When Dublin native Claudine Van Den Bergh Cooke was hired as the first Irish principal dancer at Paris' renowned Moulin Rouge, she made history.
However, the 31-year-old has performed her final can-can dance in front of the illustrious red windmill.
She obtained a first class honours law degree while performing six days a week and between numerous high kicks and splits; now, she is leaving the Moulin Rouge to pursue a legal career.
Being the first Irish person in the position at the storied Montmartre venue has, in Claudine's words, been "incredible.".
The Moulin Rouge, where the French can-can was developed, was founded in 1889, and this year marks its 134th birthday.
However, the 2001 movie starring Nicole Kidman and Ewan McGregor introduced it to a completely new audience. Throughout that time, it has consistently attracted large crowds.
The lead dancer from Dublin is retiring from dancing after 11 years on the Moulin Rouge stage in order to become a solicitor.
The renowned Red Windmill at Paris's Montmartre Moulin Rouge.
Claudine began dancing at the age of two, which is not surprising considering that her mother is a classical ballet instructor.
When Claudine was a teenager, dance became her passion, and she moved to London to finish a degree at the Rambert School of Ballet and Contemporary Dance.
Her height led her to believe that Moulin Rogue, which has a 5'9" minimum height requirement for its female dancers, might be a good fit.
In 2012, she was selected for a demanding audition that examined everything from her classical ballet technique, lyrical and jazz chops, and acrobatics for the French can-can.
"That eight-minute dance is over. It's jam-packed with leaps, jump splits, cartwheels, somersaults, backwards walkovers, and frontward walkovers.
It's a really impressive dance, and that's what the Moulin Rouge is known for, she continued.
She was hired for the job and six years later was elevated to principal dancer. Her career highlights along the way include portraying La Goulue, the muse of well-known artist Toulouse-Lautrec who starts the can-can.
She told BBC News NI, "To be part of the legacy here is incredible - especially being an Irish principal dancer - I'm really proud to have achieved that. .
The other Irish dancer at the Moulin Rouge, besides Claudine, is her sister Isabelle.
We are incredibly fortunate to be living our dream right now, and we hope that many more Irish dancers will apply in the future, she told BBC News NI.
She is in the dressing room I used to use before I was promoted to principal dancer, and I have enjoyed every minute of working with her. I have my own dressing room.
We're always close by, she continued, "and I'll often spend actually more time going in to see her backstage than my own dressing room. ".
"Isabelle will certainly miss me, but I believe we both realize that the time we had together was very special and priceless and is something we will undoubtedly cherish forever. ".
Around 1895, in Paris, the Moulin Rouge.
Claudine continues to frequently travel to Ireland to see their mother, who remains their biggest supporter.
Family and friends from Ireland visited to give her a fitting send-off one Sunday during her final performance.
"Other friends from Dublin came with their husbands, and we had the best time ever.
"They received excellent treatment and were spoiled with champagne. It was a spectacular evening.
"I literally had a van load of flowers; I was nearly overcome. It was a wonderful send-off. ".
"Hopefully a successful legal career" is her goal for her upcoming journey.
When Claudine was promoted to principal dancer, she decided to begin taking law modules. She loved them so much that she continued on to a degree.
"I've reached the point where I need to put Moulin Rogue on hold in order to focus entirely on my legal career and prepare for my Masters and solicitors qualifying exams.
I'm thrilled that I was able to complete them side by side and be successful in both, she continued.
Her two Pomeranians, Whiskey and Guinness, kept her company as she studied virtually through the Open University. .
Even though there aren't any toe taps in court, Claudine sees parallels between the "very disciplined" world of dance and the "very formal" world of law.
"The audience isn't privy to a lot of the work that goes on in dance rehearsals, teamwork, and the constructive criticism we receive and must put into practice right away for the performance.
"Law is similar if you look at it; it's being diligent about being disciplined by working hard with teamwork and professionalism.
A very rewarding and exciting career has been drastically distanced by this.
"My career here has just been absolutely beautiful, and I hope the next one can be just as exciting for me as this one has been.
. "
