Michelle_Richer

Terpischore Thank you for the complement, too many of those an I will have to hang my Black Swan tutu in the wardrobe never to be used. Have you thought up a title for our dance yet?, as mine seemed to fall on deaf ears I was somewhat disappointed with the groups response when I raised costumes, lighting and scenery back projection especially as we have a lovely studio theatre to perform in and the assistance of their lighting technician next week. I know it was eventually decided costumes would be something dark (black) I got the feeling that the consensus was, it doesn't matter yet, as we have loads of time, where in fact we only have three rehearsals, and a dress rehearsal of no more than 30minutes each, before the performance on the 28th and we are only about two thirds through the sequence. In Contrast LAB which perform after Northern have sequences completed but do have the odd simple sequences being covered by there new intake of dancers. All costumes Identified, most dancers have most of the costumes required and most rehearsals take place in tutu for spacing. Lab rehearsal time 1 – 2 hour per session Angles theatre which perform after LAB all dancers already have their own costumes (Leo dress), we are just waiting for add-on detachable butterfly wings to be made. Sequence already completed apart from final pose as that require butterfly wings to complete. Angles Theatre rehearsal time 1 hour per session.

Hi Mimi Love your answer, I guess you beat the lady of Scottish Ballet of 102 then. Take care

It doesn't say Lin, the website is quite basic. I will see what come back in the form of an email otherwise I will phone Kevin. Incidentally when I caught the 170 Bus back to Victory yesterday, who should get on the bus with me but the RAD teacher who taught us both rep from Cinderella at the last workshop and of course she recognised me. How's things going with LAB now your temporarily grounded. I'm quite stiff this morning after the Cygnet dance yesterday but I think it will pass, I have a practice session at the hall this morning so I need to loosen up for that. Last week was an awesome week for me with three early starts 4am, 4.30am and 5am, this week is a little lighter but I have Don Q at the weekend with City.

Thanks Ellie I would love to attend it, however it’s the day after our two LAB Gala performances at the Bloomsbury Theatre and in any case I’m on dress rehearsal that day for a whole weeks performances at The Angles Theatre. Its also worth mentioning the LAB (London Amateur Ballet) are holding their second 6 day Summer Intensive on “Swan Lake” at the Royal Ballet School, Covent Garden (11th – 16 August). PS I've just emailed Kevin at BalletWorkshops to get on their mailing list as I see there are others coming up but no dates yet.

Hi Mimi I can understand your reluctance to use a floor that is not sprung, to some extent I share the same feeling, however it was the floor used by my first ballet teacher, its local , its inexpensive, high availability, very large and quite slippy for pirouettes. It does have a lot of plus pointes but obviously a serious shortcoming when it comes to anything jump related. Any dance or exercise activity, a proper warm-up is essential, even though my body balance classes use cold gymnasiums in the winter and stretches after very few exercises and I've sustained injuries there as a result. I’m inclined to go the other way and use very cardio accelerated warm-up but ensuring the whole body is warmed up before attempting anything serious in that hall. I’m a little perplexed by your comment “(and may I add that I am not in the same age group as you are)”. Could this mean you are more fragile?

I attended the RAD Swan Lake repertoire workshop today (18/5/14) with 13 other dancers, unusually there was only one dancer I knew and she attends the same classes at ENB that I do. Unfortunately there was a little mix up with the ending time, with two different times stated. We ended on the earlier one so there was only just time to complete two of three scenes that was to have been taught. We danced the Entrance of the Swans and the Cygnet dance, both from Act 2, we were to include Dance of the Princesses from Act 3 but that will have to wait for the next one. We danced Entrance of the Swans first, unfortunately we had one girl retire with ankle problems but she remained and watched with an ice pack on her ankle. I must confess I was little apprehensive about the ankle cracking Cygnet Dance, but everything went OK. As we left early I even had quite a walk round Peterborough Queensgate shopping centre on my way home, it was only when I sat down at home I could feel a little stiffness coming on, only tomorrow will tell.

That is the piece but its not executed anywhere near as well as Bolshoi, I see the pirouettes are only doubles, the same as Bolshoi. I'm not sure but I think the tempo of the music also sounds a little slower but I may be wrong.

Thanks Mimi, I will try Lin’s suggestion this weekend in my own studio. I have my local hall booked for an hour on Monday I think I will see if I can get changed to 2, as I have another rep session on this on Tuesday. Only down side of the hall, it doesn’t have a sprung floor.

Yes I will be there, I am surprised you needed to ask. I've just returned today from doing a little bit of "Mid Summer night dream" at Theatre Royal Norwich this morning with Northern Ballet, then it was LAB rehearsal tonight. RAD are doing "Swan Lake" this Sunday I will be there too. Did you know LAB are doing a 6 day Summer Intensive on "Don Quixote" at the Royal Ballet School in Floral Street (14 - 19July) and "Swan Lake" at the same venue (11 - 16 August), I have already booked both of those too. LAB are also doing a 3 day Autumn Intensive (31Oct - 2Nov), but it hasn't been defined yet, I've ask Tom to consider Giselle but its still in the melting pot. Are you coming to see our LAB Gala on the 5th July at the Bloomsbury Theatre http://www.thebloomsbury.com/event/run/077C

Hi Girls This is the one I’m working with at the moment , Natalia’s version is another that interest me as I like her style, but there is a limit to how much I can process at any one time. Tuesday was a really heavy day with only 10 minutes contingency time from train arrive a Kings X from my classes in Leed to arriving at Shoreditch studio for my Rep session, then only ten minute contingency between travel from Shoreditch to ENB. No meals just mars bars on the hoof, timing was really tight. Thankfully this is only until the end of June. Today’s rehearsal at the Angles Theatre seemed rather tame in comparison. Tomorrow is another busy day with a long drive starting at 6am to Norwich Theatre Royal as we are doing something for Mid Summer nights dream, then drive to Peterborough for train to London for our LAB rehearsal. My only problem now is I need lots of studio rehearsal time to myself, I’ve got another slot in next week to work on Kitri before my next rep session. At least I’ve got the Fan, the Tutu and skirt comes later. Watch from 5.30 http://www.youtube.com/watch?feature=player_detailpage&v=Zf_n5bATF9w

Hi Lin and Mimi I must apologise as I have got it wrong, it was an illusion, after checking the landing, its on a flat foot which immediately flips to full point, giving the illusion the landing on pointe. I also understand Anjulies comment about the Audiences response. As this is used a number of times with fairly large grand jete's, I personally don't like them, they are really not very aesthetically pleasing to me. Where I'm using it, it would be improper to describe it as a petit jete, but it is definitely a little smaller that a normal grand jete, for me it creates the same illusion as that proceeds a number of leg/arm swapping buree's prior to preparation for a series of pose turns. The large Splits type I was asking for help on is completely different and a number of these are used in Kitri's Variation in Act 1 of Don Q, that is one of the variations I'm working on at the moment. PS I also made a mistake with that one, it is launched from a developpee, silly me.

Hi Girls I will post the link but I cant right now as I'm stuck for time, its in Le Corsair. The ballerina does not land on demi, but on full point. I don't know why, but when you land on high demi it really does feel as safe as houses. I must say I was a little shocked when I first see it, and naturally you think "That must hurt".

Hi Lin it’s not a simple up and over type, I already do that with a piece of rep where I have to land with the leading leg on demi-pointe. Admittedly it’s a relatively small grand jete in terms of its length, but that all that is required for that piece. The type I am talking about is the suspended splits type, I believe thats more about confidence or mind over matter. In preparation for this, I can open out reasonable well on a trampoline as I have additional height which gives me a little more confidence. I can take it almost as far as I can if doing sliding splits at the barre, because I can take it to the point where my legs open sufficiently to just feel an old injury, a limit for the time being I will not go beyond. However when doing a grand jete for real, my body just won’t allow itself to go into almost splits even though I know my legs can do it, its almost like a protection instinct that takes over, particularly with the back leg.

Hi Lin The bit about the professionals was perhaps a bit of a windup after hearing the elitist comments about those poor beginners who had plucked up courage to come to class be it “intermediate” or “Elementary”. As for the scene containing the pirouettes that is very real and I believe achievable, the issue is not the triple pirouette, but absorbing the energy in stopping a fast triple turn pirouette otherwise that momentum will be transferred into the prep of the next and take it off balance, I’ve been there and done it using doubles, it is very dangerous, so I do take on board Balleteacher Health and Safety comments. A suitably sprung floor also has to be found at one of the London studios with the right slip coefficient, any old floor will not do. The training will also be carried out under the guidance of my professional coach, but I do mean to do it, and without good technique it simple will not be achievable, certainly not 5 in line. Let me know what your outcome is with LAB, I have know other during injury to just observe the class to keep abreast of what’s going on, but we are at a very critical point now as most of the teaching has been done its now down to polishing.

I hope no one minds but I would like to take the initiative on the one, by suggesting "Grand Jete" from a swish through of the leading leg rather that a developpee.

Sorry Spanner Looks as if I'm in trouble again.

Hi Lin That’s exactly what I meant. Are you likely to be dancing in the LAB show since you are grounded for the next 4 weeks?. You will be pleased to know as your not now doing the RAD Swan Lake workshop we are doing the ankle cracking Cygnet Dance, I will drop my salsa dancing this week to offset it, although I will still go along for social chit chat Friday evening. I did a presentation for the LAB show at Salsa last Friday to try and get a few more bums on seats, quite a lot of interest as several took the leaflet home, but not sure how many will result in actual bookings, but one can only try. As for “Well no one is asking you to get up at 4am go to bed at 1am and still get up for class the next day”, this is true, but at the same time I never suggested it was. I was mearly indicating the deep level of my conviction and dedication. Hi Dancer Sugar Plum Why do you feel bullied?, if any should, then possibly I should, but as I said its like water off a ducks anyway please don't go a I love our exchanges. xx

Dear Dancer Sugar Plug I really do love your creative imagination, or do you need perhaps the borrow of my teachers blind dog, as I have never suggested in my post that I compared my pirouette technique to that of the technique of the professionals. I did regard his comment as a complement, it was simply as a professional coach and the fact he used the same enchainement for the professionals gave it a little more significance. Anyway what makes you think I would want to compare my pirouettes to that of the professionals, I would never set my goals so low. Just to qualify that, I have found and had some professional coaching against a piece performed by Bolshio and Kerov which is quite fast and snappy to reflect my defiant character. However this piece is performed by Bolshio with relative quick tempo doing 5 double en dehors/ arabesque en lair combinations in line as a small but the most challenging part of the enchainement, Kerov use 3 triples and 2 doubles but the ballerina falls off balance but recovers on the finishing triple, but this is done at a more leisurely tempo. My goal is still to use the faster Bolshio tempo and complete all 5 triple combinations seamlessly. My coach is aware this is on the back burner for this winter when my shows are over. Another incident but this time I got bit in the bum. When we did the LAB spring Intensive, I had intended to do 2 of the group solo’s for the end of course performance as everyone else to my knowledge were only doing one. Two of the variations I had done before, plus I had a lot of additional one-to-one coaching to bring them up to scratch. When they were initially taught we only had half an hour per variation, shock horror they were completely different (different companies variations to the one I knew). That was a real downer for me, and I was faced with possibly not doing any. However only one had some similarities which was Aurora’s variation from Act3, I went to see that teacher and she pointed me in the direction of “Lauren Cuthbertson’s” variation of this piece. That at least got me out of trouble even though I had a slow internet link at the travel lodge I was staying at. I was able to just about learn the sequence; however I was constantly fighting against the other variation I knew well and its association with the music. I did perform it at the end of course show, it was probably OK but far short of way I had wanted it. However when I got home, I went though other artists versions of this variation and cam across Margot Fonteyn’s version, it really had sparkle and enthusiasm in it. That is certainly in the rework tray, not to copy any particular artist but to create my own version which will be a hybrid of all three, to reflect my fire and passion as a dancer. The content knit picking the silly comments about my short period in the ballet world is like water off a duck back, I think most of you know that by now, but I do love a good tussle tough, this gal has attitude and ambition and she definitely unstoppable unless my body gives up, as its red lining all the time. You try getting up at 4.30am and back home at 1am the following morning for your ballet, I have two days like that this week with ballet between days including Rep at RAD this Sunday, that's called dedication. Happy dancing, everyone is welcome at my classes including you sweetheart.

Dear Mimi I find your comment interesting but totally misleading, as I have done a number of Intermediate level classes with ENB. Northern and The Royal Opera House and never once did we cover fouettés or Brisé, (not familiar with the term Brisee’s), furthermore these were never covered at Pineapples Elementary class either. However Brisé volé was covered a couple of times at my Stamford mixed ability class, where teacher would apply different options on enchainements for dancers different abilities. Fouettés are used at the barre or just off the barre at LAB, Peterborough did include teaching them in the centre one week but it was never developed, but was used at the barre. Lincoln now uses them at the barre and is to include them in the centre, that class I regard as a beginner level, possibly improver but no higher. I have asked ENB to include these; although it has not been refused I know there is some health and safety concerns of the additional space required over and above that of normal pirouettes. Other things I find are not generally taught are Cabriole’s, however I have done these at Pineapple and Stamford, I know the guys have at LAB too. Also Temp de fleche again our teacher at Stamford did add in a sissonne/ temp de fleche combination into an enchainement across the room at my request, although the other dancers moaned about it. I think LAB is the odd one out, if we need that for rep, then it will be taught, whatever it is and properly. Also having done ballet for a very long time does not necessary guarantee anything, there are a number of girls at one of my performing classes that have been there for many years, one of them performing on the same stage for the last 17 years, but most still don’t use proper ballet terms. Just after I started with them, I told some of the girls off when they were using terms like “funny tourney things”, I was reprimanded by the teacher the following week, but at least I had made my point. One point I made in one of my earlier post, it’s not just the depth of knowledge, its breadth too, that why I don’t stick to just one or two classes a week like most. I’m deadly serious about the ballet I do that why I also seek the coverage. Mimi I think I agree with your comment in” Because, it seems most likely that Michelle lives in a parallel universe.... “I don’t think we are in the same league, I see ballet as a preciouses gift, if I see someone struggling or needing help I would gladly give it, and be proud to have been able to help. That why I offered it over the video incident the other day, incidentally we are now joined by a second girl. I certainly would not winge about beginners or those less able entering my class which has become the popular theme recently on this thread, personally I find that extremely selfish.

Well I'm sure that applies to me, I do remember on one occasion I went to Northern’s Intermediate/advanced class and we were doing an enchainement across the room, I think we were doing doubles then but I cant be sure, our teacher was at the end observing, I know I go a “GOOD ONE” comment from him. That in itself wasn’t unusual, however later that week I did a rep workshop with Northern and afterwards we got to watch the Northern’s company class work out on Leeds grand theatre stage, it was the same teacher conducting it and he used the same enchainement for the professions, for me that made that comment very special, but I am sure if you had been there you would be looking for his blind dog. I am sure you're right, I know of two that moved up to level three and after a week or two went back down to level 2 as they found themselves that they were not ready, I would not regard these as selfish or the teacher having to spend a disproportionate amount of time explaining or demonstrating something to a student who is not at the technical level of the class. Those two individuals are now back in level 3 after spending a further term in level 2. For me at ENB I did start at level 1, although there is an “Absolute Beginner” level below that, given the option I would have started higher, possibly level 2. Never the less I did find level 1 quite hard from the perspective we were not allowed to use feet in fifth, it had to be third. That was quite diffiult to find when you are used to fifth as you instincktively know where it it is, secondly in third I used to get into trouble as me feet were too turned out. However what was special about that class, it was the second class of the evening, and it was the only one I was doing, so I could arrive early. Eneviable my teacher arrived early too and we would both wait in the kitchen diring area of ENB and generally chat. As I was working on some of my own choeography, this teacher would sometimes help me for an extra 5-10 minutes after class and help develop ideas, I remember one week we danced the port de bras with mimed tears together as this was to music called “lover tears” which I had taken in. That moment for me seemed very special, somehow that teacher student relationship had disappeared and we were too dancers or friends possible, dancing together. I think I will remember and treasure that moment for allways. Mid term I did have the option of moving up to level 3 as I had exchange a lot of email with there head of learning, I didn’t as I has a brilliant relationship with my teacher. However when the level 3 taster came along, I grabbed with both hands, it was my level 1 teacher that conducted it, the rest is history. Coming back to the orignal comment I made about level 3 being evicted to level 4. ENB cant actually do that, but rather than the odd beginner being mis placed at an unappropriate level. I think ENB’s view of our class, is the vast majority have the capability of entering level 4, but just lack the confidence to do so, so we are not taking about the odd person but the majority of the class clogging up the system to allow those in lower grades to move up. I think ENB is just trying to provide the motivation through encouragement which should be seen as a good thing. After all our teacher has really pushed us this last term. For me ENB is my ballet home and castodian of my technique, that is why they are my only non – performing school I belong too now. I think ENB levels equate to Absolute Beginner: Very very basic but I have no experience of that one. Level 1: Beginner Level 2: Beginner + / Improver Level 3: Intermediate Level 4: Advanced

Wow I must have been a teenybopper then

Oh I wonder if that was me?

Another 4 hours of ballet today, mostly rep based. Rehearsal at LAB going forward is now with pancake tutu bases and romantic tutu’s, we used both tonight as we were rehearsing different scenes. That’s allowing us to get acclimatised with the separation distance between dancers especially in pancake tutus and to making due allowances for the lower arm positions etc, for when we are performing. Most had brought their tutu’s including me. Only one slight dampener on the evening at RAD HQ, we have lost the use of our studio for practice before our class starts at 7.30pm, as the studio is now booked for the next few weeks by some ballroom dancers. I know in the past I have arrive two hours early and the studio has been available.

Yes a preview is a good idea, although ENB do not do it in that form, between terms they usually run a couple of taster classes which are available through priority booking to existing dancers contemplating a move up, and with the spare places that are left for dancers from outside. I think LinMM tried one of those, I certainly tried level 3, but I would have moved up anyway. David contrary to your comment about cover teachers, I like that from time to time as it provides a bit more variation in what you learn and sometimes additional movements too which can only be good, so I think breadth sometimes is as important as depth.

Grades, levels and open adult classes sound like raking over old coals. ENB which I was referred to, I personally do not consider as an open class, firstly in most cases you have to start at level 1 or below to enter the system as higher levels have priority booking for existing student dancers and usually these higher levels are over-subscribed and are seldom available to outsiders. Even when you are in the system you are not guaranteed a place for continuity or progression, you have to compete for it against other pre-existing dancers on a first come first served basis. Some of my friends have lost places as they were slow with their priority booking. As for substantial core of regulars, I would class everyone in ENB adult classes as that core. As for who decides when to move up a level, the student does, but many do seek the advice of their teacher. For me I would make that decision alone, as I have a pretty good idea of what is in my teachers mind, but never the less I don’t really think of it in terms of a promotion. A small number of us do two levels in parallel; if I were to go up to level 4, I would still maintain that strategy of one to underpin the other. However for me going up to level 4, it has a practical difficulty as level 4 is only available on Mondays when I’m otherwise committed. In terms of depth and breadth of learning, I rely mostly on my wide and varied mix of classes rather than a single school, also repertoire is seldom basic especially as I’m not interested in watered down simplified rep, other than due allowances made for the physical limitations of my body, that training is provided by my one-to-one specialist coach.