Michelle_Richer

Fantastic, the owner of one of my ballet schools has Ok’ed my use of her school to run my repertoire group. There have been a couple of further developments, one of my ladies has ask if her husband can come along to do some partner work, oh gosh PDD already. I am also aware that they may be at least one more that would like to join us but is working when the studio is available. I casually mentioned I may be looking for an evening studio in the future to another local Ballet school, and that owner has offered me Thursday evenings if I want it, as its available at the moment, but that could change. The group will meet weekly starting the first week after Easter. Had a brilliant day at Elmhurst with RAD on Sunday after the awful trip there through freezing fog. I spent the whole day with them doing all 4 sessions; they also gave me permission to use the studio during the lunch break. I got to run through the entrance of Kitri from Don Q a few times; however I couldn’t get their audio system working with my tablet. I ask one of our teachers but she didn’t know as we used a pianist for all our sessions. Next time I will take a small sound system of my own in, especially as it may be a different studio next time. Running a full day at Elmhurst into the next day with ENB has taken its toll on my legs Grrrrr . But never the less I think it was worth it tonight. It may be my imagination, but my grand jete’s seemed to be up for longer, my balance at the barre and in the centre with the leg in attitude derriere, seemed much more solid and stay up much longer than most. The only disappointing bit was when we were allowed to finish off our enchainement with our own choice of turns. I went for the ending of the Gulnare solo from Le Corsaire, which is a pose turn, double pose turn into a fouette. The choice of ending was presented in both the Advanced and Intermediate classes, my fouettes were awful, they came off balance; I think I was just rushing without my gesturing leg being turned out properly before whipping it in. I had only been working on that in the morning with my private coach but at ENB I just made a pigs ear of it, the other turns were fine. Guess its just practice, practice and more practice.

Oh yes Sheila.

Sorry if some of this is duplicated in other threads, but I was asked to compile a list for another forum and thought the info would be useful here too. Keep an eye on Holistic Ballet as Franziska does run some excellent Repertoire Workshops. I guess her latest one (25 to 28 March) is most probably fully booked. http://www.holisticballet.com/#!repertoire-course-2016/x01gf “She Said Ballet Intensive” by English National Ballet (London) 10 April 10am to 4pm Venue: Markover House, 39 Jey Mews, London SW7 2ES £50.00 http://www.ballet.org.uk/whats-on/shesaid/ballet-intensive-she-said-10apr/ Giselle Repertoire Workshop (London) by the Alive Ballet Company 24 April 10am to 5pm Venue: The Place Studio(Nr Kings Cross), 16 Flaxman Terrace, Kings Cross, London WC1H 9AT £105.00 http://www.dancealive.london/workshop/ballet/ Don Quixote Repertoire Workshop by RAD (London) 22May 10.30am to 1pm Closing date for booking 2 May Venue: Royal Academy of Dance, 36 Battersea Square, London SW11 3RA £36.00 http://www.rad.org.uk/events/adult-repertoire-workshop Sleeping Beauty Repertoire Workshop by RAD (Birmingham) 3 July 10.15am to 12.45pm Closing date for booking 13 June Venue: Elmhurst School for Dance, 249 Bristol Road, Edgbaston, Birmingham B5 7UH £36.00 http://www.rad.org.uk/events/adult-repertoire-workshop-1 3 Day Intensive by Ballet Retreat 27 to 29 August Venue: Northern Ballet Studio’s, Quarry Hill, Leeds LS2 7PA £279 A combination of technique, artistry and repertoire. http://www.theballetretreat.com Don Quixote Repertoire Workshop by RAD (Birmingham) 4 December 10.15am to 12.45pm Closing date for booking 14 November Venue: Elmhurst School for Dance, 249 Bristol Road, Edgbaston, Birmingham B5 7UH £36.00 http://www.rad.org.uk/events/adult-repertoire-workshop-2 It’s also worth pointing out that RAD Birmingham at Elmhurst do permit attendance of their Adult Associate classes on a drop in basis. I will check if they have any more Rep Workshops etc planned as I will be with them on Sunday.

Wow I seem to be away for ages, things seems to go downhill from half term. This was to have been a week to at least get a bit of chilling out done, however I did get to see Just Ballets new shop and her fantastic range of tutu’s, to die for. Thursday was my blackest day with only three and a half hours sleep as I had a full days meeting in London starting early. Normally I can tolerate a couple of days a week with only fours, but three and half really took its toll. The following week almost everything I was doing was going backwards, I am sure I was still suffering from inadequate sleep, the only upside was the beautiful new piece we were doing at rehearsal, it was to “Gabriel’s Obo”, the melody is really slow, the dance simple but so beautify, it stirs up such feeling and passion, it made you want to cry as it was so emotional. By the end of last week things turned around they became very very positive. Firstly, at one of my rep coaching sessions we ran though our version of the “Entrance of Kitri “ from Don Q, which has been re-choreographed to remove the interaction between the corps de ballet, which lies between the two halves, thus making it more dancey and truly a solo. The second half was also re-choreographed from Mariinsky as we needed a little more time to get into an assertive Spanish pose to punctuate the end, which really does say O’lay. We started work on a second piece which I had been playing around with as there was something I didn’t like about it. It was Gulnare Solo from Le Corsaire. It had a couple of flick jete’s in it, I wasn’t even keen on them when done by professionals, so I decided they had to go. The beginning of Gulnare Solo to ENB, with a lot of Mariinsky and Bolshoi blended in. After trying various options with my coach we went back to look a replacing the flick jete with turning cabrials from Mariinsky. This was a movement I wasn’t familiar with, and I found it quite difficult. Getting into the first turning cabrial seemed reasonably ok, but a second was connected by what looked like a flick to retire for what was to be the pivoting foot, a little bit like a lame duck. Eventually I cracked it, but it still needs tidying. We have taken every thing after the promenade, through the turning cabrials to the two jete en turnants , except we complete three. The final ending is to be that of ENB which I think is quite awesome with pose, double pose, fouette, fouette, all repeated three time and travelling on the diagonal. At the moment the ending is beyond me, however the last run-through at my coaching session as everything else went well, I just went for it, and managed to get at least one pose, double pose, fouette, fouette set of steps executed. For me that was a significant move forward. Something out of the blue: Two ladies from one of my classes have asked if I can take them through some basic rep from one of the classics. I have asked one of the teachers at that school if they have any objection to me hiring one of their studios for this purpose, as I don’t want to tread on anyone’s toes, she was ok with it, I have ask her to check with the principle as I don’t want to sour our relationship as they really look after me with my own studio hire. Finally got a quotation back for my studio extension, at the moment the pricing looks feasible although a little expensive, however I’m still waiting for the drawings so I can apply for planning permission, until then its only a may be. If its on there will be lots to do so I will have to seriously pull back on the amount of ballet I do,other than performance rehearsals and of course my annual one week of one-to-one rep coaching at Ballet West.

Hi BalletRocks1 I don’t know if you are aware but RAD at Elmhurst will permit drop-in. I have booked two of their classes for the whole 4 week term and I’ve asked them if I can cover the remainder of the classes for that day for the rest of the term on a drop in basis, to which they have said yes. For me its along way to travel (over 100 miles each way) and its all car journey, as its only one day a month, a Sunday. So it makes good sense to make the most of it and blanket cover all of their classes, besides they encourage other dancers to join the absolute beginners as I think there is only three of them, I guess the perception is, it feels less intimidating for the beginners with safety in numbers. RAD are thinking of adding a new level in next year as the existing dancers advance. Anyway it would be nice to see you there.

Hi BalletRocks1 Sounds good value, I guess there will only be time for one or two pieces, perhaps you could find out what scenes are being taught, I'm sure others would like to know. All of the R & J workshops I’ve attended have had the “Dance of the Knights” as a common piece; unfortunately some of the girls have to dance the guys part for partnering on this one. Although I have no interest in R & J, do keep us posted on other events coming up. I think some time ago you may have posted about the Adult Associates starting at Elmhurst, did you ever go?.

Just dropped a detailed request for info from Hannah, I will share the info if it looks meaningful.

Hi Sheila I was aware that you had moved up to Wisbech, I spoke to one of your girls a few months back at the old shop, you had moved but you hadn’t opened your new shop at that time. I see your shop was open now from another thread that you started. I must come over and see it in the next week or two as I have a little bit of breathing space at the weekends for a short while. After having a couple of lovely classes with RAD last weekend, I have been in touch with them again to ask if I can join their remaining Adult Associate classes at Elmhurst. They have said yes. It just makes sense as its 106 miles by car each way, so it’s a case of just making a complete day of it. I very nearly had a rehearsal trip to Edinburgh every week but that fell through. I see you have joined a local ballet class, is that in Wisbech?, its not the one above the Angles Theatre is it?.

I think the calf muscle is just about healed after tonight’s classes at ENB. I must confess I was expecting trouble from the calf as I had very little rest over the weekend. I had done two sessions this morning (Monday) and was really tired. I had done two sessions on Sunday with RAD at Elmhurst, with a really lovely teacher. That was no problem, but the journey home was. I came off the beaten track to call and see my aunt at Loughborough who I hadn’t seen since my teens. Journey there was fine, but on the way back I had to rely on my sat-nav which took me down all the little country roads, combined with the fact it was dark and raining heavily, visibility was extremely poor. It was just an awful arduous journey. Once I got going at ENB the tiredness disappeared, at the end of the two evening classes I felt absolutely brilliant, in particular, no problem with my left Achilles which is nearly always present to some degree, I just couldn’t believe it. That was a little short lived. I took the most gentle route from ENB to Kings Cross via 10 bus from outside the Royal Albert Hall to Knightsbridge tube station (nearest underground without long walk). Then underground to Kings Cross in a standing/ moving position to avoid stiffness through Lactic acid build-up. However minor but annoying discomfort was present in that Achilles when I got off the tube, however by the time I reached King Cross concourse, the discomfort had gone. Some discomfort had also returned after my hour long train journey home, it is just so very annoying.

Today was the acid test for my injured right calf, although still slightly swollen, just over half an inch greater in circumference than the left, it held up well during the Grand Allegro at my two classes at ENB tonight (Monday), the total class endurance today was just under 5 hours, more if you count the additional pre-class studio time I got at ENB as the company was away. Although its not quite fully healed, it much much improved. The only discomfort I have is on the full depth of a plie, and the height of a rise, however I can also feel it with stretched tendu to a la second. But otherwise it does not impede me to any real extent.

Hi Moomin Giving up just isn’t in my psyche, its not something I would do voluntarily. I remember when I first joined balletCo back in 2012, thinking that there was only so far I could go with my remaining life span. Well my horizons have moved and are far more fluid now, I do remember posting something to the effect that I had my own small ballet studio and it would not be worthwhile making it bigger by eating in to my capital. Well that seams to have gone out the window, I have a man pricing a 5 metre extension for me. A common thing I hear from teachers and dancers alike, injuries are part of being a dancer, I certainly believe that, but never the less one has to take care and listen to ones own body and act accordingly. I guess in the last couple of weeks there hasn’t been much time for recovery as its been ballet for 6 out of the 7 days, but whoopee I have a weekend off this weekend. Wednesdays however is always a nice day for me, I regard it as pleasure rather than work as in Mon and Tues. Wednesday is a couple of fitness classes and a beginners ballet class with a group of really nice ladies which is real fun. Never the less its quite challenging because of its simplicity. I find it quite difficult doing barre exercises like a penguin, that is, with the arms just stuck out in second. Its almost second nature that my body wants to go into port de bras as I would at my ENB Intermediate and Advanced class. The class at one time was very small only two or three of us, now its swollen to around 8 or 9. This week I had there Lincoln teacher join us again as one of the dancers, I think she was Fiz’s teacher at one time. She shared the centre barre with me. Oh Woops she picked me up on my right supporting leg when we were doing Rond de jambes, so I said with my legs parallel, look at my legs, you could clearly see the swelling on the right foot, so we both swapped stories about crashing jete’s . I did a stretch and tone class after that ballet class and achieved a first for me, we were doing box splits, but I have never been able to get my forearms flat on the floor, almost there last week, this week they were solidly down and I was quite chuffed. I love that school as I hire a studio there every Friday for a couple of hours to run through my own repertoire, its always spotlessly clean and the heating on prior to my arrival, they really do look after me well.

I don’t want this to sound foolhardy but I have had some success. Firstly the swelling on my right leg increased the circumference by at least 1.5 inches compared to the left and it was as tight as drum, it just felt like a slab of lifeless meat. Monday just by chance on another group I belong to, I see a video on Calf Muscle Massage by Lisa Howard. That inspired me to try something, also as a precaution I didn’t attend my two classes at ENB as the impact of the grand allegro from them was sure to sustain additional injury. Monday I used a combination of hot and cold to reduce the swelling, it really didn’t have much effect, I also tried Ibuprofen tablets as an anti-inflammatory. After seeing Lisa’s video I tried massage oil but you can use any moisturiser, I then turned to using Ibuprofen gel. There was no real evidence on Tuesday morning that anything had changed, however I continued with the massage and ibuprofen tablets. It wasn’t until I got off the train at Kings Cross late Tuesday afternoon, that I realised I had a tiny bit more movement in the right leg, it wasn’t quite so tight. Also I had an almost involuntary urge to stretch it, I ended up doing an almost power walk trying to increase the range of that foot. This may sound silly but in a funny sort of way it was like it “hurts nice”. Follow the Link to Lisa Howard video: http://www.theballetblog.com/portfolio/exercises-for-tight-calf-muscles/ I think I had always intended to go to Tuesday rehearsal, even if it was just to observe, however I did tell my teacher of my injury and I would probably avoid jumps. We did our usual warm-up with a short barre and a bit of centre including jumps, and my feet felt reasonably fine but still a little stiff, they certainly were no problem running through the rep. At one point us girls had a bit of a break while our two guys were coached by our teacher, I did a few forced plie to extend the range of my right foot, afterwards I thought about something I was strengthening my foot and ankle to do via my private Monday teacher, it was the snatch-up releve’s for pirouettes, when on the snatch-up the toes on demi-pointe replace where the heels were, In the past I have been a riser rather than a snatcher for launching pirouettes. I tried on my right (weakest foot), it was no problem I ran about 10 or 12 off without getting tired, the same with the left. It seems the strengthening exercises set by my Monday teacher have had a very positive effect. Although thing have much improved and I have lost about half an inch of swelling, there is still some way to go before I am fully out of the woods, so I am still just a little bit cautious. Hopefully I will be fully fit by Sunday the 7th of Feb when I start RADs Adult Associate classes at Elmhurst.

This is a result of a mail drop from Sonya at Brightonballetschool “We are looking for amateur dancers from beginners through to advanced level in ballet, tap and contemporary, particularly male dancers, to take place in a show that we are planning to hold on 24th July 2016 in Brighton's Old Market Theatre, Sussex. We will be doing variations from Swan Lake, La Fille as well as several contemporary dance and tap numbers. If you are interested in joining us please get in touch 07595303180 www.brightonballetschool.co.uk email brightonballetschool@mac.com”

Its been three weeks since starting back after the Christmas break, I assumed with the loss of LAB rehearsals, things would be getting a bit slack for somehow it seems quite different, particularly the tiredness at the end of the week. Although I didn’t hear anymore from Edinburgh Ballet Circle, the greatest impact I think has come from my one-to-one technique class, which follows stretch and tone class from the same teacher. Our topic for focus is pirouettes and travelling turns and she really has gone back to basics. At the second session I mentioned my abbs were starting to get a bit sore, she replied that’s because your strengthening your core with the exercises I gave you. The next week that had disappeared, but I was starting to feel muscles I had never felt before particularly at the back of my legs behind the knee, also I felt a change in my right calf but I wouldn’t describe it as pain plus it was a little stiff too. On the following Wednesday I did Sleaford’s Adult Ballet Beginners class , there we had two new ladies that only started for this winter term . After class they said they were following me for the centre work and I had lovely legs, they could see every muscle working. I couldn’t believe it, were my muscles more prominent, I never look at them, was things really changing. In the end I just put it down to wishful thinking. All changed on Thursday, this was my two hours practice time down my local hall, the first hour is rehearsal practice, the second hour for my rep coaching session on Friday. About 45 minute into the second hour working on “the entrance of Kiti” from Don Q doing the second part of that variation my foot gave as I took the weight on demi-pointe when coming down from one of the grand jetes, something in my right calf had torn or done something nastie, I couldn’t even take my weight when just being stood on demi pionte on that foot, something was clearly wrong and I stopped dancing immediately. The following morning I told my rep coach/teacher what had happened and suggested we just refined the head positions and port de bras of that variation . About half way through the session my leg was feeling so much better, so we resumed dancing the variation with a bit of extra care, all was well when I left that session. An hour later is my two hour stint running through variations to try and keep them refreshed in body memory. During the second hour my attention turned to “Entrance of Kitri “ again as I was still not happy with the timing coming out of the Grand Jete section of the second part, its almost like a manege which consists of a tuning balance ( fan touching the floor) into a mini gallop, step grand jete, repeated three times, befor the travelling turns to finish, I always seemed to be late for the travelling turn. During one of the run-throughs and I had done several times, my leg let me down again and I had to abort that final hour early. Saturday was rest, things began to feel somewhat better for Sunday. Sunday was the Alive Ballet Rep Workshop on Don Q (5 hours), for the Entrance of Kitri and the Spanish Dance. On arrival I did warn my teacher of my possible foot problem and was told to be careful. As all workshop it began with Barre and centre before starting on rep, however part of the centre work was biased towards the grand jete’s of the rep. It was on one of those that my foot let me down again. I continued through the rep as best as I could, but the jete were rubbish, my body just refused to jump, let along landing on a flat foot, as the morning went on, I think it just got worse. The rest at lunch time just made things stiffer. The afternoon warm-up began with a short barre session, I couldn’t even do a plie properly as my lower right leg and ankle was very very tight, however I persevered knowing the next rep was far less allegro, it was the Spanish dance which was quite waltzy . I had done very little prep for this one so I had to concentrate. It wasn’t until we were about an hour or so in, and I realised my feet were getting significantly better. I had taken a Spanish costume in for both parts as it was very much in keeping with Kitri, but with my foot problem I wasn’t going to wear it. However by the end of the Spanish dance prep, things changed and I put it on , I really did enjoy that piece. Then came our final “Entrance of Kitri" for our course video, my legs were still very stiff but I checked at the barre and I could take my weight again on demi-point on the right. Well I got through it, but along way short of what I was hoping to do, and really grateful we didn’t do the second part of Kitri, although I know it reasonably well. Monday morning (today) leg very still almost couldn’t walk on it and badly swollen. I had a fitness class and one-to-one booked. It was also my ENB day, but that I cancelled as I know the grand allegro we do there is likely to sustain further injury and prevent my Tuesday rehearsal. Although the leg is still swollen and stiff, I did manage the fitness class but stretching that calf was impossible. The one-to-one after a few painful releve’s at the barre freed the legs off sufficiently to carry on with the pirouette enchainement set for this week. I’m glad to say I winged it and got through it successfully. Its just lots of hot and cold applied to the calf area and deep massage plus hold back on the allegro stuff in order to help the healing process in the hope it doesn’t get any worse. PS The Dance Alive Don Q Repertoire Workshop was brilliant, I thoroughly enjoyed it in-spite of my leg injury.

I don’t know if this helps but when I have been buying tutus, which I have many, I have supplied this measurement guide and the resulting fit has been absolutely fine. I have had only one exception and that was due the top 2 or 3 layers not being correctly aligned when stitched through on about a quarter of the top surface, undoing a re-stitching was simple to do and fixed the problem. Sorry if the fitting guide cant be read, as its was ok before adding it to the posting.

My posting has resulted from a conversation I heard at ENB where it has been suggested some of the Advance Pro dancers persuade there dancing friends from other classes they attend, to join them at ENB. It seems we only have typically 6 to 8 dancers taking this class every Monday night. Normally ENB limit class sizes to around 28, so there is an awful lot of spare capacity in that class, and its only available on Mondays. I spoke to some of those girls as we use the same changing rooms as my class, about them posting on this forum, but they ask if I would as they weren’t aware of the forum. I have know actual experience of that class, but I have been taught by that teacher in my advance class when my regular teacher has been away, I have always found her helpful and nice, she always speaks when I see her although I’m not in her class. This is how ENB describes the Advanced Pro class "Designed to challenge dancers who are looking to further develop their technique and artistry. This class is ideal if you are a dance graduate, ex/current professional dancer, and are looking for a non-syllabus, artistic class. (ages 18+)" I tried to find out if they were offering this class as a pay as you go, similar to that of an open class, but unfortunately when I rang them I always got an answer machine. If anyone is interested then do try ringing them and post the results on this thread. I will try and see the teacher next Monday night, and report back on this thread as it seams a shame to let those Advanced Pro places go.

Well thank you girls for the info, I think I was so pre-occupied with the manege of 10 saute de basques I had been doing from Giselle, I guess I was a bit blinkered. I have now check that also in my Video Dictionary of Classical ballet, it has an excellent example of a Coupé Jeté en Tournant in a manege. In know there is often different terms for the same thing, one that comes to mind is a Jeté en Tournant which we use at ENB, however in the Alive Ballet Company its simply described as an Entrelacé for a “Jeté Entrelacé” Kate_N In intrigued by you comment “which may be why you've never come across it, as most Beginners or mixed level classes wouldn't introduce it” I guess that assumption is largely true but not on the whole. I must confess I have attended two Beginners ballet classes this week, Tonight’s one I guess could also be described as a mixed level class as it had a couple of beginners but most were regulars and me of course, it also had one of Fiz’s teachers as one of the dancers who sometimes joins us. The reason I go is mainly social and help keep the adult class offering viable as I hire one of their studios for a couple of hours every Friday and sometimes other days too. That school really does look after me and I appreciate it. My second class was a one-off, I went there to check out the studio for hire and the possibility of finding an alternate teacher should my main private tutor no longer be available, in other words not putting all my eggs in the one basket. That mission was successful and I enjoyed the class too, I even met an old Salsa dancing friend who I hadn’t met for some years, doing ballet there. I must confess there are things which I have covered in mixed level classes that I haven’t come across in the Intermediate or Advanced classes I do every week at ENB, namely Cabriole derriere, when these were commonplace at a ballet school I attened in Stamford about 3 years ago, admittedly the teacher usually gave easier and harder options for the centre work. However we occasionally do Cabriole devant at ENB but I find that extremely common in rep. As for not coming across a Coupé Jeté en Tournant movement in class, well I have but never known the correct terminology for it, besides I’ve always regarded this as a male grand allegro movement. Then I have only seen it taught is in Rep worshops for male solos. I do remember a “Le Corsaire” LAB summer short which consisted of Gamzatti variation for the girls and one of the Male solo,s for the guys but I cant remember which. It did have this movement in it and I so wanted to dance it as the music was so powerful, it really energised me, but I guess I was too shy, however one of the girls did dance quite a few steps of that solo. I assume your fellow dancers at the ENB event at RAH were of a mixed level where you learnt to dance with Coupé Jeté en Tournant in a manege, or am I wrong. I wonder when that event was as I went to see ENB’s Swan Lake in the Round, but Im not sure if I was with ENB then, I joined ENB in April 2013. LinMM I love the Footlights video you included, when I played it, it was a voice from the past , it was Tina Rogers principal and owner of Footlight Performing Arts of King Lynn in Norfolk. I was with them in 2012 about the time I joined BalletCo, her mum Karen used to teach me, it was a tiny class of three at the most, sometimes it was down to one-to-one. Tina always came into class at the end. The studio in the video is the one we used, it has a wonderfully sprung floor on metal springs, Karen’s son designed it. Wow what a small world. This week for me is all change, since loosing LAB: 1) Additional one-to-one started on Monday focusing on technique and body strengthening. 2) Application in for Adult Associates at RAD Elmhurst. 3) Week at Ballet West for one-to-one Solo and PDD Rep booked 4) Should get a phone call from the Artistic Director of Edinburgh Ballet Circle this week, then I can look at the feasibility of performing with them.

Wow Kate_N what company were you dancing with when you were doing travelling turns around the RAH circular stage, that sounds awesome. However I don’t understand the Coupé Jeté term in the context of the manége you have described, when I try and picture it, it sounds very much like a gallop followed by a Saut de basque, is this correct, if so then I have done something similar with a manége of 10 saut de basques from Act2 of Giselle (a solo in part of the willis), but those were three steps rather than gallops as connecting steps. I would love to do the mixed turn manége at the end of RB's version of the Sugar Plum Fairy variation on the RAH stage, it is by far the most difficult one I have attempted.

I loved the creative choreography bit too, it was really fun and so enjoyable. I checked the ENB site for Le Corsaire and its fully booked, I thought it was. Only the full day intensives at ENB's studio's at Markover House are still available at £50 each: 10th April “She Said” 29th May “Swan Lake” I have already booked both Le Corsaire and Swan Lake. I did Le Corsaire with ENB at Oxford about 2 years or so ago, I must say it was the best ENB workshop I have ever been to, I'm looking forward to it again this time. Lin see you at Le Corsaire on the 17th

This is the response I got from RAD: The difference between Improvers 1 & 2 is simply ability / level. Both classes follow the classic ballet class format of barre & centre work. Improvers 1 is aimed at Grades 3 to 5 and Improvers 2 is Intermediate (Grade 6 to 8). We have a number of different teachers over the course of the phase and they decide how they are going to best bring out a particular artistic quality with each class that they teach. The Body Conditioning class is also taken by different teachers each time. The exercises are specifically aimed at body conditioning for the ballet dancer with a focus on how to bring that technique into your daily ballet class. Hope that helps

Simple, I was told not too, health and safety what ever that meant; I was gutted at the time. But now I don’t want to dwell on it, it’s not important. However as Thursdays have become free, and for the moment I’m saving on travelling expenses, that alone allows me to add another weekly one-to-one session in. For that I will have to select another teacher with the right mindset to work with. I have already arranged for an addition one-to-one on Monday in the New Year for Technique which will follow her Fitness class. I already do one-to-one weekly rep on Fridays with her and have done so for over a year now, but I don’t want to put all my eggs into one basket should anything happen to her availability. I’m seriously considering doing the RAD Adult Associates classes at Elmhurst, I’m talking to someone at Battersea tomorrow as Midlands are already on Christmas break. I don’t know if you are considering joining Lisa in the interim until 2017 when hopefully LAB will reconvene. I have opted for Mondays after March when my winter term at ENB has finished, but that is a tough call. ENB is the one place where the classes are taught progressively and I really enjoy them since I have been doing them with Tom. It seems each year I take stock of what I have done, and sort of reinvent myself with a new course of actions. First on the list is something I thought because of my age I would never do, is to at least cost out increasing the size of my own studio and equipping it for dress rehearsal with programmable lighting and projected backdrops. Second: Full documenting my own rep including assessment videos, all with configuration control, as this has got out of hand recently with the more I have done. In an attempt to keep pace with refreshing it, I went from 1 hour studio hire to 2 hours, as things stand that's no where near enough on its own. Third: Create my own performance opportunities: Develop short performance pieces that consist of a PDD with one of two female solos for performance at dance parties or other similar gatherings of friends and aquantances.

Hi LinMM You shouldn’t be amazed, I will always go the extra mile to achieve the almost impossible, and would have probably done it, if it wasn’t for that unscrupulous taxi driver that took me on an excessively longer journey to ramp up his fare. Similar to you, I would have had someone special coming down to see me for the summer performance. When I did my one-to-one with Gillian at Ballet West last summer, she asked if she could come down and watch my performance, whilst on the one hand I was chuffed with such an honour, it meant I would have to perform far better than I ever have before. For me this show was very much a disappointment. Not only was I the only one in our group with a 100% attendance for our weekly rehearsals. Almost all rehearsals had been supported with a pre-practice rehearsal at my local hall, and in the early days, I even had private coaching on the more tricky bits. But as it seems, all that effort and expense was wasted. I knew Rambert was going to be tight, so every second that could be taken out of that journey to on-stage was. The leotard change was done at the end of my previous show, satin ballet slippers with ribbon were put on during the train journey and warm-up boots placed over the top to eliminate that time. Only the romantic tutu was put on at Rambert which was literally seconds. When I arrived I was told I would not be performing in Act 1, which was the Peasant Dance. I was also told I would not be performing at the end of the Dance of the Willis which included the finale. Then I was left in the changing area expecting someone to call me when it was time, nothing happened. Eventually I found my own way back stage and the girls in my group and quickly when through our piece for positioning etc. I can’t be certain but I suspect even with my later arrival, there was still time for me to dance that Act 1 piece. For me I feel very let down by LAB, but I won’t loose any sleep over it.

My day of performing with two different ballet companies on the same day arrived yesterday Saturday the 12 December, it was very much a bitter sweet experience. My first performance was with the Alive Ballet Company at the CBAT studio theatre near Holloway Road tube station and was very much the sweet one. Perhaps that was because it was the one that I had spent nearly all day going through preparation and rehearsal for. For that I only did the matinee which was a sell out, later I found the second performance was too. The time with them was truly fabulous. The LAB experience was somewhat different, as I knew it was always going to be a challenge to get there, let alone not have the experience of doing a dress rehearsal on the stage I was to perform on. However I wasn’t prepared for what was to come on the run up to the event. I was at least hoping to do some form of dress rehearsal with them before going on to the Alive Ballet Company, but a schedule had never been issued until very close to the performance day. The matinee performance with LAB had been cancelled as ticket sales were to low to justify doing two performances, finally the dress rehearsal time had been set for 5pm, no way would that allow me to do the two performance. Then finally a week or so before the show an email bomb shell went out to all LAB dancers, there was to be no LAB gala performance for 2016 as it was no longer viable as they didn’t have such strong number and rebooking for Term 2 had been slow. Those like me that had paid for term 2 are to have their fees returned. However LAB is to continue with a spring and summer intensive. Lisa Probert LAB’s ballet mistress is to continue with some classes on Mondays and Wednesdays if enough dancers are interested but not under the LAB banner. LAB may return and reform the ballet company in 2017. I’m still stunned by that. After the Alive performance I had everything I needed laid out for a fast get-away, that went without any hitch. Although I had originally intended to travel in my romantic tutu with a large coat over the top, I decided not to, due possibly crumpling it, and in any case the time to put it on was down to seconds. The LAB performance required satin ballet slippers as the summer gala with ribbons, they always take a little time. So as to arrive almost ready the satin slipper we put on, on the train with warm-up boots on the top, at least that would be adequate from Richmond Station to the taxis stand opposite. What I had not anticipated was getting into a taxi with a dishonest driver. Once me and my boyfriend Adrian had got into the taxi, the driver turned it round and started to go in the opposite direction, I said “isn’t it that way”, he replied “there are two ways to get there”, it seem to take us ages going through lots of town traffic before we got to the Rambert Studio Theatre, I’m sure the 5 minute journey must have taken us at least a quarter of an hour. I was really annoyed but I couldn’t afford to loose time arguing with him. Needless to say we were late. At this point I wasn’t ever sure I would be allowed to perform, I was very much on tender hooks. I was taken into one of the studios that was used as a changing room and told to wait there, Lisa our ballet mistress came along and told me I would not be performing in act 1 of Giselle ,which was my favourite part (peasant dance) and also the our last piece of the Willis before the finale . That just left me one piece and I was pretty well gutted but there was little I could do. I seem to be left in that changing room for ages expecting someone to call me, but it didn’t happen, so I found my own way back stage. Finally I found the girls I was to dance with and quickly ran though positioning and orientation for that piece. Lisa also came along to tell me what exit I should use. Then it was show time for me, the performance piece went fine as I could see the girls I was dancing with and positioned myself accordingly, then it was time for me to run for my wing with my arms in 3rd, it was almost total darkness at the side. That where I came slightly unstuck, it wasn’t until one of the girls went in, I knew precisely where that wing was. I had never seen that stage in daylight and needless to say I weaved a bit of a curved path to the wing, at least I wasn’t fighting with the curtains when I got there. I think the saddest thing, was not being part of the finale, it was almost like being not part of the company any more, especially when I think back that I am the only one in our group that has had a 100% attendance all the way through the year, it just didn’t seem fare somehow, but hayho I don’t have time to dwell on it, there is much to look forward too including performing in Saint Petersburg next year. The LAB event in the end was well attended with all the seats taken, my boyfriend ended up sitting on a piano stool and he said at least 4 people were standing. We stayed for drink afterward, I see Lisa again and she just gave me the thumbs up, I guess that was nice. I also met up with several girls that were either Ex LAB, or girls I done class with at ENB, that was nice too but I guess the icing on the cake came from a guy, a stranger I didn’t recognise, who said Well done Michelle, you come along way since Docklands. That really was a long day, up at 5am, didn’t get home until 2am Sunday morning and absolutely shattered.

Wow fouette’s, I am impressed, good luck with getting up to 32 for the Black Swan Coda. I would love to be able to do that. We only get to do them occasionally at ENB. five is about my limits before my ankle starts to ache and I come off balance, I can manage a couple of fouettes launched from an en dehor pirouette and closed properly with the same type of pirouette, but that is about it. Have you found out the venue for the celebratory cocktails, as I would love to join you ladies, however I will have Adrian my boyfriend with me., but as he is my Nutcracker Grand PDD partner I guess everything’s alright. It was dress rehearsal for one of my performances last Sunday, both shows are on for this Saturday providing there are no line closures between the venues, fingers crossed.

Hi Terpsichore The Nutcracker workshop is the following week. You had me worried as I had already bought the advance purchase train tickets. For me it will be real enjoyment and fun with the lovely ladies of Northern Ballet. At least my show will be out of the way and for once I will be able to let my hair down so to speak. Unfortunately I won’t be staying to see Northern’s show, my boyfriend is travelling up with me and it will give me a change to show him Leeds. Besides I want to get stocked up with Sparkly stones from Leeds Market for some of the outfits I’m doing. Hi Balletrocks1 That show sounds awesome, last Christmas we did a similar showcase with City Academy with all performing groups doing a piece, but we didn’t have anything like Chinese Ballet or Hoola Hoops, that sounds fantastic. I will check with my boyfriend Adrian if we are doing anything special on the 30th , if not, we may well come over and see your show. What scenes from Swan Lake are you performing, and will you be using you white romantic tutu this time?