Lame Swans, the Graphic Novel - Scene 9 - "Do It"

Lame Swans
by Phoebe Roberts

Scene 1 - "The Lake"
Scene 2 - "Cast"
Scene 3 - "Down"
Scene 4 - "Complement"
Scene 5 - "Machine"
Scene 6 - "Pull"
Scene 7 - "Again"
Scene 8 - "Last Shot"

Scene 9
"Do It"

End of Scene 9 - "Do It"

Starring
Carolyn Daitch as Lise
Bernie Gabin as Jason
Frances Kimpel as the Ballet Ideal

with
Photography Assistance by Stephanie Karol
Hair and Makeup by Gabrielle Geller

THE END

Lame Swans, the Graphic Novel - Scene 5 - "Machine"

Lame Swans
by Phoebe Roberts

Scene 1 - "The Lake"
Scene 2 - "Cast"
Scene 3 - "Down"
Scene 4 - "Complement"

Scene 5
"Machine"

End of Scene 5 - "Machine"

Starring
Carolyn Daitch as Lise
Aoi Tori as Marina
Bernie Gabin as Jason
Jonathan Kindness as Bryce
Charlotte Oswald as Jessica
Ryan Kacani as Chad

with
Photography Assistance by Stephanie Karol
Hair and Makeup by Gabrielle Geller

Lame Swans, the Graphic Novel - Scene 4 - "Complement"

Lame Swans
by Phoebe Roberts

Scene 1 - "The Lake"
Scene 2 - "Cast"
Scene 3 - "Down"

Scene 4
"Complement"

End of Scene 4 - "Complement"

Starring
Carolyn Daitch as Lise
Aoi Tori as Marina
Bernie Gabin as Jason

with
Photography Assistance by Stephanie Karol
Hair and Makeup by Gabrielle Geller

Continue to Scene 5 - "Machine"

Lame Swans, scene 5 - "Complement"

Yesterday I finished adapting the scene I wrote the draft of during 31 Plays in 31 Days, "Complement," for use in my graphic novel. While I have bits and pieces of other scenes, this is the first one I've done completely. Figuring out the perspectives and the content on each panel is pretty difficult, but I'm actually pretty pleased with what I envisioned here.


SCENE 5 - "Complement"

PAGE 1

Panel 1
LISE enters the studio. Over her shoulder both JASON and MARINA can be seen already in the studio. JASON is seated on a stool, wearing glasses and going through a notebook.
LISE: Jason? I’m here—

Panel 2
Closeup on MARINA glaring scornfully.
MARINA: What’s she doing here?

Panel 3
Closeup on LISE looking disturbed.
LISE: Where’s everybody else?

Panel 4
Closeup on JASON, focused on his notes, not looking at either of them.
JASON: Nobody else today. Just the two of you?

Panel 5
MARINA advances on JASON from his right in a posture of offense. He still doesn’t look up.
MARINA: What for?
JASON: The two of you need to work on your performance in relation to each other.

Panel 6
LISE advances on JASON from the left. He is in the same pose as before, but on the far right this time.
LISE: What does that mean?
JASON: Odette and Odile need to be identical, right?

PAGE 2

Panel 1
Double-width panel. From about chest height, the girls regard each other warily. Only the top of JASON’s head can be seen as he sits on his stool.
JASON: Enough that you can be mistaken for each other, but different enough to create a contrast. Two sides of the same coin.

Panel 2
Closeup on the left side of LISE’s face only, as if it is bisected by the right side of the panel.

Panel 3
Closeup on the right side of MARINA’s face, as if bisected by the left side of the panel. It lines up with LISE’s face in the previous panel as if it were the other half.
JASON: (off-panel, across both panels 3 and 4) So I want you to work on matching each other.

Panel 4
Double-width panel. LISE moves in on JASON in supplication, MARINA has her arms crossed stubbornly.
LISE: Our styles are completely different.
JASON: I’ve observed that.
MARINA: Why would you pick us if you wanted two dancers that looked the same?

PAGE 3

Panel 1
JASON stands up and eyes them in growing frustration.
JASON: Are you even listening to me? I want the contrast too. But you’ve already got the contrast down.

Panel 2
LISE and MARINA eye each other sideways.
JASON: (off-panel) Now I need you to figure out how to complement each other.

Panel 3
JASON sits back down on his stool and consults his notes again.
JASON: Show me the mirror dance. Tell me what you each notice about how the other executes it.

Panel 4
LISE and MARINA still eye each other.
JASON: (Off-panel) Go on, already.

Panel 5
The girl look away from each other, frustrated but resigned.

Panel 6
They turn away from the camera to walk out into the center of the floor.

PAGE 4

Panel 1
LISE assumes the preparatory position, facing right. She looks a little drawn and worried.

Panel 2
MARINA assumes the preparatory position, facing left. She is the mirror image of LISE. Her expression is stern and hard.

Panel 3
LISE’s arms transition into a hide third position. Her carriage is delicate and airy.

Panel 4
MARINA is in the mirrored position of hers. She carries herself with sharp precision.

Panel 5
LISE transitions into a lunge, arms in arabasque.

Panel 6
MARINA mirrors her.

PAGE 5

Panel 1
LISE dips her upper body toward her right side, sweeping her right arm low while keeping her left arm in arabesque.
LISE: Slow down.

Panel 2
MARINA executes the same move with a snotty smile.
MARINA: Can’t you keep up?

Panel 3
JASON regards them from his seat, head tilted in consideration to the right.
JASON: It’s not a contest. What do you notice?

Panel 4
MARINA curls her lip critically as she does a chêne turn to her right.
MARINA: Her arms are a technical mess.
JASON: (Off-panel) Marina.

Panel 5
LISE pirouettes prettily to her left.
LISE: Yeah, well, good thing you’re on that side, because you can’t pirouette to your left.

Panel 6
JASON claps a hand to his forehead in disgust.
JASON: Jesus, grow up, you two. Just do what I asked already.

PAGE 6

Panel 1
Double-width panel. Shot from over MARINA’s shoulder, LISE can be seen to the left of her. Her expression softens as she actually begins to study MARINA. They raise their rear legs in an arabesque lift.

Panel 2
Double-width panel. Now from over LISE’s shoulder, MARINA is to her right and has a hard, critical look. They combre to the side toward the camera.

Panel 3
LISE springs up into relevé, arms in fifth.
LISE: She’s… very precise.
JASON: (Off-panel) Right. She finds the marks and she hits them. You find something, Marina.

Panel 4
MARINA executes porte du bras, leaning back but her eyes turned to the left towards LISE.
MARINA: She’s fluid. Seamless from one step to another.
JASON: (Off-panel) Yeah, everything flows.

PAGE 7

Panel 1
MARINA turns away in a pique turn, but her gaze remains in the same direction. She glares.
MARINA: I feel like I’m dragging myself through so you can match me.

Panel 2
LISE stops dancing in outrage.
LISE: You’re too staccato, it’s all choppy!

Panel 3
Double-width panel. They go nose to nose furiously.
MARINA: I’m not compromising myself just to make you look good!
JASON: (Off-panel) Jesus Christ, get over yourselves!

Panel 4
Double-width panel. The girls turn to face him. He regards them in disgust.
JASON: I don’t have time for this. If I wanted to do a show with just one dancer on the stage for two hours, I’d just do it myself and not bother with any of you.

PAGE 8
Panel 1
Double-width panel. JASON walks off left, throwing up his hands. MARINA storms off to the right. LISE stands awkwardly in the middle, watching MARINA go.
JASON: Go take a break, and when you come back, I expect you to be ready to work.

Panel 2
As JASON walks away toward the camera, LISE can be seen following over his shoulder.
LISE: I can’t work with her.
JASON: Oh, save it.

Panel 3
JASON sits back down on his stool. LISE comes up on his side to the right.
LISE: She hates me. She isn’t going to cooperate.
JASON: Then you make it work.

Panel 4
Closeup on LISE, whose eyes go downcast with fear.
JASON: (Off-panel): You’re the lead, the show’s on you.
LISE: Oh, God.

Panel 5
JASON takes off his glasses and looks at her, hard and unsympathetic.
JASON: But hey, you’ve got it all down, right? Just so you know, Cechetti couldn’t turn on his left side either, you know.

PAGE 9

Panel 1
JASON stands and starts to walk away left. LISE trails after. JASON looks back over his shoulder at her.
LISE: Really?
JASON: He choreographed all his pieces so that he never had to. And he has a whole method named after him.

Panel 2
JASON turns his back on her as he walks away.
JASON: Find some way to make it work, Lise.

Panel 3
Double-width panel. Lise stands alone in the studio, distraught. The top of JASON’s head is visible in the bottom of the panel.
JASON: Back in five. And this time, be a little professional.

31 Plays in 31 Days: #22 - "Complement"

Another piece that came of thinking about my graphic novel project. Which still needs a name, now that I think of it. This'll need a lot of work, but I'm just struggling to get all my pieces done for the challenge.

The ballet they will be doing in the piece is Swan Lake. I didn't want to do that, as another prominent ballet-themed property The Black Swan used it recently, but its plot serves the rivalry I wanted so well.

Day #22 - "Complement"

(A rehearsal studio. JASON the director is flipping through a notebook. MARINA is carefully stretching her legs, the picture of focus. LISE enters, surprised.)

MARINA: What’s she doing here?

LISE: Where’s everybody else?

JASON: Nobody else today. Just the two of you.

MARINA: What for?

JASON: The two of you need to work on your performance in relation to each other.

LISE: What does that mean?

JASON: Odette and Odile need to be identical enough that you can be mistaken for each other, but different enough to create a contrast. Two sides of the same coin. So I want you to start working on matching each other.

LISE: Our styles are completely different.

JASON: I’ve observed that.

MARINA: Why would you pick us if you wanted two dancers that looked the same?

JASON: Are you even listening to me? I want the contrast too. But you’ve already got the contrast down. Now I need you to figure out how to complement each other.

(They look at each other warily.)

JASON: Show me the mirror dance. Tell me what you each notice about how the other executes it. Go on, already.

(They take their places facing each other and begin to perform a dance with movements that mirror one another.)

LISE: Slow down.

MARINA: Can’t you keep up?

JASON: It’s not a contest. What do you notice?

MARINA: Her arms are a technical mess.

JASON: Marina.

LISE: Yeah, well, you can’t pirouette on your left side.

JASON: Jesus, grow up, you two. Just do what I asked already.

(They continue dancing, watching one another.)

LISE: She’s… very precise.

JASON: Right. She finds marks and she hits them. You find something, Marina.

MARINA: She’s fluid. Seamless from one step to another.

JASON: Yeah, everything flows.

MARINA: I feel like I’m dragging my through so you can match me.

LISE: You’re too staccato, it’s all choppy.

MARINA: I’m not compromising just to make you look good!

JASON: Jesus Christ, get over yourselves. I don’t have time for this. If I wanted to do a show with just one dancer on the stage for two hours, I’d just do it myself and not bother with any of you. Go take a break, and when you come back, I expect you to be ready to work.

(MARINA storms off.)

LISE: I can’t work with her.

JASON: Oh, save it.

LISE: She hates me. She isn’t going to cooperate.

JASON: Then you make it work. You’re the lead, the show’s on you.

LISE: Oh, God.

JASON: But hey, you’ve got it all down, right? Just so you know, Cechetti couldn’t turn on his left side either, you know.

LISE: Really?

JASON: He choreographed all his pieces so that he never had to. And he has a whole method named after him.

(JASON turns to exit.)

JASON: Find some way to make it work, Lise.