October 2014 – Dance Direct Blog. News, Reviews & Advice About Dance

Christine Devaney – Inspiring Creativity

Glasgow-born Christine Devaney trained at London Contemporary Dance School and has been performing, choreographing and teaching throughout her extensive career. She was a founding member of Dundee Rep Dance Company (now Scottish Dance Theatre) and for nine years performed with the internationally acclaimed V-tol Dance Company where she became Associate Director and played a key role in developing their highly respected education work.

Christine’s performance and choreographic work spans across theatre and dance where she has worked with companies including: Tag Theatre, The Kosh, The Unicorn (London), Theatre Gargantua (Toronto), Frantic Assembly, Graeme Miller, Benchtours, Freshmess and Yolande Snaith Theatre Dance. Christine is a long-standing creative collaborator with Plan B in Scotland. Christine has continued to develop her teaching and mentoring practice throughout her career and is passionate about nurturing and challenging individual creativity alongside teaching dance and movement techniques. She has been involved as a mentor on the Young Dancer’s Bursary Scheme with Dance Base and was choreographic mentor for Tony Mill’s solo works Scottish tour (2010).

Christine is currently an Associate Artist with Imaginate and founded Curious Seed in 2005. The vision of the company is to create engaging, thought provoking, uncompromising performance work with physical expression at its core. Since 2005, Curious Seed has produced the solo work Almost, But Not Quite for the Edinburgh Festival Fringe (2005), Code Butterfly a large scale site-specific work for young women at Out of The Blue as part of the Leith Festival (2007). Their current show, Chalk About comes to the Lilian Baylis Studio at Sadler’s Wells on 1 & 2 November and features Christine.

Have you always wanted to be involved in dance?

I have to confess, yes! I started dancing when I was young mostly because my pals were doing it, but then I loved it and I was the one who continued as they stopped over the years. As well as going to local ballet and tap lessons I used to dance a lot on my own, in my room, or in the gym-hall during lunch break or after school. It was a P.E. teacher at school who introduced me to contemporary dance – thank you Mrs. MaCleod.

Where did you train and what was it like?

I trained at London Contemporary Dance School. Well, it was an amazing experience to leave home at 17 to be doing exactly what I wanted to do but it was also hugely challenging in many ways. Of course the physical training was hard and I was pushed, but that was what I was there for. It was more on a psychological level that I found it incredibly intense at times. I had great friends and found the support I needed.

Did you start choreographing young?

Mmm. That’s a very interesting question. I was always making up little dances and enjoyed contributing to the choreography in the group I was part of before going to London to train, and I knew that I wanted to explore choreography more. However the way that choreography was ‘taught’ at The Place at that time, was a little elusive, shall we say, and I was just wasn’t encouraged, and in fact was more or less told I wasn’t a choreographer. I found this strange and wondered why? And this stayed with me for many years. But there was a small group of Scottish students training at Laban and The Place who used to get together to make work anyway and sneak off and perform it at any given chance. My first job was with Dundee Rep Dance Co. (now Scottish Dance Theatre), and right from the beginning I was creating small pieces of work with community groups, but I suppose because I was concentrating on developing as a performer I didn’t think of myself as a choreographer for many years.

Do you prefer choreographing to performing?

I absolutely love and continue to be incredibly curious about the creative process, as a performer on the inside of it and a choreographer on the outside. I had thought a few years ago that I was going to stop performing, but here I am still doing it and still learning about what it is to be a performer. And I’ve still got so much to try and make and say as a choreographer – I’ve got a few years to catch up on, and maybe one day it will completely take preference over performing. I do know that even if I stop performing I won’t stop dancing.

How did Curious Seed come into being?

After many years of living and working in London, mostly with V-tol Dance Company, initially as a performer and latterly, Associate Director, I decided to return to Scotland. I felt that I had something to give to the dance community there. I also wondered if I had what it takes to drive a creative vision, rather being a good ‘right hand man’. You know, have the idea and start doing all that’s needed to turn this idea into art – the right people, funding… all of that stuff as well as getting into the studio and leading the creative process. So I formed Curious Seed, and have managed to continue exploring if I’m any good at it! I like to take my time with things.

What is a typical day like for you?

An egg for breakfast (I love eggs), some dance practice or body work of some kind, this varies for me, depending on if I’m doing research or in rehearsals or between projects, it could be class, improvising or Pilates, some admin – there is always some to do! Maybe some meetings. An evening meeting is good as it could involve a glass of wine. At the moment with being on tour with Chalk About, shows are typically in the morning or afternoon, so it’s all about preparing early for the show, then packing up then finding somewhere for dinner… it’s not too glamorous! I’m writing this on a day off, about go and have a swim and then try to start writing a funding report I need to do…

What’s the best part of dance for you?

I still love what dancing gives me personally, which is hard to put into words but as I have grown older it feels more and more spiritual. I’ve met incredible people through being involved in dance. People who have shown me different ways of experiencing the world. This has been very important to me and still is. It’s also an honour to connect people, audiences, strangers through the work.

What has the rehearsal process been like for Chalk About?

Very gradual! It started out in a workshop in late 2011 as a way of exploring how two people from different countries and who didn’t know each other could share ideas and work together… then we were commissioned to make this into a full show for the Imaginate Festival in Edinburgh in 2013. Initially it was just myself and Leandro Kees the other choreographer and dancer I created the work with, but then we brought on a designer, composer and lighting designer to contribute, so it became much more like the collaborative rehearsal process I like to cultivate for Curious Seed’s productions. We also spoke with children at different times during the making of the show and included their responses in different ways to help shape the show.

What is the hardest part of the rehearsal process?

With Chalk About it was having two lead artists who were both in the work, and who had different ideas, but of course this is what made the work what it is! Usually the hardest part of the process for me is the middle stage, and this is when what I call my ‘angel of doubt’ arrives. I have to listen to it, as it’s just part of me, but then I walk way from it, and carry on…

Do you have any advice for aspiring performers?

Find your own way, while working really hard to become a versatile performer. Follow your interests!!! Be inspired and motivated by others but don’t try to be like anyone else! Be kind to people, don’t take any s*-t. Remember to ask yourself now and again if you’re happy? Don’t be scared to ask for advice. Don’t lose your connection to your dance, your drive, your joy.

What are you most looking forward to about the performances?

Chalk About is really lovely to perform, as it has different emotional peaks and troughs and Hendrik (Le Bon, who performs the show with me now) is a joy to be on stage with, so just doing the show in different venues with different audiences will be fun and keep it very much alive and fresh for us. The audience reaction is great as they are laughing at us one moment and then in the next a moment of reflection and sadness. We dance and laugh and joke and talk about family, love and loss… And we then dance some more… what’s not to like about that?

What’s next?

It’s an exciting time for Curious Seed as we’ve just done our first five year plan! Of course we will need some funding and support but that’s a minor detail! There are so many great projects and possibilities in the pipeline. We’re already in the middle of developing a new a sight responsive work called Dust and All That… This is a co-production with Edinburgh theatre company, Magnetic North. I’ve also started research for a trilogy of work that I feel is for teenagers. I can’t wait to do and discover more about this…

Billy Elliot’s Live Screening

The recent live screening of the much-loved Billy Elliot the Musical has topped the UK and Ireland cinema box offices, with takings of £1.9 million. The screening, which was broadcast live from London’s Victoria Palace Theatre to more than 500 cinemas on 28 September, beat new releases such as The Equalizer and The Boxtrolls to the top spot, and was the widest ever cinema release of a live event. This is fantastic news for musical theatre fans – and the industry – in expanding the reach of the musical for new and perhaps unanticipated audiences.

The musical, written by Lee Hall with music by Elton John, is an adaptation of Hall’s 2000 film. It is directed by Stephen Daldry with choreography by Peter Darling. The story, set in the mining town of Newcastle during the Margaret Thatcher era tells the story of a young boy’s quest to train at the Royal Ballet School against the odds of social, economic and personal difficulties.

25 former and current Billy Elliots, including the three original performers – James Lomas, George Maguire and Liam Mower – took part in a special finale of the show, which was broadcast to eight countries. Encore screenings of the performance went on to take place at more than 350 cinemas on 2, 3, 4 and 5 October and a DVD of the special event will be released on 24 November.

Billy Elliot the Musical is produced in the West End by Universal Stage Productions, Working Title Films and Old Vic Productions in association with Tiger Aspect, and is based on the Universal Pictures/Studio Canal film. The popular musical is currently booking until 19 December 2015, but by expanding its reach through cinema, who knows how long it could run for!

The Railway Children Returns To London

The award-winning production of The Railway Children will return to London this year from 16 December, in a specially built venue at King’s Cross station. Mike Kenny’s stage adaptation of E. Nesbit’s novel The Railway Children will be moving to a purpose built 1,000 seat theatre, complete with a railway track and platforms, and with a state of the art heating system. The York Theatre Royal production, which is in association with the National Railway Museum, will once again feature a live 60-tonne steam locomotive and Gentleman’s Carriage.

Directed by Damian Cruden, with design by Jo Scotcher, lighting by Richard G. Jones, music by Christopher Madin and sound by Craig Vear, the adaptation was first produced by York Theatre Royal at the National Railway Museum, York, where it enjoyed two sell-out and critically acclaimed seasons in 2008 and 2009. The production then opened at Waterloo Station in the former Eurostar terminal in July 2010, and won the 2011 Olivier Award for Best Entertainment, before opening in Toronto in 2011 in a temporary theatre built at the base of CN Tower in Roundhouse Park.

The Railway Children tells the story of Bobbie, Peter and Phyllis, three children whose lives change dramatically when their father is mysteriously taken away. They move from London to a cottage in rural Yorkshire with their mother, where they befriend the local railway porter, Perks, and embark on a magical journey of discovery, friendship and adventure. The much loved classic was first published in 1906 and has subsequently been adapted for the stage and screen, most famously in the 1970 film version directed by Lionel Jeffries and starring Jenny Agutter, Bernard Cribbins, Dinah Sheridan and Sally Thomsett.

The Railway Children is booking until 1 March 2015.

Love Your Leg Alignment

Leg Alignment The key principles of alignment will help to prevent dancers from getting injured; during ballet classes you may hear, “knees over toes”, “turn out from the hip” and “don’t curl your toes up” but the principles are the same for any dance discipline. Keeping your legs strong and aligned properly means you are using them correctly and have less chance of injury.

When correcting alignment, begin with the hips. All rotation must come from the hip joints, not the knees, ankles or feet. The pelvis must be neutral, which is the safest position to work from. If the hip bones are forward, they are in an anterior tilt with an arched lower back; if they are titled backward the hips are in a posterior tilt, and tucked under. The knees should match the direction of the toes, which can be checked during pliés – the knees should track over the toes and the feet should not be rolling in.

It is important to keep the feet strong – imagine the foot is nailed to the floor, through the heel and each side of the ball of the foot. This reduces risk of injury and prevents the feet from rolling, which is especially important en pointe. The toes should be straight and lengthened on the floor which encourages articulation and secure, correct pointe work. When the dancer moves to demi pointe, ensure the work is not sickled by continuing to lift the arches. The weight should be centered over the first two toes to help strengthen the muscles on the outside of the ankle, and guard against ankle sprain.

Once the legs and feet are aligned correctly, it is important to keep your weight over your toes, and not to swing back into the heels. Don’t lift the heels, but ensure your weight is in the balls of your feet ready to move.

Damian Czarnecki – coveted choreographing

Damian Czarnecki Damian has a diverse background in dance and theatre having been Danish Ballroom and Latin Champion on several occasions. He was 1st runner up in So You Think You Can Dance (Denmark) and went on to continue his training at Laine Theatre Arts.

Choreography credits include: Pirates Of Penzance (UK Tour), Patience (Kings Head Theatre, London), Do I Hear A Waltz (Park Theatre, London), Dick Whittington (White Rock Theatre, Hastings), Junior TV (Danish Television 1) and pieces for the Laine Theatre Arts productions Spirit of Life and Flying in at 40 (Epsom Playhouse). His theatre performing credits include: Beauty and the Beast (Det Ny Theatre, Denmark), Chantal in La Cage Aux Folles (Nørregade Theatre, Denmark), Dirty Dancing (Metronom Theatre, Germany) and Ich War Noch Niemals in New York (Metronom Theatre, Germany).

Damian has been dance captain for High School Musical (National Tour, Denmark), Jack and the Beanstalk and Aladdin (Chelmsford Civic Theatre) and was a cast member of the Danish children musical feature film Bølle Bob & Smukke Sally (Regner Grasten Film).

Have you always wanted to be involved in dance?

I’ve danced for as long as I can remember so I guess the answer is yes. My parents told me that they just had to take me to dance classes when I was three years old as I would always stand in front of the television as soon as I heard music coming out it. I would start making up dance moves – “boogie woogieing” – and enjoying life. I have to say, I’m glad that my parents made that decision.

Where did you train and what was it like?

Well, I feel like you train your whole life really which is one of the exciting parts of this industry. You will never finish developing as a performer which is so inspiring. That’s why you still, as a professional performer, find yourself working hard in dance classes, taking singing lessons and developing your acting skills.

I first trained in Ballroom and Latin and danced for over 16 years competing on an international level representing Denmark at the World Championships. Doing this throughout my teenage years was exciting but also very hard work. I loved it so much though, which meant it was never difficult to choose Ballroom and Latin over parties and social life outside of school.

I went to school in the morning, then straight to the dance studio for several hours’ practice, then home for food, homework and bed. This would usually be the schedule from Monday-Thursday. Friday would be a day off before the weekend was taken up by competitions in either Denmark or somewhere else in the world.

I really treasure this period of my life. It taught me to be focused and determined which, at the time, I didn’t realise how important that would be for my future career.

I then went on to continue my training at Laine Theatre Arts in Epsom which was just incredible. There is something very special about being together with so many talented people in one place all thriving to be the best that we can be. Miss Laine, together with her faculty, give you an excellent opportunity to develop into a professional artist if you are ready to put in the hard work that is required. When you walk into the college on your first day you have no idea what journey you are about to go on but three years later you stand stronger than ever, not only as a performer but most importantly also as a person.

Was there a natural transition into choreographing for you?

Most jobs I’ve had have either been as a dance captain or a swing which means you are very involved in the creative side of a production. Furthermore, I’ve always had a hunger to be creative in a choreographic way and I think if you have that in you, it will almost be impossible to neglect in the long run.

Do you still perform?

Yes, I do still perform as it gives me a completely different satisfaction than choreographing which also means it’s almost impossible to say which one I prefer. Both have huge positives as well as, believe it or not, a few negatives. However, the kick you get from both of them is just incomparable.

As a choreographer, I found it very difficulty in the beginning, that during previews or on opening nights it was all out of my hands. I would be really nervous and could barely sit still in my seat as my body would just naturally do some of the steps thinking that it would help the cast. I always think it’s so much better to be up on the stage as you are so focused on your job which means everything else around you disappears. Then again, there is nothing like the feeling of seeing your work come alive on stage and being proud of it. Like I said, the two roles are incomparable.

What is the hardest part of the rehearsal process, as both a dancer and a choreographer?

It’s two very different state of minds. As a dancer, you will mostly be focused on yourself as you have a huge amount of work to go through. You have dance steps, harmonies, lines to learn and it all needs to come together in a very short amount of time which can be really hard and stressful.

As a choreographer, it’s all about the overview and having a much wider focus. I think one of the hardest parts of the rehearsal period is to have a fresh opinion about your own work that you’ve already seen many times. It’s so important to have the ability to say, “what I’ve done doesn’t work” and then try and change it for the better.

What is a day in the life of Damian like?

My days are very different from each other which I absolutely love. I try to exercise every morning and love to end the day watching Danish television on my iPad but apart from that, it all depends on what job I’m doing and whether I’m choreographing or performing.

Do you have any advice for aspiring performers?

I think the best advice I can give is to make sure that a performing career is a 10,000,000% what you want. If you feel the passion for anything else you should definitely do that instead. It may sound really harsh but that is the reality. However, if you do make the decision to go for it, then don’t let anyone stop you. Remember talent will get you far. Hard work will get you further.

OKLAHOMA! To Tour

Rodgers & Hammerstein’s Pulitzer Prize-winning musical OKLAHOMA!, freshly directed by Rachel Kavanaugh and with new choreography by Drew McOnie, will tour the UK and Ireland next year, opening at the Derngate Theatre, Northampton, in February 2015.

This new production of one of the great classic American musicals will be led by Belinda Lang (School for Scandal, Ladies in Lavender) as Aunt Eller, Gary Wilmot (Dirty Rotten Scoundrels, The Pajama Game, Chitty Chitty Bang Bang) as Ali Hakim, Ashley Day (The Book of Mormon, The Wizard of Oz, High School Musical) as Curly, Charlotte Wakefield (The Sound of Music, MAMMA MIA!, Spring Awakening) as Laurey and Nic Greenshields (Guys and Dolls, Billy Elliot, The Phantom of the Opera) as Jud Fry, accompanied by a live orchestra.

OKLAHOMA!, with music by Richard Rodgers and book and lyrics by Oscar Hammerstein II, was based on Lynn Riggs’ play Green Grow the Lilacs; it was the first musical written by the duo. It was originally produced on Broadway in 1943 and the Academy Award-winning film was released in 1955.

Set in Oklahoma, US in the early 1900s, the musical tells the story of two sets of star-crossed lovers. Cowboy Curly loves Laurey, Aunt Eller’s niece, but Curly’s rival is the mysterious Jud Fry. Their stories are told with the help of some of the best loved songs in musical theatre repertoire, including Oh, What a Beautiful Mornin’, I’m Just a Girl Who Can’t Say No, People Will Say We’re in Love and Oklahoma.

Presented by Music & Lyrics Limited, this award-winning nationwide consortium is comprised of the UK’s major independent touring theatres. It aims to champion music theatre in all its forms and provide extended life to productions created by the UK’s major producing theatres. It is committed to presenting major musical productions to large and enthusiastic audiences.

Pop Princess Nicole Scherzinger To Star In Andrew Lloyd Webber’s Cats

Former Pussycat Doll Nicole Scherzinger will make her West End stage debut this year when she takes to the stage as Grizabella in Andrew Lloyd Webber’s record-breaking musical Cats. The musical, directed by Trevor Nunn and choreographer by Gillian Lynne, will return to the West End for a strictly limited run from 6 December at the iconic London Palladium.

Having trained in theatre and dance at the Wright State University in Ohio, Scherzinger found fame with American pop group the Pussycat Dolls which sold 50 million records worldwide. She has since enjoyed success as a solo artist, selling 16 million records and having number one singles in the UK. In 2011 she joined the UK version of the X Factor as a judge and also performed one of Lloyd Webber’s songs at the Royal Variety Performance, “Phantom of the Opera”, alongside John-Owen Jones, Ramin Karimloo, Earl Carpenter and Simon Bowman.

Also joining the cast will be Zizi Strallen (niece of Bonnie Langford, sister of Summer, Scarlett and Sasi) as Demeter alongside Cameron Ball (Macavity/Admetus), Kathryn Barnes (Tantomile), Cassie Clare (Cassandra), Ross Finnie (Skimbleshanks), Charlene Ford (Bombalurina), Adam Lake (Alonzo), Paul F Monaghan (Bustopher Jones/Asparagus/Growl Tiger), Joel Morris (Carbucketty), Natasha Mould (Jemima), Benjamin Mundy (Coricopat), Joseph Poulton (Quaxo/Mistoffelees), Nicholas Pound (Old Deuteronomy), Sophie Ragavelas (alternate Grizabella), Clare Rickard (Jellylorum/Griddlebone), Adam Salter (Bill Bailey), Laurie Scarth (Jennyanydots), Hannah Kenna Thomas (Victoria/White Cat), Callum Train (Munkustrap) and Dawn Williams (Rumpleteazer) who are joined by swings Ryan Gover, Barry Haywood, Alice Jane, Grace McKee, Dane Quixall and Libby Watts.

Image courtesy of Wikimedia Commons.

Perform with Candoco Dance Company

Candoco Dance Company is searching for 13 guest performers from any background to join the company for an exciting performance project in 2015: applications close on Sunday 9 November 2014 at 12pm.

The work, entitled The Show Must Go On, was created in 2001 by French choreographer Jérôme Bel. The show examines the relationship between art and life, constantly surprising and challenging the viewer’s expectations. Controlled by a DJ and audio feed, the performers follow lyrics of the songs ranging from musicals to well-loved pop songs. Bel is famous for his minimalist productions that use a bare stage to create an honest connection between the audience and the performers. Bel has been described by The Guardian as “a mischievously entertaining conceptualist who is less interested in movement than in messing with your head” – he is famous for challenging expectations and forcing his audience to question dance.

As a result, 2015 for The Show Must Go On will see a local cast of professional and non-professional performers from London, Nottingham, Birmingham and Glasgow embark on this exciting re-staging project. No dance or performance experience is required, just an enthusiasm to share in a creative process with others and promising a commitment to the project. Booking is now open for recruitment workshops in Birmingham, Glasgow, London and Nottingham. Performers should be 18+ but there is no upper age limit.

Candoco Dance Company is looking for a diverse group of individuals with a passion for performance, regardless of previous experience. They will work and perform alongside Candoco’s seven company dancers. The piece will tour to leading UK venues: Sadler’s Wells in London, Nottingham Playhouse, Warwick Arts Centre and Tramway Glasgow next year.

For more detailed information, download the information sheet and book for a recruitment workshop using the application form on the Candoco website. Contact the company with any queries on 020 7704 6845.

DARREN CHARLES – A Harlem Dream’s SAL

Darren Charles Darren was born in London England in the 1980s. He gained a scholarship for vocational training at The Urdang Academy where he trained extensively in acting, singing and dance. He graduated in 2007 with honours and went straight into his first show Carmen Jones at The Royal Festival Hall London.

Since then Darren has played lead roles both on the West End and on tour in musicals and he has been a part of UK Hip Hop Dance company BirdGang, gaining much experience performing in commercials, music videos, cast recordings, Bollywood films, short films, student films and events.

Where did you train and what that experience like?

I began my performance training at South London Dance Studios at the age of 16, where I passed various grades in ISTD, and IDTA Tap, Ballet and Modern. I then went on to study full time at The Urdang Academy. As well as furthering my studies as a dancer I trained professionally as a singer and actor.

Did you start performing young?

I first started performing at the age of six at the Notting Hill Carnival Grand Splash where I competed each year for The Crown and won titles a few times such as Best Junior King for Elemu Paddington Arts. I also took tap and ballet classes in my local church hall after school. Even though I loved these classes I stopped taking them because I was teased and bullied at school by other kids for doing ballet.

What is a typical day like for you?

A typical day for me when I am not working would be mostly spent preparing for auditions, going to dance classes, participating in acting workshops or singing in Jazz clubs and gospel choirs. My recent typical working days have been touring the country with The Rat Pack as Sammy Davis Jr.

What’s the best part of dance/performing for you?

I wouldn’t really know where to start but the first thing that springs to mind is the thrill and excitement I feel after I’ve nailed a performance. Also it’s wonderful when you know that the audience has gone on the journey with you throughout the show.

What are you currently working on?

I’m currently working on a show called A Harlem Dream at The Young Vic where I play the lead character Salvador (aka Sal) who is the narrator of the story which is set in early 1930s Harlem. Sal is a young black artist struggling with his identity and creative self. I’m also currently performing with The Rat Pack as Sammy Davis Jr.

What is the rehearsal process like for A Harlem Dream – is it a collaborative process with all the dancers and creative team?

The rehearsal process for A Harlem Dream is amazing. It’s an ambitious collaboration of fresh talented actors, dancers, writers and musicians all working together to create a very original ground breaking show.

What is the hardest element of the rehearsal process?

The hardest element of the rehearsal process would have to be time, there simply isn’t enough in one day! We start at 10am and finish at 7pm but I am loving every moment.

Do you have any advice for aspiring performers?

My advice for aspiring performers would be to never give up. The path isn’t always easy and fun, but it’s worth it if it’s what you truly love.

What are you most looking forward to about the performances?

I can’t wait to see how the audience react to our show. I’m also very happy to be performing again with my close friend Ivan Blackstock.

ROBIA BROWN – A Harlem Dream’s CONSTANCE

Robia Brrown Robia has been performing, choreographing and teaching in London for over 10 years. She has worked with companies and choreographers such as Avant Garde Dance Company, A&R Dance, Definitives and Ivan Blackstock, as well as creating work as a solo artist.

She has taught masterclasses across the UK and Europe sharing her vast knowledge with students from across the globe. She believes dance is her life and life is her dance; this is apparent in all of her work and throughout her classes.

Where did you train and what that experience like?

I have always wanted to be involved in dance. Since I came on to Earth I was moving and grooving with my mini legs and arms! I started training properly when I was seven years old.

I started dancing with a street dance group, for five years. I then moved to another street group for three years and then trained at the Brit School from the age of fifteen until I was nineteen. It was a great experience to train in more than one style and I embraced all of it! I love learning new things and delving deeper in to my passion.

Did you start performing young?

I started performing when I was seven (minus the shows I would put on in the front room for my mum!)

What is a typical day like for you?

A typical day for me always consists of dance. If I’m not rehearsing for a performance or a video, I am either taking class, choreographing or training on my freestyle. I try not to make my days too typical as I love working on new things and developing my dance vocabulary. Unless I am rehearsing for a production, then getting into a routine for a period of time is an uplifting experience.

What’s the best part of dance/performing for you?

Honestly, there are so many things I love from doing what I do. Not just the dancing and performing but the understanding and knowledge. I love building conversation about a concept of movement or choreography and the meaning to why I am moving. I love the process of creating and rehearsing and doing it over again until it makes sense, but it also has to feel right. I love getting things wrong so I can improve. I love hearing good and bad feedback. The performing part is a bonus for me.

Dance is such a broad art in itself, it has many layers and I find the layers the best part/parts!

What are you currently working on?

Currently I am working on ‘A Harlem Dream’ at the Young Vic Theatre. I have the lead female role ‘Constance’. I am also slowly building my own company but putting my main energy in to this production at the moment.

What is the rehearsal process like for A Harlem Dream – is it a collaborative process with all the dancers and creative team?

The rehearsal process so far for A Harlem Dream has been very rewarding. I have known Ivan in the dance scene since I was seven, and to work with him now I am 22 is an awesome thing. We get to contribute ideas and collaborate on movement material as well as anything we feel needs adjusting or shifting: we can put our voice across and feel comfortable enough to speak our minds. It is a big team effort but wouldn’t be anything without Ivan and Ukweli [Roach] for their direction. I feel inspired every time I leave the studio, not just by the directors but by the whole team! The show sinks in more and more each rehearsal and I am very happy and grateful for my role and to be around such like-minded beings.

What is the hardest element of the rehearsal process?

The hardest element of the rehearsal process is putting on a show within the limited time that we have. I feel it is more a challenge for the team as a whole to really pull this off with such an in-depth storyline. We really have to understand our characters and portray that through our movement and that can also be a hard task. I have faith in all of us and believe it will only get better through time.

Do you have any advice for aspiring performers?

My main advice is to be happy doing whatever it is that you want to do. I don’t think it is healthy to just dance for the sake of dance. Find where you want to be and bask in it. Try not to get wound up in the things you don’t want to do. Everything is a choice – I made the choice to be happy and everyone is entitled to happiness.

What are you most looking forward to about the performances?

I’m most looking forward to dancing with everyone that has inspired me through the time and being a part of something that really pushes the boundaries! I can’t wait!