| Dance Name | Author | Variants/comments | |
|---|---|---|---|
| 1 | The First of April | Thompson 1780 | |
| 2 | Candles in the Dark | Loretta Holtz | |
| 3 | A Trip to Tunbridge | Preston 1793 | Three-couple set |
| 4 | Hole in the Wall | Playford 1698 | |
| 5 | Jack's Maggot | Playford 1702 | |
| 6 | The Dusty Miller | Neal 1726 | Three-couple set |
| 7 | Mr. Merrrill's Maggot | Fried de Metz Hermann | |
| 8 | Marina | Elizabeth Zekley | |
| Break | |||
| 9 | Hand in Hand | Gary Roodman | |
| 10 | Companions | Victor Skowronski | |
| 11 | White Wheat | Hazel Moir | Three-couple set |
| 12 | St. Martin's Lane | Triple minor | |
| 13 | Love and a Bottle | Nathaniel Kynaston | Three-couple set. |
| 14 | Old Wife Behind the Fire | Neal 1726 | |
Titled "a ball cram session," this was the last regular dance before our ball. All the dances except slots 1, 3, 4, 8, and 9 were on the upcoming San Diego ball. The program was essentially an intro dance ("The First of April"), a closing dance ("Old Wife Behind the Fire"), the six most complex ball dances (slots 6, 7, 10, 11, 12, and 13), and a set-up dance for each. Scroll down to see why I chose what I did, if you're curious. Thankfully numerous previous ball practice sessions made such an ambitious program doable.
| Set-up dance | Target dance | Reasoning |
|---|---|---|
| A Trip to Tunbridge | The Dusty Miller | Dealing with first and second contra corners |
| Hole in the Wall | White Wheat | Timing exercise, to get people to use excess music |
| Candles in the Dark | Love and a Bottle | Half figure eight, though this was before this dance got moved in the program to after the double-figure-eight dances. |
| Hand in Hand | Companions | Hey for four in 3/2 timing, leading into another unconnected figure. |
| Marina | St. Martin's Lane | Double figure eight |
| Jack's Maggot | Mr. Merrill's Maggot | Hey for three |
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