Together

The Music And The Mirror

And we're back with another installment of Harper as Odette. In case you all didn't know, Lila Coogan (Anya on the Anastasia first national tour) really is the third cover for Odette, so I would assume it's standard for the track, but not many people know about it. How do you all think this is going to turn out? Let me know in the comments! xxxx
-ab

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November 14, 2026

Harper

Katherine's blocking for Olga Romanov isn't too hard. Thank god. Vocally, the part is a bit more challenging than physically, but nothing that I can't handle. My training at the Royal Academy of Music prepared me for a challenge like this. As a soprano, harmonies aren't my strongest, but I worked very hard on them while I was training, so I think that I'll be able to latch onto Kath's harmonies quite quickly.

I rehearse that for about two hours before Patrick informs me that we should probably go to the dance store so that I can pick up some pointe shoes.

"Good work so far, Harper. I'm so sorry that this had to be sprung on you," Luke tells me.

I shrug. "It is what it is. I'll try my hardest tonight."

"All you've got to do is keep the show running. The show must go on. I can't expect you to be perfect. While you're off getting your shoes, Sienna and I are going to work on modifying Odette's choreography so that it isn't quite as challenging, since the role was choreographed for a professional ballerina, not our Anya, who is perfectly fine being just a 'mover.'"

I laugh a bit. When I was younger in theatre, I was considered more of a 'dancer,' but now that I'm in the professional world, my skills are more classified as a 'mover,' but I've still been perfectly successful. It just means that I probably won't be playing... like, Katherine in Newsies anytime soon, nor will I be joining the cast of 42nd Street. My tap skills, especially, are not up to par with lots of people in this business.

"Thanks," I smile at Luke. At that, I hop off of the stage and run to Patrick, who is sitting in the front of the stalls. He hands me my water, and I take a giant gulp, before the two of us leave the Piccadilly Theatre for a bit.

The dance store is quite empty right now. A lady walks up to me immediately. "Hello, how may I help you?"

I laugh awkwardly. "Funny story. I just found out that I cover a track that requires ballet in my West End show, and I'm going on tonight, so I need pointe shoes."

The lady looks at me and blinks. "That's one that I've never heard before." Then, she turns to Patrick. "Are you a dancer too? Can I assist you with anything?"

Patrick and I make brief eye contact before both of us burst into laughter.

"I'm just her husband and here for emotional support."

"Got it," the lady replies. "I'm Claire. I can hook you up with some pointe shoes today."

"Great. I'm Harper."

"Okay, Harper, could you have a seat right there?"

I sit down in the chair which she points to.

"Have you ever had pointe shoes before?" she asks me. "And do you remember the model?"

"I had... Capezio Arias, I believe."

"We don't carry Capezio shoes," Claire informs me, "but I'm familiar with the shoe. That will give me a starting point, at least."

She disappears, and a few minutes later, returns with a few different pairs of shoes. A Suffolk model, a Freed of London model, and a Bloch model.

"Okay, let's try these out," Claire says. "Do you have gels?"

"Nope," I admit. "But I used to use these light pink ones... I'd recognize the box if I saw it. I used lamb's wool, too."

"I probably have those gels," she tells me. A few moments later, Claire appears with the gels which I used to use, as well as a container of lamb's wool.

"That's perfect," I say, taking the supplies from her and immediately preparing myself for pointe. I do remember how to do that. I insert a piece of lamb's wool in between the toes where there are gaps, then slip the gel over my foot and cover it with my tights. Then, I repeat on the other foot.

In just under half an hour, I've found the pair of shoes that I'd like to purchase, so Claire takes me to the register and rings me up. Thank god it was a quick and easy fitting. Patrick picked this store because it had the earliest opening time in all of London, but I would certainly come back if I need anything again. Patrick pays, just as he promised, then he takes me back to the Piccadilly for part two of my rehearsals.

I have about an hour and a half to learn the Odette scene, then another hour to run my scenes as a mini put-in rehearsal. That's all that I get. As soon as that's done, I have to go to the dressing room and get into Katherine's costume for the top of the show, as well as find something to eat for lunch. All of that, in about an hour. I'm on for the matinee at 14:00.

"So, how many fouettes do you think you can pull off?" Luke asks me.

"One pirouette," I laugh. "Maybe two."

"Would you be comfortable with a double pirouette, then?"

"Bring it on," I shrug.

"Great. So, watch Sienna, and she will show you what to do."

I watch the other girl, and she does a dance that looks impressive, but as I watch it closely, I realize that it isn't too hard. It's nothing like the traditional Swan Lake choreography, but that's okay. Hopefully nobody will be too upset.

"How do you feel?" Luke asks me, once our session is almost done.

"Okay..." I reply.

"Alright. We have five minutes before we start putting you into scenes with the others. Is there anything we should go over?"

"Let's do Odette again."

"Sounds great," he tells me. Our music director starts playing the song on the piano, then I start to dance when I'm supposed to. It's weird to not be singing Anya's part. I've been playing Anya for so long now that I could probably do it in my sleep.

This, however, is an entirely new challenge. I'm going to have to be on high alert for the entire day.

I can only do two things: try my best to keep the show running smoothly today, and hope with all of my heart that Katherine is feeling better by Monday, when we will next perform.