This evening was pointe night. What makes pointe difficult in the beginning is that there is an added dimension to be mindful of: to the usual flat and demi-pointe positions of the foot is added a third possible position called 'pointe', which we must now take into consideration in the combinations.

In the old world of ballet, we hopped from plié to pointe. In the modern world, we draw in, or roll through to pointe. From plié to soutenu, the trick is to slightly lift the tendu foot, hit it against the floor, and drag the floor, which draws your body into sus-sous. This motion of the tendu foot ensures that you are not hoisting yourself up solely from your supporting leg, rendering your working leg lifeless. It also ensures correct alignment and pull-up.

In general, draw-- or better yet, skim feet lightly and smoothly over the floor rather than hopping from point to discontinuous point.

This evening was also rehearsal night for the Philadelphia Gay Men's Choir. They hold their rehearsals across the hall from us inside the old church. Hence, every Wednesday evening, our tinkly piano music mingles and meshes with the heavenly voices of Philadelphia's gay male population. It is a beautiful tapestry of human activity. I spotted my friend today! He was wearing bright orange, and that was all I could see before I returned my focus to the combination being given.