This is a private page for the DanceEast CAT and the University of Suffolk. If you are trying to access the public screening of HeadSpaceDance, please visit: https://www.danceeast.co.uk/performances/headspacedance-double-bill/
Welcome to your online digital theatre trip!
Friday 6 November
6.45pm – 7.00pm – Login to Zoom (Zoom login has been emailed to you)
7.00pm – 8.10pm – Watch performance on this webpage
8.10pm – 8.15pm – Break and log back into Zoom
8.15pm – 9.00pm – Question & Answer session on Zoom
Please join the Zoom session from 6.45pm and remain in the waiting room. The Zoom login has been sent to you. Once the performance starts at 7.00pm, please do not leave the Zoom, just mute and turn off your camera. Then come back to the the Zoom after the performance for the Question & Answer session.
The livestream of the performance will be available below at 7.00pm.
The question and answer session will be with Luca Silvestrini, Charlotte Broom, Christopher Akrill.
Choreographer (and Artistic Director of Protein Dance)
Luca is Protein’s Artistic Director. He is known for his unique style of dance theatre combining choreography, text, humour and social commentary to present the everyday in revealing and subversive ways, on- and off-stage. Protein’s work, such as Dear Body, LOL (lots of love) and Border Tales has toured the world, from the USA to Russia, Columbia to Thailand.
Born in Jesi, Italy, Luca graduated in Performing Arts at Bologna University. In 1995, he moved to London to complete his dance training at Laban. Since then Luca has worked with Maxine Doyle’s First Person, Catherine Seymour Dance Company, Lea Anderson and The Featherstonehaughs, Ruth Segalis’ Rose’s Thoughts, Bock & Vincenzi, Sarah Rubidge, Joanna Portolou and Aletta Collins.
His choreography dates from 1997 when he co-founded Protein. As Artistic Director he is known for idiosyncratic dance theatre work provoked by its deep connections with the everyday. His personality is stamped on large-scale cross-generational and participatory events, including the world record-breaking Big Dance Class, Eat London (which won a Visit London Gold Award) and Big World Dance, 2010, both of which took place in Trafalgar Square. He has created full-length intergenerational productions in Valenciennes, Athens, Barcelona, London, Turin, Kinosaki, Japan and Wadebridge, Cornwall; and has taught and presented Protein’s participatory work at schools and conferences in Singapore, Spain, Italy and Canada. He’s a regular guest teacher in Community Dance Practice at Corso per Danzeducatore in Bologna and at Danzatori per la Comunità in Turin, Italy.
Through Protein’s Real Life Real Dance programme, Luca has created ground-breaking participatory performance opportunities for disadvantaged and disengaged people, including young people in alternative provision schools, hospitals, refugees, asylum seekers and migrants.
In 2012, Luca and Protein were presented with a New Connections Award by the British Council in Italy for the valuable contribution made in developing closer relations between the UK and Italy.
The success and impact of Protein’s performance and participation programme has grown nationally and internationally over the last 21 years, and in 2016 Protein was again nominated (having won the accolade in 2011) for the Best Independent Company at the National Dance Awards. Luca has won a Jerwood Choreography Award, a Bonnie Bird New Choreography Award, The Place Prize Audience Award and received a Rayne Fellowship. Luca is a Affiliate Artist at The Place.
Performer/Artistic Director of HeadSpaceDance
Charlotte trained at the Royal Ballet School and Elmhurst Ballet School. She then joined Northern Ballet Theatre, where she became a Principal Artist dancing roles such as Juliet in Romeo & Juliet, Kitri in Don Quixote, Lucy in Dracula, and the titlular roles in Cinderella and Giselle and in Didy Veldman’s Carmen.
She then spent five years with The Cullberg Ballet, Sweden, where she danced the role of Aurora in Mats Ek’s Sleeping Beauty, and worked with choreographers, Ohad Naharin, Jiri Kylian, Johan Inger, Stijn Celis and Didy Veldman. She also danced in Mats Ek’s Swan Lake, She Was Black, Fluke and A Sort Of.
Since returning to the UK, she has danced the role of Mrs Alving in Cathy Marston’s adaptation of Ibsen’s Ghosts as well as roles in Marston’s Traces, Arcana and Dust. She has also begun collaborating with Director and Choreographer Will Tuckett, creating roles of the Fox in his production of Pinocchio, the Mole in Wind in the Willows, Edie in Faeries and Princess Bee in The Thief Of Baghdad. She then performed in Cabaret playing Texas, directed by Rufus Norris and choreographed by Javier de Frutos (The Lyric Theatre, Shaftesbury Avenue) and went onto work with Luca Silvestrini on The Ride for the Wapping Project.
Charlotte has performed the role of The Queen on the international tour of Matthew Bourne’s Swan Lake and in The Most Incredible Thing at Sadler’s Wells ( Javier De Frutos). She went on to perform in The Bacchae at The Royal Exchange (Manchester) directed by Braham Murray. She has played the Bad Angel in Dr.Faustus at The Globe and the role of Lucetta in Shakespeare’s Two Gentlemen of Verona (Theatre Royal, Northampton) both directed by Matthew Dunster. Most recently, Charlotte choreographed A Midsummer Night’s Dream at Regent’s Park Open Air Theatre, directed by Matthew Dunster.
Performer/Artistic Director of HeadSpaceDance
After training at the Northern Ballet School in Manchester and early work at the Scottish Ballet, Christopher Akrill danced in the Northern Ballet Theatre, Malmö Ballet, Hannover Ballet and Deutsche Oper Am Rhein in Dusseldorf where he worked with choreographers Gillian Lynne, Hans Van Manen, Youri Vamos, Christopher Gable, Dennis Wayne, Nanette Glushak and Oleg Vinagradov and danced lead roles including Gypsy in Carmen by Mats Ek (Dusseldorf), Mercutio in Romeo and Juliet (NBT), Ebenezer Scrooge (NBT), Carabos in Sleeping Beauty (Hannover), and both Mercutio and Benvolio in Romeo and Juliet (Dusseldorf, Malmö).
In 1998, Chris joined Cullberg Ballet in Sweden. During this time he danced several leading roles, including Prince Siegfried in Mats Ek’s Swan Lake and the Presenter in Alexander Ekman’s Study of Entertainment, and worked with choreographers Mats Ek, Jiri Kylian, Ohad Naharin, Crystal Pite, Alexander Ekman, Stijn Cellis, Johan Inger, Didy Veldman, Rui Horta and Jens Östberg.
During a leave of absence from Cullberg from 2005 – 2008, Chris worked as a freelancer in London, performing leading roles of Captain Alving in Ibsen’s Ghosts by Cathy Marston (ROH2) and Pinocchio in Will Tuckett’s Pinocchio (ROH2) before going on to understudy and play the Emcee in Rufus Norris’s acclaimed production Cabaret, choreographed by Javier De Frutos (Lyric Theatre). Chris returned to Sweden in 2008 and in 2010, his final year at Cullberg, received two awards: The Christer Holgersons award from the Carina Ari Memorial Foundation, and the Riksteatern Award for his artistic contributions and excellence in dance.
Chris is now enjoying being based back in the UK working as a freelancer in both dance and theatre, and has since performed in The Most Incredible Thing directed by Javier De Frutos (Sadlers Wells) Dr Dee, The Modern Opera directed by Rufus Norris and written by Damon Albarn (Manchester International Festival and ENO) and also played Lucky in Samuel Beckett’s play ‘Waiting for Godot’ directed by William Oldroyd in Munich, and most recently Joe Wright’s film Anna Karenina.
CAT – email@example.com
UOS – firstname.lastname@example.org