Over the first weekend, we focused on all of the choreography. It's not particularly enjoyable playing for dance rehearsals because it's so repetitive, playing the same thing over and over under tempo watching people learn steps until it looks like a dance routine. There are three consolations to this tedious ritual: practice, dance styles, and a great choreographer. Not only do the dancers get to practice, but when I'm playing complicated dance breaks for them, playing them under tempo gives me practice and helps me understand the nuances of the rhythms and helps me think like the dancers I'm accompanying. In this particular show, there's not much dancing, but the dancing there is, is so varied. The opening number has cheesy big Broadway dance style; the courtesan dances include a contemporary ballet, a striptease, a duo lyrical combination, a wild animal like jazz combo, and the final is a more traditional jazz set with extra dancers. Also, in the show is a whole sequence of vaudeville style dances. There's even a choreographed march dance at the end of the first act. Before I came here, I could have never described dances like that. Most importantly, we have a great choreographer. He comes into rehearsal and knows exactly every count and its corresponding step. Not only that, but he knows the measure numbers so he can easily work with the pianist and musical director. Also, he choreographs not just around the basic melody of a dance break but the orchestrations. For example, there's this big woodwind and strings scale in the opening number, and during it he has the dancer doing somersaults forward matching the quality of the music. It's fascinating to watch a great choreographer at work and it makes the dance rehearsal time fly by and before you know it, you have a full musical number assembled and looking fantastic.