Summary

• The atmosphere of a night club is evoked through the gendered dance groups who rarely interact with each other and the isolation of ‘uncool’ individuals by the larger groups. However there are elements of a childhood playground portrayed through the action content.
• The loneliness talked about in the lyrics is reflected in the grouping and gestures of the dancers, but dealt with in a mildly humorous way.
• The end transition is less blended than with previous sections.
• Playground politics/rejection and isolation themes: 

  One man (who appears to be primarily an observer, watching and walking naturally through the action) and one woman stand outside a group of friends who clearly want nothing to do with them. The other three men and three women make two gender cliques and occasionally form cross group partnerships. The women seem intrigued by the outsider man but neither clique is interested in the isolated woman. 
• KEY MOTIFS: There is a telling moment when the three women link outstretched arms as if going into a folk dance, typical of Bruce’s choreography in the 1980s. The outsider woman joins the end of the line, but the others stare at her and she drops away giving a visual image of an individual rejected by the community. There is a child-like quality to the isolated woman’s skips, turns and little runs, and selfishness to her behaviour.
• RELATIONSHIPS/CHOREOGRAPHIC DEVICES: The outsider man periodically goes to her support but gets his face slapped for his pains.(Bruce’s example of humour!)  

  At the end of the song she is left crouching centre-stage and attracts his attention by waving her arm. He pulls her up and carries her off over his shoulder.
• In LRR, the farmyard was a metaphor, now the schoolyard is used as a setting for the lyrics which reflect on actions of children and how these actions relate to life in general.
• The issues revolve around exclusion and isolation.
• The circular formations used by the male and female groups show how they can isolate an individual.
• The reason for exclusion can be many and varied as we go through life.
• We also see movements that link us back to Lady Jane – those of expected behaviour – the boys do boy things together and the girls do their thing.
• Sometimes they come together but peer pressure changes their behaviour.
• There is a suggestion of influence over the group, leader dominance, friends falling out, tensions and jealousy. The actions create a sense of conversation. Typical male/female actions – skipping, light on feet.
• A man and a woman stand outside a group of friends who clearly want nothing to do with them.
• The other three men and three women make two gender cliques and occasionally form cross group partnerships.
• The women seem intrigued by the outsider man but neither clique is interested in the isolated woman.
• There is a telling moment when the three women link outstretched arms as if going into a folk dance, typical of Bruce’s choreography in the 1980s.
• The outsider woman joins the end of the line, but the others stare at her and she drops away giving a visual image of an individual rejected by the community.
• There is a childlike quality to the isolated woman’s skips, turns and little runs, and selfishness to her behaviour.
• The outsider man periodically goes to her support but gets his face slapped for his pains.
• At the end of the song she is left crouching centre-stage and attracts his attention by waving her arm.
• He pulls her up and carries her off over his shoulder.