Michelle_Richer

Hi Colman I think if you were to summarise holistically what I was saying, it would be “it all depends what criteria you are applying” In very basic terms, what you are wearing doesn’t say how well you dance. I understand the general point you make in your first para. For me it sort of reflects my position when I was at work, I was head of a design department and as such I was always dressed smartly in a dark skirted suit, I think basically it went with the territory, most of the office girls were either in trouser suits or slacks, the only other person who was similar dressed was my HR director. I guess I always wanted to present as a successful business woman not only to my company but to the suppliers and clients I dealt with especially our long standing transfer of technology clients around the world. I remember on such client where I had to travel to India to assist with a multimillion pound transfer of technology implementation as I was the design authority. The people on the ground I was working with were well qualified young ladies of about late 20’s to mid 30’s dressed in the most beautiful sari’s and it appeared to be a new clean sari every day, I don’t know if that was for my benefit or not. I was out there for a couple of weeks; during that time I was asked if I was wearing my companies’ uniform. I really did want to buy one of those sari’s, but never had the opportunity as I was working all the hours god sent either with that company or in my hotel working on documentation. As for your comment about wearing a uniform, for me I would have no real objection, at least it does tend to suggest by appearance a flat hierarchy structure between the dancers of that class; anyway to me it just makes good sense. The extract "I've agreed to wear what the teacher says" with all that goes with that. This is dangerous ground for me as a thinking dancer, there are some brilliant teachers out there, but there are some not so good. I will make my own mind up on that that one, that why a partnership relationship works far better for me and I guess why I do so much one-to-one work. As for exams that doesn’t feature in my priorities OK about most of your ladies finding a balance about being covered up against being exposed to show their line, I guess I can understand that. For me I have a slightly different perspective, short skirts for ballet class as most of us tend to wear that, but the exception is where we a practicing rep that utilises a long skirt in the port de bra, a case in point is Giselle’s solo from Act 1. I do remember doing a practice run at one of the studios I hire, at the same time the school was running a musical theatre summer school for youngsters. We all appeared to finish our sessions at the same time, this little girl came up to me and said “are you Snow White”, I couldn’t help but well up, she was so sweet, I will always remember that as a special moment. I had and interesting observation concerning guys gear. I ran a group for about a year up to last summer called Glen Ballet, we had 3 guys in that group including my Adrian, all the guys swore blind they would never wear tights, but they were happy to wear leggings. I bought my Adrian both black and white footless tights and he’s happy that he’s wearing legging. However for the pieces we take up to Ballet West he has appropriate Tunics for his PDD character rolls. For me it’s important that they are as authentic as we can practically make them.

An interesting title to the thread Nicola My first response intuitively, it doesn’t say anything. My second response is it depends where you are in terms of confidence and expressing your preferences. For example when I first started it was black tights, black ballet slippers given to me by one of the other ladies in our small country ballet class and a long top, after that was a school with a uniform protocol of pink tights and ballet slippers, black cap sleeve leotard and black chiffon tie round skirt, although I found I was the only dancer that fully complied. My own preference as time went on changed to dropping the capped sleeves to either half inch shoulder straps or spaghetti strapped leotards, as for colour, these days it depends what my preference (mood) is on the day. I know many positively don’t like wearing pink or white, for me I’m quite comfortable in either with matching skirts or not. I have a whole range of colours. I do remember my first Christmas with my first country ballet class; I went there in a red long sleeved leotard and skirt to be in keeping with the Christmas spirit. These days I would never wear long sleeves unless it was called for in a performance piece. My third response, it depends where I’m dancing, if its a normal regular ballet class, then it’s a leotard and skirt of my preference with pink tights and pink ballet slippers. If it a rep workshop it tends to be more appropriate to the piece being taught, eg I have in the passed I have worn a white leotard and skirt where we have been doing swan lake. If its one of my favourite pieces or likely to be, then I may go all out with a professional tutu, especially for the final run. If it’s an intensive, it’s very likely for me to wear a tutu especially if I can do it justice, it really doesn’t bother me that I am the only dancer in one. It’s a question of relevance. If for some reason I can’t do it justice, then I won’t wear a tutu as I believe it would look silly and inappropriate. The one-to-one intensive I attend with my boyfriend Adrian and PDD partner at Ballet West in Scotland, each piece we dance on the final day is always performed in costume, the costumes and accessories have to be relevant and realistic to the character rolls we are performing. In fact we are currently looking for crowns for the Sugar Plum Fairy and her Cavalier as we will be doing the Grand Pas de deux from the Nutcracker at ballet west this year. Performing on stage as a group, for me it makes no difference weather it’s an amateur performing group, or part of a ballet school showcase performance. There you wear the same as your fellow dancers irrespective of your own preference. I have unworn tan and black tights left over from performances I have done in days gone by as well as the dreaded capped sleeve leotards Other; following on from Fix’s remark about leg warmers and warm-up boots. Basically although I have these, I regard them as functional objects. I must confess I have never worn my warm-up boots to keep my feet warm, but to allow me to travel from the Centre for Business Art and Technology in North London to the Rambert Ballet School in Richmond, by underground. I was travelling in costume (covered) with my warm-up boots over my ballet slipper to allowing me to cross the road at Richmond Station to a waiting taxi to take me to my next performance. As for leg warmers, yes I have used them for that, but also for repetitive kneeling down on a piece of Swan Lake rep( Opening of Act 4) that we were rehearsing once at RBS with LAB, that certainly helped protect the knees.

Yes my lovely friends my previous comment was made a bit tongue in cheek, hence I added the Ha ha at the end, so I didn’t expect it to be taken seriously. As for the comments about taking the morning Adult Associate classes to make the trip worthwhile, these are normally term based , so I don’t think you will be able to book these as drop in on the Eventbrite website, I would suggest contacting Leonie Locke LLocke@RAD.org.uk as the attendance levels of the Adult Associate classes in the past have been quite low, and it may well be possible to pay for a morning(2 classes) or a class on the day at Elmhurst, but do contact Leonie first.

Hi Anna C You appear to have 3 questions: Q1: “has anyone referred you for or suggested an MRI of your lumber spine ?” Not directly, however both physio’s I visited did check my spine. However the strange feeling in my left leg hasn’t reoccurred since the evening after the MRI on the right, my thought are that it may have been induced by being placed in close proximity to the right, the pain itself was quite odd, it almost seamed like a shower of little shooting pain going down my leg, they sort of peaked in intensity then it would fade away only lasting a few seconds, but it did repeat many times. Since that evening it hasn’t reoccurred. Q2 "Can I swim ?" yes Q3" Do I like water?” I guess so, I have 400feet of river frontage, however I haven’t been in a swimming pool for many years, in saying that, within the last year or so, I had to rescue my boyfriend and PDD partner who accidentally tried doing the splits between my landing stage and one of my boats, as he attempted to step into the boat with on leg, ithe boat went out. Although I can see the funny side now, it could have been very tragic as Adrian cant swim. When he fell in he went strait under and I couldn’t see him, I went in after him and luckily I was able to locate him by touch and get him on his back to get him out, fortunately he didn’t struggle, but it really had shaken him up. As for rises and releves, they are not really an issue when done with both feet together, however I do need an efficient snap-up one foot releve passé for a piece of rep I’m doing, ideally working reasonably well for my next session on that rep, which is Monday morning. That consists of 3 sets of 8 releve passes, but the pattern isn’t linear only the last set, then we need to add the tricky port de bra, a real brain and memory teaser.

Well there was me thinking we had some dedicated dancers here, I do remember travelling from my home in South Lincolnshire to do a RAD workshop in Edinburgh just to do a little Romeo and Juliet, I guess they don’t make them like they used to, ha ha.

At last after waiting months I have finally had my MRI scan on the ankle on Monday, the scan lasted as best as I tell somewhere between 20 and 30 minutes. Unfortunately I didn’t get a chance to chat to the operators of the MRI unit as they literally wheeled another one in immediately I was finished. However I did have a bit of a strange effect hat evening which may have just been coincidence, the injured leg was ok but the other one which was not scanned seamed to have developed little shooting pains going down the whole of the inside of the leg, these would last a few seconds and ten subside , it occurred many many times. I have never had those before and the following morning had completely gone. I don’t get the results of the MRI scan until I see my specialist on the 5 of Feb. Although the main pain region of the ankle and shin is greatly diminished to what it was a few weeks ago, some pain is still present, but so is a sense of numbness, a lack of feeling to the touch which is a little worrying, otherwise functionally its more or less ok other than a complete lack of strength which I think is basically down to inactivity against what was my normal ballet schedule . At least I’m doing a few sessions a day now, I really notice the lack of strength on my body conditioning classes, at least now I’m getting back to doing full plie’s, however fondu’s are a bit too shallow still and releve definitely lack strength. On of the pieces of rep I am doing for taking up to Ballet West which requires 3 x 8 sets of releve passe’s, for me that snatch is not just there, particularly with the right. At least running through this piece should provide some strengthening of the ankles. I guess what is the most frustrating thing is getting cramp at the top of my thigh every time I attempt to lift my right leg devant, even a fondu above 45 degrees is enough to catch it, its really annoying as I have the old muscle memory of what I could do before the injury, my body seams to assume it still can, but it catches me out for such things as Developpe’s and Rond de jambe l’air when circling round to the front. I was caught out several times last night at class and that top muscle really begins hurts, Ive heard it said in the past that I may not be using the correct muscle, I need to use the one underneath but I have no sensation of that to contact it and utilise it.

Best add this to the list of RAD rep dates at Elmhurst, its also the dates for the morning session for the Adult Associates. Swan Lake Sunday 4 March, Closing date 12 Feb https://www.eventbrite.co.uk/e/swan-lake-adult-repertoire-workshop-birmingham-2018-registration-41216064358 Sleeping Beauty Sunday 22 April, Closing date 2 April https://www.eventbrite.co.uk/e/the-sleeping-beauty-adult-repertoire-workshop-birmingham-2018-registration-41216090436 Coppelia Sunday 20 May, Closing date 30 April https://www.eventbrite.co.uk/e/coppelia-adult-repertoire-workshop-birmingham-2018-registration-41216167667 I did have a peak at the Dream, as a ballet I don't think it has anything for me, in any case I think I have virtually fallen out with RAD over the culture of not disclosing details of the rep they intend to teach, which is a great shame. I will be honest I used to like the RAD associates when it was a full day activity, comprising Body Conditioning, Absolute beginners, Improvers 1 (grades 3 to 5), Improvers 2 (Grades 6 to 8), those were RAD grades for guidance that RAD published. Basically I used to do all 4 classes and at the lunch break borrow a studio for my own rep practice. I seldom missed a class even though it was over a hundred mile drive each way and sometime in absolutely appalling weather. I moaned at RAD quite alot to get regular rep sessions going, and one of our teachers started putting a little rep in at the end of Improvers 2. I also tried to pursuade them to start an adult performing group but that fell on stoney ground, I guess that was a step too far. The first one they ran, the did give me a little advance notice, however I missed that due to a leg injury which also included the following 2. I had intended doing the last one Giselle, but as no information was released this time, for me it just wasnt worth while.

Yes Sophie I agree the atmosphere was brilliant, there were dancer there I had met before and of course the lovely Andrew on the piano. The workshop itself was brilliant, however in saying that, if I had full disclosure of the style of the Kitri variation from Act 3, I would never have attended it. There are two fairly distinct styles for that variation, one with attitude turns and buree’s the other with Grand jete’s. I had actually run through the attitude version several time and loved it. I was reluctant with the Grand jete style as my right leg hadn’t fully recovered from injury. It wasn’t until half way through Saturday it became clear which style we were dancing. It sort of started off ok, then my right leg with the developpe that followed the grand jete became weaker and weaker and I could barely lift it by the end of the day. In the evening I ran through the developpe and passé section in my bedroom (as you do), there was next to no strength left. I forced the developpe as best as I could, the thigh muscle went solid into a very nasty cramp, my thought then was if to continue the next day and risk re-injury or not. The next morning I was very undecided weather to continue and risk it, or just go in and say my goodbyes and leave. I guess I ended up with a halfway solution, I told Hannah and David of my injury and I decided to do what I could, but knowing the risk could cost me months of recovery having already been off ballet since the last injury for 4 month and had to pull out of our last show. Luckily I did everything to the end and survived and only minor cramping taking place on the last 20minutes of the train journey home. I even managed body conditioning and ballet the following Monday morning but I ached like hell. Conclusion, TBR a brilliant weekend with lovely people.

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Thanks sophie_rebecca that very helpful, I've often look at this piece but never danced it, should be real fun

Hi LinMM I think you should add motoring to that list. When Adrian and I went to Liverpool on Saturday the roads on the way and in Liverpool too were absolutely awful with dangerously deep pot holes, alarm bells range after the aftermath of having the large springs on the front shock absorbers replaced after one broke and fouled the tyre the week before. Instead of it fracturing at home it could have so easily happened at speed on the motorway and ended in a seriously dangerous accident. Not only that, the multi story car park we used on Saturday, caught fire on Sunday according to the TV and I think something like 1400 vehicles were damage and the multi-storey car park is going to have to be demolished. Both instances so close its worrying.

Thanks Nicola H I hadn't realised these were out already, however I can only assume the girls rep from Don Q is "Entrance of Kitri", but it could easily be a different solo, see you then and thank you.

Hi Jade I have found it quite interesting as to how your thread has developed little by little with everyone experience and contributions. Whilst I am at the apposite end of the age spectrum (Older) we seem to share a similar experience of going into the unknown with ballet the ballet world. My first class was a small class of about 8 of us, Attire was very free and informal but must be comfortable and soft shoes when I first started, after the first week one of the ladies gave me a pair of her old ballet slipper (black). After that first week I basically copied what the other ladies were wearing which for me was black fairly thick tights, and a long top that extended about halfway down to the thigh towards the knee, as a skirt would. A few weeks later the ballet bug began to bite and I wanted to take on another class, this time it was around 40 mile away and according to its website it had a strict uniform protocol, that was pink ballet slippers, pink tights, black capped sleeve leotard and black chiffon ballet skirt. For me at this time it was quite daunting, I was very self conscious as I had never worn anything like that before, my dance experience had been Salsa, I had also taught salsa and was really comfortable with that, but to wear a leotard with others in the class, that made me feel really uncomfortable and silly. I guess in shear desperation I went to my local ballet teacher and told her, she was really supportive by suggesting I came to that class in my new ballet uniform and she would arrange for our little group to have a leotard day as she knew one or two of the ladies had leotards. Leotard day came and suprise suprise, me and my teacher were the only ones to arrive in leotards, but for me the most important thing that day was our oldest dancer said, Michelle that leotard makes you look so much slimmer and really nice. Wow for me that clinched it, I was off to add the new class. Although I was still a bit apprehensive at joining this second class, when I actually got there I found I was the only one wearing it. After class I queried why no one else was wearing the schools uniform, I was told they could not make it stick otherwise they would loose many of there student dancers. For me, I felt really proud, I could do it and I did, I always wear that type of formal ballet attire where ever I have taken class since. As for performances, some schools have you participating quite early as the whole school participates from the tines all the way up to adults with something appropriate choreographed by the teacher. In many cases dancers use the schools costumes from the costume cupboard. I've certainly danced jointly with adults and tees. The audience at these occasions are usually friends and family so its not too daunting. I think the first point to remember if you are participating in the schools performance, you are most likely to be dancing as a group, you will most likely be all wearing the same type and colour of costume, it will be expected. Things tend to be somewhat different if you are dancing solo. As you say you are only dancing ballet as a hobby and not to receive diplomas or prepare for auditions, it sounds as if you may have a lot of freedom over your ballet attire, but do go and check out the requirements of the school with you mum. Most certainly you will need to have proper ballet slippers but you may get away with soft shoes for the first week as a trial period. Once you've started proper, check out what your class mates are wearing but keep an open mind against pink as you may well change your preference later. For me I don’t particularly like black ballet slippers or black tights but if a performance costume requires them, then I’m quite comfortable in wearing them, similarly I don’t like long sleeve or capped sleeve leotards, but one of the performance pieces I dance with the Alive Ballet Company requires black capped sleeve leotards. I do remember a couple of our dancers remarking on the costumes we had for dancing the Waltz of Flowers with white leotards with and pink romantic tutu's, that we all looked like marsh mellows, it was a bit of a giggle but no one objected to wearing them. I note your comment about wearing pink or white ballet tutu's with pink ballet slippers look old fashioned, girly and childish. I think the first thing is to look at the characters these costumes represent, many are either princesses swans or fairy's. As for pink I will be dancing the roll of the Sugar Plum Fairy in the Nutcracker Pas de Deux with my boyfriend Adrian next summer at Ballet West, our final performance is always done in costume, the Sugar Plum Fairy tutu is largely pink with some white and orange. For me there is one simple rule, it must be appropriate and orthentic for that roll. As for wearing a tutu in class, normally it would be considered inappropriate other that final stages of rehearsals for positioning and partnering, I occasionally wear a tutu for a repertoire workshop on a classic, where I have one for that roll and its the last day. The only other occasion I can think of is a bit of a fun day where a teacher calls a special occasion (tutu day), then as an option we can wear a tutu for our centre work, but not everyone does. Just to add a little to Cara's wonderful contribution on the deal with ballet, there are a few forbidden no no's, you don't wear watches in class or jewellery other than tiny ear studs, however there are exception too, if it is required for a performance then only for dress rehearsals and the show performance itself, these may include such things as necklaces, otherwise they are considered a hazard. I hope that helps, go and enjoy xx

Thank you Janet she is absolutely brilliant, so inspiring, I’m really really jealous as I’ve never mastered dancing on pointe as yet. Even my Adrian has been inspired by her, so hopefully I will have him as my PDD partner for many many years to come.. I was to restart point classes after starting a few years back, but sadly they folded after a few weeks due to poor attendance. I was to start last term as our company was holding joint ballet and pointe classes split between the Royal Ballet School and Studios at Sadlers Wells. Just after booking and paying for the classes (Ballet 75mins, Pointe 45mins), I incurred my injury, for the first 2 or 3 weeks I just kept sending apologies in each week as I believed my recovery was imminent, but sadly it was not. Even now I would not chance restarting for a term or two as I really do want to take my PDD’s on pointe for my week at Ballet West, perhaps 2019 if I’m lucky, but saying that I stupidly hurt my poorly leg again today. It was a gorgeous day to be outside to day, I would take advantage of the weather and mix a tiny bit of cement up, then I accidentally stepped back onto a metal bucket which tipped over and the upper side cut into my leg halfway below the knee. Although its given it a bit of a nasty gash and is quite sore I don’t think its done any real damage or change my immediate ballet commitments coming up.

Ah you mean the Canari qui chante Fairys •Candide (Candor) •Coulante, Fleur de farine (Flowing, Wheat flour) •Miettes qui tombent (Falling breadcrumbs) •Canari qui chante (Singing canary) •Violente (Force) •The Lilac Fairy. •Carabosse, the evil fairy. •The Gold, Silver, Sapphire, and Diamond Fairies I guess if any of the Fairies are chosen it will be from the first 6, but I guess I will find out next week as it could equally be something from Don Q. I'm looking forward to my annual pilgrimage tomorrow for ENB's Nutcracker workshop on the Coliseum stage.

The definition “The best-laid plans of mice and men often go awry” seemed to apply to me this Christmas, although I will say my right leg injury has stood up to things remarkably well. Christmas was planned out for visiting family and accommodating Ballet up to and including the first month of the new year. Everything was fine in Visiting my Sister, Adrian’s daughter and having Adrian’s brother over to stay with us on Christmas day. However Boxing day morning we were to visit Boston and have a wonder round the sales before going on to spend the afternoon with Adrian’s son and his son’s family. I reversed out of our yard on to the road, things seemed normal then I went to pull forward and an awful noise came from under the car, I reversed again and it was clear then pulled forward to park it back in the yard, the noise was present again. I suspected that something had dropped that covered the engine compartment but neither of us could see any thing, then I checked the wheel arches, the drivers side front shock absorber spring had broken and was fouling the tyre, this is what was making the noise. Needless to say I could not make any arrangements on boxing day but realised I only had a couple of days to get it fixed if I was still to attend ENB’s Rep workshop on the Coliseum stage that Friday, if the worst came to the worst I could cancel that one. But more importantly I was to take Adrian to Liverpool on the Saturday to see his favourite team LFC play, it was my thank you for all his hard work during the year as my PDD partner. Firstly there was no one at the Garage on the 27th, they were still on holiday so I checked out as a contingency hiring a vehicle, that came out very expensive as we had to keep the vehicle over the New Year bank holiday even though we didn’t actually require it past Saturday evening. Fortunately I was able to find the Garage owners wife’s mobile number as she had text me in the past to say my vehicle was ready. Thank goodness they were able to order the bits today 27th , take it in tomorrow and possibly fix it dependant upon when the bits arrive, but in the mean time they have a courtesy care that I can use. As I will be back home late Friday afternoon after the ENB workshop, it more likely I will pick my own car up then for the Liverpool trip. Although the car brake down was quite annoying in upsetting our plans, it could have been so much much worse and not actually shown itself up at home as it did, I think someone upstairs was looking after me over Christmas. As a result of not being able to go out Boxing day, we wrapped up well and took a walk along our river bank and through the park opposite, although it was cold the sun was shining and it was a really beautiful day, we walked as far as the A16 bridge to cross over to the other side where we popped into the Riverside Hotel for a drink, my first alcohol beverage over Christmas as I wasn’t driving. It was gorgeous, warm and cosy inside and made for a pleasant walk back. During the walk I realised just how good my injured leg had felt it really did benefit from what could have otherwise been thought of as an annoying incident. Sadly its likely to be the new year before we get to visit Adrian’s sons family. I just hope him upstairs keeps an eye on my travel arrangement again for January with Leeds TBR on 6 and 7th and also RAD Associates at Elmhurst on 14th, then I will be a happy bunny.

Hi BalletCoers Is anyone on here doing the Leeds TBR on the 6 and 7th of Jan and staying at the Ibis Budget hotel close by, as I will be there, arriving at the Ibis late Friday afternoon. If anyone wants to meet up for a drink / evening meal Friday evening, just drop me a PM. I'm not sure what rep we are doing as Hannah hasn't give much away, according to Hannah those details will be given no later than two days before the retreat starts. However what has been disclosed is "At the moment it’s between Don Q with fans, or one of the Sleeping Beauty fairies solo".

Hi Youngatheart it may seam I have deliberately chosen the more extrema movements, but in reality it was a case in the main it was in the class, nothing more. As for the hard floor, in all other aspects the hall is a brilliant performance venue, however in the next couple of months my own 4metre studio extension should be in place with its own Harlequin sprung floor. As for basic barre I’m trying to do a couple of 15minutes or so each day starting first thing in the morning after a 10minute warm-up on the treadmill. However although some ballet movement are quite difficult after this injury, so is some everyday tasks. Last weekend Adrian and I did a bit of a blitz on the house as we have Adrian’s brother coming down to us for Christmas, that has meant moving a lot of stuff out of the dining room which was more like a costume making factory as it was where I had enough room to layout fabrics and do my sewing. Needless to say there was loads of boxes of materials and equipment to be carted up stairs and temporarily stored in my tutu room. That really did takes its toll on my right leg. Within a week or two I suspect we have an even bigger move when we get the date that the UPVC extension to my studio is being installed, at least all the studio equipment is remaining on ground level split between my Gym and Office. Thursday done another ballet class at a local school, that went far better than I could have anticipated, it really lifted my spirits. I even managed a few Grand Plie's and Lunges that were giving me problems a week or so ago. The only real issue that showed itself was lifting the right leg devant where it would quickly go into spasm, derrier or a la second no problem, but I think that is just down to loss of strength. At least I think its encouraging for when things start to ramp after Christmas, with ENB Nutcracker Workshop at the Coliseum on the 29th of December, then I take Adrian to Liverpool and back on the 30th, although not ballet, the driving is quite unconformable to my right leg. January Rep workshop at Leeds Ballet Retreat on 6 and 7th Jan, then full day at Elmhurst with RAD Associates, with some of that time on Giselle Rep. Hi LinMM I guess I really don’t go with the flow, its just no me. I really do want to claw back some of the lost fitness after such a long period of inactivity. However even the gain of Thursdays ballet class which to some extent feels as if it was attributed to the regular home practice barre sessions, is still inclined to be easily set back as I found out the following today (Friday) as Adrian and I took a trailer load of garden waste (Tree Pruning's) to the local Recycling Centre, that in itself was ok, but dragging the trailer into its parking spot in our ground did aggravate the area of my injury somewhat. Hopefully that will go away in a day or two. I will be pleased when I get a proper diagnosis for this injury, thank goodness I get my MRI Scan on the 15th of Jan with a follow up appointment with my consultant on the 29th, then I guess I see if what the options are, but I’m very uncomfortable with the thought of surgery.

Wednesday was my day to see my orthopaedic specialist at my local hospital in Spalding, although the day didn’t start well when I was receive a telephone call to say my consultant was running late as he was still in theatre in Boston. I was asked if I could come an hour later but there was a possibility that he may not be able to see me that day at all. Oh poo here we go again, I was almost convinced before this that it was most probably going to be a wait of time. I went along to the hospital an hour after my normal appointment time expecting the worst. When I registered the nurse smiled and said, “he's not here yet”, but he wont be long, he wasn’t I had to wait about an additional half hour. When I went in I took a documentation pack of my doctors referral with the appointment details, both Physio referrals and my account as to what had led to the injury, we spent some time going through that and the associated X-rays that were taken at Boston , surprise surprise he wanted to examine me, whoopee we may actually get somewhere now I thought. that was far more that my two GP's wanted to do. In hopeful anticipation of this I had put my leotard on under my day clothes. I popped my shoes, socks and leggings off and laid on the bed for examination, a nurse came up and covered my legs with what looked like a paper blanked. I asked “what was that for” she replied to the effect “some people are embarrassed to expose their flesh, I couldn’t help but smile and fight away the giggles. I couldn’t help but tell her I ran around on stage in a tutu exposing my legs in public, but she continued to cover me. That was really quaint and did tickle me pink. He spent quite a while on the examination in terms of areas sensitive to pain, range of movement as a comparison between the two legs and power behind the movement in different directions. The diagnosis was given as Tendinitis of the Ankle however he is unable to say if he can help until I have had an MRI scan which he has requested. I am to meet him again after he has seen the MRI results. I did take the opportunity to ask him if it was absolutely necessary for stop ballet with this injury as I was progressively loosing a substantial amount of strength in my right leg. Although I cant remember his actual words, essentially it was “you don’t necessarily need to cease ballet completely, you know your own body best, but you have to be sensible” Within the last 3 weeks or so I have made the following changes, I’ve weaned myself of the Amitriptyline due the side effects and no perceivable benefit, within the last two weeks I have also stopped the combination of Paracetamol and Ibuprofen pain killers, not because the pain has ceased although there are periods where it diminishes, but more noticeably now there is greater clarity of thought and some of my enthusiasm is returning. My concern now is regaining back some of the lost strength to some form of ballet normality without incurring further injury in the fight back. To that end I have restarted some relatively gentle ballet running up to Christmas at around one or two sessions a week. More than anything else that has been a real eye-opener, my first session was at a Northern Ballet Workshop on Leeds Grand Theatre stage with the lovely over 55 ladies of Yorkshire. As usual it would start with a warm-up (no Barre) with a few plies, tendus and rises etc, for those that could do them full plies but that was optional. For me no problem getting down, but no strength to rise. What is strange is, you still have the memory and feeling in the body and confidence to be able to do it, but its just as if the body is refusing to, very weird. Other things that stand out from the rep, we were required to go into a lunge, if my right foot was in-front (bent), it just wouldn’t bend and support my weight, with left foot in front no problem. That was unexpected as in the past it was no problem taking a lunge fully down to pigeon pose and up again as in some PDD's, balance was another issue in turns but that may have been the rake on the stage, but hasn’t been in the past. My next session was 4 days later this was a body conditioning class follow by a gentle rep session with my coach on the Lilac Fairy variation. During body conditioning we went into splits or at least as wide as we could take it as non of us could achieve a full 180. I found I couldn’t fully straiten my right leg and get it fully on the floor, when I tried to, the muscle on the top of the thigh would appear to bunch up in to a solid lump (spasm) and hurt like hell, I had to release it immediately and accept what I had on that one. The rep session turn out to be quite successful taking into account the loss of strength, more time was spent on both my coach and myself re-familiarising ourself with the rep itself. Although my sissonnes were a bit lack lustre, the unusual pirouettes stepped into from behind an arabesque seamed to work surprisingly well. Third Ballet session 5 days later, practice session down my hall, Giselle Solo from Act 1, this was one of the first solo's I took to Ballet West 4 years ago, a piece I knew really well. So much affected, came out of this one. Double beats this time with the left leg, lack of sharpness, felt as if I was dancing ballet in wellies. Hopping ballonne section, insufficient strength to sustain 26 hops. Pivoting leg swap pirouettes over cautious execution, I think the body was in super protection mode, as my hall floor is hard. For me putting my sensible hat on, this has become an exercise in identifying those area that have become significantly affected by the absence of ballet body conditioning activity through this injury. Many of these things can be taken into isolation worked on separately for strengthening without adding unnecessary stress that might otherwise occur in the dance itself. Never the less I am also mindful that as the new year starts I need to get back to the Alive Ballet Company as soon as the new term starts, and my full schedule ASAP as I have a number of Workshop/ Intensive coming up. Unfortunately since my injury a bad habit has crept in that worsens the strength of my right leg and that is how I climb stairs, by using my dominant left leg to take the weight to both ascend and descend the stairs. Now I have to think first and correct by using both feet equally rather which is naturally easiest. Its just too easy to fall into that bad habit.

Thank you Fiz that's very thoughtful, I know how you feel with no energy, I havent slept properly for the 11 weeks of this injury, although I'm not sleeping when I should I'm left drained and tired during the day. I know one of the prescriptions I have been given was to help me sleep, however it doesn't, but one of the side effect makes me extremely lethargic. I know there is a lot of rep I want to document while I have the opportunity, but I cant seam to raise enough enthusiasm to get started, and that definitely is not me. In any case as those tablets are totally ineffective in allowing me to sleep, so I'm weening myself off them now. Psychologically was also a bit of a wrench at the weekend, it was my ballet companies performance and seeing all my friends perform, at least I was videoing the show for our company, so I guess I was doing something useful, but it certainly didnt feel any where near rewarding as dancing. At least at the end of the show during the presentations, one of our dancers came down and took me by the hand on stage, and my lovely friend LinMM did the presentation with a card and chocks from everyone, at least I still felt that bond of belonging. Its just been awful being away so long, even though I have been working for the company in the background. I dont know what it is about dancing ballet, but for me it goes really deep and is so special. I'm just hoping now something positive comes from the orthopaedic specialist I'm seeing next week, fingers crossed. Fiz I hope you pick up your new lease of life soon with boundless amounts of energy and get back to the wonderful world of ballet, you take care and God bless x

Just a quick injury update: Following my Physio No 2 referral to Mr GP, that is GP No 2. Unfortunately my Physio's letter was sent out late my Doctor No 2 to get it before I arrived, as I had organised the appointment in good faith on the strength of what my Physio had said. However it didn't make any real difference, as I has an emailed copy with me, together with a previous referral and my own documented history of the incident too. Thank goodness, no messing after my Doctor see them, he has arranged a referral for me to see a visiting orthopaedic specialist at my local hospital on the 13th od December. I'm still just a little bit reluctant to shout whoopee just yet, I just hope something meaningful comes of it, as that will make it 13 weeks since the injury. I'm still carrying the possibility of the Physio at Northern Ballet in my back pocket as a contingency. I really do need to resume ballet again, in the meantime I have lost quite a lot of strength in my right leg, I'm sure its going to take a while to rebuild that. I'm also mindful as to what to put in the 2017/18 plan for our annual one two one intensive at Ballet West. As it is Adrian bless him will have forgotten most of the PDD work we did before my injury, so we are really starting again, and I guess I will have to be less ambitious until my body fully recovers.

I remember a similar incident with a wings curtain. We had just finished performing our piece from Don Q on stage in Saint Petersburg, I was the most up stage left dancer, so I went first into the upstage wing and through the wing curtain next to the wall to find the door off stage, I turned round and no one was following me, at the door I could clearly see the front of the stage and most of our dancers were still in place, together with two Russian lady officials. The ladies had come on stage to present each dancer with a certificate, this we hadn’t rehearsed. Whoops, really embarrassing, I had to tippy toe back to my spot on stage for the presentation. I assume you are taking about your DanceHouse Theatre in Manchester, If so when I first started to perform I had something similar but on a much smaller scale. It was the Angles Theatre in Wisbech Cambridgeshire, it boasted as being the second oldest theatre in England and it dated from the late seventeen hundreds, so it had quite a character. It was similar to the Dancehouse as it had the studio in the roof space of the theatre and the studio has an archway type of roof too. We used to have the opportunity to dance on the Theatres stage a time or two before the show but these would not be in costume. The true Costume rehearsal would take place the Sunday before show week, but it was as much a tech run as everything else as most of the school was performing in this show and Adult Ballet only had a small part. However we were to perform the show all week except Thursday, but had two shows on Saturday. One would think, the more times you repeat the show, the easier it becomes, but in reality I think a little bit of complacency may drop in and you loose concentration for a moment, then your faced with “Oh god what do I do next”, its happened to me and I’ve see it happen to others. I think one of the best challenges that are quite fun is costume changes, for our group that doesn't happen very often as its normally timed with the interval, but I do remember and LinMM will remember too when we were performing in the tiny Chelsea Theatre our performance was originally taken from the Four Seasons, but I cant recall what we called it, but in there we had changes for all four seasons and only two minute per change, that was only just possible but real fun too.

An interesting question balletgremlin. I think that raises other questions too, when you are performing is that at a different venue to where you have danced at your practice rehearsals? I certainly find it a common experience that when we perform during the matinee, the later evening performance is generally better. I guess that’s down to familiarity and comfort with one surroundings, I certainly experience this with our company as we often have to move studios for rehearsals, not sure if that due to directional orientation or just different geometry of the room. As for our company we probably move rehearsal studio 2 or 3 times during a term, and probably up to 2 different studios for dress rehearsals as these are at weekends. Performance day on stage we will usually start with a tech run to set cast positioning, lighting and sound which allows some reorientation of the environment, especially if the stage is smaller than our practice studio. That will be followed by a un-costumed practice run, then full dress run. Even so I think the presents of the audience always add something to the atmosphere, especially the nature of the applause. I do remember a couple of rather funny incidents with problems of reorientation. The first was a rep workshop held on Leeds Grand Theatre stage, we were going through a warm up, a bit like centre practice, where we were to use our own initiative to use turns of our choice across the stage from upstage left to downstage right. Well me trying to show off, I did a series of pose turns across the stage (easy peezy), tried to end them with a leg swapping pirouette into a full down curtsy (something I had taken strait out of Giselle solo Act1) , except I hadn’t ever danced that particularly pirouette with the steep rake Leeds Grand Theatre has, I lost my balance and nearly ended up in the orchestra pit, very embarrassing , oops. The other instant is where I was performing on the same day at two different venues with two different ballets, the first was at matinee only, the other was the evening performance. Needless to say the second, there was no reorientation with any form of rehearsal on that stage, even worse I went on stage in darkness and our small group left in cannon, I was the first off and couldn’t see the wings, so I travelled a bit of a curved path until I could see something, I wont be doing that again. Although those instanced were very memorable and a bit of a boo boo, I can honestly say I really enjoyed them, I would rather be there and perform badly, than where I am at the moment, grounded and not knowing where the end is, as next weekend would have been my next performance. Sadly I will be a member of the audience this time, but on the positive side I’ve still been a petty active member of the company as a production organiser this time, just another hat I wear., but love it.

Not really Fiz thank you.. My second Physio has gone as far as she can in establishing what's wrong. She is now writing a referral letter to my GP for further investigation , as the GP I used last time is not available for an appointment until after the 5 of December I've booked it with another Doctor at the same practice for Wednesday. Its now a question as weather Doctor no 2 is prepared to push it further with a referral to possibly an MRI scan or other Medical Specialist . If that avenue doesn't work then I will be using the Liz Atha who runs the specialist dance, sports and spinal clinic based within the new home of Northern Ballet in Leeds City Centre. This is what they say: Whether you have a recreational sports injury, aches and pains from your daily work, or are a professional dancer or elite athlete, the team at Sports and Spinal Physiotherapy can offer a wide range of treatments to suit your specific needs. The clinic also has an excellent sports massage service. The clinic has close ties with orphopedic consultants, spinal and neurosurgeons, sports physicians, podiatrists, personal trainers and radiologists. We are able to arrange private MRI scans, ultrasounds and X-ray imaging to facilitate diagnosis. Lets hope they can help

From a mail drop, this is what they say: 8 January – 21 March 2018 Our popular Classes programme is now open for booking via our Website: https://www.ballet.org.uk/whats-on/classes/ Our ballet classes are available for absolute beginners through to advanced level dancers on Monday, Tuesday and Wednesday evenings. All ballet classes are accompanied by a pianist and led by highly experienced professionals. In addition, our ballet-inspired pilates workout, BalletFit, focuses on building core-strength and flexibility and our Contemporary class, delivered in partnership with New Movement Collective offers participants the opportunity to discover and develop a new technique. All classes are non-syllabus and suitable for ages 18+.