To back up to the beginning though, we began by fine-tuning the Patsy Cline improvisation. Now there is a foreshadowing of movement that happens later, marker points in the music, Molly must get down to the floor (and back up again) without moving her hands from her tush, and some little jumps in the second half. I'm completely in love with this section. The dancers are creature-like.
We quickly ran through the Jillian/Nola duet and Julie's solo. We added Molly into it at the end, and due to the fact that she is so much taller than me the partnering sections was adjusted and is now much more exciting!
The bulk of rehearsal was spent working off this Tom Chapman image:
At first we tried to recreate it with bodies in place of the sticks, but it wasn't very easy or exciting. Standing on the other side of the magazine, which was open on the floor, Nola noticed how interesting the image was upside down:
So we tried to emulate this image, to much more success. Jillian is in the place of the woman, on top of Julie who supports her shoulders. Nola, seated by Julie's feet, supports Jillian's feet on her shoulders. Molly stands behind, stroking Jillian's hair, lifting it up and letting it fall. From the tableau we created I asked how might we get into this? So we played with that, adding Nola running her fingers through her hair as she waited for Jillian & Julie to roll into her. From here, Molly uses Jillian's hair to manipulate the rest of her body, and to set the tableau into motion. We kept repeating and experimenting with what should be the next moment. What ensued captured and sustains the feeling and mood of the image above.
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