‘Very well. Providing I am acknowledged as the choreographer for “Roxanne”, Sheila’s group may perform it later today.’
Frédéric reaches forward and clasps Clarissa’s hands. ‘Excellent. Thank you, Clarissa.’ He turns to Sheila and nods at her expectantly.
Sheila picks at her nails, shrugs and mumbles, ‘Right. Ta. I must get going.’ She gives Frédéric what I can only describe as an unashamedly insincere smile and leaves the auditorium.
‘Well, she could have apologised at the very least,’ I say.
‘Sheila does not know the meaning of the word apology.’ Clarissa shakes her head.
Frédéric stands, rubbing his squeezed thighs. ‘Regrettably, it is too late to change the programme, but we will ensure it is announced that “Roxanne” is your dance.’
‘Thank you, Frédéric.’
Frédéric then approaches me and – much to my surprise – drops down into a crouch position to address me. ‘Fay, how is your leg?’
‘Thank you for asking. As good as can be expected.’
‘The press, they would like to interview you, Fay.’
‘Why on earth would they want to do that?’
‘You know, about your unfortunate accident…’
‘I hardly think that is headline news.’
‘And the wonderful coincidence of discovering your daughter, Judith…’
‘Edith.’
‘Edith. That she is in the same competition…’
‘I beg your pardon?’
‘It makes a wonderful story, how you sayune histoire réconfortante?A comfort to the heart? You know, your long-lost daughter reunited with her mother and how she… asauvé la journéeby dancing for hermamanin the final of the competition…’
‘No. Absolutely not. I will not have my private life bandied about by the gutter press. And gutter press they must be if their interest has only been prompted by pornographic images of Sheila and her dancers.’ I turn to Clarissa to appeal to her, but her eyes are focussed on the stage and the rehearsal.
‘But Fay,’ Frédéric opens his huge hands to plead with me. ‘It will be additional publicity. And I understand a well-known director is coming to the finals to watch Judith…’
‘Edith.’
‘Oui… Edith, your daughter, with a view to recruiting her to a Paris theatre. It would reflect well on her; do you not think? Her magnanimous act to save Clarissa’s dance, yes? Perhaps you could be interviewed together?’
I find myself speechless and Frédéric rises, pats my shoulders and leaves, presumably under the impression I will comply, which I most certainly will not. I rub my forehead. I have a bad feeling in my bones – from my head to my broken ankle – about all this press interest.
30
Asha
I am finally alone. I stand and stare at myself in the mirror of the dressing room and run a hand over my flat stomach. How long before it will start to show? I know most pregnant women caress their bumps affectionately, but I cannot imagine doing this. It feels like there is an alien inside me. How dare it implant itself in there, making me sick and threatening to take over my whole life. I then think what a terrible person I must be to react in this way – Rashmi was over the moon when she first got pregnant. I slump into a chair.
At least I am alone. Sheila Bold’s group has – thankfully – moved to a different dressing room. With several groups knocked out of the competition, a few rooms became empty, and the organisers felt it best to move Bold as Brass, giving our group some much-needed peace, let alone space.
Clarissa told us to take a well-earned break before the finals show this evening and all the other women have left the theatre. We have the whole afternoon to ourselves, and I would have loved to go sightseeing, but I feel so sick. Here I am in one of the most famous capital cities and I end up being stuck in this theatre dressing room.
Fay has gone back with Clarissa to her hotel to have alie down. She had dark circles under her eyes; I think her injury is taking its toll on her.
Cath and Bonnie have gone sightseeing, using their travel passes. It would not surprise me if they got lost, but they always seem to land on their feet whatever happens to them. Cath would call it the luck of the Irish and heaven knows what Bonnie would call it.