:36:33 > 0:36:35We'll work it out.
0:36:35 > 0:36:38A couple of days to go. Plenty of time.
0:36:47 > 0:36:50It's the very first time the technical crew and dancers
0:36:50 > 0:36:54have been able to get on stage and practise their scene changes.
0:36:56 > 0:37:00Max Westwell is in the wings waiting to rehearse the Mirlitons' dance.
0:37:00 > 0:37:03No-one knows the show, no-one knows where to be,
0:37:03 > 0:37:05they've got to take stuff off and put stuff on quickly
0:37:05 > 0:37:07and they're trying to work out
0:37:07 > 0:37:09what they're doing as well and so...oooh.
0:37:09 > 0:37:12- OK, just take it to the window. - Things are flying in.
0:37:12 > 0:37:14Can you? Take it to the window,
0:37:14 > 0:37:17so you see it, so you come on and go, "Look at that!"
0:37:17 > 0:37:22We work out which wings to go on from, after they've done the scene change, if no-one's died.
0:37:22 > 0:37:24Yeah, things like that.
0:37:26 > 0:37:27I don't see her.
0:37:27 > 0:37:30OK, let's stop. Al?
0:37:30 > 0:37:32- Yeah.- What's growing?
0:37:32 > 0:37:34The, er, back.
0:37:34 > 0:37:37Did we? I didn't see it. Can we go back to the other scene?
0:37:39 > 0:37:40How's it going?
0:37:40 > 0:37:45He's still on...what? Ten minutes of the ballet, still.
0:37:45 > 0:37:46He just keeps stopping
0:37:46 > 0:37:49and always in the same section.
0:37:49 > 0:37:51Yeah, hang on a sec. Hang on a sec.
0:37:51 > 0:37:53So, children, just come back.
0:37:53 > 0:37:55It's very, very, very slow.
0:37:55 > 0:37:58- What happens needs to happen. - This is our second non-run.
0:37:58 > 0:38:03Yet to run it. Two days till we're on. Wooh!
0:38:04 > 0:38:07OK, stop, stop, stop, stop, stop, stop.
0:38:07 > 0:38:10Thank you, Kevin. Just go to where you start the dosey doe.
0:38:10 > 0:38:15With the cast on stage running late and the four remaining casts yet to rehearse,
0:38:15 > 0:38:18all the dancers are fighting for stage time.
0:38:18 > 0:38:20OK, stop!
0:38:24 > 0:38:27No, but this is... Can I have a light?
0:38:27 > 0:38:30Sorry, this is my light. No, Carrie...
0:38:30 > 0:38:34You won't have the light because they're all breaking now for an hour.
0:38:34 > 0:38:36But they could leave a light on.
0:38:36 > 0:38:40It's...on your head.
0:38:40 > 0:38:43A bit, yeah, because I'm the one who's going to be on stage.
0:38:43 > 0:38:45How can I dance something I have never tried?
0:38:49 > 0:38:50Now we all feel tense.
0:38:50 > 0:38:56Especially the last two days it was very tense with everybody.
0:38:56 > 0:39:01I was stressed and we're all trying to get together in knowing what we're doing.
0:39:01 > 0:39:03We're trying to make like everything work.
0:39:08 > 0:39:11I just hope it goes well.
0:39:11 > 0:39:13That's the most scary part. Things don't work.
0:39:13 > 0:39:15It could happen.
0:39:15 > 0:39:18So is that it? Is that the time over?
0:39:18 > 0:39:19Time's over, yeah.
0:39:19 > 0:39:22They asked us to leave the stage.
0:39:22 > 0:39:25OK, start from the battle with your cast.
0:39:25 > 0:39:30- Finish act one and then go to Fernanda's cast, act one. - Act one again.- Mm-hm.
0:39:30 > 0:39:36Instead of a straight run through each cast will practise act one in turn, then act two.
0:39:36 > 0:39:40- We'll try and do more act twos tomorrow afternoon.- OK.
0:39:42 > 0:39:45The reason all this has changed tonight and tomorrow
0:39:45 > 0:39:48is because we only got, in three hours,
0:39:48 > 0:39:51- we got through about...what? - 40 minutes of the show.
0:39:51 > 0:39:5340 minutes, if that.
0:39:54 > 0:39:56- And that's just because...- Sets.
0:39:56 > 0:39:59Scenery, sets. Things not working.
0:39:59 > 0:40:02Things not there.
0:40:02 > 0:40:07Basically that and of course still we're on, we're on...
0:40:07 > 0:40:10I've even forgot what today is. What's today? It's Wednesday,
0:40:10 > 0:40:13so we're on Wednesday and we're just about to go into the evening
0:40:13 > 0:40:16and still the ballet's not finished. We ain't finished.
0:40:16 > 0:40:22- When are you finishing it?- Ha-ha-ha? Wayne's finishing it. Well, hopefully Wayne will finish it
0:40:22 > 0:40:26and I'm hoping he's going to finish it before the opening night.
0:40:28 > 0:40:29That would be good.
0:40:32 > 0:40:35- Good job we go back a long way, I tell you.- You'd better hope...
0:40:35 > 0:40:37- I'd be- BLEEP- killing you by now.
0:40:46 > 0:40:48Don't talk to me today.
0:40:48 > 0:40:52It's not only the dancers who need to run the whole ballet.
0:40:52 > 0:40:56The costume and technical departments rely on the full rehearsal
0:40:56 > 0:40:58to establish their own cues.
0:40:58 > 0:41:02I expect them to know that we have to do a complete run from the beginning.
0:41:02 > 0:41:05Er, it's not my call but, yes, I will tell them that.
0:41:05 > 0:41:06I need to talk to Jane.
0:41:06 > 0:41:10I've been waiting for her to come down. Because it's Wayne's call.
0:41:10 > 0:41:12Well, we have to, and I'm not going to budge.
0:41:15 > 0:41:17We need to do a complete run.
0:41:17 > 0:41:19Because we've got all the dresses here.
0:41:19 > 0:41:21We need to start from the beginning.
0:41:21 > 0:41:24We can't do that this afternoon.
0:41:24 > 0:41:27But we can't do it for the first time tonight.
0:41:27 > 0:41:31Because we need to time the changes.
0:41:31 > 0:41:34We really, really need to do the changes.
0:41:34 > 0:41:37But we've got people here that haven't been on yet.
0:41:37 > 0:41:40- Yes, yes.- Haven't actually been on...- Yeah.
0:41:40 > 0:41:45- ..dancing...- Yes...- ..in the costumes.- I know, I do understand.
0:41:45 > 0:41:49- Do you know what I mean? - Yes.- We have to do this in these two hours.- I know.
0:41:52 > 0:41:58So Kerry, in your opinion, what are you expecting not to go right?
0:41:58 > 0:42:02Um, the balloon. The flying people.
0:42:02 > 0:42:04OK, so you're expecting that not to happen?
0:42:04 > 0:42:07Um, I'm expecting it to... have to stop.
0:42:09 > 0:42:12I've been here almost six years now.
0:42:12 > 0:42:15This is my first Christmas season as the Stage Manager.
0:42:15 > 0:42:21I want it to come together so I'm trying my damndest to keep my head in amongst it all.
0:42:21 > 0:42:27Kerry is unable to rehearse the flying scenes as Wayne is still choreographing on stage.
0:42:27 > 0:42:29We've only got a finite amount of time now.
0:42:29 > 0:42:33There's certain things we have to do, certain quick changes we have to try
0:42:33 > 0:42:36but if the principals don't get on and do some kind of rehearsal,
0:42:36 > 0:42:40they're going to refuse to go on so we have to be adaptable.
0:42:40 > 0:42:45I've got to find rehearsal in the wing apparently because he needs to finish the choreography.
0:42:47 > 0:42:52Get out, show them in and fly out with the King Rat on the bottom.
0:42:55 > 0:42:58It just needs the clips to go through.
0:42:58 > 0:43:03The flying scene at the end of the ballet remains unfinished as Wayne is unhappy with how it looks.
0:43:03 > 0:43:10We still haven't got to the end of the ballet which means that we haven't run act two through yet
0:43:10 > 0:43:16so what should be a beautiful performance for the invited audience to see this evening, will not be.
0:43:18 > 0:43:21As some of the 800-strong audience have paid for tickets,
0:43:21 > 0:43:25there's a pressure for the dress rehearsal to run like opening night.
0:43:26 > 0:43:30Press photographers have also been invited.
0:43:33 > 0:43:37Maybe they shouldn't have sold tickets for this rehearsal.
0:43:45 > 0:43:47Act one seems to be going well
0:43:47 > 0:43:51until Wayne's signature flying stunt has technical problems.
0:43:54 > 0:43:57The balloon has failed to appear.
0:44:03 > 0:44:05APPLAUSE
0:44:05 > 0:44:07Er, you'd better not ask me.
0:44:09 > 0:44:12But it's not ready yet. It's not rehearsed.
0:44:12 > 0:44:14- Have you seen the balloon? - Yeah, but...
0:44:14 > 0:44:18Have you seen that crappy little Nutcracker doll who you can't even see?
0:44:18 > 0:44:26You've just got to think what is there that is really, really good and enjoy it.
0:44:26 > 0:44:33- Yeah, but I can't because there's too many, too many things that are not professional enough.- I know but...
0:44:33 > 0:44:37The dancers, it's not fair on them, they haven't had proper rehearsals.
0:44:37 > 0:44:44It's not good enough really for the Coliseum opening night.
0:44:44 > 0:44:47It's very exciting and you have to think...be positive.
0:44:47 > 0:44:50APPLAUSE
0:44:56 > 0:44:58The dancers start act two,
0:44:58 > 0:45:01never having run this part of the ballet on stage.
0:45:03 > 0:45:08In the wings prima ballerina Daria Klimentova is still trying to learn the lead of Clara.
0:45:08 > 0:45:11I have a lot of pressure and, um,
0:45:11 > 0:45:15the choreographer was choreographing in the morning and during
0:45:15 > 0:45:17and I have to learn in the evening
0:45:17 > 0:45:20so I actually don't know the steps yet.
0:45:20 > 0:45:22And how hard is that act two?
0:45:22 > 0:45:27Act two for me is very hard, it's extremely technical and very long.
0:45:27 > 0:45:31I just feel like I'm doing everything myself so I do put extra pressure on myself.
0:45:45 > 0:45:46Gavin, Gavin...
0:45:47 > 0:45:50Gavin, can we stop?
0:45:50 > 0:45:53Gavin, can we stop?
0:45:54 > 0:45:57Daria's fears are well placed.
0:45:57 > 0:46:00She's unable to achieve her lift and the performance
0:46:00 > 0:46:02comes to a halt.
0:46:10 > 0:46:15A few moments later she returns to the stage to dance her solo.
0:46:32 > 0:46:37MUSIC: "Dance Of The Sugar Plum Fairy" by Tchaikovsky
0:46:52 > 0:46:54APPLAUSE
0:47:20 > 0:47:24After the disappointment of last night's dress rehearsal,
0:47:24 > 0:47:27the dancers and staff are in early to try and finish off the ballet.
0:47:31 > 0:47:34And stab and die.
0:47:38 > 0:47:39Well, it's naff.
0:47:41 > 0:47:44It's very difficult to be objective about it
0:47:44 > 0:47:50when you've spent the best part of the last six, seven weeks
0:47:50 > 0:47:52picking holes in it.
0:47:54 > 0:47:57It's a fabulous production, it's just we haven't had enough time
0:47:57 > 0:48:03to just put in the little finishing touches and just tighten it up set-wise and dancer-wise.
0:48:07 > 0:48:10Well, the main problem we have
0:48:10 > 0:48:13is that we haven't done the end of the ballet.
0:48:13 > 0:48:17We haven't seen the end of the ballet. We haven't set it.
0:48:17 > 0:48:22They don't know what to do because they're meant to be flying out of the, er,
0:48:22 > 0:48:27they're meant to be flying out of the, er, off the end and they can't.
0:48:27 > 0:48:28So we haven't done it.
0:48:28 > 0:48:32So we're having to sort of improvise.
0:48:32 > 0:48:35Wayne's not happy because he hasn't seen the end of his ballet.
0:48:35 > 0:48:38We're all a little bit worried now.
0:48:39 > 0:48:42I don't know what's going to happen. It's a bit worrying.
0:48:42 > 0:48:44I've never known it like this, actually.
0:49:04 > 0:49:08Hello, lovely to meet you. I hope you enjoy it.
0:49:08 > 0:49:12This production is the jewel in our crown for English National Ballet,
0:49:12 > 0:49:14for a long time. So it's not about one night,
0:49:14 > 0:49:16it's about what this one night means
0:49:16 > 0:49:18for the future of the company.
0:49:18 > 0:49:21Going forward five years, tonight has to be a success.
0:49:21 > 0:49:23Going forward ten years, it has to be a success.
0:49:23 > 0:49:28People with think back on tonight as a defining moment in the success of the company.
0:49:30 > 0:49:33With only 20 minutes to go until curtain up,
0:49:33 > 0:49:36there are last-minute changes to be made on the Mirlitons' dance.
0:49:36 > 0:49:41When Wayne was doing a bit the other day, he said you'll just have to improvise.
0:49:41 > 0:49:43Give them your hand, that's it...
0:49:43 > 0:49:47And it's all hands on deck to finish the end of the ballet.
0:49:48 > 0:49:55- Here's the start of it. Then the children appear.- The children... - Yeah, they come out of the door.
0:49:55 > 0:49:57The kids go, "Oh, you're going bye-bye, bye."
0:49:57 > 0:50:02They walk back here, they do a little bit, they open the door, they look back...
0:50:05 > 0:50:07Everyone comes tonight. Tonight we have the critics,
0:50:07 > 0:50:11we have the Arts Council, our major donors, our sponsors,
0:50:11 > 0:50:13our board members, our key supporters -
0:50:13 > 0:50:15all come on the same night.
0:50:15 > 0:50:18It's, as I said to you earlier in the week, it's terrifying because
0:50:18 > 0:50:22we only have such a short time to get this show together.
0:50:22 > 0:50:23Evening.
0:50:25 > 0:50:31That was the press and a donor, together. That's a worry.
0:50:38 > 0:50:41If I sit here they can't hear me scream.
0:50:44 > 0:50:47Oh, God. Here we go.
0:50:47 > 0:50:54It's a bit too late to do anything so... But do the best we can.
0:50:54 > 0:50:59So, you know, it was always inevitable that it was going to be like this.
0:50:59 > 0:51:01Cross your fingers, darling.
0:51:02 > 0:51:04You've been there the whole ride.
0:51:04 > 0:51:06You've seen it from the start as well.
0:51:12 > 0:51:14- Oh, God. - BELL RINGS
0:51:21 > 0:51:25MUSIC: "The Nutcracker Suite" by Tchaikovsky
0:52:01 > 0:52:06(It's going really, really well and everyone's, this company is so fab.
0:52:06 > 0:52:08(They've just pulled everything together.
0:52:08 > 0:52:10(Amazing, amazing.)
0:52:20 > 0:52:24It's so beautiful and so magical.
0:52:24 > 0:52:29I'm really delighted with it. The end result.
0:52:31 > 0:52:36It's like everything you'd hoped for and beyond.
0:52:41 > 0:52:43There's so much going for it.
0:52:45 > 0:52:52I think Wayne is in that space where you see the things that are niggling you and that's all you can focus on.
0:52:52 > 0:52:58It's a bit of a fog you feel in and you feel like there's no light at the end of the tunnel.
0:53:06 > 0:53:09WAYNE: It looks like a basket on a stick.
0:53:09 > 0:53:14For a second time the hot air balloon that is attached to the basket has not appeared.
0:53:14 > 0:53:16Crap.
0:53:16 > 0:53:17APPLAUSE
0:53:29 > 0:53:31Where's the balloon, Al?
0:53:31 > 0:53:34- Where's the balloon?- Yeah, I know.
0:53:34 > 0:53:35That's what I just said.
0:53:35 > 0:53:37You know.
0:53:37 > 0:53:39- It looks like a basket on two sticks.- Yeah.
0:53:39 > 0:53:42Shall we cut the basket or what should we do?
0:53:45 > 0:53:49I was promised the balloon was going to work. It's not a basket on four wires.
0:53:49 > 0:53:51It's because we had the different orders.
0:53:51 > 0:53:53There's always an excuse, you know.
0:53:53 > 0:53:56That's a reason, Wayne, it's not an excuse. It's a reason, honestly.
0:53:56 > 0:53:58It's not your fault, but we need to rehearse these things.
0:53:58 > 0:54:02I've never seen it rehearsed properly. Not your fault because of no time
0:54:02 > 0:54:03but it's got to be organised,
0:54:03 > 0:54:08the balloon has to look...and I've taken it, I've taken it on trust.
0:54:08 > 0:54:10I go, "The balloon?"
0:54:10 > 0:54:12And I get, "It'll be OK."
0:54:12 > 0:54:17But it's never OK and I'm tired of trusting people going, "It'll be fine."
0:54:17 > 0:54:24It doesn't look like a balloon, it looks like a basket on four wires and people think that's my idea.
0:54:24 > 0:54:28It doesn't say, "Kerry, Kerry produced a shit idea."
0:54:28 > 0:54:30You'll survive this.
0:54:30 > 0:54:32I don't survive bad reviews.
0:54:32 > 0:54:34- I'm really sorry. - My choreography's at stake.
0:54:34 > 0:54:38It doesn't go, "L Riches is responsible for this."
0:54:38 > 0:54:42It says, "Wayne Eagling is responsible", and I can't accept that.
0:54:42 > 0:54:47- I will do everything I feasibly can, Wayne, to make it the best show that I can.- I don't blame you at all.
0:54:56 > 0:54:58Act two begins.
0:54:58 > 0:55:01Ksenia is waiting to perform her Mirlitons' dance.
0:55:01 > 0:55:03I'm not thinking about how I feel.
0:55:03 > 0:55:06I'm just getting ready.
0:55:06 > 0:55:10I'm concentrating on not thinking because it's just the way it works for me.
0:55:14 > 0:55:17MUSIC: "Dance Of The Mirlitons" by Tchaikovsky
0:55:19 > 0:55:22Of course there is pressure and everything but...
0:55:22 > 0:55:24I just don't think about it.
0:55:42 > 0:55:46Great performances. Very, very well done. Very pleased.
0:56:21 > 0:56:23APPLAUSE
0:56:23 > 0:56:25Perfect.
0:56:29 > 0:56:30It's so hard to describe.
0:56:30 > 0:56:34I mean, it's the hardest pas de deux I've ever seen.
0:56:56 > 0:57:00APPLAUSE
0:57:03 > 0:57:05Well, I'm exhausted. I'm glad it's over.
0:57:05 > 0:57:09I'm probably a bit punch drunk. It's such a big...it's a big moment
0:57:09 > 0:57:13but, um, it was good, the reaction was very positive,
0:57:13 > 0:57:15the audience were thrilled,
0:57:15 > 0:57:17the dancers looked wonderful.
0:57:17 > 0:57:21Um, I'm just very glad it's over.
0:57:21 > 0:57:24APPLAUSE
0:57:31 > 0:57:34For me a balloon is not a basket on strings.
0:57:36 > 0:57:40It's my thing that everything has to be perfect,
0:57:40 > 0:57:45to be perfect, otherwise it's not there.
0:57:47 > 0:57:52Thank you very much. Very professional. Very good.
0:57:57 > 0:58:02I'm thrilled if other people like it but it's not going to make me happy...
0:58:04 > 0:58:09..if it's not what I was expecting. Yeah?
0:58:17 > 0:58:21Wayne's production has become the most successful Nutcracker
0:58:21 > 0:58:23in living memory.
0:58:29 > 0:58:33Just five months after the birth of her son,
0:58:33 > 0:58:36Fernanda successfully performed the lead role of Clara
0:58:36 > 0:58:37the following night.
0:58:42 > 0:58:45It was a faultless production.
0:59:05 > 0:59:08Subtitles by Red Bee Media Ltd.
0:59:08 > 0:59:11Email subtitling@bbc.co.uk