So, I get an email from Al Riches (Technical Director for English National Ballet) asking if I would like to have a chat about taking a tour out for them. OK, sounds interesting, the meeting takes place in a pub in central London. I've met Al a few times since working at Central School of Ballet and it’s good to see him. Over a drink Al explains that a brand new production is being put together, smaller than the main Company but with a pretty big touring schedule. It’s to have five crew, self contained set and lighting, eight dancers, one ballet mistress, all travelling in one 45 foot trailer and one mini bus. "Sounds like fun" I say. "Oh yes, and it’s about a dancing mouse" adds Al.

So, I get an email from Al Riches (Technical Director for English National Ballet) asking if I would like to have a chat about taking a tour out for them. OK, sounds interesting, the meeting takes place in a pub in central London. I've met Al a few times since working at Central School of Ballet and it’s good to see him. Over a drink Al explains that a brand new production is being put together, smaller than the main Company but with a pretty big touring schedule. It’s to have five crew, self contained set and lighting, eight dancers, one ballet mistress, all travelling in one 45 foot trailer and one mini bus. "Sounds like fun" I say. "Oh yes, and it’s about a dancing mouse" adds Al.

Now, thanks to my wife being a ballet teacher, I’m familiar with this particular twirling mouseling and happen to think that the concept behind the creation is excellent. Anything to encourage children to take an interest in ballet can’t be a bad thing. Completely un-phased, I readily accept the offer.

Now begins the process of putting together my team. With such a demanding and full tour it’s very important to get the right people for the job, being technically proficient isn’t good enough, the chemistry has got to be right. First on board is Andrew Burnside. I’ve known Andrew from The Camberley Theatre and have always liked the way he works, also, he has a wicked sense of humour which is a massive bonus. Andrew is in charge of lighting and sound, and most things that have a plug!

Olivia Dermot-Walsh comes highly recommended and takes the Deputy Stage Manager position. I’ve not worked with Olivia before and it takes one meeting to establish that she is definitely on the same wave length as me. Good stuff.

Holly Owst is a trained dancer who has also worked in wardrobe at Central School of Ballet, I know she’s calm and organised and great in wardrobe so I chance my arm by asking if she would consider touring as our wardrobe supervisor. Holly accepts, much to my delight.

Last but by no means least, Keith George is offered the role of Assistant Stage Manager. Another contact from Camberley Theatre, quiet, reliable, dedicated and with a love of loud music. I’m happy!

We all work on whatever contracts we are committed to and wait for our start date in August to come round. I have my team!