scottish dance theatre's promoter pack

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Promoters’ Pack 2010 – 2012 Season

NQR: Photographer Andrew Ross

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Promoters’ Pack 2010 – 2012 Season ‘Sharp and full of treasures’ The Guardian ‘a sophisticated ensemble under Janet Smith’s inspirational direction’ Dance Europe ‘The members of this company consistently ally telling intelligence and humanity with outstanding technical panache.’ Mary Brennan, Dance Critic, The Herald

SDT presents a repertoire of original works created especially for the company by some of today’s internationally celebrated choreographers. SDT will liaise with venues/festivals in order to offer the most suitable programme (two/three works).

Clips of the repertoire are on the website at www.scottishdancetheatre.com and DVD’s are available on request [email protected]

SDT has experience of touring to a variety of venues, including outdoor venues, with an ideal performance area being 11m wide x 10m deep. SDT requires a day before the show get in.

SDT has 11 dancers and 17 people on the road. (NQR 20 people)

Creative Learning is integral to SDT’s work and the company is committed to broadening access to its performance work. Education work options include residencies, workshops, classes, lecture demonstrations, pre/post show talks.

SDT’s marketing team will provide promoters with a detailed marketing pack and work closely with venues to maximize audience development.

www.scottishdancetheatre.com The Life and Times of Girl A: Photographer Andrew Ross

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DOG: Photographer Tilo Stengel

Promoters’ Pack 2010 – 2012 Season Contents International Touring Repertoire 2010‐12 4‐13 Choreographers’ Biographies 14‐18 About SDT 19 Creative Learning/Wrap Around Events 20‐21 Press and Audience Quotes 22‐23 Practical Information – Touring Party/Costs 24 Technical Rider 25 Past , Current and Future Tour Venues 26‐27 Company Contacts and Funding Credits 28 Press Articles and Reviews 29‐33

Touring Rep 2010‐2012

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TOURING REP 2010‐2012

The Life and Times of Girl A choreographed by Ben Duke (Premiere February 2010, 40 mins)

Lost Dog’s award winning Ben Duke brought his ‘highly theatrical and subversively humorous style’ (Metro) to create this work for SDT. Duke’s work breaks new ground in his use of improvised performance in exploring emotional states of play at a meeting point between movement and speech.

A woman is trying to tell us something important about what is happening now. What she needs is a film crew and a financier, what she's got is a stage and some dancers. A piece about moments of crisis both emotional and financial, when all we need is to use less to say more.

‘Cool and quirky’ Herald

“A hoot with enigmatic twists….the piece unfolds in a mix of sharp, synchronized movement” The Scotsman

‘A piece you could watch again and again’ Scotsman.

Designer Holly Waddington Lighting Designer Jackie Shemesh Music: Excerpts from Curves of Air by Fourcolour; Moya by Godspeed you! Black Emperor ; Sisters, Brothers, Small boats of fire are falling from the sky! by A Silver Mt Zion Track; 10.15 saturday night by The Cure; Praladium by Bach; Banshee Beat by Animal collective.

Ben Duke on Creating Dance I have a couple of preoccupations that I am still sufficiently fascinated by to bring them to every piece. The first one is that I love hearing dancers talk and all the problems that brings and the second is I like the challenge of trying to combine dance and narrative. So with those two as given ambitions I usually begin a piece with a very vague notion. For example in my notebook under the words Scottish Dance Theatre I have written ‘a piece about people in a space’. Arguably all work is about people but I find that dance can quite successfully disguise the people on stage and keep them hidden from an audience. That brings me back to the talking dancer, as spoken text helps me to see the performers as people. When I first started watching dance aged 20 I was amazed by it, I thought this is a truly fantastic medium. I had the privilege to watch a dress rehearsal for a piece that was breathtaking, the dancing was very musical and technical but my favourite bit was the end when the dancers leapt into a final position and one of the dancers lost her balance, ‘oh s**t’ she said very audibly. My image of that dancer as this


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silent virtuoso was shattered and I greatly preferred this foul mouthed fallible person who appeared in her place. I am interested in people dancing, less so in the dance being so brilliant that I lose sight of the individual. It is not impossible to have both, the dancers of SDT dance brilliantly, it is hard for them not to, but what is interesting to me is the attempt to allow that movement to reveal rather than disguise part of them. The second part of the phrase ‘a piece about people in a space’ gave me the idea that I wanted to set this piece in one space. When I first came up to Dundee I had not much more than that phrase in my notebook and we began working. We improvised and one of the improvisations became about people on a journey. The idea of journeys led me to thinking about airports and I realised that this space they were in should be an airport – but not a literal one – because what was interesting was the idea of limbo that airports create. People in between – and the space should somehow represent this in betweeness. I asked the performers to write down things about airports and amongst the many wonderful phrases that came out was ‘does it matter if the name on my boarding card is not mine?’ This gave me an idea about a loss of identity in an airport or even a switching of identity. As much as possible I want this piece and every piece to be about the people on the stage, it seems that that is what live performance is best equipped to do. Film and TV can offer amazingly accurate naturalism, circus and gymnastics can offer breathtaking virtuosity and live performance, to my mind especially dance, can offer a unique moment of connection between people in an audience and people on a stage. And in that moment something can be true and inspiring. In a good piece the choreographer/director has allowed you to see these people and experience some kind of connection with them, in a lesser piece they have hidden them.

The Life and Times of Girl A: Photographer Andrew Ross


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Drift choreographed by James Wilton (SDT Premiere March 2010, 11 mins)

A brooding and explosive duet by James Wilton which delights audiences with its highly charged physicality, and the daring surprises the dancers throw at each other.

Wilton explores loneliness and closeness, absolute commitment and high risk trust. Sometimes the people we care about the most are the people we hurt the most.

‘impressively powerful’ Ballet.co.uk

Lighting Designer Emma Jones Costume Co‐ordinator Amy Steadman Music The Package, A Perfect Circle Eraser, Nine Inch Nails SDT dancers, Natalie and James on creating and performing Drift Natalie Trewinnard: I was in the original cast of Drift when James made the work as a student at London Contemporary Dance School. It started off as a six minute duet created for a platform performance before it was taken into the touring programme for the school’s third year group LC3, and it then also toured internationally. James started off with the track by Nine Inch Nails and had some strong images that he wanted to work with. He had been inspired by the band’s use of lighting at a concert and wanted to try and replicate moments of that in the work. He taught us some movement phrases and we tried out some lifts and the piece began to develop. I feel that the piece is just a snapshot of a couple’s relationship – by the end they have moved forward but have not been able to resolve their issues. It’s like a game of trust, but the woman likes to cry wolf and abuse the man’s trust. Although the woman is lifted and thrown about, I feel that she also gives as good as she gets. The music is projecting the internal thoughts of the characters and is sometimes overpowering, but I find it helps me to keep the energy and stamina up as some of the movement is so exhausting. It’s great to work with James Wilton again and come back to the duet now with SDT as it has been on a journey and has constantly evolved, and I come to it now with a different point of view. The challenge is to stay true to the essence of the piece. James was interested in finding out how far it was possible to push the limits of the body and so the work is extremely tiring. I like to use the exhaustion as a performative challenge without giving in to the inevitable fatigue.


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James MacGillivray: I was excited when Janet first invited James Wilton to work with the company and combine two of his works into a duet ‐ Rush a solo created and performed by James himself along with a six minute duet Drift. Both pieces spoke strongly to each other with similar themes and I knew they would come together well to make a powerful piece, as well as providing great challenges for me as a dancer. I wanted to recreate as much as possible the feeling of calmness that James had in the solo, interrupted by moments of explosion which appeared to come from nowhere. I was also impressed by the incredible level of trust shown between the dancers in the duet, and the sheer exhaustive physicality. Throughout both pieces fiery moments are complemented by intense attention to detail. In contrast to our usual process of creating work from scratch with a choreographer, in a very short time I had to study and embody James’ movement style and vocabulary, and find in my body how I was going to match up to Natalie who had performed Drift before. James developed the material of the original solo on me, created a role for the woman and together we worked on a transition into the main body of the duet. We adapted the lifts and material to enhance the new narrative of the piece and this helped us to develop our characters to give them a sense of identity. For such a short piece it is without a doubt one the most gruelling dance works I have ever performed – but it’s also exciting and great fun!

Drift: Photographer Ross Fraser McLean


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NQR co‐directed by Janet Smith, Caroline Bowditch and Marc Brew (Premiere February 2010, 35mins)

Ingredients: 8 half dressed characters A census 2 tape measures 2 wheelchairs 9 opaque Perspex boxes, in a shifting setting 1 cello NQR* questions the concept of normality revealing our preconceptions and exploring our differences. It is ultimately a celebration of quirky individuality and diversity. An entertaining, thoughtful, touching and provocative work.

*Not Quite Right ‐ Acronym formally used in patient’s records to describe unexplained

difference. (NB NQR can only be performed in venues with fully accessible facilities for wheelchair users on stage and backstage) Composers David Paul Jones and Robin Mason Designer Naomi Wilkinson Lighting Designer Emma Jones Cellist Robin Mason

‘stark brilliance’ Scotsman

‘Work which forces us to alter our perception of what dance is and, more importantly, who can dance.' The List

'NQR brings disabled and able‐bodied dancers together so seamlessly it looks like the most natural combination in the world.' The Scotsman Marc Brew and Caroline Bowditch on NQR and collaboration MB: As choreographers Janet, Caroline and myself work with collaborators such as composers, lighting and costume designers but this the first time for the 3 of us that we have collaborated with 2 other choreographers/directors on the creation of one work. This is why NQR is so unique. From the outset having 3 choreographers collaborating together on a new production is not quite right. We had 3 different creative people with differing working methods, varying tastes on style and interest in choreography. The difference created an opportunity for us to learn from each other, to grow artistically


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NQR: Photographer Andrew Ross

and develop new working methods for work in collaboration. It was important that the process enabled each of us to have the opportunity to have their voice heard, to lead on creative ideas as well as working together on developing ideas and structuring the work while at times being challenged creatively and always supported. CB: One of the big issues that came up during the making of NQR has been related to how Marc and I would be covered by another dancer if we were unable to do a show for any reason. We have had big discussions about whether or not someone would or wouldn’t use our wheelchairs and how that might affect the reading of the piece for the audience. It’s a conversation that we’ve had amongst ourselves as collaborators but also as a whole company and it’s been really interesting. Some people view our chairs as just being a prop that is essential to carry out a particular piece of choreography. Others see it much more politically. The conversation continues and we’ve definitely not come up with a solution yet but I’m sure we will solve it if we ever need to.


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DOG choreographed by Hofesh Shechter (Premiere Feb 2008, 31 mins)

Honest and raw, witty and sophisticated, DOG is an exhilarating work created specially for SDT by Hofesh Shechter – a leading international creative talent. With music created by Hofesh Shechter and lighting design by Bruno Poet

‘rapturous’ The Stage

‘ Crammed with ideas and wit, this is dance for the mind as well as the senses’ The Guardian

‘Hofesh has created a work that shifts from joyfulness to fear in a heartbeat.’ The Scotsman

‘the award‐winning Shechter doesn’t just choreograph steps – he creates his own distinctive slice of life on stage’ The Herald

Music Hofesh Shechter including excerpts from Fan farra (cabua‐ le‐le) from Brazileiro by Sergio Mendes, Verdi, Bach and Aleph, ATM and Dance Music by Ophir Ilzetzki Lighting Designer Bruno Poet Costume Designer Phyllis Byrne

Hofesh Shechter in conversation with SDT Assistant Director, Sally Owen

SO What pre‐occupies you or concerns you with the work that you do? HS Essentially, I don’t really know the dancers, the company or the energy – I tend

to keep it quite open. I have a general idea in my head but the whole feel of the work is obviously very open and I wait to discover it in the studio. I go through light and heavy movements and see what appeals to me – what rocks my boat.

SO How do you start that work – with ideas, a quality or a feeling? HS I start with a quality, an idea or an emotion. This time it was really the quality of movement. It started with a simple idea of having very hard movement – very chopped, sharp movement and then very soft, quiet, earthy movement. When you start to create movement, it immediately throws a world of images into your head and then you start to translate the movement. You start to understand not necessarily the work but something about what it communicates and you start to question these qualities. Why do we go in and out; what are these two qualities? The material does expand rapidly ‐ usually the challenge is narrowing down and focusing the development of the work. So there are ideas, energy and feelings that you need to give some borders – to see what belongs and what does not. Once you have the feel and atmosphere of the piece, the movement material can be put together very quickly.


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SO Do you think the movement material is very different for visiting dancers as opposed to dancers that know your material, know the way you work and are used to your physicality?

HS No, I am trying to challenge myself into creating and pushing my movement material and changing it a little bit everywhere I go. I see it as a new project and I think I would have the same approach to my own company. They could possibly react to it slightly faster because they know my work but the dancers here are doing an amazing job in embodying the style and are very quick, open and co‐operative. I feel like the movement style is respected – it’s being preserved.

SO The movement quality is different to that of most choreographers. I was in Israel late last year and saw lots of work. Not to make comparisons, but it struck me that you bring a whole cultural background and a dance culture with you...

HS Of course, my education as a dancer all happened in Israel so that is my main interest. Whatever I saw and experienced after being in Israel obviously has some input as well, but it is the place that shaped me as a dancer. I know that I haven’t been in Israel for a long time but there’s something evident about the style and influence of that country in my work.

SO How does having a different cultural background to most British‐based young men affect your work?

HS I don’t think it influences my dancing directly; my experience in the army was not very extensive. I was dancing during my service so my involvement was minimal, but it still influences me for sure. It made me question social structures and the conflict of messages within the social structure. Living in a democracy where for three years in your life you are bound to be part of a hierarchal organisation – there’s nothing democratic about that.

SO Going back to your material – sometimes I see you find things from your own body and sometimes from the dancers and their improvisation which is unusual. A lot of choreographers’ work comes from the dancers’ material which is good, it helps young dancers to find their bodies and see what they can produce. You seem to have a great balance.

HS Yes, in a way, being in the studio is not a democracy. It’s important to focus. You have to find a balance between focusing on something you’re looking for or questioning but trying to get a bit of the colour of the dancers themselves that is out there. It’s a real challenge and balance – working out how to put both the work and the dancers out there.

SO Talk about the title of the piece, DOG HS It’s nice to find a title where you feel it’s a little clue for the audience – a point of

reference. It puts the piece in a place that’s engaging and more interesting and that possibly tempts the imagination of the audience. I sat there and felt that it was interesting for me – it makes me wonder and that’s good. The title of a dance piece is not an answer!


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LUXURIA choreographed by Liv Lorent (Premiere Sept 2004, 33 mins) A majestic work that’s both witty and tender, which explores a desire and our search for fulfillment. Visually arresting, cinematic and with haunting music, award‐winning LUXURIA is a feast for the senses. ‘as gorgeous a small scale stage fantasy as you are likely to see’ Dance Europe ‘lusciously sensual and yearningly romantic’ The Guardian ‘Achingly beautiful’ Herald. ‘devastatingly passionate’ Scotsman Liv Lorent on Creating Dance When I begin a piece I like to authenticate something from an autobiographical place, some feeling that I’m living with, then making the connection that it’s not special or pertinent to just me, explore how universal that emotion is. I’m interested in an emotional commonplace. We can feel very alone with our experiences and understandings of relationships. Love, devotion, desire, grief or entrapment can feel extremely singular and personal as if we alone suffer the fullness of the experience in isolation. I have always found great solace in a book, a painting, a piece of music or theatre that seems to express perfectly the unutterable inside me, and I suppose with dance I’m trying to offer the same possibilities for engagement and personal connection. The dancers are the absolute core of the work and I’m privileged to work with them. The dancers are central because it is they who flesh out and give life to the vague ethereal figurines in my head. The content of the choreography starts with me and then goes directly to the individual dancers who are very much part of the creative process. This is not just in their physical interpretation but also the eventual performance they give. Throughout the process I ask them to anonymously fuse and connect what they understand of my truth with theirs. The result is a piece of work that has been made from layers of honesty and integrity with the hope that our collective reality might inspire an emotional connection from an audience. I feel very enabled at Scottish Dance Theatre, as I do with my own company, balletLORENT. I am privileged to have consistent and generous support from the dancers of both companies. Uniquely at Scottish Dance Theatre I also have the encouragement of fellow choreographer and Artistic Director Janet Smith. Her support means that should I fall from the metaphorical tightrope, she will be my safety net.


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For 2011 Scottish Dance Theatre will add two further new works to the repertoire

which will premiere in February 2011 in a programme called Letters from America:

New Work choreographed by Kate Weare New York‐based choreographer, Kate Weare’s work is characterized by fierce physicality, thoughtfulness and authenticity. Her work is abstract and structural and at the same time visceral and compellingly human. The dances explore a contemporary view of intimacy ‐ both stark and tender, using the moving body to explore its innate truth‐telling. Weare gets under the skin of movement with almost surgical exactness, inflames it, and then makes it glow with a strange, yet familiar light. No one else is making work quite like hers. ‘Note to self: Try not to miss any performances by Kate Weare….. Weare's movement emerges from a fusion of ideas and emotion—gripping you with its actual heat and, in its pauses, altercations, and meltings, penetrating the complexities of human behavior.’ Deborah Jowitt, Village Voice

‘some of the most exciting work of the moment’ Patrick Leige, The New Yorker

New Work choreographed by Benjamin Levy ‘Change is defined as becoming different, or making something or somebody different. Transformation is defined as a complete change ‐ one in which the end result is not related to its origin. As human beings, our lives are constantly shifting: aspects get better, then they get worse, and the cycle continues. But what are the elements that lead to transformation‐ a complete shift of one’s life course, identity, and associations? What moves us into a period of drastic change, such that we no longer feel the same afterwards?’ Benjamin Levy ‘one to Watch…athletic and lyrical, brainy and sexy’ Dance Magazine ‘Talent: You’ve got it or you don’t. And from the start of Benjamin Levy’s precocious choreographic career, it’s been clear this guy has serious gifts.’

San Francisco Chronicle

Choreographer Biographies

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CHOREOGRAPHER BIOGRAPHIES

Janet Smith Janet has been Artistic Director of Scottish Dance Theatre since 1997 and has created 7 works for the company– Playfall (1998), Song of Songs (1999), Still (1999), High land (2001) Forty Minutes (2004) and most recently I Thought I Heard Somebody Calling (2009) and NQR (2010). She has also restaged Chiaroscuro (1997) and Touching Zulu (2006) for the company. In Spring 2006, Janet co‐directed MONKEY, a collaboration between Dundee Rep Acting Ensemble and SDT. Janet studied dance and drama at Dartington College of Arts and continued dance studies in New York. She created and toured 2 solo programmes before forming Janet Smith & Dancers. The company toured nationally and internationally for over 12 years – visiting Europe, the Middle and Far East. Janet also worked as a freelance performer with London Contemporary Dance Theatre and Rosemary Butcher. She has taught widely, at student and professional level, encouraging creativity, ownership and expressive range. Janet has choreographed internationally for companies including Dance Theatre of Ireland, The Playhouse Company (South Africa), Batsheva (Israel), Cisne Negra (Brazil) and Dance Theatre of Freiburg (Germany). She has created children’s works for English National Ballet and Janet Smith & Dancers and worked in opera and theatre including with the Royal Shakespeare Company. Janet’s work concerns people, culture, community and identity. She works collaboratively, drawing inspiration from individual dancers as well as the world around her. Janet won the 2008 Jane Attenborough Dance UK Industry Award which honours an individual working in dance who has made an outstanding contribution to the artform.

Caroline Bowditch Caroline has been dancing in mixed ability companies for 15 years. Since arriving in the UK in 2002, she has been mentored by Adam Benjamin (CandoCo) and Yael Flexer (Bedlam Dance) and has participated in several residencies with CandoCo. Caroline participated in The Dancers’ Project 2005 (The Place) and underwent training on the Cultural Shift project 2005 (East London Dance). She has choreographed and performed work as girl jonah with Fiona Wright and is a founder member of Weave Movement Theatre (Melbourne) and The FATHoM Project (Newcastle). Caroline toured with SDT in the spring 2007 where she helped create and performed in Adam Benjamin’s Angels of Incidence. Caroline has been SDT’s Dance Agent for Change since Spring 2008.


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Marc Brew Marc Brew has been working in the UK and internationally for the past 12 years as a dancer, choreographer and teacher; with the Australian Ballet Company, the State Theatre Ballet Company of South Africa, Infinity Dance Theatre in New York and for 5 years up until early 2008 with CandoCo Dance Company. He was involved as performer, collaborator and media spokesperson for the London Handover Ceremony at the Beijing Olympic and Paralympic Games Closing Ceremony 2009. In 2008, Marc was awarded a place on the DanceEast Rural Retreat ‐ Future Directors and Creative Producers for Ballet and Dance, and as a result received a Rural Retreat Placement with Scottish Dance Theatre, shadowing artistic director Janet Smith. After leaving SDT Marc choreographed for The British Fashion Awards, performed and choreographed in National Theatre of Scotland’s productions of Mary Queen of Scots got her Head Chopped Off and Our Teacher’s a Troll, as well as creating a new work Nocturne with Marc Brew Company ‐ a Without Walls and Greenwich & Docklands International Festival Commission. Marc is now back with SDT for 18 months on an Associate Director Fellowship. This post aims to break new ground for dance and disability at a mainstream level. Marc has co‐directed the new work, NQR in collaboration with Janet Smith and SDT’s Dance Agent for Change, Caroline Bowditch. www.marcbrew.com

Ben Duke Ben studied at Guildford School of Acting and London Contemporary Dance School. He is the co‐founder of Lost Dog. As a performer he has worked with Dominic Leclerc, the Darkin Ensemble, Maresa von Stockert, Punchdrunk, and Henrietta Hale. Most recently he has performed in the Gate Theatre’s critically acclaimed I am Falling and also in The National Theatre of Scotland’s Dolls. As a choreographer Ben has worked with Phoenix Dance Theatre, Scottish Opera, From Here to Maturity, Transitions, Edge, Intoto, The Oily Cart, the Gate theatre and The National Theatre of Scotland.

Benjamin Levy Benjamin Levy has been awarded the honour of “Top 25 Choreographers to Watch” by Dance Magazine, and a Goldie Award for Outstanding Talent by the San Francisco Bay Guardian. He has taught master classes and been in residence at Beverly Hills High School, the University of Utah, University of California Santa Barbara, San Diego and Berkeley, Philadenco, San Jose State University, San Francisco State University, Northern California Dance Conservatory, University of Oregon, Dance Place Theater, George Washington University, the LINES Ballet BFA program, and is currently on faculty at ODC Dance Commons and Studio Gracia in San Francisco. He has had the pleasure of collaborating with renowned artists including Kronos Quartet, composers Keeril Makan and Mason Bates, French couture designer Colleen Quen, and industrial designer Rick Lee. Levy has also been awarded a Choreographic


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Fellowship from the Maggie Allesee National Center for Choreography and a 2005 Emerging Choreographer Award from the Wallace Alexander Gerbode Foundation. Born and raised in California, Levy received his BA in Dance and Marketing from the University of California, Berkeley. www.levydance.org

Liv Lorent Liv trained at the Arts Educational School, Tring and the Laban Centre, London. In 1993 she established balletLORENT and represented the UK in the Deuxiéme Rencontres Chorégraphiques Internationale. Liv became a resident artist at The Place, London (1995) and then a choreographer in residence at DanceCity Newcastle (1996), where BalletLORENT is based. The company tours nationally and internationally. As well as for SDT, Liv has created work for George Piper Dances, Northern Stage, Singapore Dance Theatre, Northern Youth Dance Company, DanceXchange and Northern School of Contemporary Dance. Awards include a Northern Electric Artist’s Award, ‘best performance’ from the North East Creative Awards, Jerwood Choreography Award 2001 and The Arts Foundation Choreography Award 2005. www.balletlorent.com

Hofesh Shechter

Winner of the Critic’s Circle National Dance Award for Best Choreography (modern) in 2008 Hofesh Shechter is becoming one of the UK’s most exciting artists. Recognised as both a choreographer and composer Hofesh recently dazzled audiences with The Choreographer’s Cut – commissioned by Sadler’s Wells and performed at London’s iconic Roundhouse, Hofesh reworked his acclaimed double bill Uprising/In your rooms to feature a band of 20 musicians alongside a company of 17 dancers.

Hofesh graduated from the Jerusalem Academy for Dance and Music before moving to Tel Aviv to join the world renowned Batsheva Dance Company, where he worked with Artistic Director Ohad Naharin and other choreographers including Wim Vandekeybus, Paul Selwyn‐Norton, Tero Saarinen, and Inbal Pinto. Hofesh began drum and percussion studies whilst in Tel Aviv and continued later in Paris at the Agostiny College of Rhythm. Subsequently, he began experimenting and developing his own music while participating in various projects in Europe involving dance, theatre and body‐percussion. In 2002 Hofesh arrived in the UK.

His choreographic debut, Fragments, for which he also created the score, toured both nationally and internationally to Finland, Italy, Portugal, Korea, and Poland, where the piece won first place in the 3rd Sergei Diaghilev choreography competition. In 2004 Hofesh was commissioned by The Place Prize to create the sextet, Cult. The work was one of five selected finalists and was announced winner of the Audience Choice Award. From 2004 to 2006 Hofesh was Associate Artist at The Place and was commissioned by the Robin Howard Foundation to create Uprising, his ever‐popular work for seven men.


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The three works formed the triple bill deGENERATION, Hofesh’s first full evening of work.

In 2007 London’s three major dance venues, The Place, Southbank Centre and Sadler’s Wells, collaborated on a unique producing venture, commissioning Hofesh to create In your rooms which was presented at all three venues in 2007 and culminated in sell‐out shows at Sadler’s Wells Theatre. In your rooms was nominated for a South Bank Show Award and won the Critics Circle Award for Best Choreography (modern) in 2008.

Hofesh was commissioned by Brighton Festival in 2009 to create the “exquisitely acrimonious” The Art of Not Looking Back (The Observer, 2009) which was inspired by and made for six female dancers. An outdoor version of the work was presented at Latitude Festival later that year. In 2008 Hofesh formed Hofesh Shechter Company who are touring globally to both critical and popular acclaim.

In 2010 Hofesh created his first full length work for the Company, Political Mother, which premiered at the 2010 Brighton Festival.

Hofesh has been commissioned in the UK by Bare Bones Dance Company, Edge and Verve the postgraduate companies of London Contemporary Dance School and Northern School of Contemporary Dance respectively, StopGAP Dance Company, Scottish Dance Theatre, CandoCo and Dance United. Internationally Hofesh has made new work and remounted works on Ballet CeDeCe (Portugal), Hellenic Dance Company (Greece), Bern Ballett (Switzerland), Skanes Dansteater (Sweden), Carte Blanche Dance Company (Norway) and Cedar Lake Contemporary Ballet (New York).

Hofesh worked as choreographer at The Royal Court Theatre for Motortown by Simon Stephens (2006), and on The Arsonists (2007), collaborating with Director Ramin Gray on both productions. Hofesh was choreographer for the National Theatre’s award winning production of Saint Joan (2007) directed by Marianne Elliot and starring Anne Marie Duff. Hofesh also choreographed the hit dance sequence ‘Maxxie’s Dance’ for the opening of the second series of Channel 4’s popular drama Skins.

Hofesh is an Associate Artist of Sadler’s Wells and Hofesh Shechter Company is Resident Company at Brighton Dome. www.hofesh.co.uk

Kate Weare Kate Weare is the recipient of a 2009 Princess Grace Award and a nominee for the 2008 Alpert Award in the Arts for Choreography. Weare received a B.F.A. from California Institute of the Arts in 1994, and founded her New York‐based Kate Weare Company in 2005. In recent years, Weare has been awarded first prize in NYC’s The AWARD Show, a Joyce Theater Artist‐in‐Residency, a Jacob’s Pillow Artist‐in‐Residency & Project Commission, a Dance New Amsterdam Artist‐in‐Residency, a Danspace Project Commission, two Dance Theater Workshop Project Commissions, a Bates Dance Festival


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Artist‐in‐Residency, a Choreographic Fellowship at the Maggie Allesee National Center for Choreography, as well as support grants from private foundations such as The Greenwall Foundation, The O’Donnell‐Green Music and Dance Foundation and The Bossak/Heilbron Charitable Foundation. Recent and upcoming Kate Weare Company engagements include The Joyce Theater (NYC), Jacob’s Pillow Dance Festival (MA), Fall for Dance @ New York City Center, Danspace Project @ St. Mark’s Church (NYC), Bates Dance Festival (ME), ODC Theater (SF), Spring to Dance, St. Louis, and Florida Dance Association’s Summer Festival. www.kateweare.com

James Wilton After developing a passion for dance at school, James went on to join Cornwall Youth Dance Company, working with Rambert Dance Company, Birmingham Royal Ballet, Charlotte Vincent, Jasmin Vardimon and Bawren Tavaziva. In 2006 he began full‐time vocational training at London Contemporary Dance School (LCDS). Whilst training he choreographed and performed in Crash at Wembley Arena to an audience of 2000 people. During his 3rd year he toured with LC3 (LCDS 3rd year touring company), performing at venues such as Lillian Baylis Theatre, Sadler's Wells, Robin Howard Dance Theatre, and internationally at The Mediterranean Conference Centre in Malta and Theatre Massimo in Palermo, Sicily. Since graduating from LCDS James has been working as a freelance choreographer and teacher. In January 2010 he premiered a new work as part of Resolution! at The Place, London. James takes inspiration for his choreography from martial arts such as Jiu Jitsu, Muay Thai and Kung Fu, as well as drawing inspiration from acrobatics and contact improvisation. His work focuses on physical risk taking and seeing how far the human body can be pushed and how a performer responds when they are at their physical limit.

LUXURIA: Photographer Chris Nash

SDT Creative Learning / Wrap Around Events

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ABOUT SDT Vision Dance speaks before and beyond words, allowing us to sense and feel our way into our thoughts. It is visceral and visual, present and immediate, here and now. Dance also triggers the subconscious and our sense of shared consciousness. It can wake us up to our own dreams and inner life. Dance creates and celebrates community. It can uplift, inspire, tune our sensibilities and enrich our lives. SDT is a vibrant creative community of dancers and arts professionals dedicated to bringing a life enhancing experience of dance to as many people as possible, knowing that dance does make a difference. Scottish Dance Theatre seeks to:

Create dance that is original, relevant, thought provoking and entertaining

Be a seedbed for creativity and spearhead art form development

Bring a life‐enhancing experience of dance to as many people as possible

Through performance we offer audiences a diverse range of choreographic voices through a varied repertoire of work. We invite both internationally acclaimed and emerging choreographers to collaborate with SDT’s dancers to create pieces that are, almost entirely, unique to the company. Janet Smith also choreographs and is supporting the emergence of talent from within the company. The highly acclaimed repertoire is constantly evolving, pushing boundaries and expectations. The company tours throughout the UK and internationally, with recent performances in Dubai, China, and Italy. SDT’s dancers bring a real individuality and personality to the stage, which, together with a palpable sense of company and a shared passion to communicate are the hallmarks of our identity. Creative Learning is at the heart of our organisation. We offer a diverse and inclusive wrap around education programme to compliment our performance work. Our dancers are very much involved in its preparation and delivery as we share our first hand experience of creative process to empower others through dance.


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SDT CREATIVE LEARNING/WRAP AROUND EVENTS SDT has a firm and absolute commitment to education and the central role that it plays in the company’s work. We seek to bring a life enhancing experience of dance to as many people as possible, increasing access to and appreciation of contemporary dance. SDT is excited and inspired by sharing artistic practice across cultures and by the impact that this creative exchange can have on sustaining a healthy international dance community. SDT liaises with promoters/funding agencies and education contacts to set up tailor made education wrap around events with Artistic Director, Janet Smith, being involved in the design and delivery of the education programme, along with Dawn Hartley, SDT’s Education Manager. Residencies and workshops are often led by SDT dancers who are all experienced in the planning and delivery of workshops which use the company’s performance repertoire as the impetus for creative work, ensuring participants have a direct contact with the creative heart of the company’s work. Workshops are taught in an inclusive way. During SDT’s 2009 tour to China the company performed in Beijing and Shanghai and also delivered a British Council funded education programme in both these cities, as well as a three day residency in Guangzhou which focused on Creative Dance and Diversity: teaching creative dance inclusively. SDT’s unique offer is to deliver a meaningful programme of wrap around events which is beneficial to all partners. The success of the company’s China tour highlights the company’s ability to make the broadest possible links when touring internationally. “You may have guessed that SDT’s workshop in Guangzhou turned out to be a big success, but you may not know actually how big it is. According to the feedback from all workshop participants, they consider this workshop very useful and helpful in their daily work, and they will bring what they have learnt into their job. Thanks to your great effort and cooperation, without which we may not create such a miracle.” British Council Intern, Guangzhou

Continuing Professional Development

SDT can present training workshops (half day, full day or residency) for professional dancers, students, community dance leaders, both primary and secondary school teachers with projects being tailored to the needs and level of the group. Maximum 25 participants.


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Pre/Post‐show talk

SDT can offer either a pre or post show talk with SDT Artistic Director, Janet Smith and/or Assistant Director, Sally Owen, lasting approximately half an hour. The talk offers information on the company, the programme of work, the creative process and the artistic collaborators in order to inform those people interested in being introduced to the work and guided into viewing it in this way. Those attending the talk are encouraged to ask questions.

SDT Interactive Performance and Workshop programme

SDT Interactive is part lecture demonstration and part performance, created especially for school and community groups and for anyone interested in learning more about dance. Artistic Director, Janet Smith or Assistant Director, Sally Owen introduces the company and talks about how the work is made, the themes that the choreographers used to create the dances, the use of light, costumes, music. The dancers perform sections of the work and talk about the life of a dancer. After a short interval, the company performs one full work (approx 30 mins) with full lights and costumes. The performance ends with a question and answer session. SDT Interactive lasts approx 1 hr 45 mins but shorter versions are also available. Interactives can take place in a variety of venues.

SDT offers dance workshops to groups attending an SDT Interactive (maximum 25 participants). These workshops are a fun introduction to dance, tailored to the skill level of the participants and are based around work featured in the SDT Interactive event. Interactive promo DVD and more information available on request.

SDT’ Dance Agent for Change

SDT’s Dance Agent for Change, Caroline Bowditch is working to break new ground for dance and disability with inclusion at the forefront – educating, informing and expanding horizons. The aim is to increase the number of disabled people involved in dance, including those entering training or the dance profession. www.danceagentforchange.co.uk. Caroline can offer tailor made workshops, training, presentations and residencies, often delivered in partnership with SDT’s Artistic Director and/or dancers. Education Programme Costs : Available on request. Contact: Education Manager, Dawn Hartley [email protected] +44 1382 342600.

Press and Audience Quotes

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PRESS & AUDIENCE QUOTES Press Quotes ‘Thrilling technique and sheer expressive artistry….truly outstanding dance’ The Herald ‘Chucking endless superlatives at this team of dancers doesn’t do them justice’ The British Theatre Guide ‘Everything about this impressive new programme from Scottish Dance Theatre (SDT) connects, on some level, into those abiding concerns: Who am I? What shapes me? Where do I belong?’ The Herald ‘a truly class act’ The Herald ‘Nothing short of brilliant’ Fest (Edinburgh Festival Guide) ‘(SDT’s) hallmark versatility, with consistently excellent performance in very varied works.' MusicOMH ‘impeccable…lap them up’ The Sunday Times ‘one of the most reliable tickets in town when it comes to high‐calibre choreographic content and effortlessly superb dancing’ The Herald ‘the members of Scottish Dance Theatre are among the most personable dancers now working in Britain. Extremely nimble and versatile, they bring a refreshing collective energy to everything they do’ The Times

‘the kind of ensemble rapport that thrilled audiences and critics alike. Whatever they danced, the group had an unforced togetherness that inspired confidence’ The Herald ‘what a splendid company Janet Smith’s troupe is. The key to its success is the quality of its dancers and the use to which it puts them.’ ballet.co.uk

Press and Audience Quotes

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Audience Quotes ‘Wow. Words cannot describe how stunning and beautiful this show is. It was emotional, breathtaking and powerful. The dancers completely surrendered to the demands of the choreography, which in turn spoke volumes to the audience.’ ‘thank you very much for making the world (my world) more beautiful and full of art…’ ‘It was an evening of the most superb calibre, stunning at all levels, a real marvel’ ‘the skill and artistry of the dancers never disappoints’ ‘I am always thrilled by SDT’s performances’ ‘Thank you for reminding me why I chose to dance’ ‘It always engages with my mind and my emotions’ ‘Always innovative and interesting’ ‘Fantastic, beautiful and moving’ ‘fluid and imaginative’ ‘I would travel long and far to see you’

Practical Information, Touring Party Costs

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PRACTICAL INFORMATION: TOURING PARTY/COSTS SDT has 17 people on the road (NQR 20 people): 11 dancers 3 technicians Artistic Director Assistant Director/Ballet Teacher Company Manager Performance Fee: On request Promoter/Venue covers the cost of:

International flights

Local travel (from airport to hotel, hotel to theatre etc)

Hotel accommodation (at least 3*) with breakfast.

Meal allowances/Per Diems at current British Council rates.

International freight transportation (*it may be possible to travel with just excess baggage, depending on programme performed)

Local Technical staff and equipment hire as required in SDT Tech Rider.

All Marketing associated with the performances.

Interpreter costs (if necessary)

Visa and inoculation costs (if necessary)

SDT Staging Requirements / Technical Rider

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SDT STAGING REQUIREMENTS/TECHNICAL RIDER

NB: Generic Rider, specific rider dependant on programme

Stage Optimum Stage 14m wide x 11m deep Performance Area 11m wide x 10m deep Black Box 2m depth between entrances Excellent quality black vinyl dance floor Good quality Full Blacks Excellent quality Sprung Floor, level, not raked Full Flying Crossover Level Get In

Temperature Maintained at 20‐25° C on stage and in dressing rooms

Technical Get In from 9am on the day before the performance A pre‐rig is preferable 120 ways of dimming, min 25 at stage level DMX onstage and rear auditorium ETC ION desk (SDT can provide) 8 lighting booms for side lighting All cabling for side towers Excellent quality PA system Sound desk and CD playback facilities Onstage Monitors FOH sound mixing position to operate sound and lighting

Wardrobe Washing and drying facilities Laundry room for duration of stay

Accommodation 4 dressing rooms with showers Rehearsal space if available Company Office if available

SDT Local Tech Crew Call (provisional) SDT tours with a Technical Manager, Stage Manager and Technical Assistant

Get in Day: 2 LX, 2 Stage 1st Performance Day: 1 LX, 1 Stage Subsequent Performance Days: 1 LX, 1 Stage Get Out: 2 LX, 2 Stage NB Crew calls and times vary depending on programme performed.

Past, Current and Future Venues

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PAST CURRENT AND FUTURE VENUES Recent International Touring 2009/10 Madinat Jumeirah, Dubai Mei Lanfang Theatre, Beijing Peking University, Beijing Opera Hall, Oriental Arts Centre, Shanghai Luoghi Comuni Festival, Milan, Italy Spring 2010 Dundee Rep Theatre Jersey Arts Centre The Place, London The Riverfront, Newport The Lowry, Manchester Traverse, Edinburgh Eden Court, Inverness Macrobert, Stirling Sabhal Mor Ostaig, Isle of Skye Theatre at the Mill, Newtownabbey Belgrade Theatre, Coventry Lawrence Bately Theatre, Huddersfield Curve, Leicester Future Touring 2010 August Zoo Southside, Edinburgh as part of The Edinburgh Festival Fringe 8, 11, 13, 15, 18, 20, 22 @ 7pm, NQR/Drift 7, 9, 12, 14, 16, 19, 21 @ 7pm, The Life and Times of Girl A September 28 De Veste, Delft, The Netherlands www.theaterdeveste.nl 30 Schouwburg, Arnhem, The Netherlands www.schouwburgarnhem.nl October 1 Parktheater, Eindhoven, The Netherlands www.parktheater.nl 2 Theaters Tilburg, The Netherlands www.theaterstilburg.nl 27 The Brunton Theatre, Musselburgh www.bruntontheatre.co.uk (SDT Interactive Matinee) 29 Woodend Barn Arts Centre, Banchory www.woodendbarn.co.uk (SDT Interactive)

Past, Current and Future Venues

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November 5 Platform, Glasgow www.platform‐online.co.uk 9 His Majesty's Theatre, Aberdeen www.boxofficeaberdeen.com 12 The Sunart Centre, Strontian www.sunartcentre.org 16‐18 Dundee Rep Theatre www.dundeerep.co.uk 21 Traverse, Edinburgh www.traverse.co.uk 14,15 Tramway, Glasgow www.tramway.org Future Touring 2011 (provisional) February 16 – 19 Dundee Rep Theatre March 2, 3 Jersey Arts Centre 9,10 macrobert, Stirling 17‐19 The Place, London 22 The Point, Eastleigh 24 The Corn Exchange, Newbury 30, 31 Traverse Theatre, Edinburgh April 1 Traverse Theatre, Edinburgh 12 Oldenburg (venue tbc) 15 Theatre at the Mill, Newtownabbey 17 Sabhal Mor Ostaig, Isle of Skye May 4 Town House, Hamilton 13, 14 Belgrade Theatre, Coventry 19 Mull Theatre 24 Lawrence Batley Theatre, Huddersfield Programme at each venue varies – information on request.

Company Contacts and Funding Credits

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COMPANY CONTACTS Management Amanda Chinn, General Manager

T: + 44 1382 342600 M:+44 7540740143 [email protected]

International Producer Nelson Fernandez T: +44 207 3735662 M: +44 7941868647 [email protected]

Marketing Katie Smith, Marketing Manager T: + 44 1382 342600 [email protected]

Technical Emma Jones, Technical Manager

T: + 44 1382 342600 / M: +44 7903837988 [email protected]

Education Dawn Hartley, Education Manager T: + 44 1382 342600 [email protected]

You can keep up to date with SDT on www.facebook.com/scottishdancetheatre, www.twitter.com/SDTDance and www.youtube.com/scottishdancetheatre

Scottish Dance Theatre is part of Dundee Rep Theatre

Iain More Associates, The Russell Trust, LankellyChase Foundation, The Tay Charitable Trust, Miss G.M. Pattullo's Advancement Award Scheme, Mathew Trust, Northwood Charitable Trust, Gannochy Trust, William S Phillips Fund, Harold Merton Adams Trust, Alexander Moncur Trust

RepNet SDT is a founding member of the new European network, RepNet. The network brings together five repertory dance companies from across Europe – SDT, Carte Blanche (Norwat), Nordwest/Tanzcompagnie Oldenburg – Tanztheater Bremen (Germany), Skånes Dansteater (Sweden) and Iceland Dance Company. The purpose of the network is to enable each member company to enhance their work through the exchange of experience and mutual learning and to increase and develop their audiences. RepNet’s mission is both inward and outward: to share and learn from each other in order to develop their companies, broaden audiences and deepen the understanding of dance.

Supported by The National Lottery through Creative Scotland

Press Articles and Reviews

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PRESS ARTICLES AND REVIEWS


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The Scotsman online Published Date: 23 February 2010 By Kelly Apter DUNDEE REP

**** IT IS often said that dancers should keep their mouths shut and let their bodies do the talking. Largely because the coming together of dialogue and dance can leave an audience cringing, longing for somebody who can deliver a line with credibility. London‐based choreographer Ben Duke is committed to proving otherwise, insisting that by giving his performers a voice, the dance is richer not poorer. If The Life and Times of Girl A is anything to go by, he's on to a winning formula. To be fair, Duke has two things in his favour – firstly he doesn't try to turn Scottish Dance Theatre (SDT) into a troupe of actors, but embraces their talents as dancers. Those who do have lines openly state "I'm not an actor," then give it a go anyway, with hilarious effect. Secondly, he has Solene Weinachter, a French‐born dancer who joined SDT in 2007 and carries the lead role of Girl A with remarkable aplomb. Duke loses us shortly before the end with a few minutes of confusion, but overall the combination of Weinachter's comic timing and subtle emotional shifts, and Duke's synchronised choreography make this a piece you could watch again and again. The second part of this enjoyable double bill was created by three choreographers, so it's no surprise that it works on a number of levels. Named after an old medical acronym for "not quite right," NQR brings together disabled and able‐bodied dancers so seamlessly it looks like the most natural combination in the world. That said, the work also glories in the fact that all 11 dancers on stage – and by extension all of us – are different. A simple set of rectangular light boxes is used to great effect, and SDT proves once again what a cosmopolitan and thought‐provoking company it is.


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Scottish Dance Theatre March 2010 London, Place by Graham Watts, Ballet.co.uk James Wilton’s ‘Drift’ was made when he was still a student at London Contemporary Dance School, and has now gained renewed life through the merger of his solo – ’Rush’ ‐ with the six‐minute ‘Drift’ duet to follow. Natalie Trewinnard was in the original student cast and now partners James McGillivray in this intensely physical work that requires absolute trust between the pair with its high risk and frequently aggressive partnering, especially in the stunning lift and drop with Trewinnard’s dramatic head‐first fall arrested just inches from the potential for something worse than a very nasty headache. Trewinnard received the Robert Cohan Award for most promising Female Dance Artist at LCDS in 2007 and it’s clear to see why, since she is a dynamic, charismatic and fluid performer. ’Drift’ is an occasionally uncomfortable work in which the dancers sometimes flay around, as if machine‐gunned by an unseen foe and both dancers end it understandably close to exhaustion…an impressively powerful duet of exhilarating movement.


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The List Preview Contemporary Dance Scottish Dance Theatre

As an experienced choreographer, Janet Smith has always had much to offer Scottish Dance Theatre (SDT). But as the company’s artistic director, she’s also got an eye for outside talent. Smith has brought a diverse range of people in to work with her dancers in previous years, and the company’s new double‐bill is no exception.

Sitting alongside NQR, co‐created by SDT’s Dance Agent for Change Caroline Bowditch, associate director Marc Brew and Smith herself, is The Life and Times of Girl A, by choreographer Ben Duke. Co‐founder of London‐based dance theatre company Lost Dog, Duke was commissioned by Smith to create a new piece for SDT, resulting in a humorous look at moments of emotional and financial crisis.

‘Ben’s world lies somewhere between theatre directing, filmmaking and dance,’ explains Smith. ‘So I was really interested in his perspective. We’re a small company, and each time a new choreographer comes in they connect with different dancers – so it offers them all different opportunities. And if I can excite the performers, and keep them developing, then they’re sure as hell going to share that with an audience.’ (Kelly Apter)

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