‘So first rehearsal today. Joumana wants me to be beautiful, or at least to stand up straight and not be angst ridden and  overly dramatic! It was slightly a shock, yet an interesting challenge. So I put on my corps de ballet face and she looked a bit happier. Then she had me eating lots of peanuts whilst I danced, which apparently helped my jaw relax. I felt like Eliza Dolittle.

New people, new studios I thought as I walked into the O2 centre today. Love it. Robert was there. Smashing bloke. All swoosh and verve. And then Shanti, the costume designer came in to measure me and I spent the afternoon in a crinoline asking Robert at one point, ‘does my bum look big in this!?’

Its tricky because I feel entirely unable to give up the secrets of the present. Everyone else has. And its been something that has lead to big steps forward for the work. But I cannot and could not. And so this is the point of tension that we are working with just now. I told Joumana I felt awful about it, because I always want to be able to give everything. And yet I just cannot say these things. They are too much to let out into the air. They are the reason I often sob myself to sleep and wake up feeling sick. I simply could not say them.

Still I hope that I can say a great deal else in the show and talk of other people’s secret which are fascinating, funny and tragic in equal measure.

Anyway, ten days and counting and tomo we all meet for lunch time on our day of rest no rest. Can’t wait!’

 

Sally trained at Central School of Ballet and has since performed a great deal with Protein Dance, performing ‘B for Body,’ in the Place Prize final, as well as the following full-length touring production of ‘Dear Body.’ She recently completed a world tour of their critically acclaimed show, LOL.

Sally has also worked with Sean Tuan John, Jasmin Vardimon, Tilited Productions, Duckie at The Barbican, Deja Donne in Italy, Rajni Shah, Gary Stevens, Lulus’ Living Room, Frauke Requart, H2, and Ridiculussmuss at The National Theatre, as well more recently working at St Thomas’s hospital alongside the physios there, developing dance for children.

Her first group work ‘Dulce et Decorum’ was performed two years running at Spring Loaded, The Place and lead to her company Sweetshop Revolution and a newly created work entitled Tree. Other choreographic credits include The Extra, a solo performed at The Linbury, Royal Opera House, ‘Reasons to be Cheerful,’ a musical by Graeae at Theatre Royal Stratford, ‘Nerve,’ a play by Prestige Theatre Company and ‘Violet Smile,’ a short circus solo about a vampire waitress.

She has been twice voted Best Female performer by Dance Europe and twice nominated as Best Female Performer, as well as New Talent by the National Critics Dance Circle.