Michelle_Richer

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+.

Thank you and farewell my friend

Hi Proballetdancer Fron your statement "The symptoms Michelle describes I've seen firsthand many times, mainly in male dancers",That leaves me to beleive you have quite close contact with these dancers, perhaps members of the same company. Im a member of a Amateur ballet company and have been a member for a number of years, to some extent its almost like a family and as such our relationships are quite close, so where injuries etc are concerned it tends to be common knowledge almost like supporting and sharing of problems. The reason I asked is more about what you observed about recovery of your male dancers, in otherwords WAS THERE. As this is what is said about treatment options: "There is no cure for arachnoiditis. Treatment options for arachnoiditis are similar to those for other chronic pain conditions. Most treatments focus on relieving pain and improving symptoms that impair daily activities. Often, health care professionals recommend a program of pain management, physiotherapy, exercise, and psychotherapy. Surgery for arachnoiditis is controversial, because outcomes can be poor and provide only short-term relief. Clinical trials of steroid injections and electrical stimulation are needed to determine whether those treatments are effective" As for my doctors, they are in a small country practice of about 4 of them, I don't suppose they see many ballet dancers or ladies like me that make it a habit of jumping off walls. I will review the situation on my next Physio visit, but I have located a Specialist Dance Physio with one of the major professional Ballet Companies who I have access to.

Hi Proballetdancer Having looked at the symptoms of Arachnoiditis you certainly have my attention, as this appeared to be common in male dancers as you say with Lifting and Landing. Do tell me what was the treatment options, recovery time and outcome?

Hi TYR I originally found this Physio establishment by searching a dance Physio register website from this forum several years ago and the local establishment I found did indicate "Working with dancers", to be fair I have used them twice before successfully. Hi LinMM I think the reason Physio No 2 has tried to persuade me at this stage not to push for an MRI scan, she is unsure about the diagnosis, which is in line with Physio No 1 findings, he was reluctant to write a referral for my GP and said the condition could well clear up by itself in a couple of weeks. Both Physios to a large extent are asking the same questions and running the same test. Physio No 1 suggested the scan option when I pressed him for a diagnosis and possible closure. Hi Proballetdancer: Firstly I have no confidence in my GP what so ever, however I will go back to him when I have completed 2 weeks on double dose of Amitriptyline and a referral from my current physio. Secondly on my last visit to A & E, they were given the full history at that time, addmittedly I though a broken leg was very probable also Physio No admitted it was a possibility. At least on that occasion I did get X-rayed. Hi Nicola H I attended both a Minor Injuries Unit and an A & E within 2 to 3 weeks of the injury, not only was I in agony, drained as I was not able to sleep, but many of my friend had remarked, are you sure you haven't broken it. For me that made a certain amount of sense, plus my physio although he thought it was unlikely he wouldn't discount it. My first visit was to a minor injuries unit, just with a few questions, although it was obvious I was in a great deal of pain hobbling in with a walking stick and assistance from my boyfriend, I was told to keep taking the pain killers and refused an X-Ray. Later that week I couldn't stand it any Longer, my boyfriend said Im taking you to A & E in Boston. They were told of the history behind the injury and no messing, they examined me and conducted a series of x-rays, the down side was, as they moved me through different angles I was crying out in agony, it really hurt, however the x-rays were negative, I suppose that should give me some form of comfort, but on the other side I did take my brother in law to the same department which resulted in an ex-ray after a fall, that was mi-dianosed a brewsing, only to be admitted a week later for a second x-ray that confirmed a broken hip. Hi Anna C I read the article on CE, I too would agree my symptoms are not in line with Cauda Equina, one of the tests I have been asked to do with both Physio's "The Slump Test" which if positive reproduces pain as tension is applied to the dura during testing, there are various levels for this, for me the full Slump Test for both legs remains negative, which I guess shows no detectable impingment. That is done with 5 reps each leg 3 times a day. The leg straightening thing, is Im laid on my back, left leg strait out along the couch, the right upper leg (thigh section) supported with both hands just above the knee, with lower leg bent, straiten it and flex the foot, repeat from lower leg bent 10 times. For me since the injury the Right leg has lost alot of strength and I dont now have the power to fully straiten it, its not far out but my Physio has set that excersise to help strengthen it. However where I do notice it, is with Grand Plie's, I simply dont have the power to rise up from a Grand Plie, which feels odd now as it was never a problem in the past. Just one little piece of correction, Physio 1 was very keen on deep muscle massage and manipulation, Physio 2 seems more concerned about finding the cause although there is a clear focus on my back. My own observation is that this condition is not improving and especially the unpleasant fluid sensation which is getting more common, I really cant remember what it was like to have a full nights sleep, as we are now entering week 9 since the injury.

Hi Anna C, The fluid issue was documented in my first Physio's referral which my doctor has.. Although I initially stopped the Amitriptyline I did restart it, this week I have doubled the dose as per my GP's original recommendation. This week is week 8 of this injury, and its week 2 of my second Physio. On Wednesday I arrived a little early at my second Physio's reception area, I met a lady who introduced herself in casual conversation, she was "boss lady" the owner of the establishment , and of course she asked how I was getting on with my therapy. I told her I was only in week 2 with them although this week was week 8 of the injury and at the moment I don’t have a definitive diagnosis, she looked surprised. She then explained if they were not able to help by the third session they would refer me on, I wasn’t really sure what that meant. We continued to chat about symptoms and time scales and she was convinced the source of the problem was in my back although I had no discomfort there, she said she would have a chat with my Physio and left. When my Physio arrived she seam to concentrate on my back and releasing it but I didn’t notice any real difference, one thing she did do was to look at the range of movement between the two legs and she noted I cant fully straiten the right. She then proceeded to stretch my abductors by taking the leg behind, a bit like an arabesque, however they did my good leg first as that basically set the range of movement to expect, what was a bit odd, I was not allowed to assist them, I had to keep the muscles relaxed. The range of the right was somewhat less than the left so they worked it to increase it, which to some extent it did. I left there more or less in the same state as I arrive. However the next day (Thursday)I could hardly walk as both thighs were extremely sore, most of that has disappear the next day. While I was with my Physio I did raise the issue of an MRI Scan, she advised against it as it couldn’t guarantee to show something and if it did it would it most probably require surgical intervention and trying to find a surgeon that would do it under the NHS was unlikely due to my age, that was a bit of a shock. However I did feel she would if requested write me a referral. During the conversation I was asked if I knew any Royal Ballet Physios, which make me somewhat worried with their policy if they are not able to help by the third session they will refer me on. Also my next and third session is placed two weeks away instead of one, does this mean after that they will cease to have anything to do with me and I will effectively leave me on my own. My impression at the moment is my condition is still slowly getting worse with no end is in sight

Hi Linda The strange thing over that new drug, my doctor suggested if there was no improvement in the first week to double the daily dose, when I told my Physio about the side effects she suggested I half the dose, but the fact that it is supposed to take 4 to 5 weeks before it becomes effective for me is unacceptable, I really cant stand 11-12 weeks of agony which is what it will be. I honestly think seeing my GP was a mistake and I will most definitely not be going back to him. It appears I can get an MRI scan via a self referral, but its expensive, I will stick with my present Physio for up to a month and sound her out about helping me with the referral especially the specific area to be targeted and the number of scans required to properly identify the issue. . As things are I am definitely not getting any better, There just doesn’t seem to be any end to the agonising pain or sleepless night. At one time I would really get energised with ballet music, I’m afraid that doesn’t happen any more or at least not for the time being. I know I have to go in to rehearsal this Tuesday to take the last remaining costumes in, If I thought I could get though the rehearsal unscathed I would do it, as its my last opportunity to be part of the show, but I’m sure even the journey to London and back will take its toll like the last one.

Seven weeks and counting and no end in sight with the recovery of this injury. At around week 5 I think my first Physio ran out of ideas, he described all the things he had checked for and basically were ok, in the end the only option was to write a letter to my GP and recommended further investigation via scan. I thought whoopee now we should get somewhere. Unfortunately my own GP had retired some six months previously, So I had to take pot luck with one from the practice. More or less as predicted, he was strait for the prescription pad, I queried investigation via scan, then he asked if I had any problems with my back, I said no my Physio had already check that out, he said a scan wouldn’t be appropriate and proceeded to write a prescription for Amitriptyline, he said the pills would help with my sleep. I tried then for the rest of that week and they did nothing to help with sleep, however I felt lethargic and bilious during the day so I stopped them. This week I went back to a Physio I used some years ago that specialised in dance, I did initially try her but I got the phone number wrong, it was her fax number. At the moment nothing tangible has come out of the session, however more time was carried out doing test and checks that my previous male Physio which was more heavily based on deep massage. She asked me what medication I was on, so I said alternating Paracetamol and Ibuprofen, so she mentioned Amitriptyline, so I told her I had stopped them and why, she then explained what they were for and the fact they need 4 to 5 weeks to work, so for the time being I have restarted them. During the test and exercises there was a bit of a funny side too, I was asked to do a plie, I assumed a demi from first, wrong !, I wasn’t supposed to be stood up strait with virtually no gap between the legs and in a presentable turn out. First I had to widen my legs but not as far as second, then reduce the turnout, the plie became almost a squat, very un-balletic and quite an alien feeling. Another one was to check my range of leg/hip movement, for that I was laid with my back on this couch and my physio was supposed to guide my legs round while I sort of relaxed, however I couldn’t help drawing beautiful arcs with pointed but firm feet, it was extremely difficult for me to let go that control and relax, but never the less it did bring a little bit of a smile. One of the test we spent some time on is “the Slump test” which I am also to use as therapy at home with 5 repetitions 3 times a day. Strangely while we were going through various tests and exercises and my Physio was pressing a squeezing to identify the sensitive areas, the pain felt less intense, it was almost embarrassing, as if I was a fraud, it bothered me a bit. Feeling a lot better I turned the conversation round to when could I get back to dancing as my next performance is only a month away and there is still a lot of rehearsals to attend, she wouldn’t be draw in to a yes. I left feeling a lot better but not really knowing why, but it was short lived, about three or four miles down the road and got a familiar feeling that I have had several times before, a feeling of fluid running down my leg under the skin, then the verosity of the pain returned around the ankle and shin, it was awful and has not diminished in the last 3 days. I was so struck with the difference in pain and its possible causes, I’ve emailed my physio with the observation, in the hope there may be a clue present. Unless I can find some of that magic dust my physio used last time I think its very unlikely that I will be performing in our Christmas show this year. I just hope my legs hold out as I will be taking the remaining Giselle costumes in for our dancers next week. Last week Adrian helped me take the bulk of the costumes in, even though I didn’t stay to dance and we go away early, the train and car journey home was extremely painful and unpleasant with running fluid effect, at least we did break up the journey at Adrian by icing it for a while to calm it down. I just wish I could see an end to it, in some ways I wish I had broken my leg, as there would be a finite time for it to mend.

Thank you Janet xx

About 3 weeks has passed and I’m still not back to ballet. As for the question “Are you quite sure nothing is broken?”, I really did think it was, so much so, I got Adrian to take me to our local Hospital “Minor Injuries Unit, but that wasn’t exactly a confidence inspiring experience. We waited for two hours, all this time I was in agony, I never thought it would end. When my name was called I was expecting to go for an X-ray then down to plaster, oh no, it was a quick feel with the nurses hands on my thigh, knee and calf and totd it was most possibly a muscle sprain and keep taking the pain killers, I ask about an X-ray and was told they would wouldn’t authorise an X-ray for me. I went home very dejected and thought I had at least got the Physio tomorrow. During the Physio’s examination everything seamed extremely painful, my Physio said the lower part of my right leg was highly enflamed, it was also feeling quite numb to, my Physio also told me if it hadn’t cleared up significantly by the next time he sees me, he would send me for a scan. Needless to say it did continue to worsen with virtually no sleep. Saturday morning came, I couldn’t stand it any more, even Adrian was getting quite concerned as my detearating state, he decided to take me into A & E at Boston. Although it was nearly a two hour wait again, it was no messing and strait into X-ray (about 6 of them through different angles) and it hurt like hell, but it was confirmed there was no break, however they did change my pain Killers from Paracetamol to ParaCodol, at least I was able to sleep at night and possibly allowed me to turned the corner to recovery. Although I have lost a lot of rehearsal time, at least I have been able to have a clear head to plan and order everyone’s costume for our Christmas show, I hope I can perform in it too, but it feels like early days yet, fingers crossed.

My ballet is really in the doldrums following an injury where I was incredibly stupid. Just over a week ago now, not sure if it was a Saturday or Sunday, I jumped off the wall that forms the foundation of my studio extension, I had done this before but then there was scaffolding to hang on to. I remember this time when I landed with nothing to hang on too, “How stupid I was and could have injured myself”. It wasn’t until Monday night, I went out with Adrian, and his brother as it was their birthdays, his son and his daughter in law was also there. We were sat in the pub with a large round table, my left leg had plenty of room but my right leg was somewhat cramped by the woodwork under the table. The right foot started to stiffen and feel really uncomfortable. Once we left and I started walking on it, it felt much better. Tuesday was my train journey to London for rehearsal, however by the time I got to Kings Cross my leg was starting to stiffen again. Fortunately before rehearsal I had some studios to check out in North London for our sister company. As there was a good deal of walking involved it seemed quite beneficial to my stiff and aching leg. Before our company class and rehearsal I told my teacher of the problems I was having, but in reality it didn’t effect the barre or rehearsal sessions. However the train journey was extremely unpleasant, the leg was stiff and aching to the point it was becoming painful and no movement of the affected foot would provide any rest bite. Even the fairly static position of the right foot driving my car home was also aggravating it. Wednesday, things were no better, it almost felt that thing were getting worse until night time came. The ach was intense and constant, no way could I sleep, until 5am came and I got up. Clearly things could not carry on, so it was a broad sweep of cancelling everything up to and including Elmhurst on Sunday. Fortunately I was able to find a Physio due to a cancellation that day, After lots of stretch , pulling pushing , twisting etc, he certainly knew how to find the tender spots, he concluded nothing was torn or broken just badly swollen, but did advise me it may take 2 to 3 weeks to clear up. I was also to ice that leg when I got home. Home in this instance was Adrians to collect him, however I did pick up a bag of ice from the supermarket on the way. After 2 sessions of icing my leg, I fell asleep on Adrian’s sofa. I woke up and couldn’t believe it, the pain had totally gone. His sofa is in two sections forming a right angle, I put my poorly foot under the extended piece to lift myself, the pain hit me with a bit of a wallop, it was back. The pain would diminish a bit when subjected to hot and cold, but resting it in a stationary position would make it ache. I thought by Sunday afternoon there would be a chance I would be back to classes on Monday, however on Sunday I stepped out in a sort of lung to pick something up, the pain shot all the way though my right leg including the inside of my upper thigh, which did get accidentally stretched at Ballet West earlier this year. I seam to be back at square one. The classes for Monday all cancelled, it looks like the rest of the week may follow, another appointment with the Physio made for Thursday. I just hope its healed enough for my new 12 week course which is split between RBS and Sadler’s Wells. I’m keeping my fingers well and truly crossed.

DanceAlive is to hold the following courses in two of the most prestigious and beautiful studios in London, ROYAL BALLET SCHOOL & SADLER’S WELLS. Ballet Class (Monday) Intermediate / general level When: 2nd October – 18th December Where: Royal Ballet School and Sadler’s Wells Royal Ballet School - 2 October – 6 November & 4th December Sadler’s Wells - 13th November - 18th December Time: 7.00pm-8:15pm Underground: Covent Garden / Angel Teacher: Daisy Gilder Price: £140 (12 – week course) Pointe Class (Monday) Beginners/Improvers When: 2nd October – 18th December Where: Royal Ballet School and Sadler’s Wells Royal Ballet School - 2 October – 6 November & 4th December Sadler’s Wells - 13th November - 18th December Time: 8.15pm-9.00pm Underground: Covent Garden / Angel Teacher: Daisy Gilder Price: £108 (12 – week course) Get in touch for more information: info@dancealive.london

I agree mph, there are such intensive course available but I guess mostly in London. This was the type of thing LAB used to do, ending with a performance with an audience made up of friends and family, I remember once inviting some people I met at the travel lodge I was staying at, to a LAB Intensive performance at the Royal Ballet School in Covent Garden. Another nice aspect of those intensives, the first evening we would go down to a local designated pub and have general get to know each other drink, nothing informal. Part way through the week there would be a group evening out to a theatre, mostly it was showing the very ballet that we were to perform at the end of the week, that was really inspiring. Most used to attend that but it was optional and not part of the course, although LAB did supply the tickets for those that booked to go. I had a brilliant day on Sunday, doing the Alive Ballet Company’s Ballet Boot-Camp with Desiree Ballantyne at Sadlers Wells, there were only 10 of us present although I think 12 booked to go. It turn out that Desiree and I had already met, but I didn’t recognise her name, I had a photo of us both when she ran an ENB’s Swan Lake Master class a year or so ago. The morning was Ballet Class and pointe-work for those on pointe, the rest of us did the same exercises as strengthening. However we did make a start on the first rep of the day “Lilac Fairy variation “from Sleeping Beauty. I was pleased as it was based on the Russian version, However it was adapted in places, firstly the indulgent port de bras at the beginning was removed as that was done before the music commenced. The beginning was also simplified to a tombe before the first developpe on count 1, but never the less it was still a lovely piece to dance. We only did the first diagonal crossing of 16 counts before lunch, however as the music carried on I started to dance the return crossing, however the pirouette was a problem. Then it was Lunch break. During the lunch break I tried to master the pirouettes which for me were very inconsistent. The pirouette was launched from the back leg of an arabesque; as that was going to become the pivoting leg of an en dedens pirouette, this required the body to turn towards the pivoting leg and do one and a half turns then pointing the gesturing leg forward (tendue ) on landing, that is in the direction from where you started on this diagonal. One of the things I noticed from both professionals and students on You-Tube, on most the gesturing leg was not in a normal retire position during the turn. It was behind the pivoting and crossing it at right angles, that did appear to help a little with balance but not enough to complete the one and a half turns properly. I was interested to see how our teacher was going to teach this piece, but it was simplified to only a half turn, but never the less with the arms up to fifth looked quite elegant and plausible. This morning I had a session with my rep coach, I had warned her we would be dancing the Lilac Fairy variation. We spent most of the time re-plotting the stage travel and it was different in places to what I had been taught. The pirouettes really didn’t get sorted out, however on to me next studio which I later found shouldn’t have been open, was with someone on reception, so I was able to do my regular 2 hour practice session. I went back to the phrase with the problematic pirouettes in it, It wasn’t many minutes after experiment with various position of arm and legs then suddenly I seem to hit the magic spot, it first I didn’t know why. Then I discovered what I needed to do. As I turned from arabesque, the back foot lowers, the key was to get on top of the pivoting foot and use the arms for rotation momentum, with very little from the gesturing leg. By placing the gesturing leg in that strange position it did tend to make the turn slightly faster with less resistance and more inclined to stay on balance. All are successful turns now however occasionally the pointed foot (tendue ) to finish come out slightly prematurely at second. The afternoon of the Ballet Boot-Camp we had “Body Conditioning” with lots of little tips, we then the Finished Lilac Fairy variation and then went on to the Kingdom of the Shades from La Bayadere. The entrance of this one was cut short with only 14 sets of arabesque to get everyone on stage in a snake like formation. In the second part it required a developpe of the right leg and then sustained for a short period. When I had practiced this at home, I thought it was my left and strongest leg. Just after lunch before we got started I see Desiree marking though this section, I thought Oh poo this isn’t going to look very good from my right leg. During our tuition of this piece Desiree gave us various tips and how to improve that extension, it worked it really worked. I was well over 90 degrees and I could hold it, I couldn’t believe it for that leg. The only part of Sunday I mess up was going home, I managed to get on the wrong train, it was bound for Leeds, most Leeds trains stop at Peterborough. With only 3 minutes to departure I really legged it to the very first carriage on the Leeds train, no chance to check the destination board at Kings Cross. The train was pulling out of Kings Cross station, while I was making my way through the first class carriages of the train when the destinations were announced, no Peterborough, it sounded like the first destination was Grantham, oh poo, can I get back Sunday night, will I have to go all the way to Leeds, all sorts ran through my mind. Then I see the ticket Inspector, expecting to have to pay full fair to get back, he was a really nice man, a really really nice man, when he said I could get off at Stevenage( I didn't hear that bit on the announcement). At least I knew there was a regular service from there, in reality I was only a couple of hours late. I'm really exited about tomorrow, we start new set of rehearsals for our next Christmas show, various pieces from Act 1 of Giselle, fantastic, can’t wait.

Just booked the Ibis Budget with cancellation insurance via Booking.com, the cancellation insurance option did not appear on the Ibis site. So its booked just in case but I can cancel up to the 5th Jan. There are still rooms left at £42 a night.

Hi Sophie Thanks for the info on their practice as regards rep, I though it would be something like that, as I queried one of there comment which suggested they would decide the rep 2 weeks before the course, once they knew what dancers were coming, that just didn’t make sense. Its academic now as I didn’t get a place, but was placed first on the reserve this. This is really not how I work, I have a similar issue with RAD, that why I use my own one-to-one rep coach twice a week, so I’m not short of rep I WANT TO DO. Strangely enough I a bit of a rep workshop on Sunday with Desiree Ballantyne an Ex ENB soloist for the Alive Ballet Company, it's available for dancers outside our company. Although as far as I’m aware the rep wasn’t published for this one, probably as it was described as a “Ballet Boot-Camp”. As I had arranged the studio at Sadlers for my Artistic Director for this one, I felt a little bit guilty not going. I managed to get in touch with Desiree over the Rep and she is doing Kingdom of Shades from La Bayadere for the group piece, and Lilac Fairy from Sleeping Beauty for the solo, needless to say I have now booked it, roll on tomorrow I really love the Lilac Fairy solo. I see from your comment you have done Rubies from Jewels, I wonder which part, I must say over all the Jewel pieces I really don’t like Rubies as its largely contemporary, I did my own version for Ballet West, re-choreographed to classical with severe editing of the music and as a solo. As for TBR I guess its wait and see, a bit of a pity as Adrian my boyfriend and PDD partner has a daughter that lives on the outskirts of Leeds, we would have hotelled it in Leeds and he could have at least spent a day with her as there is no way bless him that the would attend the course, pity the experience would do him good.

If anyone is thinking of booking Leeds TBR, its almost fully booked, there were only three places left last night (Wednesday), against my better judgement I've booked one of them as the rep is not disclosed until two weeks before the event, normally I wouldn't have booked that. As yet I haven't received conformation, so I resent the email.

Hi mph I see from your TBR you had a pianist, otherwise I was a little curious as to how you managed the Port de Bras / change of weight timing at the commencement of the Gamzatti variation before the music actually started. For me I found some music which had a bit of a preamble for the port de bras before it hit the strong note with the down-stage arm to fifth to launch the variation proper. I see you mentioned turning sequence as part of the centre work in class: “pose turn , pose turn , chaine-chaine-chaine-chaine, pose turn, pose turn chaine-chaine-chaine-chaine”, was this used later in the variation before the two phrases that use grand jete’s, as it sounds very much like it, except the variation uses double pose’s, for me it was single double before the chaines. I too know the studios at Quarry Hill, for several months before the end of term show, I would do class and rehearsal at Northern Ballet, travel down to London and do a one-to-one rep class at Shoreditch with the lady who is now Artistic Director of the Alive Ballet Company that LinMM and I are members, then go on to do two classes with English National Ballet that evening, and finally getting home around 1am the following morning. As part of TBR did you get to perform your variation in the Stanley and Audrey Burton Theatre? I understand it when you say “biggest problem that Hannah and David have is finding Spaces”, I guess that must be widespread as I spend an awful lot of time checking out studios and theatre for my artistic director and similarly studio’s for myself as I regularly do up to 10 hiring’s a week for myself. Hi LinMM You won’t be up to date as nothing has been released, I know you know I work closely with our AD and she emailed me as she knows I was continuing the theatre search, and that was becoming pointless as things were coming together. I only told you as I know you were getting quite worried and upset about it. If you are going to Leeds in early December, there is an over 55 rep workshop on the stage of Leeds grand theatre stage on the 7th December.

Hi Linda There is no need to worry, it’s virtually sorted, and we will be performing the Christmas show. Incidentally I have booked the Ballet Boot-Camp with Desiree Ballantyne at Sadler’s for next Sunday, I contacted Desiree for the rep, its La Bayadere Shades for the Group piece, but she gave me the shades third variation as the solo piece, but our AD seems to think she’s teaching Lylac Fairy, so I will have to recheck. When she mention La Bayadere I was hoping it may be Gamzatti’s variation which is also used in some versions of Le Corsaire. This was on of the solo’s I took up to Ballet West last year. I think Gamzatti's variation is being used by the lucky dancers attending The Ballet Retreat.

Oh poo Wac Arts is out too, main hall fully booked, small hall is available but far too small. Thanks Pas de Quatre, it was worth a try.

Thank you for the suggestions everyone. Both Waterman’s and Parkshott are already booked on the date(s) we require. WacAts looks nice, but I think its likely to be too expensive when we add the extras in like changing rooms, studios, technician support, security and possibly front of house staff. I see from WacArts many things are classed as extras and are charged for separately, like PA system , Lighting rig, projector and screen. I will drop them a detailed requirements spec tomorrow and see what costing come back, assuming they have availability.

I think if a tutu can be folded, it’s probably not wire but a plastic like tape as used in ball gowns and wedding dresses as stiffeners. If so they can tolerate a quite shape bend radius and totally recover, if it completely abrupt then a small kink is likely to appear. Personally I don’t have any hooped tutu’s, although I have quite a few classical pancake tutu’s. For both storage and travel I used to use freeby Sansha bags and later Sports Direct bags and simply turn the tutu base inside out , so the bodies resides inside the tutu and push it into the bag, narrow bit first, if that makes sense. LinMM has probably forgotten, but we both flew out to Saint Petersburg last November, I had my White Swan Tutu in my hold baggage, no problems at all either end. The only embarrassment I had, I was travelling in a long evening dress, hitch up with a belt and under a coat so as not to show, this was because we were going to the Mariinsky Theatre and there was no time to change at the hotel as timing was very tight. The Lady Security officer at Heathrow just gave me a big smile as she did the search. What LinnMM will remember is the miles we walked through Saint Petersburg trying to find me a suitable Russian headdress for the Swan Lake Russian Dance , which that tutu goes with.

The Platform Theatre turned out to be a no-no, as our dates are still in term time, even though they are Saturdays, a pity as it looked promising. Ballet West: What can I say but absolutely brilliant, but even more so this time, both Adrian and I have learnt so much, it will take a few weeks yet to soak all the feedback up and implement it. However I must confess I think we put far too much in the plan for this year, as there was insufficient time to fully implement all the wonderful feedback we received while we were there. It was also nice to receive the positive's too, as Gillian our coach was complementary on my choreography and musicality but I quite rightly took a pasting on technique too. This may sound silly, but the most striking thing I will always remember from last week was simply standing in prep. As it was we were about to do the Black Swan PDD where we both set off from opposite corners, for me it was the upstage right corner, well almost, which is not usual for most variation. I could see I was leaning forward a little in the mirror, I had also noticed this on some performance photo’s too, but put it down to the fact I’m big busted. Gillian asked if my back leg was in B+ or Strait, I said “I use strait if Im in a classical tutu”, which I was, I was told to stretch that back leg, then more, and then more again, even though I could sense it, but not necessarily feel it. Then it was shoulder’ s back, and a little repositioning of the arm followed by head up, which felt a little like an upper back bend. Then I looked in the mirror, “Oh my God”, what a transformation, its a ballerina , I couldn’t believe it, the legs looked longer, I certainly looked taller and I really had presence. There were lots of other little corrections too but essentially there was nothing I couldn’t do. Then came her pet phase, "is this one in attitude Michelle", meaning its not quite strait enough even though it felt so. Then it was down to adding the character in, flirting with the audience on the walk on, wowing Siegfried to his face but showing a little deceit towards the audience, just loved it. All the reprogramming of stretching my legs went a bit haywire once while I was going through the Russian Dance from Swan Lake, there is a sequence of an arabesque followed by brushing the front leg up and the following the opposite arm down it, however as my brain was heavily focused on stretching the back leg, I was finding what should be my front leg was in fact pointed at the back, Grrr I had to stop over-concentration. Although we had danced through all 8 pieces we had taken up there, we only performed the PDD’s with the associated solo’s on the Friday, mainly because there wasn’t sufficient time to incorporate all the feedback which we had documented and also we wanted to leave early for Liverpool as we had hoped to get there before darkness as heavy rain was forecast, we had heavy rain all week. Originally I had planned to start on the new material immediately I got back home, but was going to give Adrian a two month break from ballet, which I know he was looking forward too. However even Adrian agreed we must keep running with these pieces until we happy they as best as we can get them by incorporating the corrections. Monday morning I rang up to rebook my Friday 2 hour slot at my local hall , as I had previously cancelled it for Adrian’s break, unfortunately it had been booked by someone for the whole day, possibly a wedding. However I did manage to get a studio for hour and a half at Sleaford between 7pm and 8.30pm so hopefully we can keep up the momentum. Summer break is almost over from the majority of my ballet schools, so I still need to press on with the studio extension, 2 more tons of road-stone have completed the lower foundation. Hopefully compacting this weekend before we can start on the upper foundation incorporating the floor, but the end is in sight .

We are 3 days into our Ballet West one-to-one intensive, although Adrian is not dancing rep (my PDD partner) on days 2 and 3, he is attending morning barre warm-up class and he’s now starting to enjoy it, this morning he was like a dog with two tails, he was absolutely chuffed when Gillian our teacher said she gave him two gold stars, one for his port de bra, and the other for being pulled up, a wonderful improvement over three days. Well done Adrian. She is a really lovely caring and very helpful teacher; I have lots of really useful feedback on the rep we have been dancing, most of which we can take on board and correct during our stay, and some which will need further work. Tomorrow is the Black Swan PDD and female solo, Adrian and I have been running through it a couple of times last thing each day so he becomes really familiar with the musical cues and timing as well as orientation of working in the studio assigned to us..