• Starts with the male soloist downstage right… on the lick of the
• Courting rituals - Masculine and animalistic gestures guitar he then performs slick back gestures with his hair. Performs
• Misogyny - Female dancer appears to intrude and struts across the stage with his head jolting back and forth with his
negatively affect the men. Some violent torso leant forwards
connotations. • Section one ends with female dancers walking towards up stage,
• Culture references - Through leg gestures - reflecting and the men walk down stage and adjust their ties while a female
pop stars of the 60's era (Elvis, Jagger) dancer comes to the end of performing a solo . The stage is lit with
• Narcissism - Excessive admiration of oneself through bleached white light
'grooming' and 'preening' gestures. Connection to a • The end of Little Red Rooster sets up the introduction of courtship
'proud' and 'cocky' Rooster. themes in Lady Jane, with a more structured and elegant dynamic
• Entitlement and Male Ego emerging
Rooster gestures – broken wrists in front,
Little Red Rooster
• Repetition of key rooster/male gestures.
pecking head, wing arms, dragging steps with
• Direct correlation with elements of
chest forward
music visualisation on heavy accents Grooming gestures – tie adjustment, slick hair,
(2nd repeat of “dogs begin to bark”). cufflinks gesture
• Clear ‘lead rooster’ while others are Section 1
back up.
• Female dancer changes the
relationships as she causes them to
leave.
‘On the prowl’, ‘hounds begin to hound’ – Animalistic lyrics
linked to courting women. The dancer faces front in a
• Men wear dark, shiny • Lift seen after female dancer wide, turned-in stance (right foot flat, left on demi-pointe
trousers, black jazz performs her hip thrusting with bent knee). Arms extend slowly to the sides with
shoes, coloured shirts, movements to get on stage. She flexed elbows and wrists. His head tilts left, eyes down, as
he quickly inverts his knees twice by loosely shifting
and coloured, velvet wraps her hand round a male weight between legs. The uncontrolled style echoes Elvis
jackets and ties dancers shoulder. With her like Presley and references pop culture – Hound Dog.
• Female dancer wears a in attitude before swinging it
black, high neck mini down where she is lifted and ‘I am the little red rooster’ – The male dancer embodies the
rooster, using jolting head movements while gripping his
dress with red panels in circles for leg around. tie, emphasizing forward snaps. The tie hold reflects
the skirt, black tights, • Contact in trio with one female preening, adding small gestures to enhance character. His
and black jazz shoes and 2 males where arabesque “rooster strut” reinforces the self-obsessed, showy nature
of the role.
lines are seen
, • Courting rituals • Section 2 starts with the men turning around to face the
Use of duets, swapping partners, folk dance (holding
women, they both to walk towards each other until they
hands, leading partners)
• Misogyny meet centre stage in courting like gestures
Female dancers appear to be 'disposable' as and when the • Section 2 finishes in silence with the women in a clump
males are finished with them. centre stage with "Lady Jane " stood up with the focus on
• Culture references: free love, experimentation her, and the men are stood around the clump, bowing to
Reflects the 60s as they switch partners create a courting gesture
• Adolescent anxieties: social pressure • This transition reflects a change in tone from romantic and
Lyrics suggest staying loyal to Jane, as the male dancer idealistic to youthful and cheeky, representing a shift in
switches partners but continually goes back to Jane social dynamics
● Male dancer smacks ‘Lady Jane’s’ bottom
Lady Jane
• Repetition (crossing wrists, female on knee, ● Male tapping female hand (condescending,
kissing hand, twisting into 3rd pos, bow with uncaring, feeling of being superior)
rotating wrists, arms over body, assisted ● Male holds out hand for female
grand jete) ● Male bows to female
• Mirroring (side by side in duet) Section 2
• Unison
• Canon (twist into torso bend in large circle)
• Highlights (key duet in the front)
• Men wear dark, shiny • "Your servant am I..." the male dancer
trousers, black jazz shoes, • Seen in the duet with Lady Jane, gets down on one knee and crawls
coloured shirts, and coloured, whereby she is lifted into the air when towards her until
velvet jackets and ties she sits down
performing a grade jete and her arms
• Female dancer wears a black, • "I pledge myself to Lady Jane' the
high neck mini dress with red
are in arabesque
panels in the skirt, black • A male dancers smacks Lady Janes’s male dancer courtesies and goes to take
tights, and black jazz shoes bottom her hand and kiss
• Sweet Marie- hair tied up • Ending - All male dancers lift a female it, but she pulls her hand away
• Lady Ann - hair down dancer into the middle as the female
• Lady Jane - hair pushed out swing therefor arms into the air
of face
• Courting rituals - Masculine and animalistic gestures guitar he then performs slick back gestures with his hair. Performs
• Misogyny - Female dancer appears to intrude and struts across the stage with his head jolting back and forth with his
negatively affect the men. Some violent torso leant forwards
connotations. • Section one ends with female dancers walking towards up stage,
• Culture references - Through leg gestures - reflecting and the men walk down stage and adjust their ties while a female
pop stars of the 60's era (Elvis, Jagger) dancer comes to the end of performing a solo . The stage is lit with
• Narcissism - Excessive admiration of oneself through bleached white light
'grooming' and 'preening' gestures. Connection to a • The end of Little Red Rooster sets up the introduction of courtship
'proud' and 'cocky' Rooster. themes in Lady Jane, with a more structured and elegant dynamic
• Entitlement and Male Ego emerging
Rooster gestures – broken wrists in front,
Little Red Rooster
• Repetition of key rooster/male gestures.
pecking head, wing arms, dragging steps with
• Direct correlation with elements of
chest forward
music visualisation on heavy accents Grooming gestures – tie adjustment, slick hair,
(2nd repeat of “dogs begin to bark”). cufflinks gesture
• Clear ‘lead rooster’ while others are Section 1
back up.
• Female dancer changes the
relationships as she causes them to
leave.
‘On the prowl’, ‘hounds begin to hound’ – Animalistic lyrics
linked to courting women. The dancer faces front in a
• Men wear dark, shiny • Lift seen after female dancer wide, turned-in stance (right foot flat, left on demi-pointe
trousers, black jazz performs her hip thrusting with bent knee). Arms extend slowly to the sides with
shoes, coloured shirts, movements to get on stage. She flexed elbows and wrists. His head tilts left, eyes down, as
he quickly inverts his knees twice by loosely shifting
and coloured, velvet wraps her hand round a male weight between legs. The uncontrolled style echoes Elvis
jackets and ties dancers shoulder. With her like Presley and references pop culture – Hound Dog.
• Female dancer wears a in attitude before swinging it
black, high neck mini down where she is lifted and ‘I am the little red rooster’ – The male dancer embodies the
rooster, using jolting head movements while gripping his
dress with red panels in circles for leg around. tie, emphasizing forward snaps. The tie hold reflects
the skirt, black tights, • Contact in trio with one female preening, adding small gestures to enhance character. His
and black jazz shoes and 2 males where arabesque “rooster strut” reinforces the self-obsessed, showy nature
of the role.
lines are seen
, • Courting rituals • Section 2 starts with the men turning around to face the
Use of duets, swapping partners, folk dance (holding
women, they both to walk towards each other until they
hands, leading partners)
• Misogyny meet centre stage in courting like gestures
Female dancers appear to be 'disposable' as and when the • Section 2 finishes in silence with the women in a clump
males are finished with them. centre stage with "Lady Jane " stood up with the focus on
• Culture references: free love, experimentation her, and the men are stood around the clump, bowing to
Reflects the 60s as they switch partners create a courting gesture
• Adolescent anxieties: social pressure • This transition reflects a change in tone from romantic and
Lyrics suggest staying loyal to Jane, as the male dancer idealistic to youthful and cheeky, representing a shift in
switches partners but continually goes back to Jane social dynamics
● Male dancer smacks ‘Lady Jane’s’ bottom
Lady Jane
• Repetition (crossing wrists, female on knee, ● Male tapping female hand (condescending,
kissing hand, twisting into 3rd pos, bow with uncaring, feeling of being superior)
rotating wrists, arms over body, assisted ● Male holds out hand for female
grand jete) ● Male bows to female
• Mirroring (side by side in duet) Section 2
• Unison
• Canon (twist into torso bend in large circle)
• Highlights (key duet in the front)
• Men wear dark, shiny • "Your servant am I..." the male dancer
trousers, black jazz shoes, • Seen in the duet with Lady Jane, gets down on one knee and crawls
coloured shirts, and coloured, whereby she is lifted into the air when towards her until
velvet jackets and ties she sits down
performing a grade jete and her arms
• Female dancer wears a black, • "I pledge myself to Lady Jane' the
high neck mini dress with red
are in arabesque
panels in the skirt, black • A male dancers smacks Lady Janes’s male dancer courtesies and goes to take
tights, and black jazz shoes bottom her hand and kiss
• Sweet Marie- hair tied up • Ending - All male dancers lift a female it, but she pulls her hand away
• Lady Ann - hair down dancer into the middle as the female
• Lady Jane - hair pushed out swing therefor arms into the air
of face
