After limiting my private Feldenkrais practice for a few years, I am starting to teach again in York. So if you’ve got stiff shoulders, a sore back, or you just want to increase your mobility, balance and ease of movement, please get in touch.
I’ll be running these lessons for charity. In response to the growing cost of living and the fact that around 1 in 4 of the UK’s children live in poverty, donations will go to York Foodbank.
You can find out more information about the Feldenkrais Method here.
My new interactive dance piece, Dancing Through Storytime, will be on in October.
It’s an interactive performance for families, integrating dance, movement and storytelling. During the 15 minute performance children aged 4-8 and their grown ups will hunt for sea creatures, get lost in a forest and float into space. It’s a show for everyone who has ever wanted to jump into their storybook.
I was very pleased to share my new interactive dance piece ‘Otherwise We Are Lost’ during my residency at Yorkshire Dance last week. The piece explores how scenography and design might be used to choreograph the audience’s movement. It draws a lot on my work with the Feldenkrais Method and my recent experiences with parkour.
A few pictures from Philomela and her Sisters, which was commissioned for this year’s Theatre Without Borders conference at the University of Hull. The piece sought to explore and critique the treatment of female characters in Classical and Renaissance revenge tragedy. It connects dialogues surrounding #MeToo and #TIMESUP to a selection of works from the Western literary canon. (Virgil’s Aeneid, Ovid’s Metamorphoses, Euripides’ Hecuba and Shakespeare’s Titus Andronicus.) I am pleased to say that it will be back in Hull later this year.
Performers: Catherine Marsh, Caitlin McPhilemy, Kira Curtis, Sophie Stones.
My new solo piece How To Look will be presented as part of ‘Hold Everything Dear: Performance, Politics and John Berger’, at the Bathway Theatre, University of Greenwich on 14th April. Inspired by the writings of John Berger, it integrates dance and spoken text to reflect on the complexities of looking and be looked at.
On Saturday 14th May I will be giving a talk in Oxford at St Edmund Hall’s Centre for the Creative Brain. I’ll be talking about how theatre makers might draw on research from the field of neuroscience to shape their thinking about training and aesthetics.