‘Easing in gently’ isn’t a luxury we enjoy at the LCB. From the first rehearsal we are off to a flying start. The music is written and the design team all engaged, and the first people to feel the pressure are the costume makers. We’re heading for a deadline – the publicity shoot on 19th involves 10 dancers and 14 costumes that need to be tucked and pinned and nipped in time to make the children in the shoot look fabulous for the camera. While Erico sets the first steps for his new ballet, costume designer Katie Lias and the wardrobe supervisor work at the side of the studio to fit puppy costumes on LCB’s two smallest dancers.

The photoshoot starts early in the morning, with children called in shifts for make-up and hair sessions. We start with Annabelle Adey, who is playing Nanny McPhee. Though none of the children dance on pointe in the production itself, we have asked Annabelle to bring her pointe shoes – we think an image of her on pointe for the poster and flyers will help to distinguish our production from the original film and avoid confusion. Annabelle valiantly maintains striking poses despite aching feet and the torment of having handfuls of glitter thrown at her while photographer Johan Persson snaps away.

As the younger dancers are brought into shot, the focus turns to perfecting feet and knees so that everyone hits the right position at just the right moment. It’s a fine art, and wonderful Johan frequently leaps to his feet to demonstrate a position and we are treated to the occasional spectacular jump. The children look on amazed as they realise Johan’s pedigree as a dancer as well as a photographer – a former Principal of the National Ballet of Canada and The Royal Ballet, what more could we ask?! The outcomes of the shoot are all that we hoped and more.