Page 106 of Dancing Fools and All That Jazz
‘What, the broken leg?’
‘No, being with these lovely women in Clarissa’s group.’
‘Yes, I wish I had found it sooner.’
‘Me too.’
There is a short and awkward silence between us.
‘How is Bethan?’
‘She’s good. She’s living in Melbourne with her partner.’
‘The one she was travelling with? I have forgotten his name.’
‘No, a different one. And he is a she.’
‘A she? Oh.’ I do not know what to say.
‘She’s called Emma.’
‘Right.’
Edith scans my face, and I am quite sure my reaction will dictate her opinion of me, so I fight to find the right words.
‘Is she happy?’
‘Very. She’s selling real estate over there. Bethan and Emma have just purchased a fantastic place outside Melbourne close to the sea. I hope to go and visit next year.’
‘I am told Australia is wonderful. Erm… Edith, Iwould love to contact Bethan. Perhaps you would ask her if I could have her phone number or email address?’
‘Yes, I will.’
‘Thank you. And Edith, thank you so much for dancing in my place. It means a great deal to me.’
‘No problem.’
Hazel retires to her hotel room to save her energy for the finals show and Ingrida pushes me the short distance back to the theatre. Returning to theOpéra Bastille, I watch Edith chat with Ruby and Monica, realising it is a long time since I heard her laugh so heartily.
My new folding wheelchair has been delivered to the theatre and I sit in it to one side of the stalls in the main auditorium when rehearsals are underway.
The space is immense. I realise I would have been quite daunted to dance in front of such a large audience. Tickets to the final have been sold to theatre and dance schools across Paris. We are told the theatre will be almost half full. Just over a thousand people. Extraordinary.
Our ladies run through the “Dancin’ Fool” routine several times. They repeat sections when required and also incorporate Ingrida’s impromptu change from yesterday as part of the sequence. They are not in costume, but they use the bright bowler hats as props.
Edith is magnificent. She is a natural dancer, and I can see she is having a positive effect on the others, who all up their performance in an attempt to match hers.
Clarissa is on stage with them, giving instructions and sharpening up the moves. From here I can see precisely what she wants as she issues her instructions.
‘Bonnie, arms higher and fingers wide…’
‘Ingrida, exaggerate those shoulder rolls more. This is large theatre, and we must magnify each movement.’
‘Ruby, keep low on those three-step-turns… down into the ground, jazz-style.’
‘Monica, can you demonstrate the lyrical sequence to the others? Please pay attention to Monica’s arms and how she finishes every move which melts into the next…’
‘Splendid Edith, you have a wonderful stage presence…’
