Catering with Benefits (1) - 14. In the Mood

When Tristan heard there was a new work by his favourite choreographer, Dale Spender, to be workshopped by the dance company, he lobbied hard to get the opportunity to be part of the cast. Dale Spender had not yet named the piece and felt a title would come to him during the workshopping period. Tristan was successful in getting a role for the workshop but this did not necessarily guarantee a part if and when the work was eventually staged.

The piece was workshopped for three weeks. During this time all dancers were given the opportunity to interpret various parts that suited their talents. Dance moves were changed and reset by Dale as the different dancers showed what was possible and what would look the best in performance. The work did not have a theme and was in fact a series of stand-alone dance pieces that needed a link to make them into a complete ballet. Grant Franks, the workshop director was losing faith in the project and thought it may not get approval for staging at this point, because it lacked a narrative and this was mainly due to the fact that the music had not yet been chosen. Tristan overheard what was supposed to be a private conversation between the choreographer and the director in which Grant told Dale he could not see the project going any further without the music. Normally music is composed especially for a new dance piece or an established ballet score is adapted to suit the new choreography.

Tristan was really in love with the choreography and wanted it to succeed. He could not write music but spent many nights going through ballet music to find something that could be re-scored to suit the piece but eventually gave up in desperation. For a change of pace he flicked on the radio and went to the kitchen to make a calming tea to relieve his frustration. When he returned there was an old Big Band jazz type song playing, something that was popular long before his time. Without realising at first he found himself doing some of the steps he had been learning a few days earlier. The steps seemed to work perfectly with the music. This gave him an idea so he kept dancing till the song finished and took note of the title and the band. He did some internet research and found the music was popular in the 40s and 50s but was replaced by rock and roll as the music of the masses. He also looked up YouTube to see what form of dance was popular for big band music. Turned out it was known as swing and jive. While the dance moves he had been learning in the workshop were not swing or jive, choreography seemed, to him, to suit this style of music.

The next day was to be the last day of the workshop, as Grant had indicated the day before he saw no point proceeding without a music score to work with. Tristan got to the studio very early. He had downloaded some Big Band music to his phone and sat excitedly on the front steps of the Wharf Studio waiting for Dale to arrive. Grant arrived first to open up the studio, and was surprised to see Tristan waiting.

“What brings you in so early, especially on the last day of the workshop?”

“I want to speak to Dale about his work.”

“Anything in particular, as this is the last day, we are just winding up and making notes about the workshop. There won’t really be much for the dancers to do today, since the project is not going forward for staging.”

“It’s not the dancing I want to talk to Dale about. It’s the music.”

“But there is no music, that’s why I’m not putting the project forward and besides what do you know about music, you’re just a dancer.”

Tristan was very offended by this remark and replied “I think I’ll wait till Dale arrives and discuss it with him.”

“I am still the director, so you’ll have to talk to me first.”

“When Dale arrives I’ll discuss it with both of you.”

“As you wish.”

Tristan did get his chance to talk to Dale and Grant. As they had no real work for the day they were both prepared to try the music for the first half of the day and the second half of the day would be spent making notes for any future workshop. The morning was so successful that Dale requested they continue dancing throughout the afternoon as well. Most of the dancers were enthusiastic about the choice of music, Dale was also on board so it was now up to the director to decide if he would recommend the project go forward or be shelved. He said he would think about it over the weekend, consult the company creative director on Monday and let Dale know later in the week.

Dale and the Grant had a meeting with Angie Wilde, the creative director on Friday. She gave her decision thus, “I will approve a budget for one more week of workshopping but not with the full complement of dancers. I want a musical director and a musician to be included in the workshop and just one male and one female dancer to interpret the choreography. If the music and choreography can be melded then I will consider a recommendation to progress the project to performance stage.”

“Thank you” said Grant, “Is that ok with you Dale?”

“Certainly, I think that’s a good plan.”

“Good” said Angie “Grant you choose your dancers, I will engage a musical director and he or she can find a musician: I think a pianist would be best.”

“Ah Grant, I would like to request you choose Tristan as one of the dancers.” asked Dale.

“Why do you want that little upstart?” replied Grant.

Angie interrupted, “Before you answer that Dale, I would like to know why you said that Grant?”

“It’s just that he is such a try-hard always in my face about something.”

“I assume he is a good dancer, or he wouldn’t be in our company. Is he?”

“One of our best Angie.”

“OK, now I would like to hear from Dale. Why do you want this Tristan, choreographers don’t usually get to choose the dancers?”

“Firstly, he was the one who suggested we use this swing music. Apparently he researched it on his own time and was committed enough to put forward the idea. Secondly he seems to have a feel for my choreography. He can interpret exactly what I visualise in my mind. Plus, I think he is just a bloody good dancer.”

“That’s enough for me,” said Angie, “do you have any objections Grant?”

“No Angie, Tristan is in.”

“Good gentlemen, that’s all for now. Bring me a new ballet and I will be a happy woman.”

Dale and Grant rose from their chairs to leave but before they got to the door Angie asked “One more thing before you leave: have you got a name for this ballet yet?”

“No.” replied Grant.

“Yes I have” corrected Dale, “I would like it to be called In The Mood.”