Reserved for the Cat by Mercedes Lackey

taken some lessons, but they clearly had not been trained as Ninette had been trained. Ballroom dancers with a few tricks and high kicks, and one or two of them could teeter about on their toes, but they were not trained dancers as she knew training.
    And you know all of the applause-garnering turns, the passages that make people leap to their feet, yes?
    Ninette considered that. Yes, she did. The thirty-two fouette -pirouettes from the Black Swan pas de deux, Kitri’s exuberant solo, full of leaps where her heel touches the back of her head from Don Quixote, the mad scene from Giselle, the character solos from Sleeping Beauty, Le Corsair, Swan Lake, all of these things. She had rehearsed them over and over again, against the day when she might actually be called upon to dance them. These were the sorts of pieces that the great dancers dismissed as “tricks” or cursed the need to perform, but that audiences adored.
    I very much doubt that they will have a choreographer as such. So you will be making up your own dances. I would advise you to make them as showy as possible and steal liberally from anyone you think audiences would like. Loie Fuller, for instance. The cat sniffed derisively. By now so many have stolen from her that one more will not matter, and everyone loves seeing yards of fabric being tossed about under colored lights.
    And by now, everyone in the dance world knew how Fuller manipulated her lights and silks, despite her attempts to keep such thing secret. There was even a kind of name for it, the “serpentine dance,” or “skirt dance” by which such things were advertised on playbills. That gave Ninette some ideas . . . the best thing she could do, if she was going to have a show built around her, would be to manage pieces that looked very impressive but involved short passages of flashy footwork interspersed with a great deal of stage effects. A skirt-dance would certainly fit that bill. Now, she had seen some Swiss and Finnish girls in France performing a kind of dancing-gymnastics with long ribbons, balls, hoops and clubs. She could certainly do a piece with a ribbon, and perhaps another with a hoop or a ball.
    The rest she could certainly lift whole from the ballets she had learned. “If they are going to create a show around me—” she began eagerly.
    Stop right there, the cat commanded, fixing her with his gaze. You are doing precisely the wrong thing. You must not be the eager one. Think of La Augustine! Would she fling herself at someone who was creating a show around her? Of course not. She would be amused. Perhaps condescending—this is only music hall, after all. Then, perhaps, she would allow herself to be interested. She would let herself be coaxed and courted and only gradually would she be persuaded. Once persuaded, of course, she would fling herself into it. La Augustine is nothing if not a professional. But she would never give the impression that it was she who was the eager one.
    Ninette nodded, slowly. The cat was right, of course. As long as they believed she was what she said she was—and there was no reason not to—the coaxing should come from them. She shivered a little; this was heady stuff, and she was not at all sure she was going to be able to deal with it.
    That is why you have me. The cat curled the tip of his tail around his feet and looked smug. I shall be your impresario. I brought you this far, did I not?
    That was certainly true. And “this far” was impressive indeed. She thought about her last few hours since waking after a refreshing sleep. First there had been the long hot bath, attended by a maid who washed, dried, and put up her hair for her, before tucking her attentively back into bed. Now she looked about herself, at the opulently appointed guestroom, at finest bed she had ever seen, at the gorgeous embroidered and rib-boned and laced nightdress that the maid had helped her into, at the remains of the wonderful breakfast on the tray beside the bed.