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It finally is opening night! This new show’s very first encounter with an audience. Months of hard work will pay off in exactly 15 minutes. Without a doubt, the world’s longest! The curtains will rise and unveil the magic if everything goes according to plan. Performers, creators, and spectators have been waiting for this day for weeks. The adrenaline is very tangible, almost celebratory backstage during those last minutes that precede that leap of faith.
It really is a show before the show, a magical moment where we’re still safe, behind that thick piece of fabric. A magical, but also frightening moment as turning back no longer is an option. The stage turns into some form of time bubble where each and every one is focused, nervous, moved, inspired, and impatient. Only a few minutes before we let go and offer it to those who showed up, curious. Some stay behind, in their little corner, headphones covering their ears, endlessly repeat their steps like zombies.
Others turn to an abs workout, some splits or pirouettes to release stress. Costumes are getting pulled and stretched in every direction, while buttons are counted and tested.
The soloist warms up by humming a few notes and making funny noises… “HIIII HU HuHU HAHAHAH HUHU IOUËOUOIU!” What unusual beasts we have got on stage! I’m thrilled to be here to witness such a unique moment where everything stands still, suspended in mid-air. I’m doing my very best to remain calm and reassure my dear artists, if only to avoid shaking like a leaf! Technicians are in place, fixing those last remaining details and adjusting their mic and headphones in the wings.
Tension builds up as the audience can be heard coming in and taking their seats. A few of us unsuccessfully try to get a peek at them from under the curtain.
The 100 Steps Ballet grows bigger, gains in intensity. Like caged lions we go from stage right to stage left, covering the Marley with our “paws. ” Crossing one another without talking, exchanges are solely made through our eyes to avoid breaking our partner’s concentration.
I immediately share out loud so that soloists take their place. 2 minutes! Security lights go down and the stage is now pitch black. 1 minute! Tension is at its paroxysm as my tensed finger reaches for the curtain’s remote control.
I can feel my heart beating all the way up to my ears. Last look around me to make sure that everyone is in place, one last gaze at my dear artists until my eyes go down to the ground, waiting for the ultimate “GO!” The 100 Steps Ballet ends when that last cue is finally given. One show ends and lets another one begin.
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Aurelie is in 1982 in Marseille, city open to the Mediterranean world, city of light and cultural diversity. She participated in major projects in France and abroad putting all her passion into her creative works. She worked with ‘Opera Garnier’ in Paris, the ‘Theatre Royal de la Monnaie’ in Brussels, the ‘Marseille Opera’ and the ‘Festival d’Art Lyrique’ in Aix-en-Provence. Since 2009, she has travelled across Asia, collaborating with Franco Dragone on “The House of Dancing Water” show, as well as being involved in other creations such as TABOO 1, TABOO 2, TABOO 4 in Macao. With the Hong Kong Theater Association, she designed “Le Père Noël est une Ordure”, “Les pas perdus”, "Musee Haut Musee Bas " and "Je Dance Toujours" sets. Alongside the singer Mouron, the choreographer Anne Tournie and Terry Truck Tournie Pianist, she realized the set and props creation for the show "Le cabaret des annees folles" at the "The French May 2013′′ Festival in Hong Kong. In 2013, she joined the UNIPLAN Luxury Event creative team in the Shanghai and Hong Kong as Performance and Show Production Expert. Working for “Louis Vuitton”, “Maserati” and “ Moet et Chandon” events. She is also involved in The Shanghai Pride organisation and collaborated with "Cirque le Soir" Club as creative consultant and special party organiser. In 2015, she worked with the Franco Dragone team on "The HAN Show" in Wuhan, "The LIDO" in Paris, "The Dai Show" in Xishuangbanna and other creations in Dubai, Moscou and China. In 2016, she joined the famous Worldwide company Balich for the Special Olympic Games Flag Handover between Austria and Abu Dhabi, designing the set and the large scale props. In 2017 She start a new collaboration with SOKOL Show and Wanda in Harbin China. In charge of the prop design and the props department during the conception, the creation and the artistic production; Aurelie has also started a collaboration with STUFISH designing and creating the "Holiday On Ice" show in 2018. She is designing and managing the massive stage for the new Stunt show produce by SEP production in Haikou China. 2018 is also a year where she illustrate some show concept and artistic project for SEP, WANDA and other concept in developement in CHINA and EUROPE. A great new collabortation in Marseille is starting with the new Concept Club BONBONNE, not as a DJ this time, but as interior designer and artistic consultant. Giving to the town a new trend and unique place for a new experience.
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