Regents Park Open Air Theatre called Life of Four Seasons

In November 2025, I had a fall walking home from work. Unfortunately, it resulted in a fracture and torn ligament in my left ankle. This seriously affected my confidence and limited my abilities.  As a fast-paced, on-the-go person who thrives on being busy, I was worried this would impact my career.

Instead of dwelling on the negative, I focused on the positives. This unexpected pause gave me the chance to slow down, take a breath and reset. It allowed me to reflect on my future goals and priorities.

Fortunately, I was still able to work while I choreographed a pantomime Snow White in Portsmouth over Christmas. I was supported by the staff at New Theatre Royal. However, I felt I couldn't perform to my best ability, which was a real wake-up call. 

Into the new year, I embarked on a journey to improve my fitness and embrace a more active lifestyle. I craved a fresh challenge and something new to push myself beyond my comfort zone. When I stumbled upon Regent's Park Open Air Theatre's social media post announcing their groundbreaking dance piece A Life in Four Seasons (Vivaldi's masterpiece reimagined in an electric new dance work), directed by Tinuke Craig, choreographed by Alexzandra Sarmiento and composed by DJ Walde, I was curious and wanted to know more about it. The show specifically sought dancers aged 50 and above, presenting a rare opportunity for me.

I contacted my agent about it, and he put forward my name to the casting director, who was delighted that I was interested in auditioning for it and invited me to the audition. I kept it a secret throughout the audition process from my husband, friends and family in case doubts crept in, especially considering my age and the fact that I hadn't performed on stage for two decades. However, I believed that this was a chance to reconnect with the world of dance and experience what it felt like to be a dancer once more. 

As a choreographer, I saw this as an invaluable opportunity to observe and learn from the dancers. I wanted to become more attuned, respectful, appreciative and understanding of their craft when I returned to the creative world. Regent's Park Open Air Theatre holds a special place in my heart, having been a frequent attendee of their shows. I knew this would be the perfect platform for me to perform again and immerse myself in the vibrant dance community.

But first, I had to audition. 

On audition day, I was incredibly nervous and hadn't felt this way in ages. The butterflies in my stomach were real! Arriving, I was delighted to see familiar faces from the theatre industry and some new ones. The choreographer and director greeted us warmly, making us all feel at ease.

We began learning the dance and the style of the choreography is contemporary with a hip hop twist, which I absolutely loved. It was fast-paced and I had no time to think; I simply had to focus on it and pick up the choreography quickly.  It was a refreshing change to be taught rather than teaching. It reminded me of my dancing days. Leaving the audition, I thought, "My goodness, I'm unfit, perhaps because of my age, but this could be a great job for me. It'll help me get back into shape." I left feeling positive and confident.

The next day, my agent called to inform me that I'd been called back for a recall! I was thrilled! We had to learn more new choreography at the recall. Being in a room with other dancers I'd seen perform in West End shows was inspiring and mesmerising. A week later, my agent called again to say I'd been offered the job. I was delighted! The role was Winter in A Life in Four Seasons, but that was all I knew at the time. I was intrigued and excited for rehearsals to begin.

Finally, I told my husband, friends and family the good news and they couldn't be prouder or more thrilled for me. Their reaction was so encouraging

Rehearsing the production presented it's challenges, from mastering the fast-paced choreography to dealing with minor niggles along the way. Fortunately, Regent's Park kindly provided a physiotherapist for all the dancers. The music, composed by the renowned Vivaidi, is widely recognised classical music. While I appreciate classical music, I found it difficult to follow.  The intricate layers of instruments and timings made it challenging, especially with the constantly changing timing requiring constant counting. 

This was a departure from my usual experience as a dancer, who relies on vibrations from the floor and the beats in the music.  My hearing aids are effective at low to middle frequencies but struggle with high frequencies. While performing to Vivaidi's music, I could hear and feel instruments like drums, cellos and basses but struggled with violins and flutes. This self-doubt grew, worrying about being out of time with other dancers or missing musical cues. However, the choreographer's preparation and the composer & arranger DJ's updates to Vivian's composition significantly improved the sound, making it easier to follow. Also alongside me at the rehearsal stages were interpreters whom I have worked with for many years. I prefer Sign-Support English instead of British Sign-Language. My interpreters have theatre and dance background so that they know how dance rehearsals work. 

They were important to me during the technical rehearsal. I had two interpreters. One at the back stage when I'm on stage or backstage and one at the auditorium with the technical team and creative team. 

Our cast ranged from 22 to 65, creating a wonderful mix of ages and backgrounds. We all got along well, supported each other, worked hard, and maintained a professional demeanour. Watching the other dancers perform their season and witnessing their talent was incredibly uplifting, a real sense of community. 

After three weeks of rehearsal at Toynbee Hall, the show is finally here at Regent's Park Open Air Theatre. I've seen many shows there before but never performed or been backstage. It was such a privilege to be there. I had my own lovely dressing room and a TV monitor to watch the stage. This was a huge help because I couldn't hear the tannoy. Other dancers would also come into my dressing room to watch the screen, which was funny but lovely to observe together. They even gave me a buzzer and a portable flashing light for me to see when it flashed so I could know when people were outside or calling in. This was fantastic and very helpful. Regent's Park went above and beyond to provide these little details to support my access needs, which made my experience easier and more enjoyable.

At Regent's Park Open Air Theatre, we are always checking the weather everyday. We only had one light rain in the afternoon during the technical rehearsal. We all had to wear rain mac whilst on stage. It was a funny sight seeing each other wearing raincoats with costumes underneath! We had to cancel the second dress rehearsal because of the rain but it gave us time to clean up the choreography and go through the choreographer's & director's working notes. Apart from the rain, we were very lucky with the weather. We managed to perform all six performances. No cancellation which often happens at Regent's Park Open Air Theatre's typical British weather!

We got into our wonderful costumes designed by Ryan Dawson-Laight. My ensemble's costume was grey. Then I wore a full pink costume for my part as Winter. I'd never worn so much pink in my life, but it was so vibrant and uplifting! It perfectly matched the energy of the music and the performance. It made me feel like a completely different character and version of myself, which I embodied on stage. Finally, after weeks of intense rehearsal, we all gathered together, giving each other words of encouragement before stepping out onto the stage. The audience gave us a warm welcome with applause before we even started, and after the first performance, we received a standing ovation. It was truly magical.

Press Night added immense pressure to perform for producers, directors and choreographers in the audience, not to mention the critics.  As a choreographer, it's a risk to my reputation. Performing my solo piece, it all becomes incredibly emotional for me. I remember feeling overwhelmed yet deeply moved by the audience's love and support. My husband, friends and family were incredibly proud of me. They adored the show and were thrilled for my achievement and the opportunity to see me perform again.  A few members of my company Deaf Men Dancing also attended to support me, which I'm so grateful for.  Afterwards, they expressed how inspired they were to return to performing or never give up their dream & passion in dance.

At the after-show party, I received numerous congratulations and praise. It was a wonderful feeling that the risk had paid off and it was all worth it. I had made my family, friends and my husband proud, but most importantly, I felt proud of myself.

This experience taught me so much about myself. It boosted my confidence, reminding me that I can still dance and perform on stage. The project improved my physical and mental well-being. My time on A Life in Four Seasons taught me valuable lessons, helping me appreciate life and theatre more deeply and rekindling my love for dance.