sound mixer: Speeding!

assistant: Houston, take three, soft sticks.

-[slate claps] -[rolling piano melody] Houston: In terms of the five tickets that I have, are they together, or how can I find that out?

Being from Chicago, this was a opportunity to come back home to my roots.

-Hey, y'all.

- Merde, everyone.

assistant: Jainil, take two.

-I love being a choreographer.

Merde, everyone.

I love creating things.

-There's nothing like the first performance.

Yeah.

After the show, I'm gonna come back.

It's gonna be a whole thing.

-Xavi, take one.

-[claps] Opening night, I'm so nervous.

I open with the youngest group.

They're like my little girls.

They're, they're really great.

[happy greetings] assistant: Manoela, take two.

We come from different places, but we have very similar values of what we want to bring into the studio.

[boisterous laughter] It's opening night.

Where do I sit?

-Wherever you can.

[invigorating music] -[audience applauds] -[piano plays final notes] [cheering] [violins sustain a chord] [rumbling, clattering] I haven't been back here in, like, eight, nine years.

automated announcement: State and Lake is next.

There's a lot of heavy memories connected to the city.

Returning home... is scary.

automated voice: This is State and Lake.

-This is Houston.

-Hey, everybody.

-[clapping] Houston: Hi, dancers.

I'm just gonna-- I need, like, five before we start.

Yeah?

Hi.

-Would you like pointe shoes?

-I would love pointe shoes.

-Gotcha.

-Yeah.

Would love pointe shoes.

[soft, droning tone] Okay, y'all.

So yeah, just to talk about the piece, it's called The Return Studies II.

This is for me where it all started.

This was my first ballet school.

I haven't really been back to Chicago since the passing of my mother in 2017.

So it took a lot of emotion for me to kinda walk back or to even get off the plane, to come back to Chicago.

It's my mother who was everything to me.

I think about her all the time.

I feel that I am her legacy, [tender piano chord] which makes me feel inspired to work and create.

So there's a slight pause here.

And then we have one, two, three, and four.

This piece is about unpacking things that I've been ignoring for a very long time.

There's a slight punch, but then you pull that punch.

By connecting this to my personal experiences, that dictates the movement.

Like, I'm actually looking, like, past that point.

The ballet is not a narrative.

It's about the dance and allowing the audience to find that story for themself or to at least feel a emotion from the ballet.

[bright piano notes] Boom, ba, two, three, four.

I like that choreography incorporates a lot of elements, music, fashion, lights, movement.

Let me just-- Wait.

Wait.

Wait.

Wait.

I'm gonna pick some people.

So you were supposed to go.

Correct?

There were several things that made me want to submit an application for the program.

I wanna see Amanda.

I wanna see Guillem.

I wanna see... I'm at this point in my career where I'm really trying to figure out what I want to say with my work, and I thought this would be a great platform to do so.

Just give me a moment.

We'll do it again.

-So... -Yeah.

Amanda, Lucas.

Lopez: There are so many choreographers out there that just need a chance.

Houston: Dominic also.

I liked her as well.

Lopez: Winning Works is a program that was developed to give a platform to choreographers from underrepresented backgrounds.

We want to provide for our audience voices that they're not seeing all the time.

It actually slides on the floor to piqué.

Lopez: This year, we have five choreographers, and they have two weeks to choreograph a piece to then get performed by our students in the academy.

Swan queen.

I don't know.

Lopez: I have known Houston since he was maybe eight or so.

-One, two.

Lopez: To just be part of the Joffrey again, I think it was great for all of us and so happy to see him.

-Cool.

Next group!

Out!

Out!

Up.

Up.

This is very my father.

I spoke to him on the phone maybe two days ago.

He was like, "You better win this competition."

Nice.

Really nice.

I was like, "Dad, it's called Winning Works, but it's not a competition."

"There is no award but trust."

In our eyes, it's a competition and trust I want to win.

Is that everybody?

Okay.

I think I'm done.

Thank you for today.

Really nice work.

Really happy.

So, thank you.

How I felt about dance as a little boy really hasn't changed so much.

It fed my soul.

-Thank you.

-That's really how I felt.

Just happy to be here and being given the chance to dance.

archival video: Hello, and welcome.

[vibrant music] Today, we turn our spotlight on the Robert Joffrey Ballet.

This young, fresh, exciting, innovative American ballet group has drawn unqualified rave reviews from dance critics around the world.

Arpino: Out of this company, I hope the world will see new directors, new visions in which all people will share and enjoy because no matter what country we go to, there's this great rapport, and, and this exchange of love between us through the dance.

[ambient traffic] [rolling, pulsing music] [footsteps pattering] This is my go-to warm up, slow jog.

As a dancer, I feel like I'm in my prime.

[hums to music] I should probably enjoy that more often.

This is my first time staging a live ballet.

When I first joined the Joffrey Ballet, Winning Works was already happening.

The other choreographers, they don't work at the Joffrey.

I didn't wanna feel like I was selected just because I'm a company dancer.

Now I have to prove myself.

-Okay, I think we're gonna start soon.

[buoyant clarinet melody] I've always worked with professionals, and this feels different.

With such a young group of dancers, I think I have to be more patient, which is something I am working on.

[chuckles] Just so you guys, like, kind of start to understand the different moments we have.

You guys are all one flower, and each person will represent a petal falling from the flower.

Coming up is not just this.

It's like feeling the ground, so I can feel the tension growing from the ground up my body and then up into my head.

[classical music plays in studio] When I was 16 years old, I had someone show me this could be my job.

[to dancers] Boom.

I can do this in the studio every day.

Slow the port de bras here.

You have more time.

Does it feel okay for you?

Yeah?

If anything, again, feels uncomfortable, awkward, let me know, we'll work together.

[snaps fingers] Keep going.

Beautiful.

[snaps] Passé, rond de jambe.

Up, up.

I'm not one to, like, pat my own back, but I honestly can't believe that I made it to the Joffrey Ballet.

[light, airy music] You should feel like someone grabbing your leg and your arm.

Yes.

Really slow.

Good.

And then after that, we go to the finale.

I imagine this new generation of flowers coming up.

As they're going down, Sofia pops up.

It'll kinda feel just like the... the beginning.

We'll see.

Lopez [on mic]: It is not my first moment in the Joffrey, but it is my first moment being a part of Winning Works.

We have a great panel, Xavi Nuñez and Martha Nichols.

[polite applause] Xavi, I'm gonna start with you.

What made you want to jump in and put your name in the hat?

Actually, I was a little nervous about putting myself out there in front of the people that I work with every day.

I think what drew me to it was knowing the opportunities that past Winning Works choreographers have had.

So I applied, and the rest is history.

[chuckles] Um... Yeah.

For me, I come from such a different world and really decided to train in a lot of hip hop.

My goal is to be, like, a master in designing a movement.

And so as an artist, no matter what style of dance you do, I think it is important for you to know your voice and to stand in it.

-Thank you.

-Thank you, Ashley.

Thank you.

You guys are incredible.

woman: Marth: Yes, please.

You know, I always notice us.

-I'm like, where are we at?

-[laughing] The minute I walked in, I was like, "Noted, noted, love it."

woman: So she's taking ballet at Joffrey and-- Martha: Yes.

What does she wanna do with it?

Oh my gosh.

girl: -There you go.

-Yes!

-There you go, that is her.

-Please do it!

That's definitely, like, special place in my heart for young Black girls.

Just to be like, "Hey, if this is what you wanna do, you can do it."

There's a space for you, and you can look like you.

-Exactly.

-And you don't have to look like them, you don't have to dance like them, like, you can be you uninhibitedly, and there's space for it.

In my first dance studio in Brooklyn, I think I was the only Black girl in my class.

I didn't see it as isolating at first.

Oh, look!

You better.

I saw it as, like, "Oh, if I'm the only one, then I say what this is in this space."

[chatter] Every Black person and every Black woman carries the burden of, like, the entire race on your shoulders when you're the only one in a room.

[laughs] It's like, hoof.

Okay?

Like, representation is also representation.

So what aspect of Blackness am I representing?

Because we are also not a monolith.

Yeah.

I will always respect the space I'm in because it is an honor to be here.

At the same time, if I am being invited in, then Martha's coming in.

[laughs] [excited chatter] -Martha: Hello.

-dancers: Hi!

We won't learn anything today because it's day one, and why rush?

So can we just groovy and follow me?

-Yeah!

-Work.

Don't stress.

It's just dance.

That's the whole TED Talk.

Allow yourself to dance for the reasons that you love dance, not what you think I wanna see because I don't know what I wanna see.

So we all don't know together.

Okay?

Here we go.

Shake it out.

[retro house beat] Let's bounce.

I have a general order of how I like to do things, but I kinda let their interpretation or exploration of it guide me.

Can we knock the front?

Boom.

And to get them moving in a way that I feel like they don't normally move as much.

Double-time is fast approaching.

Ready?

Five, six, seven, double-time.

[beat doubles] Yeah.

Double-time.

Uh-huh.

How do you feel?

-[track ends] -[dancers clap] So can we spread out?

[claps] My question to you is, where's your mind?

Where's your body?

Where's your spirit?

Just an assessment.

And then we'll talk about it afterwards.

Deal?

[elegant techno ballad] I believe you can't really have an artistic voice if you haven't really accepted or, like, refined your human voice.

And so I like to ask them questions.

[choral voices] My ultimate silent goal is always to remove any sort of... doubt or judgment that allows them to be the best and the biggest version of themselves in the room.

Beautiful, you guys.

Because ultimately that's what I would like to see.

Okay.

Let's plot twist this.

Five, six, seven, eight.

[electropop playing, Jump by the Pointer Sisters] Up, up.

So it was nice to kind of watch them -[cheering] -and see who has easy access to their emotions and who kinda hesitates a little.

[catchy music, clapping] Oooh!

Whooooo!

♪ You're goin' up ♪ Y'all better!

Come on.

Martha's energy is so cool.

I'm already inspired.

[raucous cheering] If I can allow them to operate in joy, naturally, you see the best parts of people.

And then you can kinda get them to do things that's a little different.

And then I can take that and start to shape that into a piece.

[dancers clap and cheer] Whoooo!

[ambient street noise] [horn honks] [murmuring] [phone clinks to table] [Bollywood heartbreak song playing] I never imagined myself choreographing a piece at a ballet school because what I do is very different in a lot of ways.

[romantic music continues] I totally believe in the fusion of Indian classical and folk with contemporary movement because that's been my training, and that's been my movement style.

This is gonna be a new journey for me, and I'm really excited to see what unfolds.

[elevator doors slide open] So I'm thinking now, how do we do this?

-Yeah.

-Uh... Maybe that might work.

-[giggles] -You're crazy.

Okay, we need to go quick with this.

It's cold.

[sing-song] Aaaahh!

Hoo!

Hoo!

-Here we go.

-Take one.

[Indian classical music] Being a content creator and influencer on Instagram, I'm really trying to make thoughtful content.

-We'll do one more anyways.

-Yeah.

Ahhh!

Whatever I'm producing, I'm sharing.

But obviously, like, with the algorithm, you never know what's gonna happen.

-Are you ready, Jainil?

-I'm ready.

Especially the video that I had done with the skirt that had blown up.

[Bollywood Dandiya music] And I just took this personal story of wearing skirts in my bedroom when I was a child into the street.

It just gave rise to a very different conversation about, you know, just making bold choices.

[tabla rhythm] [videographer squeals] -Yeah!

-That was drama!

Kaitlin: I like how Jainil is not afraid of, like, performance.

Hello.

Your performance quality is so amazing.

I'm inspired by his approach and his ideas.

When I applied for Winning Works, I was like, "I don't think I'm gonna get it."

"It's Joffrey Ballet."

-Yeah.

We have 45 minutes.

-Oh, perfect.

Until rehearsal.

I totally forgot about it until I got an email, and I read it three times.

I just felt so recognized and seen.

Jainil [to dancers]: Hello, everyone!

-dancers: Hi!

-Hi.

So we need four groups.

So this is sort of like the finish line.

Okay?

And for now, these are gonna be our tracks.

The race is to toast as many breads.

Actually, before we even do that, let's just run.

Jainil yells: Runnnn!

[dancers shout giddily] -Oh, yeah.

-Let's go!

[joyful screaming] Jainil: Oh my god.

[laughs boisterously] [strong, singular beat plays] The piece that I'm choreographing, it's called Burning Bread.

It's basically about how we always want more in life.

So, you're starting to toast your bread now.

After you get something, you're just like, "Okay.

I need a little more."

And that's represented by the bread.

There were moments where they are sharing the bread, where they're stealing the bread.

Come on!

It's literally like a rat race where they're, like, running after something which is gonna probably make them happy, but never enough.

So your intention should be like, "Oh, that's mine!"

"Give that bread to me."

Like, that should be your intention.

Not like, [limply] "Oh my god.

Take my bread."

[dancers laugh] So now, we're gonna do the fight.

[dancers perk up] Oooh... This is gonna go, Boom.

Ha!

dancer 1: Telling you the truth, when he walked in, he said we were gonna be dancing with bread.

I looked at my friends, I was like, "Is this for real?"

And I think everyone had this expectation of, "What?"

Jainil: Seven, good.

Throw, throw, up.

It's definitely a little different for the students here.

They're not used to the hand gestures.

The, just-- twirls.

And!

[aggressive drumbeat] -[clap] -[strong downbeat] dancer 2: We were told to do things like turn on your heel, which is the complete opposite of what we're supposed to do in ballet.

Like, you are never supposed to do that.

Really, like, go: Pah!

Since this is a very new sort of style and movement vocabulary that they are learning, ...four, five.

It really motivates me Nice!

to keep pushing them.

...eight and [exhales].

We'll figure it out.

[ambient train and traffic sounds] Xavier: Here, I'll show you the camera that started me on all of this journey.

I have not picked it up in a while, this little guy.

I think a camera can be like another dancer on the stage.

I started doing films before I started choreographing.

There you go.

So this was like my first introduction to film.

It was literally just me picking up a camera handheld and trying to figure out what it was.

This is some of the other film work I do now, which just feels a bit more... mature, and something that I would actually want to watch.

I don't cringe as much when I see this.

[peculiar music] Oh my god, I have some videos of me dancing when I was, like, a baby.

This is my audition video when I was 18.

[classical music] Got the most booty booty shorts in the world.

I'm so stiff.

[chuckles] I have photos and stuff, too.

Oh my god, this is rough.

[laughs] This is my first competition.

I lost my dad when I was really young, and this is something he won for me at an amusement park.

director: In the first grade when I lost him.

[tender piano melody] When I was younger, my parents weren't together.

So, like, every two weeks or something, he would come and pick us up.

I remember, like, I'd be playing in the neighborhood, and I would just hear [whistles sharply] and that was always his call, and I immediately knew my dad was there.

And I would, like, book it home no matter what I was doing, I'd drop it.

And he would always, like, have a fun weekend planned out for us.

director: Xavi [whistling]: I know.

And a butt chin.

Yeah.

That's me.

You can't tell by those ears?

[laughs] This is my mom, my little sister, and my stepdad, when I first moved to North Carolina.

So this is how old they were when I left home.

My mentor was moving to North Carolina.

He sat me down and he asked me, "Is this something you really wanna do?"

I knew I wanted to go for it.

I wanna follow my mentor so that I have the proper training.

And then I had to tell my mom.

[laughs] That was the hard part.

At first, she was like, "No."

"No.

No.

No."

[laughs] It took me explaining to her that this is what I really want for myself.

Dance brought me so much joy, and I didn't wanna stop it.

When I explained that, she totally let me go for it.

[vaudeville-style tap music] I was, like, the first dancer in our family.

[classical ballet music] My first time seeing a real ballet wasn't until I got my first job.

Ballet is super expensive wherever you go.

I wanna make this accessible for everyone.

Houston: Are you taking me downstairs?

-Yeah.

I was gonna show you-- -Okay.

-Since the building is all different now.

[laughing] woman: [Houston laughs] It's nice to be back.

I grew up in the city on the South Side.

My parents made sure that I got here driving 30 to 45 minutes.

They really sacrificed to get me into this position.

-Hi.

-Hi, Houston.

-Nice to see you.

You've been here for many years.

-I've been here a really long time.

-Nice to see you again.

-You've been doing good things.

-I'm trying.

I'm trying.

-Nice to see you.

I'm glad you're here.

-How are you doing?

-Good.

How are you?

I didn't know you were pregnant.

-Yeah!

-Congratulations.

-Thank you.

Ellie: Did you start rehearsal or did you-- Houston: Um... Manoela is not here.

-Yes.

-So... Ellie: It's kinda nice.

You get a little extra.

-Exactly.

-Little extra time.

Houston: Sorry, Manoela.

[laughs] I'm very happy about it.

Ellie: It happens.

It happens to all of us.

Houston: I'm excited to see this, though.

Ellie: All of the base stuff just came in this morning.

Perfect timing.

And for the little ruched skirt, you know, we could do-- -Mm-hmm.

We could do regular spandex too.

Houston: Okay.

Options.

What we need to do is do a group fitting with everybody in these bases so that you can kind of decide.

We'll fit everything in white, make all those marks.

Houston: We're not wearing white, by the way, just so y'all know.

-[all laugh] Ellie: It's all getting, it's all getting dyed.

Houston: Just so y'all know.

It's not all white.

Ellie: And then today, what I thought would be good is if we could look at colors.

Houston: I know that I wanted red to bring in that, like, danger or, like, fear that's part of the piece.

And then for the solo male, the idea is that he is me.

-Yeah.

-So every color is, like, representing an emotion.

-Okay.

-And I feel like with the solo male, he should have all of those, somehow, within his costume.

Ellie: Okay.

Like, if you go back to your page, we might be able to do something like that with him.

At this point, you don't have to stick to any of those things.

It's so much easier to make these decisions in person.

-Okay.

I hear you.

I feel like the color transition should not happen, like, anywhere in the middle of the body, to be honest.

I feel like it should be solid here, and then it changes on the chest.

Ellie: Let's look at the schedule.

On Friday, we could do... a studio run-- -Oh, okay.

-in costume.

-Wow.

It may not be totally finished.

-Yeah, yeah.

-It would be, hopefully, like, 75 to 90%.

Would that work?

-Will that work for you?

-Well, that's the best goal for us.

-Okay.

-Because if we don't do that, then we don't see it till the theater.

That's amazing.

For me, it's amazing.

Okay.

Okay.

Great.

I'm just like, you guys can make that happen?

Wow, Joffrey wardrobe costume department.

Y'all better.

Wow.

This is amazing.

Thank you, Ellie.

[cheerful marimba music] Okay.

[music pops, then stops] Manoela: Out here.

And then, you will be naturally more in.

It's just your shadow, so you're just gonna be in the ballads, you know, like dancing with each other for the beginning of their duet.

And that will be... one second.

It's my official first day today.

Where is it?

This morning, I was crying a little bit out of tiredness.

It's been a little bit rushed, like many hiccups.

[murmuring to self] Back in October, we applied for the visa, all the paperwork, and by... end of January, still no news.

I started to get a bit worried.

[to dancers] Let's try a different formation... Luckily I managed to be only one week late because if I was another week late, [laughing] I don't know if I would be able to, to do the piece.

singer: ♪ Don't shut them all too quickly ♪ ♪ They might not hold ♪ Manoela: We found a way to make it work through sharing my time now with Houston.

[singing continues] But... I think I'm a little bit worried about time.

[laughs] Are you okay?

You look very confused.

dancer: -Change.

So I'm here and then I change next person, I'm there.

So we do a circle.

Let's organize it.

I've been a dancer professionally, and maybe that's the language I'm the most comfortable with.

Good.

Not too high.

-[gentle piano music] -That's it.

Open.

Finish here.

Yeah.

This whole piece is very personal to me.

One, two-- [sharp inhale] It's about grief, but in a big sense of what grief is.

It's called Ocean.

It's related to Buddhism and reincarnation.

Life is this ocean wave, and then once it's done, you go back to ocean.

The ocean reminds me a lot of my dad, which passed away not too long ago.

[ambient party chatter] I love my dad.

He gave me all of the opportunity and the chance.

He was the one driving me to ballet, making it all possible, so... he's part of the piece.

Now there will be very, very individual duets.

I also grieved about quitting a career as a dancer full time.

That's a big thing.

Okay.

But, like, 10 times faster and connected.

Quitting dance is so hard.

It's the thing you've done the longest in your life apart from eating or sleeping.

And it's a part of your identity.

How much time do I have now?

So that's why maybe I struggle to say I'm a choreographer.

I feel like I'm lying.

[laughs] I don't think I'll ever say I'm great at anything, but-- -[director overlapping] Yeah.

That's a good question.

I don't know.

I don't wanna be like-- [scoffs] And also, I don't believe it.

I don't believe I'm great, but I wanna give myself space to be better.

I want to be good, but I don't think I have this... [sighs] [in rehearsal] I'm not sure yet, but let's just try it like that... and see.

We have five minutes, so.

Hello.

Jainil: Obviously, I'd love to have more time.

Good morning.

How are your bodies doing?

But a lot of the time with limited resources, your creativity is so active.

Right.

Andrew, I want you to run there to get your toaster to your position upstage... there.

Right there.

Exactly there.

Why is this like that?

It's okay.

Joanna, you should go this way.

[feet shuffling] Jainil: Rrrrright.

I just wanna see how it's looking when everything is happening together.

[vocal music] Jainil exclaims: Aaaahh...!

What's happening?

It's okay for now.

One.

[aggressive drumbeat plays] [male singer calls out] Jainil: Hmmm... Ugh.

I think it should be there, ideally.

dancer 1: Jainil: No.

The opposite side.

dancer 2: Jainil: Right.

dancer 2: Jainil: Umm.

dancer 3: Because it's so close, right?

-Yeah.

-Yeah.

Jainil: Is this insane?

Because we're using 75 breads, 16 people in the cast and these four toasters in this space.

Huh.

This bread.

Okay.

Let's quickly go to the beginning.

[rhythmic beats and claps] It's just something that is not fitting right at the moment.

So with the choreography, I have to also do the breadography and figure out how many breads are going where and where.

[rapid clapping] [music ends] So... Yeah, it's-it's-it's a little stressful right now.

-Thank you.

-Thank you.

[animated crosstalk] [ambience, distant siren] [quiet chatter] Xavier: Let's, let's get it rolling.

[lively music] I directed the film for the Adler Planetarium.

I'm getting, like, jitters.

[laughs] It's about to premiere to the public, so that comes with some stress.

Putting dance in front of an audience that has never seen it, that's important for me.

Dance is for everyone.

I'm just gonna give some general notes.

When it's spinning, I feel like it can be a tiny bit slower.

Hear, another one.

Boom.

That can, like, shoot out to the side.

The music has to be bumped up.

I wanna hear, Boom!

When I come up.

I know we're gonna talk later.

I just need to get it out.

Otherwise, my brain-- -Yeah.

Understanding how much I can handle is hard for me.

When I get something in my head, I don't stop until it's done.

And the minute it's done, I'm on to the next thing.

[quiet chatter] Two people cross... One just-- What did I do here?

I don't have the time to process what I'm making.

I'm just going with my gut.

Can I try one thing really quick?

One, two, three, four, five, six, seven, eight.

One, two, three, jump, four, turn, five, six, seven, and eight.

No.

I want more, like, jumpy.

-Okay.

-Let's hear it.

-[lively marimba music] -[Xavi counts] Turn, piqué.

Can you guys run in from that side?

Piqué.

No turn.

Actually, I need it the other way.

[dancers giggle] I think I'm putting so much more pressure on it than I should.

Five, six, seven, eight.

Fast.

It might be too fast.

I have all of my peers that I know are gonna see this.

You have to stay calm.

Come look at this really quick.

Deep down inside, like, I'm kinda nervous.

Never mind.

This is not for you.

Go away, go away, go away.

Great job.

One more time.

One more time.

One more time, let's do it.

Never mind, never mind.

No.

No.

No.

No.

Careful.

Stop.

Stop.

Mm... Yeah.

Maybe.

I gotta go.

Sorry, guys.

I just realized what time it is.

I have rehearsal downstairs.

Um.

Good.

Remember this.

I know I threw a lot, but we have a lot more to do.

Thank you so much.

Okay.

Thank you.

-[dancers clap] -That was really fast.

I feel like I'm doing all this because... I guess in a sense it's a little bit from fear.

Um.

You know, I'm gonna stop dancing one day and I don't know how long I'll have-- I'll have this.

So... I feel like I have to put everything I have into it right now.

[street drummers perform] [pulsing drums] [drumming fades into distance] Martha: Yeah.

Chicago is wild.

[chuckles] Like... The iron feels like one era, and then, like, the glass gives me something else.

But, like, on the river where, like, the Lord made that, like, what?

[chill, relaxed music] I've always only ever wanted to move like me, like Martha.

[speaks indistinctly] And so, yeah, there was a confidence in my artistry at a young age.

My mother had three jobs.

Like, she worked as a paralegal, but then she was minister of music at church, and then she would come work at the dance studio to help me pay for tuition.

I think from watching her, I learned work ethic.

I also learned standards.

[laughs] And what it actually means to be nonnegotiable.

I watched her look everybody in the eye and say, "I understand what your priorities are."

"They are not mine."

I think all of that in life just carried over into dance.

My mother passed when I was 17.

And so in that, I just was like, "I think I'm done dancing."

And then the Lord was like, "You don't get to do that."

I ended up auditioning for So You Think You Can Dance?

when I was 18.

I made top 10.

[cheering] After the show, moved out to Los Angeles.

Really, really love film.

Most of my experiences have been really beautiful and really fun and not dismissing the hard work.

Like, being on set at 5:15 in the morning to be painted gold... it's, it's a lot.

So I start to focus more on choreography.

[electropop music] Then on, like, a whim, I just said, "What would happen if I applied to Oxford?"

Went to school and studied theology.

Before I actually even made the move back to the States, I applied for Winning Works.

Dance to me is dichotomy.

It is so serious and also literally we're playing around.

It's also the most personal, intimate, and selfish.

At the same time, it is external and selfless and communal.

Like, it is everything and nothing.

See if you can sit further in each.

One.

Ta.

Ta.

Ta.

Uh-huh.

Instead of ta, ta, ta.

I'd say I really pull from jazz and hip hop.

Click.

Click.

Add the arms, so whoom, foom, foom, boom... The way I introduce things to them to me is very, very important because the first time you meet something dictates how you navigate it, how you respect it, how you engage with it.

Push it down on five, two, three.

It's not innately their culture, but it's mine.

And I like to say, "I keep one foot in the culture, one foot in the institution."

"But both feet in the kingdom."

[laughs] Fwoom.

And it's an invitation to engage again, but like the boundary of not appropriating, but also, how do I find... like, the authenticity of what it is I'm introducing to them.

[serene music] Andrew: There's a lot of parts of Martha's choreography that are very, like, pop and, like, hit it and, like, boom, boom, like-- Martha: How it comes out is how it goes back in.

Andrew: Respectfully, I'm not the greatest at, like, the popping and the freestyling stuff.

Martha: I was like, guys, give yourself grace.

Like, I just threw these moves at you.

If you're not training in that often, it is hard to jump into.

I was like, every day we'll repeat stuff.

Because if it's not your culture innately, you'll always feel like a visitor to a certain extent.

And so, as a part of my culture, we love visitors.

I also love when you go home.

And so I think, do we do the same thing in dance?

So it's day three of that.

So let's mark just the pattern.

Kaitlin: Martha's process is completely different.

You know, she'll sit there and she'll have them redo two or three counts over and over and over again in order for her to make the right choice.

Martha: Huh.

Ana, Clara, switch.

Kaitlin: She really gives herself time... Martha: Switch back one more time.

Kaitlin: ...to sit with her thoughts and to watch the dancers.

But I don't see how this is gonna be finished in two weeks.

[dancers chit-chat] [ambient traffic] [dial tone] Hellooo.

Kem cho, how are you?

-mother: Good.

Good.

-Yeah.

Jainil: I have a close bond with my mom.

She has been a very integral part of my creation process.

The toasters are doing [chuckles] better.

[both laugh] [sighs] mother: She was a dancer herself, and she was not encouraged by her parents.

My mom is from a very... orthodox family.

So women were sort of not allowed to get into dancing or even just go to work.

That hunger sort of came in me, where I was like, "Okay.

I want to start dancing."

She kinda sees her dream come alive through me.

mother: Jainil: Yeah... And the same with my dad too.

Jainil: How is papa?

-Oh, papa.

-Ah, papa.

[giggles] My grandfather, he did not let my father do what he really liked because of the status of the family.

Yeah, yeah.

They are gonna do costume trials.

I feel so privileged to pursue what I'm doing and just have that support from them.

I can't wait for you to see it, actually.

-I know.

-Yeah.

[mother speaks indistinctly] -Yeah... Jainil: When this happened, the first call that I made was to my mom, and I was like, "If you wanna come, come for this."

It's going to be cold, so get... mother: Warm clothes.

Goodbye, I love you.

[smooches] Good night.

mother: Good night!

[gently pulsing music] Coming here to this country, every single thing was so different.

But dance is a very universal language.

And there's still something that connects... everyone.

Let's go.

Beginning!

Ellie: Jainil came in with a really clear idea that he wanted four distinct groups in different shades of yellow.

[music and feet pound] He wanted some things that were more Western and then some things that were more towards his Indian culture.

Jainil: I really believe in that mesh of the styles.

Jainil: Any issues?

Jainil: dancer: I just do a lot of running, and floor work.

-How about you?

-My shirt was just going up.

-Okay.

-Mine is just a little, like, tight and I kept getting, like, stuck because when I lift my shoulders, this is, like-- -Good, okay.

Costumes, we have, like, a few alterations, few color changes there, but it looks great.

I just want them to enjoy the process.

[gentle piano melody] [rumbling, clattering] Houston: Okay.

Hey, everybody.

So I'm a little panicked to be honest with y'all because we won't have the full day.

Makes me go like that a little bit.

But let's start with finale first.

Seven, eight.

One, two... When I start a project, I get into my shell just trying to really work.

One, two, three, and four, five and six.

Let's stop here because we're gonna change this.

Hah!

I was dying yesterday watching the video.

-You guys are just like-- -[dancers laugh] That was so funny.

But I'm really trying to connect with these dancers.

Don't make a lot of sound.

Boom.

Da da da.

It's just like, yes.

Just a little tap on the floor.

Did anybody tap?

Yeah.

That was like the first thing I started with.

So I think that's what it comes from, this rhythm on the floor.

Yeah.

There you go.

My parents took me to see Gerald Arpino's Nutcracker, Joffrey's Nutcracker, when I was maybe six or seven years old.

[archival recording of The Nutcracker by Tchaikovsky] And my mother said that I was, like, completely out of my seat the entire time.

[regal brass melody] I remember having the thought, "This is what I want to do."

"I want to be on that stage doing something like this."

But I also had the thought that, "I want to create something like this."

[strings play "Mother Ginger and Her Polichinelles] I just told my parents, "I want to do that," and I made sure that it happened.

Even at that early age, I just felt it inside of me.

It was clear.

Like, the impulse was super clear, and I was like, "I need to follow that."

[music playing on phone] I got into the Joffrey School with scholarships.

And then eventually, I graduated and I left to go to New York, -One, two, three.

to attend at School of American Ballet.

Same idea as arabesque.

Five.

And then at 18, I moved to Germany, and I was there for ten years.

Okay.

Ready?

You go to the coupé, to the attitude.

I had no idea what I was getting myself into.

I was just super happy that someone gave me a contract to dance.

And then once I became a professional dancer, I used that as my... training to be a choreographer.

Those are, like, the critical years for me because this is when I was starting to find my overall aesthetic.

No.

I don't like that.

But also, it was a huge wake up call because I was the only Black person that I would see for days.

When people would just stare, I became very self-conscious, but I quickly became aware that it was because I was Black, and... it was just something that they weren't used to seeing.

Five, two, three.

Now that I'm creating work and meeting Black and brown people that come to the ballet, the thing that they say the most is that they wanna see themselves on stage.

If your main company has only white people in it, what does that say to a little Black or brown girl on the South Side of Chicago?

dance instructor: Deep breath in, arms on the barre, let it out.

And-a down.

My mother was just searching around for her son to have some ballet classes, and one of her colleagues told her about the community engagement program at Tuley Park on the South Side.

instructor: Dégagé, out.

And I was the next week in the gym, like basketball gym, holding a barre and learning how to do a plié and tendu.

One relevé into one plié.

Plié and up.

Demi down and feet in first.

instructor: When I retired from dance, I took over the Joffrey's Community Engagement Program.

And it was during that time that I met Houston Thomas.

...and out.

He had a natural facility, very talented.

When you see something like that in a young person, especially at that age of... eight or nine, the question becomes, okay, how do we guide that?

Let's go little people!

Lift it up!

Lift it!

There you go.

Good job!

Good job.

Good job.

Good job.

Stop!

Houston: He really taught work ethic, respect, and that if you're gonna do something, put your attention there.

Let me have the 'D' group right here in the front.

Houston: Those are the pillars that I have kept with me for a very long time.

Girls, spread out across the front.

Pierre: I was a dancer with the Joffrey for 13 years, and there was a long period where I was one of the only Black dancers at the company.

Move over... Step back a bit.

As a Black man, it was important for me to represent, but what is it that I want the students that are in my program to learn?

I want them to learn that regardless of what is going on around you, you have to keep going, you have to keep pushing, and that drive has to come from within.

Good job, girls, everybody.

Very good.

[girls clap] [joking] That's enough.

Houston: Pierre Lockett showed me that a Black male can be in ballet and have a very successful career with a leading company.

Houston, to dancers: Yes.

Boom.

Ba.

Boom.

So once I saw that for myself, I knew that it was possible.

This is my goal.

I'm going to do it.

Ba, plié.

Plié.

I feel like you go ba, da, ba, ba, ba, instead of boom, boom, boom, boom, boom.

Mm-hmm.

Something to work on.

[hallway sounds echo] [door closes] -Hello!

-How are you?

Do you know if there's an empty studio here we can use?

[speaks Portuguese] Bom dia.

Umm... [fast-paced music playing] Manoela (in Portuguese): Sim, que... Por favor!

I don't really know what I'm doing.

[laughs] As you can tell, we're winging it.

But it's fun to film friends.

I know them since we were, like... 12 years old?

We were in school together, the three of us, in Brazil, and now they both work here at Joffrey.

[poignant music] The school is... a big part of the reason I stayed in dance, I think.

It has this big tradition in Brazil.

It took me some time to realize that dance was my ticket out.

And if I don't go now, that's kind of it for my situation at least.

It's a little bit of a shame because Brazil, if we gathered them all back, it would just be this incredible cultural hub for dance.

But most people are leaving.

[laughing heartily] Fernando: She's the same.

She's the same person that we grew up with.

This sounds horrible.

You didn't change.

Like, you're still like a 12 year old.

[belly laughter] [applause] The year I graduated, everybody went abroad.

London felt like the perfect place to go, but I was a bit scared to move.

I did two years there, graduated, and stayed in Europe.

I've been in Munich and Zurich, really nice companies.

But I think from the beginning was a love-hate thing.

There is this trying to achieve some ideal perfection or something.

photographer: Three.

[shutter clicks] Yeah.

And it's like, I am only worthy if I look like Miss Universe.

Sometimes the skinniest I've been working was the the most miserable I've been.

I had people stop a whole room with, like, 60 girls, and be like, "Everybody look at Manoela now."

"She looks great."

And I was so sick.

I was like [gulps], "I feel terrible."

[laughing] I think that's when my process of letting go of being a dancer started.

I've been directing some things, and I did some music videos.

I'm just trying to learn.

[giggles] director: Yeah.

That makes sense.

I just got interested in being the other side instead of showcasing it myself as a piece of the art.

Okay.

Enough.

[laughs] [coos warmly] [happy purring] [low piano notes play] [stick-slip friction] Xavier: Guess I'm feeling a little anxious knowing how busy I am.

Especially because I'm a dancer here.

It just gets tiring, managing and juggling everything.

So, Xavi, just temper the landing a little bit so she doesn't feel like she has to go so fast.

Big arms, push.

Big arm before the push.

[piano melody plays] Xavier: The program we're doing now, it's very heavy on partnering, so I'm doing a lot of lifting, carrying, and like, it's honestly tearing up my body a little bit.

[piano notes rise in tension] Every day, it's a new pain.

It's been like my back and my neck and then sometimes my ankles.

choreographer: Alright, good.

Xavier: My ankle has just been, like, really jammed.

It's just stuck.

-Yeah.

[wincing] Oh!

-Is that okay?

-Yeah.

It feels like it needs to pop or something.

[breathes in, then out] Maintaining our body as a dancer is something that you have to do all the time.

But it's not only your body.

It's also your mind.

physical therapist: Flip onto your stomach.

Xavier: physical therapist: So are you familiar with that band?

-Yeah.

I hate doing this.

[chuckles] Xavier: You can start to feel super lonely.

You're not in rehearsals with your friends, and all you can focus on is how much pain is there.

I'm a smaller guy, and my first few jobs, I was little, like, a lot smaller.

And so I was constantly being told that I had to eat more, had to go to the gym.

One director was like, "You need to go pump it up."

Like, "No excuse."

How do I change...?

This is who I've been my whole life.

I was really obsessed with how my body looked, and I probably gained, like, 20 pounds in... two, three months?

I felt like I had to, like, just hide who I was a bit.

We dance in front of a mirror every day, six hours a day.

That's gonna mess with your head.

I do have some... body image issues, and I think every dancer goes through that.

Martha: dancers: How's your face?

dancer: Martha: Um.

Can I play from top?

[calm, serene music] This weekend, I did sit down and map out what was left to be done.

For them to have had a day off, it seems like it's settling deeper into their bodies.

I feel like we're at a good pace.

Like, we're definitely jamming.

-Seven, eight.

But it doesn't feel too much like jamming only because... Four.

One more time.

I want there to be layers and I don't want to sacrifice the layers because of time.

Can we do it one more time?

And then, breathe.

-[galloping music] -[Martha counts quickly] A one, a two, three.

-[high-pitched impact] -Martha: dancer: Martha: Do you need to sit down?

dancer: Martha: Don't be a hero.

[galloping music continues] Martha: Andrew: I-I just, like, slipped and hit the floor so hard.

And I just, like, I, like, bruised my entire side of my leg, and I was just, like, out of it.

Martha: Please be careful.

Like, yeah.

Plea-- please be super, super careful.

Don't dance full-out.

dancer 2: It's kinda right there.

dancer 2: Andrew: Stuff like that happens.

Like, you kinda freak out for a second, your brain, 'cause like, um, like, this is what I'm doing for my life.

Like, this is it.

Like, this is the only body I have.

How you doing over there?

Martha: Here we go.

Jumping on one.

Don't dance full-out.

A one, a three, a five, six, a seven, a six.

I care about you as a human more than I care about you as an artist.

That's so much better than making you go to the ground.

And I really care about healthy dance spaces.

We're nailing.

I don't think you have to beat somebody down to get the best out of them.

Right.

Can I ask you for 60% full-out?

I feel like we've done a lot of things with the body today.

I wanna help preserve you.

Xochitl: Working with Martha, we're able to really lift each other up and push each other.

She's always like, "Wow.

You guys are just so beautiful."

And, like, we don't really hear that too much.

[laughing] So it's really nice.

Martha: You guys look great.

Literally, we'll pick back up where we left off.

I'm hoping and trying to prep tonight to make sure I can finish tomorrow.

So, thank you so much.

Guys, I love you.

-[dancers applaud] -Have a good day.

Everything that I'm doing, it just takes... time.

Go home!

I love you.

Get out!

I know you have things.

I love you.

I love you.

Andrew: Thank you.

-How are you?

-I'm fine.

-Are you sure?

-Yeah.

I just hit the floor hard.

Just tight.

-Thank you.

-Please take it easy.

-Thank you.

-Rest.

[mechanical whirring] Ellie: You worked so fast.

Manoela: I've been freaking out because I don't know if you heard that my visa took sooo long.

-I know.

I heard.

Ellie: We're slightly behind schedule.

Hopefully, when we do the fittings, there won't be, like, huge recuts or anything that need to happen, and we can just get it ready to go for her.

[introspective music] Manoela: Can I just have a look?

I'm getting the dancers to represent these five stages of grief.

I want her to be, like, a heavy figure.

[laughs] -Yeah.

Yeah.

And I wanted somebody to represent the depression.

Oh my God.

[laughs] Manoela: Because I went through a bit of depression and of course it can be sadness, but the real scary depression is this... lack of feeling things.

Ellie: Does that feel like it's gonna get in your way if it's just hovering above your feet there?

-No.

-Okay.

No, it's good.

Manoela: Should we just run it?

Okay.

Let's go.

The solo, it's my way of transforming depression into acceptance.

It's really this feeling.

Somebody's put, put.

Yeah.

Have this... moment.

Yes!

[pounding music] Are you okay?

Yeah.

The second part of the piece, the skirt is off.

You did it!!!

Okay.

Good.

So she's lighter and more free to move.

And then she dances in the end together with everybody else.

[tender piano melody] I feel the dancers are really getting it.

[clothing rustles] But I'm not like, "It's my way and that's it."

Manoela: dancer: Manoela: I don't want anybody to have to fit into a mold that is really not for them.

Manoela: It's this thin line of... Yeah.

I want to be... as nice and empowering to the dancers, I want them to feel pushed in the right direction, but not pushed down, like I've been in my past.

Close the circle.

These dancers are so beautiful.

It's really nice, guys.

Yeah.

Thank you.

I-- I don't know how you're feeling.

Is it, is it feeling organic?

Okay.

[Xavi sighs] Hey, guys.

Let's keep working on... Da, di, this one.

[dancers giggle] My piece for Winning Works has transformed.

Down the middle.

It feels more of a piece about coming of age.

When you're ready.

[piano plays complex melody] I feel like I'm starting to cross over to the second half of my career.

Travel.

[snaps] And that's scary.

Beautiful.

I'm plagued by living in the past, living in the future, and... having a hard time in the present.

Alright.

Pause.

Pause.

Pause.

Pause.

Let's go with... -But, gotta look back to when I was 16.

I'm doing the thing now.

I'm doing it.

-[vibrant music] -One more time.

Bum, bum-bum-bum-bum ba, bum, bum.

Soft.

I'm gonna change something.

When I look at them, I kinda see my younger self.

This section should have more sass to it, you know?

"Oh, this is for you."

[bright flute melody] They have helped me learn that it is okay to put some vulnerability out there.

That's hard.

Yes.

Yeah.

Yeah.

Yeah.

Good.

And I can really see the difference of how they're moving.

Right here is definitely a moment.

They're looking good.

They're looking really good.

But I'm always gonna ask for more.

[laughs] Just keep this momentum.

I wanna try to run you guys as much as possible.

Thank you for your work today.

Bye!

Thank you.

Thank you.

Thank you.

[violins play airy finish] Jainil: Are the costumes in here?

stagehand: Jainil: Okay.

Ah!

So these are the costumes.

The brief I've given Ellie was about... it should be very pedestrian.

I told you about the four groups.

So we have the, the lemon yellow ones and then darker, darker.

-It's so good.

-Yeah.

mother: I was a choreographer.

I feel like my dream, he's living.

[laughs] I'm so excited to see his choreographed piece, what he visualized.

I'm very excited to see this.

Jainil: She's been a part of the process in terms of just the bread and toasters, but she has no idea what's actually gonna happen on stage.

So I'm really excited for her to see that.

Jainil [quietly]: mother [whispering]: Okay.

Yeah.

technician: So we have, like, the soloist first, and then here as they start to build and build and build.

-Yeah.

-But make it slow.

-Yes.

-Mhm.

I think the whole thing has to kinda start from where we ended with the really dark, dramatic.

-Yeah.

-And... Jainil [whispering]: technician: So this, what we're looking at now, is it a bit too hot for what we wanna start with?

Should we maybe dial it in a bit more?

-Yeah.

-Got it.

Xavier: When it came down to, like, theater week, I learned that I need to think about my piece not only in terms of choreography, but ultimately what people are gonna feel.

And there's not a lot of time when you're in the theater.

Lopez: -Mhmm.

-But then, as that section keeps going, you don't see the production.

-Yeah, I wish-- And the light is pretty enough... Jainil: [mother murmurs approval] Scott: Is somebody available to close that door?

Amanda, do you mind grabbing that?

[classical music playing] Scott: Beautiful.

Lopez: Xavier: I probably did.

[chuckling] Lopez: We really need to make time for Manoela.

Scott: Okay.

I think we have a sketch.

-Xavier: Yeah.

Thank you.

-My pleasure.

Thank you.

[ethereal music plays] Manoela: Guys, be in your lights!

Scott: Or do we just tell them to be in the middle?

Manoela: Guys, everybody mid-panel.

Yeah?

Dario, step back.

I really hate my screaming voice, but we were already in the edge, like, running against time to get everything done.

Scott: Couple things to fix there.

Alright.

Let's go into 339.

Lopez: Manoela: -Yeah.

-Yeah.

Things are never exactly how we imagined.

It's very off center.

You have your idea of the level you want it to be and it's too rushed, it doesn't work.

Manoela: Scott: Manoela: Yes.

Scott: -Yes.

Scott: For that, can we tighten it and put it right on the clump?

And try to put it right on the dancer's face.

Manoela: I wish we don't see them.

Scott: We don't wanna see the rest of the dancers?

Just the dancer in the air?

-Yes.

-We can do that.

Manoela: That's much better.

Scott: The thing is they have to hit this spot.

Gorgeous.

Manoela: Okay.

Derek, this is, like, big responsibility to really finish.

[laughs] Manoela: Scott: Sure.

Maybe we'll just do the final sequence to the clump.

Manoela: Scott: Six... fifteen?

[flowing piano melody with vocals] Manoela: It's been a lot for the dancers.

I think it's catching up to everybody.

This final moment of pulling it together.

Manoela: Aaaahhhh... [laughs] [belly laughing] Such a shame.

Scott: I think I can help that moment so it's not so... death-defying.

-Yeah.

Manoela: Thank you so much.

Thank you everybody.

He has the notes.

I need to run.

So we talk, we talk later.

-Yeah?

-Yeah.

-Beautiful work today.

-Thank you.

[clapping] [tracks rumble] Houston's father: I can name so many peoples on this block.

Houston: Yeah.

-We used to stay upstairs till Houston got older.

-Mhmm.

-We moved downstairs because he needed more room and space.

We had made it to like a ballet room.

So he had the barres.

I put mirrors all the way across the wall and everything for him.

Put down a floor for him and everything so he could practice and everything.

And I mean, he just practiced, every day, every night, he didn't never stop practicing.

Houston: I had a really good time growing up on the South Side of Chicago.

It was fun.

Still got Larry over there.

-[laughing] Larry over there.

We got Ruben over there.

We got Ruben right there.

Larry: He never got in trouble.

Houston would have to do his praise dance and he'd be upset.

-Yeah.

-[both laugh] -Yeah.

-Listen, when there was an opportunity to dance, my mother made sure I was dancing.

Marlon: That's right.

Sure did.

-Yeah.

-[both laugh] I have a lot of respect for both of my parents.

I really... especially being Black, being a Black boy in ballet, I could see how that would be hard for my father.

Marlon: I tried every other type of sports.

He just loved dancing.

So once he got into dancing, he never stopped.

And so I would get up every morning, take him to his school down the street, then I would pick him up at three o'clock.

We'll stop at his favorite restaurant.

We'll stop at the Popeyes where he get food for free.

They get it for free.

-Yeah.

-But I had to pay for my food.

I would take him downtown to Joffrey Ballet, pick him up every night at eleven o'clock.

He come home, do his homework for an hour and a half, back up seven o'clock in the morning, we doing this again, over and over and over.

He was serious about it.

You know, he took his, he took it like it was a job, you know.

It feels really good to be back here.

It's, like, a great reminder of, like, where I came from and my roots.

And, yeah, just even being on the street is quite special for me.

-Yeah.

-And seeing that room... [Marlon chuckles] Seeing that room is quite [voice trembles] emotional for me because, like, that's where it all started.

That's where I would create ballets when I was seven years old.

So for me, it's really something special to see.

That was my stage.

Don't make me cry.

Please don't make me cry.

But I'm so proud of him.

I'm serious.

I'm proud of my son.

I love him to death.

You know, I'd do anything for him, and he know that.

I really love him.

He's a good kid.

And I know his mom is crying right now because [voice breaks] how good he turned out.

[sniffs] You know, so, I'm sorry about that, you know.

I lost my mother back in 2017 to breast cancer, and uh... I didn't know how I would react to being back in Chicago and not having my mother.

[moody jazz saxophone] Houston: Even just being in a Joffrey tower, there are so many moments where I see my mother in spots that I remember her sitting there or being in the studio.

Like, those things just come back.

Especially after several years of living in Europe, you have this disconnect with your family, you barely see them, and then this tragedy happens.

You know, the love of my life is gone.

The person who held everyone together, that person is no longer here.

[bittersweet melody] I will see a lot of my family members tomorrow, and I had this, like, idea of fear of seeing some of these people.

And I think being here, I realized how much of that fear was B.S.

and how much power I have over myself, actually.

I'm always thinking of the future.

I'm already planning myself of how I'm gonna navigate talking to old family members, and it's just, like, "Houston, get there and see."

[ambient city sounds] [busy chatter] Manoela: Do you know their hearts?

They do this heart like this.

-Jainil: I know this.

-I cannot do it.

Oh... She knows better.

It's really hard.

-Martha: It's so extra.

-Like, look, they are so good at it.

We are old.

This heart is gone.

That's old heart.

-[dancers sigh heavily] -[optimistic music] dancers: Martha: Costume, it's turned up.

Lighting, it's turned up.

It's easy, with their rigorous schedule and what is demanded of them, to forget nuance and detail.

Given grace for that, I definitely walked in knowing that they're probably tired and there might be a few things I need to go back over.

Lopez: Let's go on with... should we do Martha?

Martha: You're here, and you're on, and you're ready.

Relax.

Respectfully, don't come out like it's Houston's.

We are not dancing to John Cage.

If we can be a little more grounded back into the earth, that's, like, chef's kiss.

Lopez: So, Manoela.

Manoela: I'm here.

It's a stressful situation.

Things are going not right.

The image is Ana.

Oh, that's who's missing.

Ana Carolina is not here.

Where is she?

dancer: Jainil: 7:30.

Yeah, time... Manoela: I think we should just do it once if it's okay, for placement.

Lopez: If we have time.

Lopez: -Yeah.

Okay.

[laughs] We do it and then the pirouette.

Jump is great.

Okay.

Two more notes.

Six, seven, eight.

Boom ha, da, da-da-da.

Houston: Martha: Jainil: If we can, for this, I know it's, you have the bread, but really go-- [clapping complex rhythm] Martha: Jainil: Any other questions?

Especially-- -One more thing for you.

We count bread before and after every show.

We're missing five pieces of bread.

Houston: She sounded mad about that.

Jainil [laughing]: The bread... Houston: Okay.

So quickly, it's gonna be lights, Josh is gonna yell, "And!"

And that will be our cue for ladies to enter, and music.

Josh: And!

[rumbling piano chords] Oh, is that clear?

[music stops] I think that works for me.

Yep.

So let's do that.

And don't, you can really yell, yell, yell that, so that it really feels intentional.

You know?

But great job, Josh.

Thank you!

-[all clap] -[cymbal swells] -[rolling piano melody] [quiet murmuring] [excited chatter] [echoing conversation] relative: Houston Thomas is my cousin.

Well, he's all of our cousins.

-There you are.

-Thank you so much.

-You're very welcome.

-He sent me a message yesterday.

He said, "I'm so nervous."

I said, "I bet you are."

-He's not nervous.

Come on now.

-He's a little bit-- -This is the first time for us.

Definitely not the first time for him.

I've been watching his TikTok, and he said, "I'm coming to Chicago."

I'm like, I got my ticket.

I'm coming.

She sent out a blast email, "Come on."

"We gotta get our tickets so our seats are together."

All of his family is here.

Are you filming?

Girl!

[laughing] cousin: I hope I didn't embarrass him, I love him... [cheerful piano music] [bright melody] Jainil: Hi.

Oh, Manoelaaa!

Hey!

I love this.

Just grab like a handful and I think because this is so, like, delicate.

-Mm-hmm.

How many are left?

-Just four.

-Oh, you have 12 dancers.

-I have 12.

I did 33 letters in the morning.

-I saw, that was so sweet.

But yeah, I should have done this earlier, definitely.

Jainil: Oh my god.

Why would you do this to yourself?

-You all ready for tonight?

-I'm ready.

You're ready.

Hey!

Ta-ka, ka-la, la-la.

Whoa!

[snaps] -And the earrings.

-Yeah.

Let£s do a ramp walk.

-Martha: What's that?

-Like a ramp walk.

-Oh, I love that.

Do you wanna lead the way?

-Six, seven, eight.

And one.

[Jainil exclaims happily] -Just two?

-Yeah.

Hello.

Welcome.

[warm greetings] How is everyone on time?

I'm nervous.

You'll be great.

-Your mom's nervous, but-- -Yeah.

Jainil: No.

It's very weird because usually, like, I'm on stage.

There's some different kind of nerves, but it's good.

Houston: Hey.

I really don't even have any words.

-I know.

-I'm like, silent.

This is my cousin.

Oh.

And we haven't seen each in, like, eight years.

You got one?

Hello.

cousin: We may not see you -I'm sorry.

-...until after the show.

-Ohhhh.

I love you so much, I'm so excited.

Good to see you.

[laughs] -I'm gonna start crying.

-Don't start crying.

-How are you?

-I am so incredibly proud of you.

And I wish your momma was here so bad.

Houston: I know... [smooch] -cousin 2: Share!

Share!

-[Houston laughs] [buzzing conversation] [indistinct] Xavier: -Oh, that's good.

Houston: Oh.

Here we are.

Announcer: Welcome to the Joffrey Academy of Dance's 14th Annual Winning Works.

Enjoy the performance.

[audience applauds] [bright, brisk string music] [folk-inspired classical melody] Xavier: My piece came up, and all of a sudden, my heart went whoomp and just dropped.

My heart dropped, and... I realized, like, oh, man.

This is the moment.

[deep, rich chords] Remembering my first rehearsal with them... [chords swell] and seeing how it's grown, that was really special for me.

[lyrical violin notes] Once it was happening, it was like, there's nothing I can do, it's in their hands now.

[piano and strings bounce joyfully] I didn't know how proud of them I was gonna feel.

Xavier: Beautiful.

Good.

[ecstatic climax] [vigorous applause] [cheering] Woo!

Right now, that younger me would be so proud.

I think I've become the person that I have wanted to be.

And I'm still becoming that person.

[dancer squeals] [happy chatter] Xavier: Alright.

Good job, guys.

dancers: Thank you!

[door hinge creaks] [intense, industrial noise] [aggressive, singular beat] [feet patter] [dynamic, rhythmic drumbeats] [male vocalist sings sustained notes] Jainil: I think I'm at a very great, happy space right now, with what I'm doing professionally, personally.

And it's mainly because of this piece.

I'm not gonna lie.

It's a never ending journey, but it's also, at least at the moment, a happy one, to enjoy where I'm at personally and professionally.

[singer whispers improvised vowels] [powerful beat] [melodic singing] [lyrical, yearning music] [aggressive beat returns] [audience roars] [sustained applause, whistling] That was fabulous!

[excited conversation] [chatter dwindles] [pensive, soft music] Martha: Beautiful.

Dancing is the gift that exists within me whereas choreography is my gift that exists outside of me.

[strong, driving rhythm] [double-time rhythm] [powerful strings play] [music softens abruptly] Teaching dance speaks to posterity and legacy.

That feels like... me passing on the torch.

[ticking percussion] Martha: One, three, and four, and stay on beat-ah with your feet.

Right at left.

Kyra: One thing Martha said to me that I don't think I will ever forget was when you do Kyra, it's amazing.

She said, "I don't want you to dance like anybody else in the room."

[calm, confident music] Martha: For them to know that not only did I make it to the end of the process, but we made it to the end of the process was really like, whew!

We did it.

And now I'm overwhelmed.

And now I can't stop crying.

[steady drumbeat] [audience cheers] [whistling] [cheering surges] Martha: Love you guys.

You're so freaking good!

Josh: Go.

♪ Sometimes it feels like I could give it all up ♪ ♪ To be held by you ♪ ♪ But that's not all the time ♪ ♪ No, not all the time ♪ ♪ Only when I can't breathe ♪ ♪ Only when I wanna believe ♪ ♪ Only when you're far away ♪ ♪ Far away, far away ♪ Manoela: This has been such a beautiful experience.

I'm so proud of the dancers.

Now I'm working on being less judgmental with myself.

[singer croons] Feeling fulfilled.

This is more about being happy with the process, happy with my improvement.

This is more than two minutes on stage.

I want to enjoy the journey.

[music darkens] [eerie pounding] [menacing taiko drumming] [intense, driving rhythm] [drumming builds to climax] [cheers and applause] Whoooo!

[dancers talking] [dramatic, modern piano music] Houston: Boom.

Ba.

Nice.

[dramatic piano chords] Feet behind.

Yes!

[notes soften] I think that I-I'm in the process of healing.

Seeing people, talking to them, who are unlocking memories that I forgot about.

[tender piano melody] The dance helps.

The dance is like a meditation, and creating it here in Chicago feels a bit more personal.

-[cymbal shimmers] Making this ballet... -Three, four... is healing me.

There we go, five, six, seven... I was eager to put all of those memories and emotions into this piece.

[piano harmonizes with jazz] [music slows, then fades] [audience applauds] Houston: Just like Houston sitting at The Nutcracker, watching that performance, having these huge dreams... Martha: I am doing the same in this chair right now.

[tender piano] [cheering continues] Houston: Amazing.

[boisterous whistling] Houston: That was a performance!

That was a performance!

I was shaking.

companion: It was so good.

Kyra: My mom is here!

I'm so happy!

Kyra's mom: She talks about you all the time.

-I said, "Kyra, this is the first of many things."

"I don't know what I'm doing, but you're invited."

Marlon: You didn't know it was me, huh!

[laughing] I'm doin' good, man.

Good to see you, man.

You did a hell of a job with 'em.

-[Houston laughs] -[Jainil cackles giddily] -Ahhhh!

-We did it!

[piano savors final notes]