Like most little girls at the age of five, I went to children's ballet classes. I attended classes at the Rambert School of Ballet, based at the Mercury Theatre - birthplace of British ballet. My mother, at the time a dance teacher for Chelsea Westminster Adult Education, had been a soloist with the Ballet Rambert from 1951 - 1960 having trained at the Sadler's Wells Ballet School (now the Royal Ballet School) and the Rambert School. Affiliated to the classes, was the small group, Chelsea Ballet, founded and run by mum - Thelma. At the age of about 7, I started to take part in performances dancing such roles as the Chinese Doll in the second act of Coppelia. I will always remember when my father (who was not in the theatre business but a train driver for British Rail) took the part of Dr Coppelius and mum danced the role of Swanilda. I felt really torn between the two characters - I felt sorry for the 'old' man being teased by Swanilda but also for her as the 'old' man was rather cranky.

At 16 I started a three year course at the London Studio Centre. I knew at that time I wanted to take dance as a full time career. Unfortunately, during my second year I started to develop problems with my knees, and after careful consideration and heartache decided to leave. For nearly a year I did not want anything to do with ballet which was rather difficult as most of my friends were still at the Studio Centre. My mother tried to persuade me to join her classes and Chelsea Ballet. Eventually I relented and started my non-professional career as a part time ballet dancer.

In 1990, the ILEA disbanded and the future of Chelsea Ballet was in doubt. We gave what we thought was our last performance at the tiny theatre at the Worlds End Estate on the Kings Road. Everyone, members and audience, agreed that Chelsea Ballet should continue and we persuaded mum that we should carry on. We realised that we would have to work hard, as we would now be independent and self-supporting. We were able to welcome more members to our group - people who had danced for pleasure or former professional dancers.

The great thing about Chelsea Ballet, is that it does not have any 'stars'. People are given roles within their capability and are treated the same. Okay some may dance lead roles like the Sugar Plum Fairy and some as courtiers, but everyone is as important as each other and we have no rankings. Everyone pulls together and works as a team to put the show on.

In April 1991, we put on our first performance at the Queen Charlotte Hall, Richmond, the start of our annual visits. We returned to the QCH in 1992, to celebrate our 25th Anniversary with two performances of Coppelia and a Gala.

Some Chelsea Ballet dancers in all their finery

For our performances in 1996, one of our members - Anthony Lathom, choreographed and staged a full ballet based on the fairytale - 'The Yellow Dwarf'. In February 1997, we made our West End debut at a Charity Gala at the London Palladium. This was certainly an experience we have not yet forgotten. Last year we celebrated our 30th Anniversary with a mixed bill including 'Rumplestiltskin' to music specially commissioned by St Petersburg composer, Natalia Rusu-Kosilina. We are looking to put on a charity run of The Nutcracker at the QCH this Christmas in aid of Great Ormond Street Hospital.

Chelsea Ballet is a part time interest - so what do the dancers do for the rest of the time? Well, to name but a few - Heather owns a dance clothes and shoe shop in Burnham; Kate is a dance teacher and artist (Kate has also designed our backcloths and an example of her work is soon to be seen on Ballet.co); Justine is a professional dancer with Vienna Festival Ballet; Sally is a company manager in the theatre and me - well I am a secretary at Coopers & Lybrand having been a Conference Executive for the Institution of Electrical Engineers for 12 years.

We are always looking for new members, in particular men (or boys as they are known in the profession) - not just to dance but help behind the scenes or front of house. We are very lucky in that my husband Barry, who is a professional technician at the Royal Opera House, is able to assist with our performance and design our lighting.

An exciting new project for us is our web page which is carefully being put together by Barry (http://www.stage.demon.co.uk/) - so please feel free to visit and say hello.