Bethany Kingsley - Garner
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My guest this week is Bethany Kingsley-Garner, a ballerina from the UK and mother to her 18 month old daughter..
Bethany was born in Devon, England and moved to London as an 11 year old, leaving her family to train at the Royal Ballet School. She joined Scottish Ballet in 2007, was promoted to Soloist in 2013, and to Principal in 2016. She has been there ever since.
She was first drawn to dancing through the music, her mother would play Classic FM at home and she recalls as a 3 year old being moved by the music. She used to follow her sister to ballet lessons and always tried to copy her.
Bethany graduated from the Royal Ballet School with honours in 2007 and received the Wyre Drawer company leavers prize, as well as the April Oldrich Award for Most Dynamic Performer and receiving First Commendation and Young British Dancer of the Year.
Throughout her 17 years in Scotland,
Bethany has been involved in over 36 productions, from Swan Lake to The Nutcracker, and recent performances of The Snow Queen and the upcoming tour of the US of The Crucible, in the role of Elizabeth Proctor. She's also been involved in developing and creating many productions and characters throughout that time.
Throughout this episode you'll hear music from various popular ballet procductions, used with permission thanks to my APRA AMPOS licence.
When chatting to my guests I greatly appreciate their openness and honestly in sharing their stories. If at any stage their information is found to be incorrect, the podcast bears no responsibility for guests' inaccuracies.
Podcast transcript at the bottom of the page
Thank you so much for tuning in to this episode of The Art of Being A Mum Podcast. I'm beyond honoured that you're here and would be grateful if you could take 2 minutes to leave me a 5-star review in iTunes or wherever you are listening. It really helps! This way together we can inspire, connect and bring in to the light even more stories from creative mums. Want to connect? Take a screenshot of this episode and share it on Instagram tagging me in with @art_of_being_a_mum_podcast
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Welcome to the Art of Being a mum podcast, where I Alison Newman, a singer songwriter, and Ozzy mum of two enjoys honest and inspiring conversations with artists and creators about the joys and issues they've encountered. While trying to be a mum and continue to create. You'll hear themes like the mental juggle, changes in identity, how their work has been influenced by motherhood, mum guilt, cultural norms, and we also strain to territory such as the patriarchy, feminism, and capitalism. You can find links to my guests and topics we discussed in the shownotes along with a link to the music played, how to get in touch, and a link to join our supportive and lively community on Instagram. I'll always put a trigger warning if we discuss sensitive topics on the podcast. But if at any time you're concerned about your mental health, I urge you to talk to those around you reach out to health professionals, or seek out resources online. I've compiled a list of international resources which can be accessed on the podcast landing page, Alison Newman dotnet slash podcast. The art of being a man would like to acknowledge the traditional owners of the land and water which this podcast is recorded on has been the bone take people in the barren region of South Australia. I'm working on land that was never seen it. Thank you so much for tuning in today. It's such a pleasure to have you. I've been feeling a bit under the weather so I've been putting off recording this intro to haven't had much of a voice. But today, I'm feeling pretty good. My guest this week is Bethany Kingsley Garner. Bethany is a ballerina from the UK and a mother to an 18 month old daughter. Bethany was born in Devon in England and she moved to London as an 11 year old, leaving her family to train at the Royal Ballet School. She joined the Scottish ballet in 2007 and was promoted to soloist in 2013 and two principal dancer in 2016. She has been there ever since. Bethany was first drawn to dancing through the music. Her mother would play classic FM at home, and she recalls as a three year old being moved by the music. She used to follow her sister to ballet lessons and always tried to copier. Bethany graduated from the Royal Ballet School with honours in 2007 and received the wire drawer company leaders prize as well as the APR which award for most dynamic performer and receiving first commendation and young British Dancer of the year. Throughout her 17 years in Scotland, Bethany has been involved in over 36 Productions, from Swan Lake to the Nutcracker, and recent performances of the Snow Queen and the upcoming tour of the US presenting the crucible in the role of Elizabeth proctor. Bethany has also been involved in developing and creating many productions and characters throughout that time. Throughout this episode, you'll hear music from various popular ballet productions, which I can use thanks to my APRA amcos Mini online licence. I really hope you enjoy today's episode.
Thank you Bethany. It's such a pleasure to meet you and to welcome you to the podcast today.
Thank you for having me. Thank you.
Hi, thank you for Gabby God, I'm excited to speak to you because in in whole time I've been doing this a couple of years. I've only had one other. I'm not gonna say ballerina because I don't think that do you like to be called a ballerina?
I can be called ballerina you can be
okay because I had a principal dancer from the Australian ballet. And she didn't want to be called a ballerina. She just want to be called principal dancer. So I've had two ballet dancers on my podcast now which is really exciting. So we're about to you at the moment to paint a picture for the listeners.
I'm currently in Scottish ballet HQ, which is in Glasgow in Scotland. And we are back in our studios. We are mid tour of the strangeling at the moment so we are leaving to Newcastle today.
Oh wow. Literally in the thick of it right now.
Yeah, we're nearly at the end. We started about two months ago so we are we're close to the end and we had 74 shows of The Snow Queen this year.
Holy moly. Is that how many days a week he performing that
so we have a performances Wednesday to Saturday and there's three double show days.
Where houses Batson that I mean this is the thing I discovered. Data Stephenson who As the other ballerina I've had on the show, she blew my mind with how much work you guys do like not just the performance, but then all of the rehearsing. And then like you rehearsing probably new shows while you're performing. The show the doing it was like, blew my mind.
How are we on the show on the road? We don't stop then making it better or rehearsing or keeping the stamina up. So yesterday, I still rehearsed for Newcastle this week, even though I've done how many shows? Yeah, keeping it fresh, keeping it in the body?
Tell us how you first got into dancing. How did you get first into the ballet
music? Yeah, it was my mom used to play classic FM at home. And I remember even from the age of about three or four. So my first memories of just feeling something in my veins in my DNA and wanting me to move almost out of my control. And that was I guess the start of me developing into the ballerina I am today. So I was had a very supportive family who supported me all the way through that journey. And I went to the Royal Ballet School in London, at 11. And now I can't even imagine being a mother. That kind of pain that my family went through, but they knew that that's what I wanted to do. And I graduated with honours in 2007. And then I came straight to Scottish ballet. But it was a really beautiful journey. I had an I had a lovely time. I had a lot of time at boarding school. I think it's when you're around people that love this art form and around people have the same interest. And that really makes it because before when you're kind of a normal primary school, you're juggling both you're doing academic you may be any two in your year group that like to dance. So all of a sudden you're put into this world of the whole year group doing all together so that was really lovely.
And you wouldn't have those outside distractions to you'd be like supremely focused on that you want to attend.
I mean, I'm extremely homesick especially for the first time I say three to maybe four years. But something kept me there. Something in my you know, my heart my soul. I remember counting down the days before the weekend. Every night but I once I was into it, I was fine.
Yeah, so we're about the suit was you're like Where were your family in relation to where were you in in you being in London.
So they are in the south country. So in Devon, so it's around a drive around three hours drive. And very different countryside beaches, very rural. And then kind of you're in the centre of what especially the Upper School of London, you're in Covent gardens, you're already in the hustle and bustle. So two very contrasting worlds.
Hey, just Well, you've mentioned Devon is that I went to London many years ago and we caught a train. I'm not very good with this geography. It was a place called pool is that anywhere is that
we're even further down so right at the very bottom you've got Cornwall and then Devon so it's really the bottom of Southwest.
Yeah, right. Is it got like big cliffs and stuff like that? Yeah, yeah, right. Yeah, I can I can visualise I reckon. I think it might be a popular place for people like making movies and stuff and TV shows because I swear I've seen I've Googled it before and I would have done yeah, did you so you live you've lived up in Scotland since you joined
by going on to my my 17th season next year with squid.
That's my that's awesome. Wow. And I noticed you haven't really picked up an accent.
No, I really haven't. I my husband's Scottish and he's quite roared. No, I really haven't. Maybe because it's still I'm still surrounded by not, you know, in our work environment. We don't have really broad Scottish accents and maybe that's why
on the webpage for the Scottish ballet, your, your your page that features you, there's this amazing photo of you, which I if you'll let me I want to share with the listeners in the in a link. You just like it's black and white. And you've like got wings as part of your costume and you're like, you look like this bird of prey, basically. And you've got these massive beautiful eyes like really dark makeup diamonds on Oh, it's just stunning. It's just like, whoa, was that for role was that for like a photoshoot? That
that was for the role of the self and Matthew Barnes Highland fling. Wow, I'm gonna have to read to you. I actually made it. You know, I was jumping on a trampoline. Yeah, right? You try and just kind of using my arms like wings, and they and they got the perfect.
Oh, it's just unreal. I was just, and it like, it like slaps you in the face. When you come on to your why'd you like, Wow, that's incredible. So, as part of your dancing, I guess in addition to the music and the costumes, there's quite a lot of acting. And like detail encompassing the character? Do you really enjoy that side of it as well,
I love that. There's not, I don't believe there are many jobs out there where you can actually transform into someone else for you know, a few hours and become that kind of emotional connection. And emotive and then come out of it and go in character in there. And I guess be a mom. That's what makes you into your kind of your depth character as well. You keep digging deeper into roles, especially now that I'm on my, you know, going into my 17 season. There's roles that I've done before. So that's nice to keep coming back as now I feel completely different to how I felt, you know, a few years ago.
Yeah, absolutely. Before we start talking about you, your transition to motherhood, I really want to ask, do you have like some particularly favourite roles that you've played over the
years. So the most challenging is probably Swan Lake. And I think that dancers love a challenge and the physical challenge. But also, it's one that you just feel like you have left everything on the stage. So you could almost walk off and you could see your blood, sweat and tears line there. So you really give everything one that's very close is the Snow Queen what we're doing at the moment, I was part of the creation process three years ago. And it just has a real special place in my heart and I feel otherworldly when I perform it really, really connected to the work.
Yeah, that's cool. Do you find with Swan Lake, do you feel any sort of pressure because people know it so well? Like your audience has probably seen it or heard of it before? Do you feel that pressure to? I don't know, live up to maybe people's expectations? Probably
not cracker. I actually feel that everyone knows music. Yep. But no, actually, I didn't feel that was Swan Lake. I felt very much I am. This is this one I'm going to be? Yeah, I felt empowered with that.
Yeah, you bring your own and your own take on I guess.
I have a daughter Elizabeth, who is 18.
She's 18 months where? So how did it go then? And I'm just going back to I guess the previous conversation I've had had with Jana that you can feel so much pressure as a dancer that your career is going amazing. And it's usually at that same time is when you're in your childbearing years. So it's often a real pool of what do you choose to do? I guess Did you feel anything like that when you're thinking about having your daughter?
No. Maybe I'm on the I'm on the other end. I feel that I'm the it for now. So maybe I left it to a point where I felt as if I had reached a certain level in my career. There's no you never go into thinking about having a child. Knowing that you'll definitely come back? I think because you don't know. So I think that probably had more of an impact on me, then, kind of where I was. I mean, it was very quick for me to feel that I knew I wanted to come back. But I always had that had, at the back of my heart, in my mind, be prepared to have something else in your, you know, ready. If this wasn't the life you wanted with your family.
Did that did that sort of bring you a lot of sadness, thinking that you might not go back to dancing was that like a really big decision to sort of, to think that that might happen?
I feel that I will never not want to do it. Because it's part of who I am. It's, it's in my, you know, I've mentioned, it's in my DNA. That's how that's how I feel. But I know that I would like to do something else. And I look back, and I feel extremely proud of this length of career and what I've given it so far, there will always be sadness, because it's something that you've dedicated your life to. But now as a mother of it's, I feel it lated now and so much love for another another life also,
huh? Yeah. Did you have it in your head? Right from the start that you try and come back? I guess it did things go well, then that you're able to come back when you want to I
had about, I talked to my director and I had about five different scenarios. ABCD and you know, all because, you know, respectfully, they're also running a business. So for a principal dancer to dip out for a long period of time, I'd always want to let them know. Roughly when they're thinking about the planning and, and everything we actually did go with Plan A, which was very surprised. But I had, I think the smooth the birth was ever so smooth. Yeah, the recovery was very smooth. So that all went into factors. But you you know, you have no idea. You need that many different scenarios, because each step of the way something can happen. emotional implications of when you're suddenly there with your child have the thought about going back to work, huh? Yeah, yeah. All those all those things, but I, I never really stopped moving. Even when, when I was she was home and maybe two weeks, I had her in the sling rocking, I used to sign on to, you know, some ballet classes from home and just enjoy that movement. And that bonding time with her. I was sharing that world that life. She was now in it with me. And that was lovely.
Now that's That is awesome. And I think like, a lot of the moms I have on the show. They like you that you have something that you love so much. Like you just think you've got to keep doing it. You know, it's just part of you and you couldn't you couldn't really imagine not doing it and you sort of find ways to keep doing it and make adjustments you know, now that you're a mother
she obviously knows that. I was a dancer.
Yeah, she died when she was a few weeks old in my tummy when I was doing class, but yeah, she does. Yeah, she's always by my side. So we are a touring company. So she tours with me. And it's actually quite nice because we kind of get a little bit more time on tour on my hours or less with performing so I'm kind of not in the you know, in the studio all day and she comes to the theatre she may be watching the end of class laughs I take her on stage to watch a show. And that's just things like that, you know, I was sat with her on the set of snowpine. It's got a beautiful throne. And at that moment, when you're in the performance, you're sat there looking into a piece of ice. Just about to do the last part of the really tough on your point, you're really tired. And I had her with me sat there, and we just had a picture. And I was showing her the throne. She was playing with the fare on it. And now I'm on stage and I'm sat there and that's my memory. I have almost I can smell her. And it gives me so much strength.
Yeah, yeah. Oh, that's beautiful. I got goosebumps when you talk about that. Like, it's it's beautiful. Like, she's literally part of that world. Like, yes, she's there. Yeah, that's, that's wonderful. Do you feel like it's important to you that she sees what you're doing? Like, I mean, I guess at her age, she hasn't got this concept of perhaps identity, the way we construct in our minds, but she's not, you're not just her mom, you have a life where you do things just on your own.
I'm always knew. And you know, very much the same path as Stewart, my husband as well, that we wanted her to come in to our life. But in a way our life is how it is. Because it's the happy it's working. It's full of love. And I was quite strong on having that connection of who I am in the ballet world in the studio, that she was also in it. I think it's
not a great territory when you try and keep them to separately. Because it, I find that I have no kind of stresses or worries, because if I need to have her here, then I'll bring her
if I need to step away, then I will go and I think it's taking that control and that's that's my family life and that will come first.
So you're talking about you're a touring company. So how far away do you go? Like what sort of an average tour I suppose an average
tour is not too far. It's about the weekend at the Scottish main cities like Edinburgh, Aberdeen, Inverness, and then we come further down south to Newcastle. But we are going to America next year where she will be coming. So that'll be fun for that flight. Yeah, so we do we tour about three times a year. So that's like kind of our main bulk everything.
Yeah. And then the rest of the time you rehearsing.
Always rehearsing and we're seeing ballet class.
Oh, yeah. That's unreal, isn't it? Do you? Do you sometimes think about your life and think this is amazing that I get to do what I love so much. Like do you have those moments where you just,
I think like when I put my bike tights on in the morning, I think this is bizarre. Like it's sometimes you know, when I look around the room at people early in the morning doing doing a play is weird but wonderful world that it's just acceptable to be wearing lycra all day. And feel comfortable in it,
I guess. Yeah. Yeah, there's no judgement.
like to talk to all my moms on the show about this concept of mom guilt, and I put that in air quotes, because I know some people don't feel it and that's awesome. And then others have issues and struggles with it, but I wanted to know what your thoughts were about it.
My first emotionals reaction to feeling that I wouldn't be with her all the time was when. I mean, we actually had to put her in her own room. We knew It was time. And it was I was by her crib, she'll bedside crib and just crying for so long. The thought of her being on her own three steps away from me was, you know, heartbreaking. And I guess that's the kind of the process isn't it of finding the independence between mother and child. But that was a huge I really was. I guess it took me a little bit of surprise how physical I reacted to that feeling of just of just pushing her having her own space to sleep. Which she absolutely loved. So it was totally on me. Nothing on her. Yeah, she was fine. Then, when I first went to the theatre I had been waiting for this moment for so long. I'm gonna be back the smell of the side stage, the laying out my changing room. And I was in the car. I left it so my husband say that she would have been asleep. It was late in the evening, we had dinner and I gave my first dress rehearsal. And out just out of nowhere in the car. The tears tears came. And it was I stopped for a minute and thought is this is this? What you want to do? Is this right for her? Is this right for the family everything. And it was just it was all our I was the only one feeling there. You know, she was touched up at home. And I knew that then when I went back the next day. Well, she would when she broke up. I would have felt so good. That I was I managed to do both in a in a way that was still no one lost out except for maybe my emotions, but I would take that for anything. Yeah, I think that's how I kind of just constantly going back thinking okay, is this life is this spy world? Is this job working for the family? Is it making us happy and, and loving? And are she getting? We're getting the most time together? And it always comes back to Yes. So the feelings I'm feeling it and you just take the brunt don't you? Just go I take it.
Yeah, yeah, that's that. That's that's really good. Because I feel like there's no escaping. There's no escaping that emotional pool. There's no escaping that. And then I think it's like gorgeous. Yes. I mean, it's what makes us a mother, isn't it? You know? But then it's that next step of like, you could have turned around and gone back home that night, you know, in the car. Oh, yeah. But it's like that what we do next? That's that's our beat. Then we go ride a lot. And like you said, we were that that emotional pain. We go oh, that, you know, you're but then we go on? And we do and like you said you felt you knew you were gonna feel amazing. Yeah, yeah. Yeah. Yeah. It's a funny old thing that that mom guilt, isn't it? Someone said, there's a lady I had on the show. I can't remember who it was now. So apologies. But she she had this idea that mom guilt was this. It was a innate ingrained thing from biological evolution that basically made us not forget the child, you know, like, it was just, you know what I mean? Like, it was just something that had to be in us to make us you know, not leave it out, where it could be endangered, you know, in, I don't know, in the caveman days or something, you know, like something like that?
You're listening to the art of being a mom with my mum, Alison Newman. The another thing I like to really chatter about is the changes in our own identity when when we become a mom. How did you cope with that?
Now, I'm a very different person, but I didn't see that I didn't feel the change, it just happened. And the differences is I definitely know who I am. I think when you go through something that's like a child. And it's you're just giving everything and you're not thinking it's not you in that moment. It's not you in that time, it's you're giving you reach a point in your life. But you know, the people which have been able to have this amazing thing happened to them. Very rarely are you at that point where you would do anything? You're doing everything to have a this dispersed. And just, I think more I use the word empowered, but not in a way of Yeah, gritty. Yeah, it's, you know, it's, it's in a way of mothering, of embodied and gathering, I feel the strength from everything that I'm, I'm doing, I can arrive at work, and I've been up to six hours, just silly things, but it makes you feel like, okay, I'm a, I'm okay, today, I'm what you knows is everything settled and happy. And so that's how I feel, and nothing to lose, I now have nothing to lose. For myself for her and, yeah,
no, I love that. That's really that's really cool way of putting it.
So before we talked about, that, you've done a couple some roles that you've done more than once. And I wanted to take you back to that about him. You said how when you're at different stages in your life? Have you had any sort of times where you've been very conscious of the fact that now that you are a mother that you approach the rolls differently? Or is it just something that happens with time? So I didn't prep you for this one. Um,
my first season back, I did the ballet called My scandal at Milan. And I play two roles. And one of the roles was a bride that actually was a you know, it was a bedroom scene, but it was extremely rough and violent. And this is my first season that year after. So I felt a lot more in tune of where I was being touched, right. And whereas pre birth, I guess, physically, I would have just ran into that not even second, and then it was cool. Oh, yeah, it was a little bit more tentative. I wasn't in my own skin yet. Now I am. But this unit, you're talking maybe seven months after? So you're really like, is my leg coming with me? Or is it still on the other side of the room? On the floor today, or are they going to be touching like it was really sort of, but I had heart and soul in it. But yeah. So physically, that's, I'm not as carefree as I was with my body. Letting maybe awesome fight or flight mode. I'm a bit nervous being lifted.
Never used to. Yeah.
But now I have something to seriously not get injured for.
Yeah, that's it, isn't it? Is it bigger? There's a bigger picture.
Somebody gets scared of flying or you know, height. And it's that similar thing of, I'm a bit more careful with myself.
That's a really that's a really cool observation, isn't it? Yeah.
Because I guess if you weren't in the inner city ration where you were really shocked around and you might not ever notice the basic things like when you're crossing the road by yourself or when you're crossing the road with your child. You're very different.
Oh, yeah, yeah.
Well, can I make the lights off? Nope. We're gonna wait for the Green Man. Yeah, I think it's that similar thing. But she was in me, even though she wasn't in the studio at the time, just as I was getting back. So that's the main shift I found out,
huh? Yeah, I thought that's really cool. There's a lot of us that may or may not be able to relate to that. Because it's the level of physicality that some of us may or may not have. But that's a really cool observation. I really liked that. I also wanted to ask, how did you find, you know, when you're pregnant, and you get that, like, I can't think what the thing is. It's like elastin or something happens in your hormones release these. What's it called? relaxing? Relaxing? Yeah. Did that change your your body heat, and it took so
long to go? Yeah, right. So where I think you just feel more gooey. But you know, you're carrying you want, you don't want the body to be whole, stiff, you want it to be looser, I felt a lot at the back of my knees. So when we straighten things, normally, they would kind of lock and I had so much still in it still, when I was back that seven months that my legs were a bit like chicken legs, they were still sort of rebounding back. Yeah. And structurally, physically, you know, my physical shape has changed, probably not to, you know, an audience member. But to my own, maybe the people closest around me. It's that hip structure. It's the the widening the ribcage, you know, when you go through something like breastfeeding. It's the more broad you get in there. Yeah.
Huh. Yeah. And that's yeah, and being doing something that you you're so aware of your body, it'd be interesting to to see those little nuance changes. And yeah,
I did a lot of them. I worked with my physio through the whole time. But just that was really interesting. Just working on things like my turnout. So you know, in dance, classical ballet, the main thing is we have to rotate from the tops of our legs. Well, if my pelvis changes just a tiny bit, how would that how would that tweak that?
Yeah, yeah, that's very interesting, isn't it? I find it really fun.
I guess Yeah. Somebody else I've started talking to moms about lately, especially moms who you know, have who work it use their art as you know, a career when you were growing up, what sort of role modelling did you have from from your own upbringing about what a mother could look like? What you sort of options were as a as a mother I guess.
So my mum was so passionate, so passionate to let us fulfil our dreams and confidence building and I think I can see myself now with Elizabeth just imparting little things. I know you can do you know what walking, you can do it? No, you can. So I had that kind of structure and I had an older sister who was very fat, very musical, but very outgoing and confident. So I think those those things in your life they rub off on you. They are an upper New and then I guess in the kind of artistic world. There were just so many so many dancers from the Royal Ballet that used to watch and see teachers as he used to impart a few words of wisdom, I do a little bit of teaching now. And it can make or break students. And that's, you know, a such a powerful role of being a teacher. Especially when you're maybe more of a vulnerable age, as a giant where you hold on to every word, I think we can probably all remember, a praise. And we can all remember a negative thing that has, you know, it's so important. Definitely, you think about that when you're raising a child of the implications of words. And think of what they will pick up on. So important.
It's pretty powerful, isn't it? Because I think a lot of time we sort of, we might use a term as a throwaway term or say something we don't necessarily mean, but that's what your child he is. And then they hold on to that. Yeah, so yeah, it's when when you just said about you'll always remember praise and, you know, a negative comment straightaway, I just went, went back to little Alison doing singing lessons like it just straightaway, back to that space. Like it's yeah, it's good. Yeah. Yeah. It's crazy. It is, isn't it? Yeah. stuff. I haven't thought about it for years now. But okay. Thanks. I'll leave that bit.
So, tell us where you're going.
We will be going on to our spring season, which is the Tennessee Williams story of A Streetcar Named Desire.
Oh, awesome. Oh, love
is a ballet that we have done before we actually created it a Scottish ballet a few years ago. So I'm revisiting it, which is going to be so lovely. And I love the story ballet. And then we will be touring that in the spring, around to Aberdeen, Inverness and Glasgow, and the spring seasons, always the nicest because of the blossoms and blooms and the weather. Just start starting in Scotland. It's not always great, but it just starts to free up the frost. Yeah, and you get blue skies. And then we will be preparing for our American tour in May, which is to Washington, Charleston and Nashville,
like so. And will that be the same show that you were to
the crucible? So another story? Yeah, right.
It's funny. We were just talking about that today. Sorry, on a completely different I'm just I was just talking about that today with my son. Yeah. Because it's something which Charles Yeah.
Elizabeth proctor? Oh, pregnant. It's just I mean, you know, I couldn't play a more authentic role. Really? It's just lovely.
Oh, how exciting. Have you done that one before? Is that a new one for you?
I actually created an Elizabeth proctor around about four years ago. And I have performed it now being a man we performed it back in London. Yes, and this has been my second time now.
Oh, lovely. Oh, that's exciting. So I'll put some links in the show notes where people can check out where you guys are and if you're in the neck of the woods, I say hello.
All moms just sometimes just pat themselves on the back and be like You're awesome. I think to your friends, you maybe don't have children. I think it's it's a really lovely trait that they you know, they try and you keep those conversations and you try and understand and still meant bringing your children into because that's also another huge dynamic shift. I'm actually the only dancer in the company currently with a child. Yeah, right. So just just things like that, but I don't feel it's a, because she's constantly in the conversation or they ask and I think keeping things like that open is important.
Yeah, she's a part of it. It's not. It's not like this this taboo subject that we don't talk about with Bethany. You know, it's, she's, she's part of it all. Yeah. All thank you so much for coming on. Like, it's just been so lovely chatting to you, and all the rest with your dancing and on your tour and everything and oh, yeah, I'll keep I'll keep my eye out for you. If you ever come to rescind your Alia,
I know. Please. I mean, I will keep you know on social media with you. And if it's anything else, from a UK tie in, I'm here and I'm for you. And yeah. Oh, thank
you. Appreciate that. Thanks for your company today. If you've enjoyed this episode, I'd love you to consider leaving us a review, following or subscribing to the podcast, or even sharing it with a friend who you think might be interested. If you or someone you know would like to be a guest on the podcast. Please get in touch with us via the link in the show notes. I'll catch you again next week for another chat with an artistic mum.