We am in the midst of our final week of rehearsals for “The Army”, an amazing project that I have been lucky enough to join under the direction of Anton Mirto. Anton has been working with performers for the last two years on this project, from the first seeds of inspiration to the full length evening work that we have been devising and workshopping under her direction. The process has been a transformative one for me, working with such rich stimulus and being encouraged to express and connect at this level is something I have not experienced before as a performer, and the supportive environment created by Anton, my colleagues and our producer Bean has facilitated this.
Read an interview with Anton here , discussing her artistic practice and conceptual stimulus for the piece.
I am SO excited to announce that I will be joining Emily May Dance Theatre as part of the cast for “MANufactured”, which is being performed at the Society for Dance Research’s “Dance in the Age of Forgetfulness” conference in April 2018. Emily is a good friend of mine and I have seen her choreographic and academic pursuits go from strength to strength, she is one to watch!
I had the most amazing week at the Alleyne Dance Intensive at Greenwich Dance. Kristina and Sadé led an extremely rich and generous week in which the dancers were pushed, inspired and exhausted! Another huge pleasure for me was the opportunity to dance with four amazing dancers that I trained with at Laban, it was so nice to share the space with them once more and to see how much they have developed as artists! Here is a clip of some improv from the last day, at which stage I felt a little bruised and battered but also extremely happy!
I had a great time performing at the Interactive Art Festival-Liminal Boundaries in Emma Stanworth’s piece “To Be In”. A wonderful night hosted at The Brookmill Pub in Deptford, I love dancing with this collective and look forward to continued exploration of this work.
Interactive Art Festival – Liminal Boundaries
“Why I’m not talking”, choreographed by Marina Collard, was my graduate piece at Trinity Laban, and the last time I was on stage at the Bonnie Bird. The creation process consisted of five weeks research and rehearsals, and culminated in two evenings of performance. Marina’s approach to dance-making was the perfect end to my time at Trinity Laban. The process involved a lot of movement research, but was quite open in terms of the desired aesthetic. It was a privilege to be able find ways of moving that felt truly individual, and it was each person responsibility to “carve out a role” for themselves. It was truly a pleasure to work with Marina, I hope our paths cross again one day!
photography: James Keates