- OK, Brady.
You're the Rocket Man, and you're telling a story.
Maybe you're not landing on the moon.
Maybe you're landing on some other planet
that we haven't explored before.
Maybe it's Planet Dance.
I don't know any astronauts personally,
but it's a pretty lonely job.
You're in that spaceship by yourself.
You're alone.
And then once you make a successful landing,
which oftentimes they don't--
if they are successful in their landing,
they're on the moon by themselves.
You're alone.
The stage is your planet, and you get to explore that stage,
and you get to share with the audience
what's happening there.
All right?
And how it feels to be a male dancer.
But I expect your turns to be on point-- tight and fast.
I don't want to see that left elbow wiggling.
I shouldn't have to change the arms every time you do a turn,
because your arms aren't strong enough.
I want them to appear strong.
That's your carriage.
That's your case.
It comes from your back.
I want you to make sure that those arms are
strong throughout the piece.
OK, I-- we don't usually start guys on the stage,
but I think we need to.
Lay down.
Face the back.
I know as soon as Stacey sees this she's going to say,
that's Lilly's dance.
Like nobody ever started laying on the floor
facing the back before.
Hug your knees. Yeah.
I want your knees-- your knees are going to go up in the air.
Demi-pli your feet up straight.
So now let me see what it looks like for you to flex and bend
and point, as if-- bend your knee like you're
walking on the moon.
But slow.
Like, really slow.
One, two, three, four.
That looks like space.
Like he's in outer space and he's walking on the moon.
GIANNA: If you roll backwards and dig one foot under.
It needs to be weird, like you're coming out
of that rocket ship somehow.
It looks really awkward.
Your shoulders are on the floor and your head's
tucked in, and your--
go ahead.
Roll that way.
Tuck your head under.
Right.
Rond de jambe.
Lay-- like, hold right here.
Ha.
And then we just fall here.
Move straight up in the air.
More.
Ah.
Over.
Pop-- do you want him stand up now?
Yes.
Do it.
He could just-- he could pop to his feet, and then like--
pull.
Just pull this out.
And then pull it back or something.
Get back in the pli .
Get back on the floor, on your stomach.
Now, what if you push back into that knee and foot?
Knee-- yeah, there.
Now step up on your right foot.
And like, just right there, hit a big, arched back lunge.
It's better, but you want to get up-- you
want to use your stomach to get up off the floor.
I'm trying to still get you on the left side, here.
And then, like, switch it here.
Switch.
And then that's the leg right there.
There.
That's what I thought.
That's like the-- right there.
OK.
This is new territory.
You're discovering the craters, and the--
GIANNA: And your head--
your head can be down.
Like, your focus can be down on the pench .
Ha. Down.
Down.
Ha.
Up, two, three, four.
Break it in here.
Flex.
Flex, flex, flex, flex.
Gia, over here.
We don't need to go back that low after that.
You need to-- we need to think about the story you're telling.
I think you are better with the story.
I think you're starting to own that,
and realizing that when you have a story,
it's an easier win, because you're
telling the audience something.
You're taking them on a journey with you.
And right now, you are in outer space,
and you are taking those three judges onto that Planet
Dance with you.
And you are discovering the surface of the ground.
What's going on up there?
What are you discovering on this new planet?
And then we have to get you home,
because Pittsburgh is your home now,
and I don't want you to keep leaving.
I want you to stay here.
But those girls that-- you know, they have to win without you.
That's what it comes down to.