One session, two hours, one hundred and fifty pounds, and no remarks about how you have left it. If the wedding is days away and the dance is still a vague intention, this page is the answer to it.
Ring 07337 111560 if reading
feels like time you haven't got
Nobody forgets the rings or the registrar. The first dance, though, sits on the list without a deadline attached, and it quietly falls off — usually somewhere between the seating plan and the third argument about the guest list.
Some meant to sort it in January and did not. Some assumed swaying would sort itself out on the night, then watched a video of somebody else's first dance and changed their minds. Some have a band who have just asked, cheerfully, what the song is and how long a version they want. All three end up on this page.
We built this session precisely because the last fortnight fills up with things that were supposed to be done months ago. Booking it late is not a character flaw, it is a Tuesday. The instructor who turns up will talk about your song and your floor, and will not mention the calendar once.
The useful thing about a deadline is that it removes the debating. Two hours forces every decision to be made quickly and then drilled, which is not the worst way to build a first dance.
The walk on is where the nerves actually live — the ten seconds when the room turns and the music has not started. You will rehearse it until it stops being a moment: where you stand, how you take hold, which of you moves first, and what happens if the DJ is late with the track.
Not a long routine. A short sequence, chosen because it suits the way you two already move, then repeated enough times that your feet own it rather than your memory. Repeatable is the whole design brief: a sequence you can loop twice is worth more on the night than a clever one you can do once.
A first dance falls apart at the finish more often than at the start, because nobody decided how it stops. You will leave with a definite ending — a dip, a hold, a turn towards your guests, whatever suits the pair of you — and with the same one in both of your heads.
And what it does not buy, said plainly: lifts you have not built the confidence for, a three-minute routine with four sections, or the sort of dance that gets filmed and shared by strangers. Those want weeks, not an afternoon — that is what the longer packages are for, and if you have the time we will tell you to book one instead.
Short-notice bookings are handled by people, on the phone, quickly — which is the only honest way to do them.
Your enquiry is read by a person rather than sorted by a system, and the reply is a telephone call, not a form letter with a booking link. On that call we ask three things: the date, the town, and whether the song is settled. From those we can usually tell you within a minute or two whether an instructor near you has an evening free before the wedding.
What we will not do is promise availability on a web page. Anybody who tells you in advance that they can always fit you in has either a great many idle instructors or a loose relationship with the truth. Some weeks are open, some Saturdays in July are not, and you deserve to hear which one you have run into rather than to be strung along by an automated confirmation.
If nothing can be found in time, we will say so on that call, straight away, and you will have lost a phone call rather than a week of waiting. It is not the answer anybody wants, but it is better than the alternative — and it is rarer than you would think.
Every minute spent hunting for a speaker or arguing about the track is a minute not spent dancing. None of these is compulsory, and the session works without them — but they are worth doing the night before.
Days away, not months? Say so and we will move accordingly.
Send the details now Or ring 07337 111560 — quicker, if the date is very closeThe session ends and the wedding does not happen for another few days. Those days matter more than most couples expect, and they cost nothing.
Two minutes in the kitchen while the kettle boils, without the music, is worth more than one heroic hour the night before. Repetition in short bursts is what moves a sequence from something you are recalling to something you are simply doing — and the second of those survives a room full of people watching.
If you only run one bit, run the first fifteen seconds. Nerves attack at the beginning, and a confident opening tends to carry the rest along behind it. Drill those seconds and the dance often ends up feeling as though it happened to somebody rather calmer than you.
Also worth reading The full price list, how lessons work, or find your town or city.
If the wedding is imminent, the telephone is faster than reading: 07337 111560.
Yes, and we will tell you when you have reached it. With six or seven weeks in hand you would get a better dance out of three lessons at £210, spread across the run-up, than out of one intensive afternoon. The two-hour session is built for the last fortnight; buy it earlier and you are paying for compression you did not need.
That is what the design accounts for. The material is kept deliberately small and then repeated far past the point of tedium, which is how movement gets stored somewhere adrenaline cannot easily reach it. The aim is a dance that runs itself on the night even if it still felt shaky when the instructor left.
Completely. There is no gentle build-up and no exploring of options — your instructor makes the decisions quickly, out loud, and spends the remaining time drilling them. It is a brisker two hours than an ordinary lesson, and most couples find the lack of deliberation a relief rather than a loss.
Not fatal, but settle it before the session if you possibly can. Half an hour of the two spent auditioning tracks is half an hour not spent on your feet. If you are genuinely deadlocked, bring two contenders and let your instructor break the tie in the first ten minutes — they will pick the one that suits how you both move.
At the venue, often, where the venue will let us in and it can be arranged around their own schedule. On the morning itself, we would rather not: you will be busy, hot and thinking about eleven other things, and a session the day before or earlier leaves at least one night's sleep between the learning and the performing.
Say so and we will look at what is left of the diary. Whether there is time for another session depends entirely on the days remaining and who is free, so nobody can promise it in advance — but couples do add one, and it is a straightforward conversation rather than a fresh booking process.
It helps more than the same two hours spent worrying would. Dread usually comes from not knowing what will happen, and by the end of the session you will both know exactly what happens: where you stand, what you do, how it finishes. That does not make anybody a dancer in an afternoon, and we would not claim it does.
Six boxes and the date is the important one. Somebody reads this and rings you back to say what is possible in the days you have got — including, if it comes to it, that there is not enough of them.
More time than you feared? Have a look at the five packages before you book this one.
Check availability for your date.
A fortnight is not nothing. It is roughly thirteen days more than most people think.
Book the two hours £150 · one session · both of you · no lecture included