Page 55 of Dancing Fools and All That Jazz
‘Before my time with Clarissa, I am afraid. But Hazel has shown me a video and I have to say, it was extremely accomplished.’
Eventually, the rehearsal gets underway, and we sit forward to watch the first dancers perform.
There is polite applause at the end as Asha whispers, ‘It was nowhere near as good as Clarissa’s choreography.’
Thirty minutes later, we are still sitting waiting for Clarissa and only four more groups have run through their acts. The sound of the music stop-starting in loud blasts is beginning to give me a headache. I can also see these run-throughs will take an age, and it is frustrating to think the sights of Paris are only just outside our door and we are stuck here, unable to reach them.
The volume of the music lowers as a classical piece begins to play and a group of six male ballet dancers get into position.
‘Now that’s what I call tight tights.’ Ruby nudges Ingrida who stifles a giggle.
I ignore them and sit forward, eager to see a traditional ballet performance.
Everyone quietens, but as the dancers begin, there is a disturbance at the entrance on the opposite side of the auditorium.
‘Uh-oh.’ Bonnie shakes her head as shrieks of laughterresound around the theatre and Sheila’s group bursts into the space, talking loudly and oblivious to the disruption they are causing.
The audience turn as one to shush Sheila’s group who merely giggles before noisily taking over a row of benches opposite us.
‘Just like a bad penny,’ Cath whispers. ‘They were bound to turn up.’
I feel relieved to see Clarissa descending the steps towards us. We all wave quietly in greeting as she puts a finger to her lips, and we turn our attention back to the stage.
The ballet is rather strange. The music is, I think, fromGisellebut the movements are rather jerky and have rather too many scissor kicks. I expect it would be described as contemporary. It is only part way through when a loud scream of laughter emanates from the direction of Sheila’s group and is followed by wolf whistles and more laughter.
The dancers on stage stop and glare, hands on hips or arms folded, and the music is cut short. The lights go back up and an official descends to the Bold as Brass group. We see him remonstrating with Sheila.
‘What is she saying?’ Asha asks.
‘I can’t hear, but judging from her body language, Sheila’s definitely taking issue,’ Ruby comments.
‘Ay-up,’ – Bonnie points – ‘they’re going to get slung out.’
The official points to the exit and – as one – Sheila’s women grab their bags and head out. When they get to the door, Sheila turns and shouts back to the man, her wordscrystal clear, ‘Stupid arse.’
There is a stunned silence quickly followed by the murmur of spectators and dancers conversing in their groups.
‘Well, let us hope that will get them ejected from the competition,’ I say to our ladies.
‘I rather hope they are not, Fay.’ Clarissa surprises us all. ‘I would prefer to knock them out of the competition by way of our superior dance numbers.’
She is, of course, right. We must triumph over these ill-mannered roughnecks without a doubt and I for one, want to immerse myself in the competition, the music and the atmosphere. I realise this is a wonderful opportunity to be part of something big and artistic; a new experience.
It dawns on me that Expression Paris has become synonymous with my sense of moving towards a happier future; I do believe I can feel it in my bones.
15
Asha
TheOpéra Bastillebuilding is incredible. We were given a short tour and are now waiting in the audience area of the amphitheatre, which seats five hundred people. If we get to the finals, which are presented like a proper show with members of the public paying to watch, we will be in the main theatre. Totally daunting. It looks like something from the space age with hanging seating above the stalls. The seating capacity in there is over two-thousand seven hundred. Can you believe that? Bigger than any other audience we have danced for.
But even this smaller amphitheatre looks huge. A sudden realisation makes me do a double take. This holds just half the number of people due to attend my wedding. That is one heck of a crowd. It is as well our group is dancing my wedding number in front of a large audience in advance. It should help with any nerves on the day. Truthfully, even I am a little anxious about performing to so many, but it is an excited anxiety, not a worried one.
The other entrants are dotted all over the modern auditorium seated on the tiered, curved black benches descending to the wooden dance floor. Some are chatting, some warming up and stretching out, and others just watching.
When Sheila’s dreadful group was dismissed from the theatre, I was delighted. I cannot, however, agree with Clarissa. I think Bold as Brass should be ejected from the competition and sent home.
Once Sheila’s group has gone, the audience engages in low-level conversation as the rehearsals continue.
