Thứ Sáu, 30 tháng 3, 2018

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Hello, today we visit Loro Parque!

Hi, my name is Chuck Tompkins, I'm a marine animal behaviorist. I've been

doing this for about 40 years and I've been doing it mainly with

killer whales but I I also work with a lot of other different species. We're here

at Loro Parque and we're sitting at the Killer Whale Stadium. They have some beautiful

animals here and it's a great program that they have here. We actually have a

pregnant killer whale here and one thing we would probably need to talk about

is sustainability of animals in Zoological settings. It's really

important, I think, for any animal that you have in a zoo that you have a

reproductive program to make sure that you can sustain that species within your

group. We have that here with the killer whales at Loro Parque. We have the family

unit, we have a female right now is pregnant, and we're hoping in the future

we have even more babies but I think it's important in any zoological

facility and including here in Loro Parque we have an active breeding plan for

sustainability for every species of animals that we have here. That's really

important not only for the zoological world of parks but it's also important

for the wild as well because one day there may be a need for species to be

reintroduced back into the wild or what we learn from the animals in zoological

settings we can take that information and we can actually apply it to wild

animals. So, reproduction is extremely important but also what's important is

learning about the species while you have them.

Because we have killer whales here at Loro Park and other facilities like

SeaWorld we've been able to learn quite a bit about our killer whales. We've had many,

many successful births, we know more about baby killer whales than we ever

would have by just watching them in the wild. Because of that knowledge we've

been able to give wild biologists a lot of information about how our animals

adapt in our environment, their cognitive abilities, their biological needs. We know

more about their blood parameters, we know about their baby killer whales, we

know the gestation period of moms, we know the proper body weight necessary for

good health. We take that information and we share that with the wild population

and with the wild researchers and they are able to take that information

and apply it to the wild conservation group. So that information is really

helping conserve not only the animals here in zoological settings but it's

helping all of the animals in the wild as well.

We have a pregnant killer whale here in Loro Park: her name is Morgan and she's

a very special killer whale. We're excited about her being pregnant and

we're looking forward to her having her calf.

We are optimistically cautious though because she's never seen a baby killer

whale, we don't know her experience in the wild when she was a wild killer whale,

whether she saw a baby killer whale or experienced the birth. So, we really don't

know how she's going to really adapt of herself being pregnant and her

baby but we're gonna be here to help her. We've been very successful raising baby

killer whales, we've had a lot of experience and knowledge of baby killer

whales. So, with our help and with her willingness to have the baby killer whale

and with her environment here at Loro Parque I think, we're gonna have an exciting

time and hopefully have a very healthy baby killer well. One of the questions

were asked is how do we take care of the pregnant killer whale? That's a great

question and there's a really simple answer that. We let the mom let us know

what she really wants to do. We're very sensitive of the fact that she's

growing and she's developing a baby killer whale and just like a human mother

they're gonna become uncomfortable with doing certain things and we recognize

that with our killer whales here. So, we're very sensitive to what the females

really want to do. We are very careful about making sure that we ask them to do

things that's been only comfortable with, we spend a lot of time on the side of

the pool making sure that a relationship is there with them, and we make sure

that all the reinforcements, all their food, all of the normal things,

that are given to them on a regular basis, to make sure

that they're as healthy as possible. So, we're very careful with our moms and

we've been very successful with all of our baby killer whales because of it. Right

now, what you're watching, is a trainer that's interacting with one of our

killer whales here in Loro Parque. Miguelito is this whales trainer and he has

a really great relationship with this animal and one of the reasons he has a

good relationship is because he spends a lot of time making sure that he rubs

this animal down and builds his relationship. Relationships is built on

trust. It's making sure that were always there

to take care of the animals needs and he spends probably somewhere between six to

eight hours a day with this particular killer whale, so, this killer whale has developed

an incredible bond with him and it's it's really special to be able to watch

a trainer and animal really work so closely together.

If you have more questions, please write them down in the comment section below and if you enjoyed this

video I would be happy if you'd give us a thumb up. In order to never miss a new episode

subscribe our channel for free.

For more infomation >> Orca MORGAN pregnant at LORO PARQUE | zoos.media - Duration: 6:19.

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Jerrod Baum & Morgan Henderson: 5 Fast Facts You Need to Know | Heavy.com | SML TV - Duration: 10:27.

Jerrod Baum & Morgan Henderson: 5 Fast Facts You Need to Know | Heavy.com

Two teens, Riley Powell and Brelynne "Breezy" Otteson, disappeared in late December while traveling from Tooele to Eureka, Utah.

They were subsequently reported missing on January 2.

Authorities tracked down Riley's vehicle and have reason to believe it was intentionally abandoned in order to "give an illusion" that the couple was stranded, according to an affidavit, which stated foul play was suspected.

On March 27, 41-year-old Jarrod Baum was arrested and booked into Utah County Jail on multiple charges, including felony aggravated kidnapping and two felony charges of aggravated murder.

Police said a second arrest is expected, and though they didn't identify the person, Baum's live-in girlfriend, Morgan Henderson, 34, led authorities to the teens' bodies.

The suspected killer was allegedly upset with his girlfriend for having a male, Riley, in their home.

Heavy previously spoke with loved ones of the teens.

Here's what you need to know:.

He Was Booked on Multiple Charges, Including Aggravated Murder.

Loved ones of the teens have been pleading for justice.

Authorities arrested Baum March 27 and announced that they believe they located the bodies of Riley and Brelynne, according to the Daily Herald.

The police report stated that Baum and Henderson were contacted by authorities on January 9.

The couple initially said they had not heard from the missing teens, however, a search warrant obtained by officials showed a string of messages between Powell and Henderson on the day Riley and Brelynne went missing.

The nature of that relationship was not revealed at the time of publishing.

Baum was booked on multiple charges, including felony aggravated kidnapping and two aggravated murder charges.

Police: His Girlfriend Said He Used a Knife to Stab The Teens, & Said Baum Made Powell 'Suffer'.

In March, Henderson said the shower in the couple's shared home smelled strongly of bleach, adding that Baum told her not to have male guests over and "it was too bad, because he had never killed anyone innocent before.

According to KUTV, police arrested Henderson on March 25 during a traffic stop in Sanpete county.

Authorities found an axe in the woman's car, along with knives, a rifle and ammunition, the station reported.

She was arrested just 48 hours before police received information leading them to the discovery of the bodies, however, charges had not been filed related to Henderson's arrest, KUTV reported.

On March 27, authorities say the woman led them to two bodies, who police believe are that of Riley and Brelynne.

Only after the bodies were located did Baum's girlfriend tell police that the night the teens went missing, Baum had seen Riley and Brelynne tied up in the back of Riely's jeep.

Baum then allegedly told the woman to get into the vehicle.

She subsequently told detectives that Baum had used a knife to murder the teens before he dumped their bodies into a mine, according to the police report.

The bodies were found at Tintic Standard No.

2 mine, with their hands bound behind their backs and multiple stab wounds, according to the police report.

According to police, Baum's girlfriend said the suspected killer told her he made Powell suffer, but made Otteson's death "quick and painless.

His Girlfriend Told Police He 'Didn't Have Time to Dig a Grave'.

According to the police report, Baum conveyed to his girlfriend that there wasn't time to dig a grave for the teens.

She said he had hidden what was believed to be a cell phone inside of a sludge barrel near the home she shared with Baum.

When authorities went to investigate the report, they said they located several destroyed phones inside of the barrel, along with rope, pieces from two knife sheaths, used duct tape, roofing nails, plastic socks and baby wipes.

In addition, a camouflage tie-down strap appearing to be similar to one found in Riley's Jeep.

Baum told his girlfriend he did not have time to dig a grave, the report said, and hid what the girlfriend believed to be cellphone in a sludge barrel near their house.

Police were able to locate multiple destroyed phones in that barrel along with lengths of rope, used duct tape, pieces of two knife sheaths, roofing nails, baby wipes and plastic sacks.

Also in the barrel, police found a camouflage tie-down strap, similar to one found in Powell's Jeep.

They Were Reported Missing on January 2, Though Police Said the Disappearance Did Not Meet the Criteria of an Amber Alert.

Riley, 18, and Brelynne were reported missing January 2 after leaving the town of Tooele at approximately 9:30 a.m.

on December 30.

The couple was reportedly on their way to Eureka, where they resided.

However, the teens never arrived home.

Heavy spoke with Amanda Hunt, a biological aunt of Brelynne, who said despite intense efforts by loved ones police were not able to constitute the disappearance as an Amber Alert.

"They said it didn't meet the criteria," Hunt stated, adding that she was working with two law enforcement agencies including Juab County and Tooele County sheriff's departments.

At the time she went missing, Brelynne was 17, however she turned 18 on January 27.

Hunt believes a Facebook page she made to raise awareness of the missing teens is what ultimately brought the support they needed, including getting the attention of police and help for search and rescue efforts.

"In the beginning, it was difficult to get law enforcement to take action in their disappearance," Hunt told Heavy.

"Since then, however, four detectives have been dedicated to the case.".

The Teens Were Described as Wanting to be Loved & Accepted.

"Breezy was a feisty one, full of fire and passion.

She struggled to find her place in life, though.

She just wanted to be loved," Hunt told Heavy.

Shena Draper, who said Riley was "like a son" to her for over eight years, told Heavy that the young man would drop everything to help someone in need.

Like Brelynne, Riley "always strived to be loved and accepted," the woman said.

Geri Erickson Sweat, who knew Riley through her son and said he had worked on her land at times "throughout the summers," reiterated how kind Riley was known to be.

"He even loaned his truck to someone who didn't have a ride to work for a few days," she told Heavy.

"It's just the kind of person he was.".

Anyone with information on the case is asked to contact the Juab County Sheriff's Office at 435-623-1349, or the Tooele County Sheriff's Office at 435-882-5600.

*This article will be updated as information becomes available.

For more infomation >> Jerrod Baum & Morgan Henderson: 5 Fast Facts You Need to Know | Heavy.com | SML TV - Duration: 10:27.

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Dancing Christopher Wheeldon's Carousel #OnceUponaPointe | Kathryn Morgan - Duration: 26:12.

Today we are going to be talking about my experience dancing Christopher

Wheeldon's Carousel. I'm going to tell you the story of

how I got cast, the rehearsal process, the performance, and more. So welcome to

another episode of "Once Upon a Pointe". Hi everybody! Today's "Once Upon a Pointe"

takes place right after the "how I was cast as Juliet". So if you haven't seen

that story, I will link it in a card for you guys. But before we get to the story,

I want to just say to you guys: next week I'm going to be starting back with the

ballet and the technique videos. So if there's a barre you want, if there's a

class you want, if there's a step you're having trouble with, leave me a comment

in the box below so I can start filming those. And we will get back to the ballet

videos next week! So that's really exciting! So like I said, this particular

story takes place right after dancing my very first Juliet with New York City

Ballet in Saratoga. If you go back and remember that story, we were rehearsing

in Saratoga. I was gonna perform this role because Yvonne Borree got injured.

During one of the rehearsals, I happened to look out into the audience and see

Christopher Wheeldon just sitting there watching. He was kind of just sitting

there looking. He stayed for maybe a half hour and then left. I didn't really think

anything of it at the time, but as you'll see it had genuine significance. So I

danced the role of Juliet. All was great. Everybody said it was beautiful. I was

very proud of myself. It was a really big deal for an apprentice to dance that

role. So we went on break for the summer, as you do. I think we had five weeks off

at that point. Scheduling is a little bit different now but I think we had five

weeks off. I went home to Mobile, Alabama where I'm from. So we came back for the

fall season, and at that point we weren't doing a fall season. We were going to be

touring to Chicago, and it was my first tour with a company. I didn't know what

to expect. We rehearsed I think maybe two weeks because typically when you go

on tour, at least with New York City Ballet, you do ballets that you do a lot:

Symphony in C, Symphony and Three Movements, Serenade, all these ballets

that you do a lot. So they don't have to be rehearsed for that long

because everybody knows them. It's not some brand new thing that you have to spend

five weeks doing. You can pretty much get them all on and ready in two weeks.

I can't even remember what we did. I know I did the Four Temperaments there. I know

I did Serenade there, and we rehearsed for a couple weeks. We went to Chicago. It

was my first tour, which was nice because it was not out of the country. We'll get

to those in future episodes, but it was in the country. Everybody spoke English!

We were only there a week. It was a perfect first tour. I

didn't have any principal roles so it was really easy for me. The last day

of our Chicago tour, the rehearsal schedule went up for the following week

back in New York because we were going to be rehearsing for the gala and for

the winter season and the gala program. I don't know if it had been announced yet.

Typically, and this it's a little bit different now, but New York City Ballet

opened their season at that point with a gala. I think it was like November gala

and then we started Nutcracker. I think! Okay it has been awhile, but I know we

were doing some sort of opening week gala in November that had nothing

whatsoever to do with Nutcracker. The program came out and it was going to be

Carousel, Walpurgisnacht, Symphony and Three Movements, Symphony in C... all these

kind of big ballets were going to be on this program. It was a truly massive gala

evening that opens the whole year. So I'm thinking "Great! I'll get to do Symphony

in C. You know it'll be a good experience". The last day we're in

Chicago ,the rehearsal sheet comes out. And it the way it works at New York City

Ballet, I don't know if it's how it still works to be honest, but typically you'll

figure out casting on the rehearsal sheet before you'll see it actually

posted. Casting only comes out two weeks before the actual performance.

And this was a good month, month and a half before. So you kind of can get a

sense of casting on the rehearsal sheet. It's not posted until two weeks before,

which makes it very difficult for ticket buyers, by the way. If you want to see a

certain cast of Nutcracker, you have to wait until two weeks before the show

to figure out who's doing what when. So on the rehearsal sheet

it said "Carousel: Hyltin Peck Morgan (Sterling Hyltin, Tiler Peck ,and

myself) and then Andrew Veyette, Seth Orza, and somebody else. I can't for the life

of me remember who it was. So it was the three of us and like Andy, Seth, and it

might have been Amar, but somebody like Amar who was, you know, a big-time dancer.

I looked at that and I was like "oh my goodness". But reading the rehearsal

sheet, it doesn't say 'pas de deux couple' it just says 'Carousel: Hyltin Peck

Morgan Veyette Orza Ramasar". It doesn't say what exactly you're going to

be doing. So they leave you guessing for the week. So I had this mulling over in

my head. And in Christopher Wheeldon's Carousel, there's a principal couple and

two demi couples and a corps. And from reading it, not knowing how the system

worked, I thought "oh Sterling's gonna do the lead and Tiler and I are gonna be

the Demi couples because that would make sense."

I think Sterling was a soloist at the time, Tiler was in the corps. I don't even

think she was a soloist yet.... no she wasn't a soloist. So it made sense that

Sterling was gonna be the principal couple we were gonna be the demis.

I was like "Great this will be wonderful." With the boys,

I remember Andy Veyette was a soloist at the time (he's now principal) and Seth, who

is now principal with PNB, was only in the corps. Whoever the third boy

was (I can't for the life of me remember who was!) was also in the corps. So it just

made sense in my head. So a week goes by. I'm mulling this over. I try and get online to find any glimpse of this ballet and I can, keeping in mind

this was in 2006. So there was not a lot of stuff online about ballet at that

point. I tried to find every little picture that I could. We get to rehearsal

and Chris is there, Chris Wheeldon, with his rehearsal assistant and I think one

other ballet master, I can't remember who it was. He says "all right. So we're

going to learn the pas de deux. You guys are all learning the pas de deux. I was

like, "oh my goodness" and then they paired us up. They put Seth with

Sterling, Tiler with the boy I can't remember who it was, and me with Andy. So

they put the apprentice with Andy. I was still an apprentice at this point. So the

apprentice girl goes with the soloist boy. And even Andy at that

point, Andy (he's such a great really nice guy) but he even was like "I'm dancing

with an apprentice?" Do you remember back in the Juliet video? Tyler Angle who was

a corps dancing with an apprentice. I could see him looking at them like "you

gotta be kidding me". So here's this little tiny apprentice

who "you're putting me with her? I'm a soloist!" So we start the rehearsal process.

And soon I began to realize that the three of us learning this pas de deux-

There's only one show at that point. It was gonna eventually come back in the

winter season in January in February, but at this point all three of us were

learning this for one show. So there was only gonna be one cast. That is the

worst feeling in the world when you know there are three of you in the room all

vying for one spot because there's only be one cast. So automatically it pits

everybody against each other, you know what I mean. So I was like "well it's not

gonna be me." So that kind of relaxed me. All of us thought it was going to be

Sterling because she was the highest ranked out of us. There we are learning

this thing, and I remember Chris the whole time really paying attention to me

and Andy. And I thought "well that's due to Andy. That's not due to me because I'm

the apprentice". So I think a week, maybe two weeks go by. We've learned the whole

thing. We started to rehearse it. We finished rehearsal one day and Chris says

"Thank you very much. Katie, stay for a minute". And I was like, "here we go. He's

gonna kick me out of the rehearsal. He's gonna tell me I'm not good enough and

that I'm not doing this." And he says, "um I just want you to know, casting is going to

come out next week. But you're going to be doing this with Andy. You and

Andy are gonna be doing this." And I literally looked at him like "you have

GOT to be crazy. You are an insane person putting me against a soloist and a corps

member. I'm only an apprentice. You pair me with a soloist?".

This is the first ballet in the gala. It opens the gala in Lincoln

Center start of the New York City Ballet season. You're gonna put a little dinky

apprentice on with Andrew Veyette to open the entire gala in a principal role? And

I was just like "okay". And he said "I really want you to keep working on your

feet and your turnout. You have a beautiful upper body, you have the lovely

stage presence. But keep focusing...." you know. He was giving me things to work on.

I just remember going home and my very first thought was "this is gonna go

over REALLY well with everybody else." because I had already experienced this

once with Juliet. I got lots of snubs lots of backlash, you know. We went through

that in that video. So here we are again going to go through this again. I'm

like, okay.... I mean I was really excited obviously. It was beyond

anything I could have imagined. I was thrilled beyond belief because while

Juliet was in Saratoga, this was gonna be on the New York State Theater stage.

David H. Koch Theater now, but to me it will always be the New York State

Theater Stage. So I went home. Mom was still around, and I was like "Mom, I'm

doing Carousel in the gala. I'm opening the gala." And her thought too,

she was like, "I'm so proud of you but you need to be ready for the backlash!"

We were ready this time! So rehearsals continued on. Andy I think

knew at that point we were gonna do it, and it was a couple days later, Peter

called me into his office. I had no clue why. I thought maybe it was gonna be

about Carousel. But he said, "Katie, there's this award that they are giving this

year to five special talents in the world of arts called the "Movado Future

Legends Award. I'm going to be giving you this award and it's a very

big deal. You're going to get one, I think a Juilliard person's getting one, somebody

who's in the Philharmonic is getting one..." you know. It was five people who are

deemed very talented their fields. So it was like double

whammy. And meanwhile, my personality... my very first thought is

"everyone is gonna hate me". Not "I'm queen of the world". I'm like, "great this is..

I'm so incredibly grateful, but everyone's gonna hate me". So I was

just very, very... just like, "oh my goodness! Thank you so much!" He said "There's

going to be a luncheon next week for your award." I was like "oh my goodness.

okay great". He said, "unfortunately you're going to have to miss some of your

rehearsals for this luncheon. So I will tell the ballet masters why you won't be

there." So in my head I'm thinking "Great. The casting is gonna come out next week

and I'm getting the Movado future legends Award." I was like "oh my goodness.

Thank you so much. I'm so honored that..." it was absolutely huge deal. So next week

comes around, and casting comes out. There it is:

"Gala New York City Ballet. Carousel: Morgan Veyette." All of the

boys were absolutely thrilled for me, and the girls... some of them by this point, the

principals especially, were very kind. I think for this one I had almost proven

myself doing Juliet in Saratoga. So this one wasn't so much of a shock, but you

know people were still not thrilled as I wouldn't have been! I mean

that's a natural human reaction. So I just kind of decided to keep to myself

and rehearsed and not worry too much about it. So two days, two or three days

later, it was this luncheon. And we get to this incredibly swanky restaurant in the

Time Warner Center called 'Per Se'. If you've ever heard of it, which is on 59th

Street in New York. I get to this luncheon. What I didn't realize is that

the entire luncheon was for me. It wasn't for the five of us who were winning this

award. Each of the five were getting their own luncheon. So I walked into this

thing, and there are these high-rollers: Chelsea Clinton is there, this incredibly

famous architect is there, Peter is there. I'm looking around going... and my

parents are with me, and we felt like we were from Red-neck-ville and should not be

mingling with these people! I said "where are the other winners?" and Peter

was like "No no! This is for you! This is your luncheon! I'll insert

some photos here for you. But I won this this award which was so incredible. And I

was sitting at the table with Peter and with these architect people and just

these famous, famous arts names. And Peter, while he's presenting me award, he

says "and just so you know, next week you can see Katie open our gala as an

apprentice in Carousel!" I was like "oh my gosh! Please stop! Please... this is... I

can't handle this!" So he announced it at the luncheon that I was going to be

doing this. So I'm just thinking I have got to... I've got to kill this." So the

luncheon was incredible. I remember so vividly the portions came out... because

it's such like a swanky place. The portions were like this big *holds up small gesture*.

When you get like a big white plate and then tiny little portions! So I

remember so vividly from this luncheon.... We walked out and my dad is

like "All right. I gotta get a burger. Let's go get a burger." Because you know

tiny little thing! So we go get the burger. I had missed class that day and I'd missed

another rehearsal because I was also doing the corps of two other ballets in

the gala. But I was not gonna miss my Carousel rehearsal. So I had a

Carousel rehearsal at like 5 p.m. or something and the luncheon lasted until

3:00, so I knew I had Carousel. So I went early and warmed

myself up because I had missed class for this luncheon. I walk in and there a

lot of people in the hallway and everything, and they're like "oh where

were you?" because I was that kid that never missed class. And apprentices are

not allowed to miss class anyway. You have to take company classes as an

apprentice. So "where were you? Where were you?". And I knew that I had just done

Juliet, the casting had just come out that I was gonna open this gala, I was an

apprentice. I already had so many haters that I was like "you know what? I'm

completely... I can't handle this." So you know what I said? "I had a migraine." I lied

and I told people that I had a migraine instead of going to this luncheon and

getting the Movado Future Legends Award because I just... it was the pressure. And

the the backlash from people was so great, that one more thing on top of

that was just gonna be the you know the last straw.

So I said instead of saying actually I was winning the Movado future legends

award at my own luncheon downtown I said I had a migraine. Meanwhile Andy is

standing amidst this crowd. We're about to go into Carousel rehearsal. So

we walked into rehearsal he goes, "all right. Where were you really?". Like he knew.

He knew that I was just trying to defend myself. and I said, "well actually

Andy I was winning...." I told him about this. and he said "uh-huh yeah. I

thought so." So he got it. We rehearsed the next couple days. The gala I believe

at this point is four or five days away. This was like Thursday I want to say, and

the gala was gonna be the following Tuesday. So the next day after the whole

luncheon thing went down, we are in a massive rehearsal of the full-length

Romeo and Juliet. Peter had already started at that point his full-length

Romeo and Juliet. He hadn't done any of the Romeo and Juliet bits yet. I believe

he had just done the Romeos, Montagues, Capulets sword fighting

because those guys were in sword fighting forever...all the Romeo's, all the

Benvolios all the Mercutio's. The Juliet's had not been cast yet. That was

the weird part, Juliet hadn't been cast yet. He was working on this full length,

which I'll get to in a different story obviously. Andy was, as you've seen in

my Romeo and Juliet commentary videos, he was second cast Mercutio.

So Andy already been cast as Mercutio along with 18 other million

people doing all the roles. So they were in a rehearsal of the Mask Dance, which

was Romeo, Benvolio ,and Mercutio. Andy went to do a big jump,

came down, and tore his ligaments in his ankle. Sprained it, couldn't walk, and I'm

looking at him going "we have four days, five days until the gala. And he cannot

walk. Here we go." And I'm sitting in the back like "oh my goodness".

So Andy was out. Gone. Done. I mean it was a bad injury. So we had, of course,

Carousel rehearsal that afternoon. I go in there, and Chris is like, "what

do you mean he's not doing it?" I said, Andy's out. He's not

doing it." I'm standing there as the only one with no partner. I'm the one that's

cast to do this, but Sterling has a healthy partner and Tiler has a healthy

partner who was Seth Orza. So I'm sitting there going "he's gonna take me out of

this because my partner is done." The thing about Carousel... it's a seven and a

half minute pas de deux and it's so intricate and it's so... I mean...

Christopher's pas de deuxs are just incredible and so complex that if

one partner goes out, to try and do it with a new partner is a nightmare. It's

an absolute positive nightmare. And I just didn't know if with four days to go

to the gala if they were gonna want to take the risk to put me with a new

partner. So Chris was like "well just mark it in rehearsal today,

and I'll work with the other two couples." And I'm thinking, "yeah I'm I'm out

because there's no way." So I went home devastated because Andy went out and

that I was probably not gonna get to do the gala. Totally devastated. So I come in

the next day, and Chris pulls me aside. He says, "all right. I don't typically do this,

but you're going to do the gala still. And I'm going to put you with Seth.

You're gonna have a three hour rehearsal today, a three hour rehearsal

tomorrow, and then we're in the theater. And then we do the completes and the dress

rehearsal. So all you have is today and tomorrow to get it together. He

himself had other ballets he was working on, so I don't think he could come to

all those rehearsals. So Seth and I get in the room. We hadn't even touched each

other all this time. We've probably been rehearsing for five or six weeks at this

point. He's been rehearsing with somebody else.

I've been rehearsing with Andy, and we were like "okay.... let's try!" So the ballet

master was like, "All right. Here's we're gonna do. Start from the beginning and

see how far you can get. Just see what happens." We started and we got through almost

3/4 of the pas de due with no problems. It was like it was it was meant to be. It

was going to be excellent. I could see it in Seth's eyes. I could see the ballet

master was sitting in the front going "this is gonna be good."

Aas we'll go along, Seth ended up being one of my most frequent partners

at New York City Ballet. He ended up leaving for PNB, which is why that didn't

keep going. But he was probably at that point going to be my main partner had he

not left because it worked out so well. So we really didn't need the whole six

hours for the two days to rehearse this thing. And as we'll talk about in

future stories, I ended up doing the full-length Romeo and Juliet with him

because of Carousel... because that worked so well. But that's for another video.

So the ballet master was happy. Chris came in and was like, "yep. This is good to

go." So we get to the... I don't even know if we

had time to run it in the studio. I think the first time we did it with

everybody, Seth and I (Andy and I had been doing it

with everybody in the studio) but I think the first time Seth and I had run the

ballet was on stage in the tech rehearsal. It was going pretty well... a

couple rough places. Whenever you go from studio to stage, the first

rehearsal is always kind of, and you guys probably know this, it's kind of a mess.

That's because there's wings and tape and you know.... you are oriented

differently. You're used to seeing the mirror or you're used to seeing the

pianist right over ther. But once you're on the stage, it's a complete....your just

like "Ugh." So the first tech rehearsal was kind of a mess. And in the last probably

minute of this pas de deux, there's this big lift where you run towards him. You

run facing him, and then all of a sudden before you get to him, you go

backwards and he catches you. It's almost like you do run run run run run and then

flip up into a press lift and he catches you. Well... Katie Morgan

belly-flopped. Right on the stage just like WHAM. We had to stop, the

orchestra had to stop. I don't even know... maybe we weren't with the orchestra.

Maybe it was just a pianist, but you know... one of those belly flops where the wind

gets totally knocked out of you. Just *makes a noise*. I look up and Seth is like, "I'm sorry!".

So I belly-flopped in rehearsal. I will never forget that. I think I

had bruises from how hard I belly-flopped. And I remember Chris was

there and Peter was there. I remember Chris looking at me like *makes a face* . I

could see the second guess coming in his head of like, "here's this little

apprentice and I gave her this principal role to open the gala and she's belly

flopping in reheasal... not good!" But the good thing about

belly flopping is that it kind of..... everything was gonna go up from there. It

could not get any worse than a belly flop. So we got to the performance and it

went beautifully. We got a standing ovation, and it was the first time I got

to go out and bow in front of the golden curtain, which is it's such an incredible

experience. I remember people saying how lovely it was, but I didn't really

have time to revel in it. We went out, we did the ballet, we bowed, we ran offstage,

and I had to book it to the dressing room because I was in not the next piece

but the following in the corps. So I had to literally strip and run

because I think the piece in between was maybe three minutes or four minutes.

The piece I was going to be in was Walpurgisnacht which

is Faust. So Balachine's Faust. So I had to like

run and strip I was like "thanks Seth!" and I had to like.... they were undoing my

costume. So I didn't get to stand there and revel in the glory of Carousel. It

was like "all right. Yeah next. Good job. Go. go to your corps spot." which is one of the

things I like about New York City Ballet. City Ballet is not about

being a diva. You do everything. You do your

principal role. Great. Wonderful. Now go fill in for the corps. As

we'll talk about when I get into or future stories, I have major stories

about that particularly for Nutcracker. So you don't have time to be a diva. You

just have to keep going. I had two other ballets that night: Faust and I

think actually now that I'm remembering correctly, the corps of Stars and Stripes.

I remember people giving me lots of compliments, principals in particular. But

the fact that I did that role for the opening night gala in New York and

it went really well, I think set me up well for future roles. I will forever

be grateful to Christopher Wheeldon for taking that risk on me because you know

I was an apprentice and he's Christopher Wheeldon. He doesn't have to do

that, and he did that. So Chris, thank you so much for that opportunity. I will

never forget that night. The ballet came back several times while I

was there. I ended up doing it with... I think I finally did end up doing it with

Andy. I did it with Seth, and I might have done it with Robbie Fairchild.... maybe. But

anyway, it did come back a lot. So I did get to do it a lot. It's

such an incredibly beautiful ballet. It's an 18 minute version of the famous Rodgers

and Hammerstein film with their music: the Carousel Waltz, the pas de deux is the "If

I Loved You" orchestrated. So it's just gorgeous. If you haven't ever seen it,

it's an 18 minute version of the Rodgers and Hammerstein story. So thank you again

Chris for such an amazing experience. I'm gonna end it there because I've talked

for quite a long time now. Goodness knows how long this video is gonna be!

Again, reminder: I'm going to start filming some ballet technique videos and

barres and stuff again, so leave me a comment in the box below of what you

would like to see or what you need to work on. If you missed the video of the

Romeo and Juliet commentary Bedroom Pas de Deux, it's right down there. You can

click it to watch. Love you guys so so much, and I'll see you next time!

For more infomation >> Dancing Christopher Wheeldon's Carousel #OnceUponaPointe | Kathryn Morgan - Duration: 26:12.

-------------------------------------------

Never Stop Learning | Best Advice | J.P. Morgan - Duration: 0:44.

[stirring music]

Srihari: Bring a lot of interest in learning,

because this is a playground for you

to really learn anything that you want.

Keep your interest going in learning because there is

every perceivable field here that you would explore.

And feel free to change your career as you need,

because mobility is

integrated within this organization.

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