Settle Down by Alexa Romancewicz and Teresa Dominick
Hide & Seek by Jennifer Kuhnberg
Kopi by Cassandre Charles
Little Birdie by Rebecca McGowan
Our world of restarts and tomorrows and infinite possibilities by Cassie Wang
PLAYFIGHT (excerpt) by Dani Robbins
next i will by Nell Manchini
Illusions by Circe Rowan
idle by Madison Florence and Sarah Ready
Krishna comes to Vrindavan (Mohiniyattam) by Sapna Govindan
I Am by Maria Napoli
Don't Leave by Tess Saoirse Liddy
An Attempt at Making a Life: Chapter 1 by Liz Mulkey
Where I would be, I cannot by Jo Troll
Hide & Seek by Jennifer Kuhnberg
Kopi by Cassandre Charles
Little Birdie by Rebecca McGowan
Our world of restarts and tomorrows and infinite possibilities by Cassie Wang
PLAYFIGHT (excerpt) by Dani Robbins
next i will by Nell Manchini
Illusions by Circe Rowan
idle by Madison Florence and Sarah Ready
Krishna comes to Vrindavan (Mohiniyattam) by Sapna Govindan
I Am by Maria Napoli
Don't Leave by Tess Saoirse Liddy
An Attempt at Making a Life: Chapter 1 by Liz Mulkey
Where I would be, I cannot by Jo Troll
|
Settle Down
Choreographed by Alexa Romancewicz and Teresa Dominick Music by Kimbra |
I wanna settle down
I wanna settle down
Won't you settle down with me?
Settle down
We can settle at a table
A table for two
Won't you wine and dine with me?
Settle down
I wanna raise a child
I wanna raise a child
Won't you raise a child with me?
Raise a child
We'll call her Nebraska
Nebraska Jones
She'll have your nose
Just so you know I wanna settle down
I wanna settle down
Won't you settle down with me?
Settle down Run from Angela Vickers
I saw her with you Monday morning small talking on the avenue
She's got a fancy car
She wants to take you far
From the city lights and sounds
Deep into the dark
Star so light and star so bright
First star I see tonight
Star so light and star so bright
Keep him by my side
I wanna settle down
I wanna settle down
Baby, there's no need to run
I'll love you well I wanna settle down
It's time to bring you down
On just one knee for now
Lets make our vows
Star so light and star so bright
First star I see tonight
Star so light and star so bright
First star I see tonight
Star so light and star so bright
Keep him by my side
Hey, oh, oh
Hey, oh, oh
Hey, oh, oh
Hey, oh, oh
I wanna settle down
Won't you settle down with me?
Settle down
We can settle at a table
A table for two
Won't you wine and dine with me?
Settle down
I wanna raise a child
I wanna raise a child
Won't you raise a child with me?
Raise a child
We'll call her Nebraska
Nebraska Jones
She'll have your nose
Just so you know I wanna settle down
I wanna settle down
Won't you settle down with me?
Settle down Run from Angela Vickers
I saw her with you Monday morning small talking on the avenue
She's got a fancy car
She wants to take you far
From the city lights and sounds
Deep into the dark
Star so light and star so bright
First star I see tonight
Star so light and star so bright
Keep him by my side
I wanna settle down
I wanna settle down
Baby, there's no need to run
I'll love you well I wanna settle down
It's time to bring you down
On just one knee for now
Lets make our vows
Star so light and star so bright
First star I see tonight
Star so light and star so bright
First star I see tonight
Star so light and star so bright
Keep him by my side
Hey, oh, oh
Hey, oh, oh
Hey, oh, oh
Hey, oh, oh
|
Hide & Seek
Choreographed by Jennifer Kuhnberg Music by Imogen Heap |
Where are we?
What the hell is going on?
The dust has only just begun to form
Crop circles in the carpet
Sinking, feeling
Spin me around again
And rub my eyes
This can't be happening
When busy streets
A mess with people
Would stop to hold their heads heavy
Hide and seek
Trains and sewing machines
All those years
They were here first
Mm, what'd you say?
Mm, that you only meant well
Well of course you did
Mm, what'd you say?
Mm, that it's all for the best
Of course it is
Mm, what'd you say?
Mm, that it's just what we need
You decided this
Mm, what'd you say?
Mm, what did she say?
Ransom notes keep falling out your mouth
Mid-sweet talk, newspaper word cutouts
Speak no feeling, no, I don't believe you
You don't care a bit, you don't care a bit
Oh, no, you don't care a bit
You don't care a bit
What the hell is going on?
The dust has only just begun to form
Crop circles in the carpet
Sinking, feeling
Spin me around again
And rub my eyes
This can't be happening
When busy streets
A mess with people
Would stop to hold their heads heavy
Hide and seek
Trains and sewing machines
All those years
They were here first
Mm, what'd you say?
Mm, that you only meant well
Well of course you did
Mm, what'd you say?
Mm, that it's all for the best
Of course it is
Mm, what'd you say?
Mm, that it's just what we need
You decided this
Mm, what'd you say?
Mm, what did she say?
Ransom notes keep falling out your mouth
Mid-sweet talk, newspaper word cutouts
Speak no feeling, no, I don't believe you
You don't care a bit, you don't care a bit
Oh, no, you don't care a bit
You don't care a bit
Kopi
Choreographed by Cassandre Charles
Music by Cassandre Charles
Choreographed by Cassandre Charles
Music by Cassandre Charles
Good evening ladies and gentlemen. I am Dr. Marie Rose, Coppélia. Oui, I am a descendant of that guy, the puppeteer. The one who made the ladies to the ballet. I'm not going to get into much of why I decided to reclaim the ballet. I just want you to enjoy what I've done. Sit back, relax. Open your mind to something new. A new story. A new woman to be. Ladies and gentleman, 'shake the dust off'. KOPI is here to entertain you.
Little Birdie
Choreographed by Rebecca McGowan
Music: traditional, learned from the singing of Ralph Stanley
Choreographed by Rebecca McGowan
Music: traditional, learned from the singing of Ralph Stanley
Little birdie, little birdie
Come and sing to me your song
Got a short time to stay here
And a long time to be gone
I’d rather be in some dark hollow
Where the sun don’t ever shine
Then for you to be another man's darling
And to know that you'll never be mine
Now I’d rather be a sailor
Way out upon the sea
Then to be some married woman
With a baby on my knee
Little birdie, little birdie
What makes you fly so high
When you know that my true lover
Is waiting in the sky
Come and sing to me your song
Got a short time to stay here
And a long time to be gone
I’d rather be in some dark hollow
Where the sun don’t ever shine
Then for you to be another man's darling
And to know that you'll never be mine
Now I’d rather be a sailor
Way out upon the sea
Then to be some married woman
With a baby on my knee
Little birdie, little birdie
What makes you fly so high
When you know that my true lover
Is waiting in the sky
Our world of restarts and tomorrows and infinite possibilities
Choreographed by Cassie Wang
Music by Léo Delibes, Isao Tomita
Choreographed by Cassie Wang
Music by Léo Delibes, Isao Tomita
Tomorrow, and tomorrow, and tomorrow,
Creeps in this petty pace from day to day,
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to dusty death.
Out, out, brief candle!
Life's but a walking shadow, a poor player,
That struts and frets his hour upon the stage,
And then is heard no more.
It is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.
Sous le dôme épais
Où le blanc jasmin
À la rose s’assemble
Sur la rive en fleurs,
Riant au matin
Viens, descendons ensemble.
Creeps in this petty pace from day to day,
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to dusty death.
Out, out, brief candle!
Life's but a walking shadow, a poor player,
That struts and frets his hour upon the stage,
And then is heard no more.
It is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.
Sous le dôme épais
Où le blanc jasmin
À la rose s’assemble
Sur la rive en fleurs,
Riant au matin
Viens, descendons ensemble.
PLAYFIGHT (excerpt)
Choreography by Dani Robbins
Text by
Choreography by Dani Robbins
Text by
Dancers speaking in dark, two femme voices in unison:
To be a performance artist, you have to hate theater. Theater is fake. The knife is not real, the
blood is not real, and the emotions are not real. Performance is just the opposite. The knife is
real. The blood is real. And the emotions are real.
(Man’s voice, with breath sounding labored. Sound has been chopped up into awkward phrases)
You’re right. You don’t know anything about all by myself. You’re right. You don’t know
anything about where you’re coming from, yeah, and where I’m coming from. And where you’re
coming from, yeah, and where I’m coming from. Because it’s mind boggling to you, yeah! How
one man can make it to the top by myself, by myself, by myself, by myself (yells many times).
‘Cause I’m the champion by myself! All by myself! Cause I’m all by myself! (Softer) All by
myself. I think you don’t know where I’m coming from.
(A second man’s voice)
You can’t say that on TV.
(Man 1)
I can say that.
(Man 2 again)
You can’t say that on TV.
(Man 1)
I can say that. I know everything about talkin’ about history, talkin’ about history. Because on
that particular night in Boston, I was the greatest professional wrestler in the world!
(Man 2 again)
You can’t say that on TV.
(Man 1)
I can say that. I’m the Intercontinental Heavyweight Champion of the World. Man, I think that
your time is done and I think that the spotlight should go on top of me, yeah! Cause I’m the
champion by myself! All by myself!
Understand that I got things in proper perspective now. Ok, let me repeat myself. That I got
things in proper perspective now. I don’t hear nothin now, I don’t hear nothing. Let me tell you
what’s going to happen, ok, no promises, just guarantees. Ok, let me repeat myself. No promises,
just guarantees. I’m on my way now, doing things my way! ‘Cause I’m that champion by myself,
all by myself! How do ya like that?!
To be a performance artist, you have to hate theater. Theater is fake. The knife is not real, the
blood is not real, and the emotions are not real. Performance is just the opposite. The knife is
real. The blood is real. And the emotions are real.
(Man’s voice, with breath sounding labored. Sound has been chopped up into awkward phrases)
You’re right. You don’t know anything about all by myself. You’re right. You don’t know
anything about where you’re coming from, yeah, and where I’m coming from. And where you’re
coming from, yeah, and where I’m coming from. Because it’s mind boggling to you, yeah! How
one man can make it to the top by myself, by myself, by myself, by myself (yells many times).
‘Cause I’m the champion by myself! All by myself! Cause I’m all by myself! (Softer) All by
myself. I think you don’t know where I’m coming from.
(A second man’s voice)
You can’t say that on TV.
(Man 1)
I can say that.
(Man 2 again)
You can’t say that on TV.
(Man 1)
I can say that. I know everything about talkin’ about history, talkin’ about history. Because on
that particular night in Boston, I was the greatest professional wrestler in the world!
(Man 2 again)
You can’t say that on TV.
(Man 1)
I can say that. I’m the Intercontinental Heavyweight Champion of the World. Man, I think that
your time is done and I think that the spotlight should go on top of me, yeah! Cause I’m the
champion by myself! All by myself!
Understand that I got things in proper perspective now. Ok, let me repeat myself. That I got
things in proper perspective now. I don’t hear nothin now, I don’t hear nothing. Let me tell you
what’s going to happen, ok, no promises, just guarantees. Ok, let me repeat myself. No promises,
just guarantees. I’m on my way now, doing things my way! ‘Cause I’m that champion by myself,
all by myself! How do ya like that?!
next i will
Choreography by Nell Manchini
Score Created by Nell Mancini, uses sound from "Menswear" by the 1975, and "Should I Stay or Should I Go" by the Clash
Choreography by Nell Manchini
Score Created by Nell Mancini, uses sound from "Menswear" by the 1975, and "Should I Stay or Should I Go" by the Clash
next I will (spoken and repeated by dancer)
menswear song lyrics:
"Well I only brought three, what you lookin' at me for?"
She's dressed in white and putting off crying
"Well you're the best man, so what's the plan?
Why don't you talk to Matty about it?"
I said, "I only brought three like I told you before
We're gonna have to ask about"
Free bar, that's the point
Spilling Amaretto 'cause of previous joints
I'm sitting with a girl, fortunate placing
Preceding railing racket off a porcelain basin
And who's he? Giving you the lips?
I've never seen him knockin' about
He looks just like me, but six foot three
So I reckon you could knock him out
"Well, I think I'll say a couple of words if you don't mind
I never really got on with your bird the first time
I met her out, dressed in nowt
Tellin' everybody you were shagging about"
Well, who's this? Going for the kiss
I'm probably gonna yosh in your mouth
Because it's five past three, I can hardly see
And I'm on the verge of passing out
menswear song lyrics:
"Well I only brought three, what you lookin' at me for?"
She's dressed in white and putting off crying
"Well you're the best man, so what's the plan?
Why don't you talk to Matty about it?"
I said, "I only brought three like I told you before
We're gonna have to ask about"
Free bar, that's the point
Spilling Amaretto 'cause of previous joints
I'm sitting with a girl, fortunate placing
Preceding railing racket off a porcelain basin
And who's he? Giving you the lips?
I've never seen him knockin' about
He looks just like me, but six foot three
So I reckon you could knock him out
"Well, I think I'll say a couple of words if you don't mind
I never really got on with your bird the first time
I met her out, dressed in nowt
Tellin' everybody you were shagging about"
Well, who's this? Going for the kiss
I'm probably gonna yosh in your mouth
Because it's five past three, I can hardly see
And I'm on the verge of passing out
Illusions
Choreographed by Circe Rowan
Text by Circe Rowan
Choreographed by Circe Rowan
Text by Circe Rowan
When I was a kid, I fell in love with stage magic. I was fascinated with the idea of making things look like something they're not. I read everything I could get my hands on -- not just like the big secret of sawing someone in half, but the psychology of how to fool people into seeing what you want them to see.
I had no idea how useful this would become later in my life.
If you've seen any of the other pieces in this series, you'll know that I have a connective tissue disorder. It is a genetic condition, an "inborn error of collagen formation". The most noticeable symptom is that I am radically bendy, but it also affects any system that relies on the elasticity of collagen to function. Which is pretty much all of them.
Most people don't notice, because I don't want them to. I use the same principles of misdirection I learned as a wayward kid. Step one is not mentioning anything you don't want to draw attention to. No magician is going to point out the compartment in the table where their assistant is hiding while they stab swords into an empty box.
My proprioception is terrible. I still bonk myself into corners and railings in a building where I have worked for over a decade. I whack myself with the hoop on a regular basis. Nobody twigs, because I don't react. It doesn't bruise less if I say ow, but it does distract other people, and I'd rather not have that conversation eighty times a day. It's difficult to get concerned people to stop being concerned. I really don't want to manage your feelings about what's wrong with me.
Step two is to not draw attention to the things you're not drawing attention to. The magician will not point out the mirror that looks like a hole in the middle of the zigzag cabinet, but they also make sure not to walk behind it. As a dancer, I don't do any inversions that involve throwing my weight onto my outstretched arms. My elbows don't always collapse, but in this context, sometimes is more than enough. So I don't use it in my work. Why would anyone notice? I do a lot of other impressive things.
They also don't notice I use the railing and look at my feet on stairs.
Step three is to make any remaining strangeness look natural. This can be dangerous; more than one magician has died on stage because the audience thought a dramatic collapse was part of the act. Mostly this means being casually eccentric. Maybe I'm swaying back and forth because I've caught a groove -- or maybe I'm moving me out of the hoop's way as much as I'm moving it out of mine. People ask if my hair is heavy, if it causes me neck problems -- yes, and yes. But it's also a good accelerometer, and useful when I'm moving fast.
All of this is a lot of work. The weight of a dance hoop is measured in grams, but it pulls on you a lot when it's going fast. It's more effort than you'd think just to make it look like it's standing still. You learn to school your face, and pointedly not limp. But I do it anyway. The only alternative is to let it drop.
Patrons can see the text for all the movement-monologue pieces (so far) by looking at https://circerowan.blogspot.com/search/label/script
I had no idea how useful this would become later in my life.
If you've seen any of the other pieces in this series, you'll know that I have a connective tissue disorder. It is a genetic condition, an "inborn error of collagen formation". The most noticeable symptom is that I am radically bendy, but it also affects any system that relies on the elasticity of collagen to function. Which is pretty much all of them.
Most people don't notice, because I don't want them to. I use the same principles of misdirection I learned as a wayward kid. Step one is not mentioning anything you don't want to draw attention to. No magician is going to point out the compartment in the table where their assistant is hiding while they stab swords into an empty box.
My proprioception is terrible. I still bonk myself into corners and railings in a building where I have worked for over a decade. I whack myself with the hoop on a regular basis. Nobody twigs, because I don't react. It doesn't bruise less if I say ow, but it does distract other people, and I'd rather not have that conversation eighty times a day. It's difficult to get concerned people to stop being concerned. I really don't want to manage your feelings about what's wrong with me.
Step two is to not draw attention to the things you're not drawing attention to. The magician will not point out the mirror that looks like a hole in the middle of the zigzag cabinet, but they also make sure not to walk behind it. As a dancer, I don't do any inversions that involve throwing my weight onto my outstretched arms. My elbows don't always collapse, but in this context, sometimes is more than enough. So I don't use it in my work. Why would anyone notice? I do a lot of other impressive things.
They also don't notice I use the railing and look at my feet on stairs.
Step three is to make any remaining strangeness look natural. This can be dangerous; more than one magician has died on stage because the audience thought a dramatic collapse was part of the act. Mostly this means being casually eccentric. Maybe I'm swaying back and forth because I've caught a groove -- or maybe I'm moving me out of the hoop's way as much as I'm moving it out of mine. People ask if my hair is heavy, if it causes me neck problems -- yes, and yes. But it's also a good accelerometer, and useful when I'm moving fast.
All of this is a lot of work. The weight of a dance hoop is measured in grams, but it pulls on you a lot when it's going fast. It's more effort than you'd think just to make it look like it's standing still. You learn to school your face, and pointedly not limp. But I do it anyway. The only alternative is to let it drop.
Patrons can see the text for all the movement-monologue pieces (so far) by looking at https://circerowan.blogspot.com/search/label/script
|
idle
Choreographed by Madison Florence and Sarah Ready Text by Sarah Ready |
Sand Pouring from Hourglass
Children's' laughter
Dancer 1 says: Wait
Dancer 1 says: Hurry Up
Children continue to laugh and play
Dancer 2 says: Stop
Grandfather Clock begins to chime
Louder Children's laughter
School Bell Rings (Grandfather Clock continues to chime in background)
Graduation March Begins
Dancer 2 says: Wait
Grandfather clock chimes louder
Dancer 1 says: Hurry Up
Cuckoo Clock chimes
Dancer says: Stop
Office work sounds begin (phones ringing, typing on computers, conversations)
Dancer 2 says: Stop Office work sounds continue
Dancer 2 says: Stop
Dancer 1 says: Hurry Up
Traffic sounds begin (horns beeping, cars speeding)
Clock ticks in background
Dancer 2 says: Wait
Traffic sounds continue clock ticks quicken and become louder (still background audio)
clock ticks become only sound
Wedding bells begin to ring
Here comes the bride begins as clock ticking in the backgrounds speeds up
clock ticking becomes only sound
baby cries
clock ticks faster
silence
Children's' laughter
Dancer 1 says: Wait
Dancer 1 says: Hurry Up
Children continue to laugh and play
Dancer 2 says: Stop
Grandfather Clock begins to chime
Louder Children's laughter
School Bell Rings (Grandfather Clock continues to chime in background)
Graduation March Begins
Dancer 2 says: Wait
Grandfather clock chimes louder
Dancer 1 says: Hurry Up
Cuckoo Clock chimes
Dancer says: Stop
Office work sounds begin (phones ringing, typing on computers, conversations)
Dancer 2 says: Stop Office work sounds continue
Dancer 2 says: Stop
Dancer 1 says: Hurry Up
Traffic sounds begin (horns beeping, cars speeding)
Clock ticks in background
Dancer 2 says: Wait
Traffic sounds continue clock ticks quicken and become louder (still background audio)
clock ticks become only sound
Wedding bells begin to ring
Here comes the bride begins as clock ticking in the backgrounds speeds up
clock ticking becomes only sound
baby cries
clock ticks faster
silence
Krishna comes to Vrindavan (Mohiniyattam)
Choreographed by Sapna Govindan
Music by Sankaran Nampoothiri
Choreographed by Sapna Govindan
Music by Sankaran Nampoothiri
Krishna came today to amuse himself with us by dancing the Raas. The melody of his flute goes like this - Tana Tana Tana. The beat of the rhythm goes Trikita Takita Taka - Trikita Takita Thom. The fair one (Radha) dances to the music as Thaiya Thaiya Thaiya Tha. Her ankle bells sound as Chan Chanana Chanana.
Oh Padmanabha! How can I describe your cosmic play? Please cut asunder our miseries, as we have taken refuge at your feet.
Oh Padmanabha! How can I describe your cosmic play? Please cut asunder our miseries, as we have taken refuge at your feet.
I Am
Choreographed by Maria Napoli
Music by Florence and the Machine
Choreographed by Maria Napoli
Music by Florence and the Machine
We argue in the kitchen about whether to have children
And about the world ending, and the scale of my ambition
And how much is art really worth
The very thing you're best at is the thing that hurts the most But you need your rotten heart
Your dazzling pain like diamond rings
You need to go to war to find material to sing
I am no mother, I am no bride, I am king
I need my golden crown of sorrow
My bloody sword to swing
My empty halls to echo with grand self-mythology
I am no mother, I am no bride, I am king
I am no mother, I am no bride, I am king
But a woman is a changeling, always shifting shape
Just when you think you have it figured out
Something new begins to take
What strange claws are these scratching at my skin?
I never knew my killer would be coming from within
I am no mother, I am no bride, I am king
I am no mother, I am no bride, I am king
I need my golden crown of sorrow
My bloody sword to swing I need my empty halls to echo with grand self-mythology
'Cause I am no mother, I am no bride, I am king
I am no mother, I am no bride, I am king
I am no mother, I am no bride, I am king
I am no mother, I am no bride, I am king
Ho Ho-oh-oh-oh
Ho-ooh Ho-oh-oh-oh
I was never as good as I always thought I was
But I knew how to dress it up
I was never satisfied, it never let me go
Just dragged me by my hair and back on with the show
And about the world ending, and the scale of my ambition
And how much is art really worth
The very thing you're best at is the thing that hurts the most But you need your rotten heart
Your dazzling pain like diamond rings
You need to go to war to find material to sing
I am no mother, I am no bride, I am king
I need my golden crown of sorrow
My bloody sword to swing
My empty halls to echo with grand self-mythology
I am no mother, I am no bride, I am king
I am no mother, I am no bride, I am king
But a woman is a changeling, always shifting shape
Just when you think you have it figured out
Something new begins to take
What strange claws are these scratching at my skin?
I never knew my killer would be coming from within
I am no mother, I am no bride, I am king
I am no mother, I am no bride, I am king
I need my golden crown of sorrow
My bloody sword to swing I need my empty halls to echo with grand self-mythology
'Cause I am no mother, I am no bride, I am king
I am no mother, I am no bride, I am king
I am no mother, I am no bride, I am king
I am no mother, I am no bride, I am king
Ho Ho-oh-oh-oh
Ho-ooh Ho-oh-oh-oh
I was never as good as I always thought I was
But I knew how to dress it up
I was never satisfied, it never let me go
Just dragged me by my hair and back on with the show
Don't Leave
Choreography by Tess Saoirse Liddy
Music by Sebastian Portillo
Choreography by Tess Saoirse Liddy
Music by Sebastian Portillo
Don't leave
Stay a little longer for me please
'Cause our love, it takes me back to 17, so good
She slipped her number right inside my jeans, oh no
Baby don't you be my enemy
No regrets, just the best, living the dream
She's so hot, she's like 2000 degrees
She's so sharp like a knife, she made me bleed, oh no
But maybe I can be your sunshine
Just forget 'bout yesterday, just forget about the rain
Cause I'm drowning in the sunlight
So baby please don't make it rain cause I need you more today than I thought I would
Rolling stones breaking all the firewood
2000 degrees inside by best friend's room
Nobody will treat you like the way I do, yeah
Don't leave
Stay a little longer for me please
'Cause our love, it takes me back to 17, so good
She slipped her number right inside my jeans, oh no
Baby don't you be my enemy
No regrets just the best living a dream
She's so hot, she's like 2000 degrees
She's so sharp like a knife, she made me bleed, oh no
But if you want everything just tell me you do
'Cause I'll give you the sun and I'll give you the moon
And if you like teasing me just tell me the truth
'Cause I'll run away so damn quicker than I thought I would Rolling stones breaking all the firewood
2000 degrees inside my best friend's room
Nobody will treat you like the way I do, yeah
Don't leave
Stay a little longer for me please
'Cause our love, take me back to 17, so good
She slipped her number right inside my jeans, oh no
Baby don't you be my enemy
No regrets just the best living a dream
She's so hot, she's like 2000 degrees
She's so sharp like a knife, she made me bleed, oh no
Stay a little longer for me please
'Cause our love, it takes me back to 17, so good
She slipped her number right inside my jeans, oh no
Baby don't you be my enemy
No regrets, just the best, living the dream
She's so hot, she's like 2000 degrees
She's so sharp like a knife, she made me bleed, oh no
But maybe I can be your sunshine
Just forget 'bout yesterday, just forget about the rain
Cause I'm drowning in the sunlight
So baby please don't make it rain cause I need you more today than I thought I would
Rolling stones breaking all the firewood
2000 degrees inside by best friend's room
Nobody will treat you like the way I do, yeah
Don't leave
Stay a little longer for me please
'Cause our love, it takes me back to 17, so good
She slipped her number right inside my jeans, oh no
Baby don't you be my enemy
No regrets just the best living a dream
She's so hot, she's like 2000 degrees
She's so sharp like a knife, she made me bleed, oh no
But if you want everything just tell me you do
'Cause I'll give you the sun and I'll give you the moon
And if you like teasing me just tell me the truth
'Cause I'll run away so damn quicker than I thought I would Rolling stones breaking all the firewood
2000 degrees inside my best friend's room
Nobody will treat you like the way I do, yeah
Don't leave
Stay a little longer for me please
'Cause our love, take me back to 17, so good
She slipped her number right inside my jeans, oh no
Baby don't you be my enemy
No regrets just the best living a dream
She's so hot, she's like 2000 degrees
She's so sharp like a knife, she made me bleed, oh no
- An Attempt at Making a Life: Chapter 1
Choreography by Liz Mulkey
Music by Uno Lady
Hi! Sounds of breath and counting, “I wish, I didn’t, I did, just go” repeated 3x, sounds of breath and energy pushing, Bye!
Where I would be, I cannot
Choreography by Jo Troll
Music by Mediaeval Baebes & LINGUA IGNOTA (original by Dolly Parton)
Choreography by Jo Troll
Music by Mediaeval Baebes & LINGUA IGNOTA (original by Dolly Parton)
Spiriti: (whispered, repeatedly) Oh, maladeto an dia mo via di qua.
Giacche specdo I mici da na ri
Io mi vo glio divertir.
Jolene:
Jolene, Jolene, Jolene, Jolene
I'm begging of you please don't take my man
Jolene, Jolene, Jolene, Jolene
Please don't take him just because you can
Your beauty is beyond compare
With flaming locks of auburn hair
With ivory skin and eyes of emerald green
Your smile is like a breath of spring
Your voice is soft like summer rain
And I cannot compete with you Jolene
He talks about you in his sleep
And there's nothing I can do to keep
From crying when he calls your name
Jolene And I can easily understand
How you could easily take my man
But you don't know what he means to me
Jolene Jolene, Jolene, Jolene, Jolene
I'm begging of you please don't take my man
Jolene, Jolene, Jolene, Jolene
Please don't take him just because you can
Giacche specdo I mici da na ri
Io mi vo glio divertir.
Jolene:
Jolene, Jolene, Jolene, Jolene
I'm begging of you please don't take my man
Jolene, Jolene, Jolene, Jolene
Please don't take him just because you can
Your beauty is beyond compare
With flaming locks of auburn hair
With ivory skin and eyes of emerald green
Your smile is like a breath of spring
Your voice is soft like summer rain
And I cannot compete with you Jolene
He talks about you in his sleep
And there's nothing I can do to keep
From crying when he calls your name
Jolene And I can easily understand
How you could easily take my man
But you don't know what he means to me
Jolene Jolene, Jolene, Jolene, Jolene
I'm begging of you please don't take my man
Jolene, Jolene, Jolene, Jolene
Please don't take him just because you can
