Using the final song on the CD, aptly called the FINALE.


0:00-0:49-- Puck is dancing about in a clearing. She's dressed nicely, for all the weddings, but she doesn't seem to be willing to stay clean. She's playing around. In each hand, she has a small green LED light, which she can turn on and off at will. (The lights represent fireflies) At one point, she catches a firefly and eats it (puts the light in her mouth, and uses her tongue to make it light up) so her cheeks glow green. Her eyes get big and she spits it out.
0:49-1:05- The Firefly soloists and Woodland fairies enter. Puck chases them about, and they dance together playfully.
1:05-2:04-- The Big Fairies enter, and shoo everyone away as they make the clearing pretty.
2:05-2:25 --The other faires reenter. They all dance together and play.
2:26-2:40 -- They see Theseus and Hippolyta and Oberon and Titania entering from opposite sides. They form a line and step to the back of the stage, where they form a tableau.

2:40- 4:12 -- The couples enter on opposite sides of the stage. They perform PDD downstage. The 2 couples do the same PDD, but reversed (so that the movement is symmetrical)

4:12- 4:26- The smaller fairies creep forward and surround the couples lovingly. (Puck has surrepticiously slipped away)

4:31-- Puck enters slowly, carrying the changeling child. She stands between the 2 Couples, holding the child. Oberon and Titania look lovingly at the child they're going to share, while Theseus and Hippolyta look at Hippolyta's belly in anticipation of what is to come.




FIN!!!


w00t w00t!


Now, Rick has been working his bum off on PDD choreo. Where are the rest of the choreographers? I tried to email all of you the music, but not a single message got through. They all got "failure" messages sent to me. If you need to get the music, the CD is made by EMI classics, and is called "Mendelssohn: A Midsummer Night's Dream London Symphony Orchestra Andre previn." I got it in the classical music section of Borders for about $7.



And who is doing our costumes? We need to get started on those! If nobody else wants to do them, I'll just do them, as I already have an idea of what I want

Hippolyta and Titania each need 2 costumes-- 1 normal fairy stuff, and 1 wedding dress sort of thing. Theseus needs a normal fairy kind of thing and a white flowing shirt for his wedding. Oberon will wear the same thing for the whole show, but will have a deep green cape for most of the show and a white cape at the wedding. Puck will have 2 costumes as well-- 1 will be a dark (midnight blue?) sort of dress type deal for most of the show, and one (pale green?) dress for the wedding. The Fireflies will have golden yellow and green costumes and large fabric, flowing wings. The woodland fairies will have dark green dresses and streams of ribbon on their backs to symbolize wings. Hippolyta's attendants (who are only actually in 1 scene, and are fairies the rest of the time) will wear lavendar dresses and no wings. The Big fairies will all be in light pink dresses with white wings.

*claps* Alright, let's get going!


M

I got the scene 2 3 and 4 music and i am almost done with scene 2, i wasn't sure if you wanted me to do all of those 3 scenes but I did get the music, so just let me know what you want.

~Andrea

^ As much as your willing to do is perfect.

M

Marian, here’s the Finale pas with both couples onstage.

- The Dream, Dance Net Ballet Theatre
- Music: A Midsummer Night’s Dream, Felix Mendelssohn-Bartholdy, London Symphony Orchestra, Andre Previn, EMI Classics
- Finale Scene Pas De Deux: Both couples (Oberon and Titania, and Theseus and Hippolyta)
- Start: Music Track 14, at 2:40

Note: This pas de deux has the two couples moving symmetrically of each other, about an imaginary line placed halfway between stageleft and stageright, with its length extending from downstage to upstage. The following choreography will describe Theseus and Hippolyta, who enter from stageleft. Oberon and Titania, who enter from stageright, will do the mirror image of what Theseus and Hippolyta do throughout the entire pas de deux (except for 3:55-4:00 and 4:01-4:06, which is choreographed for both couples). For instance if Hippolyta turns clockwise, Titania turns counter-clockwise. If Hippolyta is standing on her right pointe, Titania is standing on her left pointe. If Hippolyta is facing centerstage looking towards stageright, Titania is facing centerstage looking towards stageleft, and so on.

2:40-2:44 Both couples enter, Theseus and Hippolyta from stageleft, and Oberon and Titania from stageright. Theseus is walking backward (facing stageleft), “pulling” Hippolyta onstage with his upstage (left) hand, holding her upstage (right) hand, she is doing bourree.

2:45-2:47 As Theseus stops pulling Hippolyta, she takes sous-sus, he moves her upstage hand around her clockwise to turn her one-half turn clockwise, so they are now both facing stageleft (Oberon and Titania now both facing stageright…). Theseus is upstage of Hippolyta.

2:48-2:52 Hippolyta sweeps her downstage (right) leg from sous-sus up to straight leg devant, then through grand jete to arabesque leg, as Theseus supports her waist with his downstage arm. As she's moving her leg, she simultaneously moves her upstage arm from extended first, up through fifth high, to behind her, and also simultaneously moves her head looking at her moving hand. He does the same upstage arm and head movements as she does.

2:53-3:01 Continuing to hold her with his right arm, he takes her into a deep fallback towards centerstage, recovery, turns her one-half turn counter-clockwise, places his left arm around her waist, takes her into deep fallback towards stageleft. Recovery.

3:02-3:13 He turns her one-half turn clockwise around him, so her back is now facing centerstage and she's facing him who is stageleft of her. She’s standing on her downstage pointe, upstage leg attitude derriere, as he holds her waist with both his hands. He drops onto his downstage knee, facing her (and facing centerstage), his upstage foot on the floor. Moves his downstage arm around her lower back. Simultaneously, both raise their upstage arms with their heads moving to look at their own raising arms. Both lower their arms and heads, she goes to quick sous-sus and drops to her downstage knee, upstage foot on floor. And they both hug.

3:14-3:19 Raise to standing, facing each other. Both move upstage leg to tendu devant, and reverence each other with downstage arm.

3:20-3:27 He takes her downstage hand with his upstage hand, she raises onto upstage pointe, downstage leg to retire, and he turns her one-half turn clockwise, so they both now face centerstage. He moves up against her back and spreads his arms straight out to his sides. She slightly leans her back onto his chest, and “lays” her arms onto his outspread arms, and developpe’s her upstage leg to straight leg devant.

3:28-3:40 She breaks away and runs a few steps towards centerstage, looking back over her downstage shoulder at him with flirtation and love. He runs after her and takes her upstage hand with his upstage hand. Pulling her hand around, he takes her through a full clockwise turn, so she once again faces centerstage. And again (as in the latter part of 3:20-3:27), he extends his arms sideways, she leans her back onto his chest, she lays her arms onto his outstretched arms, and again moves her upstage leg through developpe to straight leg devant.

3:41-3:54 He picks her up underneath her standing downstage leg with his downstage arm, and around her back with his upstage arm. He’s now holding her, turns her counter-clockwise so they both face stageleft. He’s on her upstage side. Her leg being held is now upstage, and she moves it to straight leg devant, and she folds her downstage leg so the pointe faces the floor. He carries her several steps stageleft, stops, puts her down on her downstage pointe, she moves her upstage leg from straight leg devant to attitude devant, and he slightly leans her back in his downstage arm (her back leans towards centerstage). He recovers her and turns her by her waist clockwise around her standing leg, to both facing just a little bit downstage of centerstage. He is still upstage of her. The two couples are maybe eight feet apart.

Note: The next two time periods are where the couples are not doing pas symmetrically.

3:55-4:00 Theseus gently places his upstage hand on Hippolyta’s pregnant belly, in honor of their baby-to-be. Oberon and Titania (he is upstage of her) are looking at Theseus and Hippolyta, and they both honor Hippolyta’s baby-to-be, by taking their outside arms (her downstage arm and his upstage arm), and gently doing a port de bras with arms starting from across their respective torsos to arms outstretched to their sides.

4:01-4:06 Puck enters from stageleft and slightly downstage, and stops next to the wings (so Oberon and Titania, who are facing stageleft, can see her). She’s holding the Changeling Child in her arms, where Oberon and Titania can plainly see it. They both gasp in joy, Theseus and Hippolyta turn their heads counter-clockwise and see the Changeling, then face back towards Oberon and Titania, and honor them for their new child, with a gentle port de bras from arms across their respective torsos to arms outstretched to their sides. (Each couple has now honored the other couple’s child in the same fashion.)

Note: The final pas step below, is again with the two couples moving symmetrically of each other.

4:07-4:12 Theseus and Hippolyta turn en face to face the audience, and jointly honor the audience with a port de bras. Then they turn back to face each other, and hold both sets of hands (his downstage hand holding her downstage hand, and his upstage hand holding her upstage hand), and look into each other faces with love.

Note: During 4:12-4:26 when Puck surreptitiously slips away, she does so with the Changeling Child in her arms.

Rick