The Noon Witch
music - Antonin Dvorak
Op. 108 (B. 196), allegretto, approx. 14 minutes
(based on K. J. Erben's Polednice)
Ballet Choreography by Ann Greyson
SYNOPSIS:
Mother prepares a meal in Kitchen. Daughter is naughty and interrupts Mother often. Mother threatens,
"the Noon Witch will come if the Daughter does not behave." Daughter is scared and hides under Kitchen
table. When no Witch appears, the Daughter bothers Mother again and playfully annoys her that the
"Witch is not coming". Soon, the Noon Witch appears at the Kitchen door and Daughter and Mother are
both scared. The Witch demands the Daughter be given to the Witch. The Mother pleads with the Witch
not to take her Daughter. The sinister Witch is evil and chases the Daughter; dances a mini-pas de deux
with the Daughter; and demands the Daughter be given to the Witch. The Mother pleads for mercy and the
Daughter falls to the ground clutching onto Mother. When the clock strikes twelve the Witch departs. The
Mother faints smothering the Daughter to death as she is suffocated by the Mother's grasp. The Father
returns home, awakens Mother and they discover Daughter is dead.
CAST:
Mother: mature dancer, wears character shoes and apron
Daughter: young dancer, wears typical fable dress and Pointe shoes
Witch: played by a Man, wears character shoes and black see-through cape
Father: wears hat, coat and carries bag (could also be played by the Man who portrays the Witch)
SET:
Kitchen – Center Stage Right
Kitchen Table - draped with cloth – Upstage Right
Wooden Stool - small in size, beside Kitchen Table – Upstage Right
Grandfather Clock - Upstage Left
Coat Rack - Upstage Left
*dances at the same time
M – Mother, D – Daughter, W – Witch, F - Father
BALLET CHOREOGRAPHY:
MUSIC starts.
MOTHER
1 - enters from Upstage Center
walks to Kitchen Table carrying Bread Basket in both hands,
places Bread Basket on Kitchen Table left leg pointe tendue a la seconde
at Upstage Right – 1 M
MOTHER
2 - walks to Kitchen Counter,
pas de bouree
walk a few steps,
lifts Pot Roast in hands, step with right leg a la seconde toward Stove
at Center Stage – 2 M
1
The Noon Witch
music - Antonin Dvorak
Op. 108 (B. 196), allegretto, approx. 14 minutes
(based on K. J. Erben's Polednice)
Ballet Choreography by Ann Greyson
DAUGHTER
*3 - enters from Center Stage Left; walks slowly with arms at sides slightly swinging toward Center Stage,
(face expresses boredom and body shrugs),
arrives at Center Stage – 1 D
looks to Kitchen,
glissade en tournant (finish left leg coupe derriere),
pose croise derriere coupe (face expresses excitement and plotting mischief)
MOTHER
*3 - Opens door of Stove/Oven (keeps back to audience),
Puts Pot Roast in Stove/Oven,
Closes door of Stove/Oven,
Returns to Counter Top, steps a la seconde with left leg,
pointes tendue a la seconde with right foot
DAUGHTER
*4 – plie degage efface devant – arms low 3rd (right leg en avant)
Pique soutenu en tournant en dedans – 3 turns
(fondu opening leg efface devant,
step onto pointe to the downstage diagonale,
draw other leg across in front in 5th croise – arms 1st,
three-quarters of a turn toward back leg exchanging feet in 5 th – arms a la seconde,
FINISH – 4th arabesque a terre)
MOTHER
*4 – takes Pot and Ladle onto Counter Top – 3 M
Begins to stir contents in Pot with Ladle, (feet in 1st position)
DAUGHTER
5 – glissade de cote
fondu sur le cou-de-pied right foot croise derriere
Jete passe derriere (pas de papillon)
(coupe under,
brush front leg through 1st to efface derriere while JUMP ascends – arms 2nd,
top of JUMP underneath leg up in back of the body,
meet and exchange places with leg which brushed back,
LAND – fondu sur le cou-de-pied croise derriere – arms high 3rd allongee)
walk a few steps in Kitchen, from behind Mother tugs on apron
at Center Stage Right - 2 D
MOTHER
6 – turns around startled,
arms wave in air gesturing “Go Away”,
Turns to stir Ladle in Pot
DAUGHTER
7 – steps away from Mother,
pose - Croise devant (arms port de bras slowly to low 3rd opposition) (right leg en avant)
(face expresses boredom and sad)
2
The Noon Witch
music - Antonin Dvorak
Op. 108 (B. 196), allegretto, approx. 14 minutes
(based on K. J. Erben's Polednice)
Ballet Choreography by Ann Greyson
DAUGHTER
8 – glissade en avant
Grand battement releve devant – arms high 3rd (right leg battement) (or releve developpe efface devant)
close right leg battement front to 5th position
Chasse en Tournant
(5th position demi-plie croise,
JUMP – 5th with a quarter-turn toward front foot – arms en bas to 1st,
LAND – on right back leg, extending left front leg efface devant,
Transfer weight forward onto left front leg into 4th demi-plie – downstage arm opens 2nd,
JUMP – back leg into 5th in back, with a single tour en l’air toward the front foot –
Downstage arm closes strongly to 1st with jump,
LAND – on back foot, extending left front leg forward –
tombe forward through 4th position demi-plie)
“Balanchine” 1st arabesque (right leg in arabesque) torso twisted open and side arm pressed back
DAUGHTER
9 – close right leg in arabesque to back in 5th position
Passe saute – arms demi-seconde palms down
(5th plie, JUMP, left front foot up straight back leg to passe at knee side,
change passe leg over knee to back sliding, FINISH - 5th plie)
at Center Stage – 3 D
DAUGHTER
10 - plie degage efface devant – arms low 3rd (right leg en avant)
Pique soutenu en tournant en dedans – 4 turns
(fondu opening leg efface devant,
step onto pointe to the downstage diagonale,
draw other leg across in front in 5th croise – arms 1st,
three-quarters of a turn toward back leg exchanging feet in 5 th – arms a la seconde,
FINISH – in croise – arms 1st)
walk a few steps to Kitchen at Center Stage Right – 4 D
pose - fondu sur le cou-de-pied derriere (left leg fondu derriere) - arms tap strongly on Mother’s back
MOTHER
11 – turns around, places hands on hips (face is upset)
DAUGHTER
12 – steps back
MOTHER
13 – Scolds Daughter with head swinging to left and body circling around Daughter with hands on hips
DAUGHTER
14 – steps backwards
3
The Noon Witch
music - Antonin Dvorak
Op. 108 (B. 196), allegretto, approx. 14 minutes
(based on K. J. Erben's Polednice)
Ballet Choreography by Ann Greyson
MOTHER
15 – steps toward Daughter, places hands on Daughter’s shoulders,
moves and seats Daughter on Stool beside Kitchen Table
at Upstage Right – 5 D , 4 M
MOTHER
16 - steps tendu a la seconde – left arm extends out pointing to scold Daughter,
steps tendu a la seconde – both arms point to Kitchen,
both arms lift Apron while walking back and forth (explaining “Busy in Kitchen”)
MOTHER
17 – step tendu a la seconde – left arm points to Grandfather Clock,
pose croise derriere (left leg derriere) – hands push out 2 times character-like,
step croise derriere (right leg derriere) – arms up at side with hands character-like,
steps toward Daughter with witch-like behavior (trying to scare Daughter)
DAUGHTER
18 – stands to - Croise derriere – arms 5th (right leg derriere)
en Croise derriere – hands cover ears (head shakes side to side, scared she
refuses to hear about “Witch coming”)
MOTHER
19 – steps back, pose tendu a la seconde – arm out to Grandfather Clock
DAUGHTER
20 – glissade de cote (hands cover ears),
Emboites Sautes by Half-turn – 4 turns traveling en diagonale
(5th croise demi-plie,
JUMP – half-turn toward front foot, back foot to cou-de-pied devant as a small passé
- arms low 3rd to opposite low 3rd ,
JUMP – in 5th with half-turn, change back foot to front through 5th en l’air
LAND – croise in cou-de-pied devant - arms low 3rd to opposite low 3rd)
Chasse en avant – traveling en diagonale passing Center Stage
(tombe en avant,
JUMP – in 5th position – arms a la seconde,
small developpe en avant)
Glissade en avant through 4th position – arms en bas
Grand jete en avant in 1st arabesque
(Grand battement upstage leg through 1st into grand jete,
reach for floor with left front leg
LAND - bring back leg through 1st transfer weight forward onto it in croise,
body twists open to the front - downstage right arm opens straight back to 2nd, upstage left arm to 1st)
Glissade en avant throught 4th position – arms en bas
at Downstage Left – 6 D
4
The Noon Witch
music - Antonin Dvorak
Op. 108 (B. 196), allegretto, approx. 14 minutes
(based on K. J. Erben's Polednice)
Ballet Choreography by Ann Greyson
DAUGHTER
21 – plie degage efface devant – arms low 3rd (right leg en avant)
Pique emboite en tournant by half-turns – 8 turns traveling en diagonale
(plie,
turning to efface devant,
pique en dedans, execute quarter-turn,
bringing the back foot retire front – arms change across body in low 3rd opposition,
lower retire leg to close front in 5th, turning en dedans,
lift back foot to retire devant, pull knee back and turning en dehors
– arms change across body to low 3rd opposition)
glissade de cote
at Center Stage – 7 D
DAUGHTER
22 – run many steps to Kitchen Table,
at Upstage Right – 8 D
echappe saute a la seconde en face
grand plie in a la seconde - hands lift Table Cloth,
moves onto knees, hides under Kitchen Table, under Cloth
MOTHER
23 – walks to Kitchen – 4 M
opens door to Stove and checks on Pot Roast,
closes door to Stove,
returns to Counter, stirs Ladle in Pot
DAUGHTER
24 – peeks underneath Table Cloth, sees Mother in Kitchen
DAUGHTER
25 – Renverse (standard Western version)
(pointe tendue croisee derriere – arms low 3rd, releve en pointe quarter-turn
en dedans into low arabesque – arms demi-seconde palms up,
Failli croisee to fondu sur le cou-de-pied derriere, coupe under to fondu
Croise devant at 45 degrees – arms 1st, releve grand rond de jambe en dehors
90 degrees, through 2nd to ecarte derriere – arms 5th en haut,
continue rond de jambe leg to back –
Finish – plie left leg in attitude croisee derriere / body bent sideways)
5
The Noon Witch
music - Antonin Dvorak
Op. 108 (B. 196), allegretto, approx. 14 minutes
(based on K. J. Erben's Polednice)
Ballet Choreography by Ann Greyson
DAUGHTER
26 – Coupe pique ballonne - dessous
(left leg in attitude close back to fondu sur le cou-de-pied derriere,
coupe under through 5th – throw right front leg a la seconde 45 degrees en pointe
– arms demi-seconde palms down,
sharply bend extended leg to derriere in cou-de-pied – arms low 3rd with epaulement),
Pas de bourree suivi traveling left
(5th en pointe,
flex and straighten knees alternately,
move back foot sideways behind and past front foot,
slide front foot sideways same way,
traveling to the side toward front foot,
alternating sliding, first back foot, then front foot)
tombe en avant croise
preparatory 4th position demi-plie en face
Pirouette en dehors from 4th position – 2 turns
at Center Stage – 9 D
DAUGHTER
27 – Grand pas de chat developpe de cote
(tombe en avant croise – arms lower through 5th en bas and lift to 1st, JUMP, lifting back right leg through
high retire position, into a fast developpe a la seconde, immediately bending knee of underneath leg
and tucking the foot up close to the torso – arms 4th traveling sideways through the air, reach for
the floor with leading leg, land on it and lower the other leg past the knee to close 5 th plie in front –
Finish arms – 5th position – arms 4th)
DAUGHTER
28 – glissade de cote – arms 5th en bas (finger tips outside thighs)
prepare pointe tendue croisee devant (right leg en avant)
Pique retire traveling right – arms demi-seconde - 2 times
( plie, pique onto leg, back left leg retire devant, no turn)
Pas de bouree en tournant, en dedans
(fondu sur le cou-de-pied devant – left foot,
coupe over with quarter-turn upstage,
other foot cou-de-pied derriere – arms 1st,
execute half-turn with coupe over through 5th,
front right foot to back to cou-de-pied derriere – turn to croise
FINISH – 5th plie)
Pas de chat with legs thrown back
walk a few steps in Kitchen, tap Mother on shoulder
at Center Stage Right – 10 D
MOTHER
29 – turns around, folds arms on chest,
head nods “No”,
turns back around
6
The Noon Witch
music - Antonin Dvorak
Op. 108 (B. 196), allegretto, approx. 14 minutes
(based on K. J. Erben's Polednice)
Ballet Choreography by Ann Greyson
DAUGHTER
30 – steps back,
Failli (standard Western version)
(pointe tendue right leg croisee derriere – arms low 3rd,
releve right leg in arabesque at 45 degrees with
quarter-turn en dedans – arms demi-seconde palms down,
back left leg through 1st from releve, slide right foot forward to
4th arabesque plie a terre – front arm curved in 1st)
DAUGHTER
31 – close left leg to back in 5th position
Rond de jambe en l’air saute en dehors (no brush)
(5th position plie, JUMP, sissonne – legs in low 2nd,
extended right leg single circle en dehors, rond de jambe,
land right leg a la seconde / other leg plie – arms low 3rd)
DAUGHTER
32 – glissade de cote
Petit jete devant dessous
(5th position demi-plie,
brush left front leg a la seconde,
JUMP – straight up with stretched legs – arms demi-seconde,
legs in a small 2nd position en l’air,
brushed left front leg underneath torso.
Bend right leg into cou-de-pied devant,
FINISH – fondu sur le cou-de-pied right foot devant – arms low 3rd opposition)
walk a few steps in Kitchen, taps on Mother’s back – feet in 2nd position (no turn out)
at Center Stage Right – 11 D
MOTHER
33 – turns around, waves arms above head (face is upset)
DAUGHTER
34 – steps back in croise derriere, arms reach out to Mother
MOTHER
35 – folds arms on chest,
head nods “No”,
steps towards Daughter
DAUGHTER
36 – plie, steps back
MOTHER
37 – steps towards Daughter – arms witch-like wave in air,
points arm to Grandfather Clock
7
The Noon Witch
music - Antonin Dvorak
Op. 108 (B. 196), allegretto, approx. 14 minutes
(based on K. J. Erben's Polednice)
Ballet Choreography by Ann Greyson
DAUGHTER
38 – takes Mother by the hands
glissade de cote 6 times traveling left
dancing Mother to Center Stage – 12 D , 5 M
Spins Mother by the hand around and around, turning her twice
(laughing and making mother Dizzy)
Petit jete derriere dessus
(5th position demi-plie,
brush back leg a la seconde,
JUMP – straight up with stretched legs – arms demi-seconde,
legs in a small 2nd position en l’air,
brushed leg underneath torso.
Bend left leg into cou-de-pied derriere,
FINISH – fondu sur le cou-de-pied left leg derriere – arms low 3rd opposition)
pose – Croise derriere – left leg cou-de-pied derriere – hands to mouth, laughing at dizzy Mother
MOTHER
39 – dizzy, regains balance,
tendu a la seconde – arm points to Grandfather Clock,
steps right, croise derriere left leg – arms character high in air,
pushes witch-like hands out 2 times, pushing right and left,
steps again towards Daughter – leg pointes a la seconde – arms
character high in air – does witch hands again pushing left
and right 2 times
DAUGHTER
40 – brings hands to mouth laughing,
plie degage efface devant – arms low 3rd (right leg en avant)
Pique turns en dedans in a circle – around Mother
(pique en avant, turning en dedans with foot at back of knee, coupe under,
change head to spot new direction, pique turn en dedans toward new direction,
continue in circular pattern. Each coupe under body is facing new direction
and spot changes with each turn approx. one-and-a-quarter rotation.)
at Center Stage – 13 D
DAUGHTER
41 - takes Mother’s hands, and spins her around and around, turning her twice,
(laughing and making Mother dizzy)
Petit jete derriere dessus
(5th position demi-plie,
brush back leg a la seconde,
JUMP – straight up with stretched legs – arms demi-seconde,
legs in a small 2nd position en l’air,
brushed leg underneath torso.
Bend left leg into cou-de-pied derriere,
FINISH – fondu sur le cou-de-pied left leg derriere – arms low 3rd opposition)
pose – Croise derriere – left leg cou-de-pied derriere – hands to mouth, laughing at dizzy Mother
8
The Noon Witch
music - Antonin Dvorak
Op. 108 (B. 196), allegretto, approx. 14 minutes
(based on K. J. Erben's Polednice)
Ballet Choreography by Ann Greyson
DAUGHTER
42 – glissade de cote,
Pas de bouree de cote dessous
(fondu sur le cou-de-pied right leg derriere,
coupe under onto a straight leg en pointe,
lift left front foot to cou-de-pied – arms 1st,
small step to side with left front foot,
right foot to cou-de-pied devant, close to
FINISH – 5th plie – arms demi-seconde)
sissonne fondue (soviet syllabus) – arms 1st arabesque
(5th efface, spring upward, traveling en avant, legs wide “split” position en l’air,
“grand jump”, land front leg arabesque – arms 1st arabesque,
close back leg to 5th plie),
releve 5th en pointe with epaulement – hands on hips (head angled toward Mother)
at Center Stage Left – 14 D
MOTHER
43 - regains her balance,
arm extends to Daughter, then arm extends towards Grandfather Clock
DAUGHTER
44 – pose - 5th en pointe with epaulement - hands cover ears
(head angled toward mother, head nods "No")
MOTHER
45 - extends arms toward Grandfather Clock, hands witch-like waving
(warning of coming Witch / danger)
DAUGHTER
46 - 5th plie
preparatory pointe tendue - arms low 3rd (right leg en avant)
Pique en dedans in attitude derriere – arms high 3rd – 3 turns
(plie,
turn to efface devant,
pique turning en dedans in attitude derriere,
left leg lifted at 90 degrees – arms high 3rd)
5th plie
glissade de cote
at Center Stage – 15 D
MOTHER
47 - both arms extend to side, hands witch-like,
hands and arms pulse towards Daughter (tries to scare Daughter)
DAUGHTER
48 - shoulders shrug up and down, laughing - feet 1st,
waves hand gesturing "No"
9
The Noon Witch
music - Antonin Dvorak
Op. 108 (B. 196), allegretto, approx. 14 minutes
(based on K. J. Erben's Polednice)
Ballet Choreography by Ann Greyson
MOTHER
49 - hands and arms pulse in and out towards Daughter
(acting witch-like to scare Daughter)
DAUGHTER
50 – glissade en avant
Pas de bouree en avant traveling en diagonale
(fondu sur le cou-de-pied derriere croise,
coupe under with quarter-turn en dehors – arms 1st,
step forward with left front foot to small 4th position,
back right foot forward to overcrossed 5th position,
coupe under into
FINISH – fondu pointe tendue effacee devant – arms low 3rd left leg en avant)
arabesque at 45 degrees (right leg derriere in arabesque)
close right leg in arabesque to back in fondu sur le cou-de-pied
pose – Croise derriere – right leg fondu sur le cou-de-pied
look back at Mother
MOTHER
51 - turns away,
makes witch-like pose (arms extended above head, hands character, back slouches)
DAUGHTER
52 – Assemble croise en avant
(5th plie,
brush right leg forward croise devant,
ascend carrying weight forward,
close back left leg to right front leg,
travel forward en l’air in 5th position – arms low 3rd,
FINISH - 5th plie – arms low 3rd)
tombe en avant
Grande pirouette en dedans in 1st arabesque - 2 turns
(preparatory croise lunge,
plie, Grand battement releve to 1st arabesque at 90 degrees,
left leg derriere in arabesque,
turn toward supporting leg
FINISH – 1st arabesque plie (left leg derriere in arabesque)
brush left leg in arabesque devant to
4th arabesque a terre
at Downstage Left – 16 D
MUSIC CHANGE:
WITCH
*53 – enters at Kitchen Door, at Downstage Right – 1 W
poses creepy, back hunched, arms character
10
The Noon Witch
music - Antonin Dvorak
Op. 108 (B. 196), allegretto, approx. 14 minutes
(based on K. J. Erben's Polednice)
Ballet Choreography by Ann Greyson
DAUGHTER
*53 - head looks to see Witch, scared, moving in direction of Mother
pointe tendue croisee devant - arms low 3rd (right leg en avant)
Pique turns en dedans in 1st position – 6 turns traveling en diagonale
(tombe diagonally downstage into efface derriere,
brush back leg rond-de-jambe – arms 2nd,
pique onto pointe to the downstage diagonale,
draw other leg in 1st position,
three-quarters of a turn toward back leg in 1st position – arms 1st)
pose - on one knee (left leg on ground) - hands grab Mother's apron,
hides head under Apron - posed on one knee - hands on Apron
at Center Stage – 17 D
MOTHER
54 – afraid of Witch,
arms wrap around Daughter hiding under Apron
(clutches Daughter to body)
WITCH
55 - walks creepy towards Mother/Daughter,
5th plie,
Pirouette en dehors en 5th demi-pointe - 1 turn – arms 5th position en haut, character hands,
slowly walks to Mother/Daughter
DAUGHTER
56 - raises from ground to feet in 1st,
arms a la seconde, en pointe bouree while keeping back to Mother's back on Mother's left side,
(Mother and Daughter turn around in unison, backs to each other, scared of Witch) – 2 turns
WITCH
57 - stops near Mother / Daughter,
near Center Stage – 2 W
arm points to Daughter (gestures "Daughter come to Witch")
DAUGHTER
*58 - jete (low leg 45 degrees derriere),
runs to corner, stops near Kitchen Table, hands on face scared,
at Upstage Right – 18 D
pose - Croise derriere (left leg derriere)
MOTHER
*58 - hands embraced, she falls to knees
(gestures / pleads with Witch "Not to take Daughter")
WITCH
59 - Pirouette en dehors in 5th demi-pointe, 1 turn, waves arms - character in air, laughs,
tendu a la seconde,
arm points to Daughter, then arm points to Mother,
both arms come in to chest (grabbing motion suggests
"Daughter to go with Witch")
11
The Noon Witch
music - Antonin Dvorak
Op. 108 (B. 196), allegretto, approx. 14 minutes
(based on K. J. Erben's Polednice)
Ballet Choreography by Ann Greyson
DAUGHTER
60 - reaches arm out to Mother,
glissade en avant traveling en diagonale
Pas de chat with legs thrown back
runs a few steps to Mother's side
at Center Stage – 19 D
WITCH
61 - hunches over, laughs and gestures wildly,
JUMP - with passe leg turned in,
Pas de bouree de cote dessus
pose - Coise derriere - arms character waving in air
DAUGHTER
62 - arms help lift Mother to feet
MOTHER
63 - clutches Daughter with arms embraced around shoulders
WITCH
64 - pulls daughter by the left arm
DAUGHTER
*65 - Pique at 90 degrees (arabesque en face at 45 degrees from fondu) - arms 3rd (left leg in arabesque)
WITCH
*65 - extends arm and hand takes Daughter's hand,
turns Daughter in arabesque - 1 turn
DAUGHTER
66 – close left leg in arabesque to back in 5th position
glissade en avant
(escapes Witch's grasp)
MOTHER
67 - hands on face, weeping and scared,
she paces back and forth,
watching Witch and Daughter
WITCH
68 - tries to grab Daughter by the waist with both hands and misses
DAUGHTER
69 - Balanchine jete battu (with body inclination) traveling right
(assemble, 5th plie, brush back leg a la seconde - arms demi-seconde,
JUMP - throw upper body sideways toward brushed leg, underneath
leg across to beat front in 5th, front leg to back cou-de-pied derriere en l'air,
LAND- right leg cou-de-pied derriere - body inclined over fondu leg - arms 3rd allonge),
glissade de cote
avoids Witch
12
The Noon Witch
music - Antonin Dvorak
Op. 108 (B. 196), allegretto, approx. 14 minutes
(based on K. J. Erben's Polednice)
Ballet Choreography by Ann Greyson
WITCH
70 - tries to grab Daughter by the waist again and misses – 3 W
DAUGHTER
71 - Balanchine jete battu (with body inclination) traveling left
(assemble, 5th plie, brush back leg a la seconde - arms demi-seconde,
JUMP - throw upper body sideways toward brushed leg, underneath
leg across to beat front in 5th, front leg to back cou-de-pied derriere en l'air,
LAND – left leg cou-de-pied derriere - body inclined over fondu leg - arms 3rd allonge),
avoids Witch,
glissade en arriere (moving towards Mother),
run a few steps to Mother's side
at Center Stage – 20 D
MOTHER
72 - clutches Daughter with both arms
WITCH
73 - walks a few steps back and forth (expresses anger from not catching Daughter),
Pirouette en dedans in 5th demi-pointe - 1 turn, with cape held in one arm,
gestures with arm and cape toward Mother/Daughter,
jete (low leg 45 degrees derriere - moving toward Mother/Daughter),
slowly walks creepy with back hunched and arms en l'air character (Witch is plotting)
WITCH
74 - arms extend out toward Daughter
(gestures to "come with Witch")
MOTHER
75 - shields Daughter with her back - arms a la seconde,
head nods "No" to Witch
WITCH
76 - arm extends to Daughter,
arm extends in to chest (gestures "Daughter belongs to Witch"),
back hunches over, laughs
13
The Noon Witch
music - Antonin Dvorak
Op. 108 (B. 196), allegretto, approx. 14 minutes
(based on K. J. Erben's Polednice)
Ballet Choreography by Ann Greyson
DAUGHTER
77 – 3rd arabesque (left leg in arabesque)
Emboite at 90 degrees – arms high 3rd arabesque
(3rd arabesque plie, JUMP, switch to
3rd arabesque plie - changing legs and arms en l'air),
close right leg in arabesque to back in 5th position
plie degage efface devant - arms low 3rd (left leg en avant)
Pique emboite en tournant by half-turns – 6 turns traveling en diagonale
(plie,
turning to efface devant,
pique en dedans, execute quarter-turn,
bringing the back foot retire front – arms change across body in low 3rd opposition,
lower retire leg to close front in 5th, turning en dedans,
lift back foot to retire devant, pull knee back and turning en dehors
– arms change across body to low 3rd opposition)
4th arabesque a terre
at Downstage Left – 21 D
MOTHER
78 - hands embrace, begs Witch (gesturing "Don't take Daughter")
WITCH
*79 - turns away from Mother, arm hold Cape,
reaches arm out, hand twists in air, towards Mother,
brings arm in,
reaches arm out again, hand twists in air towards Daughter
(moves hands as if casting a spell)
DAUGHTER
*79 - plie degage efface devant - arms low 3rd (right leg en avant)
Pique soutenu en tournant en dedans – 6 turns – traveling en diagonale
(fondu opening leg efface devant,
step onto pointe to the downstage diagonale,
draw other leg across in front in 5th croise – arms 1st,
three-quarters of a turn toward back leg exchanging feet in 5 th – arms a la seconde,
FINISH – Croise derriere - hands on Mother's shoulders (face expresses fear)
at Center Stage – 22 D
MOTHER
80 - shields Daughter from Witch - arms a la seconde,
looks back at Daughter (from time to time) both faces express fear
14
The Noon Witch
music - Antonin Dvorak
Op. 108 (B. 196), allegretto, approx. 14 minutes
(based on K. J. Erben's Polednice)
Ballet Choreography by Ann Greyson
WITCH
81 – Petit jete derriere dessus
(5th position demi-plie,
brush back leg a la seconde,
JUMP – straight up with stretched legs – arms demi-seconde,
legs in a small 2nd position en l’air,
brushed leg underneath torso.
Bend left leg into cou-de-pied derriere,
FINISH – fondu sur le cou-de-pied left leg derriere – arms low 3rd opposition)
Pas de chat en tournant en dedans - 2 turns
walk back to original starting place - arms character
WITCH
82 - glissade de cote,
5th plie
Pirouette en dehors en 5th position demi-pointe, 1 turn - arms character,
glissade de cote
tombe en avant
4th position plie
Pirouette en dedans in attitude - 2 turns (right leg in attitude)
walks back and forth, a few steps, hands waving in air
from Center Stage to Center Stage Left – 4 W
WITCH
83 - pose tendu a la seconde,
arm extends towards Daughter,
arm extends in to chest, back hunches over, laughs wildly
(expresses "Daughter is coming with Witch")
DAUGHTER
*84 - runs a few steps - hands cover ears,
glissade en avant through 4th position,
Grand jete en avant
(grand battement upstage leg through 1st),
run a few steps - pose feet in 1st - hands cover ears,
head nods "No" (expresses: overwhelmed, she can hear no more)
at Donwstage Right – 23 D
MOTHER
*84 – arms extend to reach out to Daughter,
arm extends pleading to Witch,
walks a few steps back and forth (face is upset)
15
The Noon Witch
music - Antonin Dvorak
Op. 108 (B. 196), allegretto, approx. 14 minutes
(based on K. J. Erben's Polednice)
Ballet Choreography by Ann Greyson
WITCH
85 – releve 5th position en demi-pointe – arms 5th position en haut, hands character,
runs a few steps (chases after and copies Daughter),
glissade en avant through 4th position,
Grand jete en avant
(grand battement upstage leg through 1st),
run a few steps,
hands reach out and land on Daughter’s shoulders, from behind her (face expresses evil wickedness)
at Downstage Right – 5 W
DAUGHTER
*86 – glissade de cote (away from Witch’s embrace)
Grande pirouette en dedans in 1st arabesque
(preparatory croise lunge,
plie, Grand battement releve to 1st arabesque at 90 degrees,
right leg derriere in arabesque,
turn toward supporting leg
FINISH – 1st arabesque plie (right leg derriere in arabesque)
WITCH
*86 - tries to grab Daughter by the waist with both hands and misses
DAUGHTER
*87 - Pas de Ciseaux
(tombe croise,
grand battement efface devant – arms 1st,
JUMP – lift underneath leg up toward efface leg,
legs pass each other en l’air in jump,
upstage leg reach for floor,
croise devant leg backward through 1st plie to arabesque,
FINISH – 1st arabesque plie)
WITCH
*87 - tries to grab Daughter by the waist with both hands and misses again
DAUGHTER
*88– close leg in arabesque to back in 5th position
glissade de cote
Failli (with JUMP, no pointe) (soviet syllabus)
(5th plie – arms low 3rd, JUMP, low arabesque 45 degrees –
quarter-turn en dedans, arms demi-seconde, back leg to
1st from JUMP, slide foot forward to,
4th arabesque plie a terre – front arm curved in 1st)
at Downstage Center – 24 D
WITCH
*88 – successfully grabs Daughter by the waist with both hands
(Daughter is in 4th arabesque plie a terre when grabbed)
at Downstage Center – 6 W
16
The Noon Witch
music - Antonin Dvorak
Op. 108 (B. 196), allegretto, approx. 14 minutes
(based on K. J. Erben's Polednice)
Ballet Choreography by Ann Greyson
DAUGHTER
*89 – Sissonne fondue (soviet syllabus)
(5th efface, to the left, springs from ground, legs jete in high 2nd – arms 1st arabesque,
land on front leg in arabesque,
close back right leg to 5th plie)
trying to escape Witch, who holds her by the waist
WITCH
*89 – Hands hold Daughter by the waist
DAUGHTER
*90 – Sissonne fondue (soviet syllabus)
(5th efface, to the right, springs from ground, legs jete in high 2nd, – arms 1st arabesque,
land on front leg in arabesque,
close back left leg to 5th plie)
trying to escape Witch, who hold her by the waist
WITCH
*90 – hands hold Daughter by the waist
MOTHER
*90 – arms reach out to Daughter (gesturing “come to her”)
DAUGHTER
*91 – Pas de bourree couru en avant
(run forward sur les pointes,
in barely turned out 1st position,
knees relaxed, weight forward – arms a la seconde)
5th plie
Pirouette en dehors from 5th position – 3 turns,
developpe 1st arabesque at 45 degrees en pointe (right leg in arabesque)
WITCH
*91 – hands hold Daughter by the waist
MOTHER
92 – removes Apron from her waist,
walk to Witch and Daughter,
hit Witch with Apron 3 times
at Downstage Center – 6 M
WITCH
93 – loses embrace of Daughter trying to fend off Mother
DAUGHTER
94 – close right leg in arabesque to back in 5th position
glissade de cote
takes Mother’s hand,
They run together away from the Witch
to Center Stage Right – 25 D , 7 M
17
The Noon Witch
music - Antonin Dvorak
Op. 108 (B. 196), allegretto, approx. 14 minutes
(based on K. J. Erben's Polednice)
Ballet Choreography by Ann Greyson
WITCH
95 – Walks slowly and creepy with back hunched
(towards Mother and Daughter)
MOTHER
96 – stands in front of Daughter, who has back to Mother
on the left side en pointe – arms a la seconde,
(They turn around twice in unison, faces reveal they are scared)
WITCH
97 – arms extend out to Daughter strongly (demanding “Daughter go with Witch”)
at Center Stage – 7 W
MOTHER
98 – Turn comes to a stop,
responds sadly, head nods “No”
DAUGHTER
99 – rolls through en pointe,
lands on knees,
slips to ground into a fetal position,
huddles at Mother’s legs, hands clutch Mother’s legs
WITCH
100 – extends arm pointing to Grandfather Clock,
extends arm to Daughter (gesturing “Time to come with Witch”)
MOTHER
101 – holds up hands in an embrace (begs for “mercy”)
CLOCK STRIKES 12
WITCH
102 – Pirouette en dedans in 5th demi-pointe, 1 turn – cape held in one arm,
curtsy bows to Mother – arms demi-seconde character palms up
MOTHER
*103 – Faints
(plies, falls to ground covering Daughter in a smothering manner)
18
The Noon Witch
music - Antonin Dvorak
Op. 108 (B. 196), allegretto, approx. 14 minutes
(based on K. J. Erben's Polednice)
Ballet Choreography by Ann Greyson
WITCH
*103 – – Petit jete derriere dessus
(5th position demi-plie,
brush back leg a la seconde,
JUMP – straight up with stretched legs – arms demi-seconde,
legs in a small 2nd position en l’air,
brushed leg underneath torso.
Bend left leg into cou-de-pied derriere,
FINISH – fondu sur le cou-de-pied left leg derriere – arms low 3rd opposition)
runs off – exits STAGE
at Downstage Right – 8 W
MUSIC PAUSE:
FATHER
104 – enters from Upstage Left – 1 F
takes off hat and coat,
places hat and coat on Rack
FATHER
105 – carries Bag on shoulder,
places bag down,
walks toward Kitchen
FATHER
106 – sees Mother and Daughter on floor,
steps tendue a la seconde
glissade de cote
run a few steps
FATHER
107 – reaches Mother and Daughter on floor
at Center Stage Right – 2 F
poses on one knee,
taps Mother on shoulder,
Mother gives no response
FATHER
108 – taps Mother on shoulder again
MOTHER
109 – awakens, turns to Father slowly
FATHER
110 – Hands lift Mother to sitting position,
He feels Mother's forehead with left hand to check temperature,
hands gesture (“What happened?”)
MOTHER
111 - Head inclines on embraced hands to gesture (“she fell asleep”)
19
The Noon Witch
music - Antonin Dvorak
Op. 108 (B. 196), allegretto, approx. 14 minutes
(based on K. J. Erben's Polednice)
Ballet Choreography by Ann Greyson
FATHER
112 – points to Daughter on ground,
gesturing to (“check her”)
MOTHER
113 – taps Daughter on the back,
gets no response from Daughter
MOTHER
114– shakes Daughter by the shoulders using both hands,
gets no response from Daughter,
looks to Father (“to help”)
FATHER
115 – shakes Daughter by the shoulders using both hands,
gets no response from Daughter
FATHER
116 – takes wrist of Daughter (checks pulse),
gets no response from Daughter,
looks at Mother, gestures with hands and face
and head nods (“Daughter is dead”)
MOTHER
117 – falls at Daughter’s side, weeps
FATHER
118 – embraces Mother with both arms
MUSIC RISES / COMMENCES:
CURTAIN FALLS:
THE END:
TEXT BIBLIOGRAPHY:
Warren, Gretchen Ward, Classical Ballet Technique, University of South Florida Press, 1989
20
The Noon Witch
music - Antonin Dvorak
Op. 108 (B. 196), allegretto, approx. 14 minutes
(based on K. J. Erben's Polednice)
Ballet Choreography by Ann Greyson
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