Breaking Pointe: Tempo Tantrums

If you’ve been watching “Breaking Pointe,” you can probably figure out who is at the center of the tantrums in this episode, “Tempo Tantrums,” first broadcast on 21 June 2012 and now available on-demand on the CW.

The first cast and second cast of the season have been set in the last episode, “Second Cast Is First Place for Losers.” What we learn here is that what winners need is to lose the attitude. It’s the last week of rehearsals of “Paquita,” “Emeralds” and “Petite Mort.”

The person at the center of all the drama is Allison Debona, of course. We compare her behavior to Ronnie Underwood who is just bursting with bravado and masculinity and the young fresh-faced Beckanne Sisk. Christiana Bennett is second cast with Rex Tilton and she’s hoping that Rex Tilton and Allison DeBona will focus on the task of performance instead of their troubled relationship.

While you might not have a good personal relationship with your co-workers. you need to maintain a good working relationship with the conductor  we learn. Yet how the different dancers express their concerns with the conductor shows us something about their personalities. Underwood is determined to get through his solo no matter what kind of tempo he’s given. For Allison DeBona, it’s a matter of professionalism. If the conductor doesn’t find the tempo she wants, then he’s not being professional. Someone really needs to get her way, all the time.

With her sometime boyfriend, Rex Tilton, Allison DeBona can’t commit, but wants his support when she needs it. You just want to shout at Rex Tilton: Didn’t you get warned about being the rebound boyfriend? Rex Tilton has a real dog and DeBona has a lap warmer. Doesn’t that tell you something? DeBona asks the much married Christiana Bennett for advice. Bennett  is extremely diplomatic when DeBona asks, “Why it can’t be what it is?” Of course the question Rex Tilton is asking, “What is it?”

Getting commentary from the artistic director Adam Sklute on all the dancers should clue you in on how you might need to approach things. For Christiana Bennett, nothing is going to stop her from giving her best performance. You get the same feeling with Underwood, although he is less consistent than Bennett. The pressure for all the dancers is to be perfect every rehearsal and every performance.

On stage, we can see that the props can be a monster for the dancers and “Petite Mort” is prop heavy. We see several takes of the men’s making mistakes with the props. Yet making a mistake on stage, can actually bring out the best in a performer.

On stage all the dancers act professionally but in this episode we learn how different approaches are evaluated by the artistic director and when and how to lose one’s temper.


About Jana J. Monji

I've written for the Rafu Shimpo, LA Weekly, LA Times, and, more recently, the Pasadena Weekly and I formerly worked for a dot-com more interested in yodeling than its customers.

Posted on July 6, 2012, in TV series, Uncategorized and tagged , . Bookmark the permalink. Leave a comment.

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