The story of how All in a Day's Dance began is one that should be told probably for no other reason than to outline the rationale for its creation. At the risk of sounding like singer Calhoun Tubb's introductory phrase, "Wanna hear it? Here it goes!" - it is here to enhance the All in a Day's Dance website.

Although there is nothing typical about this combination of events they are at least to begin with not so unusual considering how Carol Edwards as a young girl began classical ballet training in an Ontario suburb then graduated to advanced training at the National Ballet School in Toronto before progressing to professional ballet training on a scholarship program at the Royal Winnipeg Ballet.

The sequence of events began to diversify when the ballet program ended which led to a nine month Greek folk dance national tour across the U.S.A.

Meanwhile, almost three thousand miles away from Toronto, Lee R. Lane was defining his direction in life in a Vancouver suburb after graduating from high school with the basic fundamentals of an academic science program, ten years of classical piano training, several years of life as a working musician and a self-built platform of research and study on techniques and principles of music composition.

Eventually Carol, after traveling to Vancouver, B.C. to become a member of Mountain Dance Theatre - a provincial contemporary company - and instructed students in the art of ballet partnered with Lee the dance class accompanist to collaborate on dance compositions with original piano music and the combination of events continued to grow and diversify from there.

The simplicity of being one classical dancer and a pianist for the theater demanded a unique degree of focus for developing the suite of music, dances and eventually the concept for the story and its characters which meant that the dances and music had to have a specific meaning and context in order to survive.

The concept could literally have been titled "Survival Through Music And Dancing" which in some ways might have an oxymoronic connotation, but it was obvious that the story had to stem from the idea that everyday we experience an emotion with every event and how by converting the emotion to a musical expression for every circumstance it is easy to see it becoming All in a Day's Dance.

It was never an especially peculiar notion to us, yet All in a Day's Dance has been like a square peg in a round hole likely due to the way theater with dancing often portrays life through a child's eyes, as fantastic or idyllic and always in a spectacular setting and it remains apparent that there is a clearly defined role for a realistic portrayal of music and ballet form in a theater environment.

Maybe there is a paradox involved, but it is one that everyone is familiar with because although a fictional theater world portraying All in a Day's Dance might seem impractical its subject is one that is a part of life every second of everyday and we describe it using a character named Farrago to whom there is always a connection to music in some way.

Farrago is enigmatic, energetic and metaphorical - always the unsolved part of every equation, the variable that continues demanding that we think and make the right decisions, so the story is not as far-fetched as one might expect and how anyone relates to the character in their personal experiences is always a story in itself.

The truth is at the heart of all that matters so when it comes to Farrago and discerning what is real all of his components must be fitted into place before we can know them as our own.

We are pleased to have this internet environment to convey the essence of the All in a Day's Dance production.