Welcome
On behalf of Dance Consortium members, I am delighted to welcome you to iD Reloaded by a driving force in Quebec’s cultural influence for over 30 years; Cirque Éloize. A pioneer in contemporary circus, Cirque Éloize blend circus arts with music, dance, technology, and theatre to spectacular effect. They last toured the UK with Dance Consortium in 2015 with Cirkopolis and have since continued to push boundaries of performance and innovation from their state-of-the-art studios in Montreal; so we just had to invite them back.
iD Reloaded is inspired by iD, Cirque Éloize’s fantastic West End and international hit. The show is an intoxicating blend of circus arts and urban dance music; b-boying/b-girling, breakdance, hip hop and so much more. Beyond the phenomenal physical feats of the talented cast members (some of whom were inspired to become artists by watching the original iD!), the impressive video projections and pulsating soundtrack combine to create a thrilling piece of work, full of attitude, energy and invention. Dance Consortium continually strives to present a diverse range of the best international dance and circus from around the globe and it is an absolute joy to bring this fresh and exciting combination of circus and dance styles to venues across the UK.
As with all Dance Consortium tours, these performances are supported by a range of engagement opportunities including workshops, open rehearsals and talks with the creative team and performers, which aim to deepen the connections that our audiences have with international artists. We are hugely grateful to the performers from Cirque Éloize for providing these different ways to engage, especially on top of the brilliant performances you see on stage…we’re looking forward to seeing who can master their juggling skills!
Dance Consortium is committed to supporting the wider dance and touring ecology through extended engagement opportunities and projects, including through our successful Future Leaders Programme. This provides young people an opportunity to explore behind the scenes of our member venues, giving them an insight and understanding of what it’s like to work in a theatre and tour international dance. We also provide placement opportunities to students, such as those from the Liverpool Institute for Performing Arts (LIPA), two of whom will join us for a week on tour and get a real insight into life on the road.
As always, thanks to our member venues for their ongoing commitment to presenting international work of the highest quality and for helping to bring the most exciting companies from the world stage to audiences around the UK and Ireland. We have some brilliant tours planned over the next year including a first Dance Consortium tour from multi award-winning Irish choreographer, Michael Keegan-Dolan in early 2026. This will be followed up next summer by a return visit from one of our favourites, Les Ballets Trockadero de Monte Carlo from New York – there really is something for everyone.
So, tell your friends and families, spread the work on socials and we look forward to seeing you at another Dance Consortium show in the future.
Until then, sit back and enjoy the performance!
Joe Bates, Chief Executive, Dance Consortium
Dance Consortium Presents
iD Reloaded Cirque Éloize
Directed and curated by Jeannot Painchaud
Dance Consortium presents Cirque Éloize: iD Reloaded
Directed and curated by
Jeannot Painchaud
Mixing urban dance, daring stunts and dazzling acrobatics.
iD Reloaded inspired by iD, Cirque Éloize’s groundbreaking and breathtaking West End and international hit, is an intoxicating blend of circus arts and urban dance music; b-boying/b-girling, breakdance, hip hop and more.
The scene is set in the heart of a city, in a public space where people seek refuge and a chance to shed their anonymity: a place where identity is forged and individuality is expressed. The stage fizzes and thrills with infectious energy and phenomenal physical feats, as the 9 talented cast members from Canada’s famed contemporary circus crew Cirque Éloize perform against a kaleidoscope of eye-popping video projections.
Set to a pulsating and stimulating soundtrack by Jean-Phi Goncalves (Beast) and Alex McMahon, directed and created by Jeannot Painchaud, iD Reloaded is a thrilling piece of work, full of attitude, energy and invention.
“Mixes circus and urban dance to cracking effect. The skill and excitement levels and are sky high.”
— The Guardian (Review from iD)
“This truly thrilling modern circus show from the Canadian based troupe was as nail biting as it was beautiful.”
— The Telegraph (Review from iD)
Photo by Caroline Thibault
Cover photo by Caroline Thibault
Jeannot Painchaud
Founder, Creative Producer & Stage Director
Jeannot Painchaud is the Founder, President, and Chief Creative Officer of Cirque Éloize. First as an artist in 1985 then, as Artistic Director and finally entrepreneur, he has quickly established himself as a key figure in contemporary circus. In 2017, he was named Knight of the National Order of Québec (Canada), and in 2018, he was honoured as Companion of the Order of Arts and Letters of Québec. In 2023, he was made Knight of the Order of Montreal.
Rich with 40 years of experience in the entertainment industry, Jeannot Painchaud, at the forefront of Cirque Éloize, has delivered more than 36 original productions, captivating over 6 million spectators in more than 60 countries. His passion and creativity have been instrumental in transforming Cirque Éloize into a dynamic and multidisciplinary creative powerhouse.
“It is with great pleasure that I announce the return of one of our landmark works in Cirque Éloize’s repertoire: iD Reloaded. Evolving with a new stage design and fresh direction, you will find some of the most iconic numbers from the show. Driven by the energy of a new generation that constantly pushes the boundaries between dance and circus, the action in this new version takes place at the heart of a city, in a strange urban universe, suspended in time in a space that is unreal – perhaps in another dimension. Welcome to the world of iD Reloaded.”
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Photo
Valérie Remise
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Photo
Caroline Thibault
Elon Höglund
Choreographer & Associate
Stage Director
Born in Stockholm, Sweden, Elon discovered his love for dance through breaking and hip hop at the age of seven. Alongside this, he developed a deep interest in martial arts and trained extensively in various forms. He later found further inspiration in other street styles, theatre, and contemporary dance, which eventually led to the creation of his own movement approach. Elon has performed and choreographed works for theatre, dance, and contemporary circus productions since 2001.
In 2005, he left Europe to be part of the creation of Cirque du Soleil’s The Beatles LOVE show in Las Vegas, where he performed and choreographed his own solo. Elon has toured internationally with various companies, including Cirque Éloize, where he was one of the original cast members of iD.
He also co-founded the award-winning dance company Tentacle Tribe and has taught countless workshops and mentored choreographers around the world.
Adam Dransfield Performer
Alexia Medesan
Performer
ADAM DRANSFIELD discovered break dance by watching their brother and taking his first class, meeting mentor; Slinky. Adam was instantly captivated and soon found a natural flow between breaking and circus arts. The blend of movement and creativity inspired Adam deeply - and he’s been pursuing that passion ever since!
Nationality: United States
ALEXIA MEDESAN graduated in 2025 from the National Circus School, Canada. she specializes in swinging trapeze, aerial hoop, contortion, and acro-dance. With a background in figure skating, her body becomes pure expression - fluid, tense, and instinctive. She explores balance where desire falters: intense, silent, and magnetic - never invisible, always powerfully present.
Nationality: Canada
Bryan “Slinky” Boyer
Performer
Christophe Bate
Performer
BRYAN “SLINKY” BOYER is an acclaimed B-Boy with over 16 years of international experience. He has performed in 27+ countries, collaborated with major companies like Cirque du Soleil, Cirque Éloize and appeared on top TV shows (So You Think You Can Dance, America’s Got Talent and The Ellen DeGeneres Show). Based in Salt Lake City, he creates viral content and brings humor, energy, and authenticity to every stage.
Nationality: United States
CHRISTOPHE BATE is a New Zealand-born circus artist who’s passionate, and hardworking. He has over 13 years of experience in Circus art, and graduated from the École Nationale de Cirque de Montreal in 2025, specializing in Aerial Solo, Duo Straps and Cyr Wheel, minoring in Hand to Hand.
Nationality: New-Zealand
Florence Amar Performer
JP Deltell
Performer
FLORENCE AMAR is a highly skilled circus artist known for her unique acrobatic style and artistic identity. A graduate of École de Cirque de Québec (2015), she performs solo aerial hoop and fabric acts, and also offers hand-to-hand drawing on her strong gymnastics and acrobatic background. Florence, in the past years, has participated in different production by Cirque Éloize.
Nationality: Canada/Québec & France
JP DELTELL is a dynamic performer with over 15 years of professional experience entertaining audiences around the world. Specializing in juggling, jump rope, and trampoline, JP’s versatility extends to roles as an MC and model, showcasing his talent and charisma on every stage.
Nationality: Canada, Québec
Kayden Woodridge Performer
Kayden’s journey into circus began in 2018, when he chose a summer training at the National Circus School, Canada over competing at the Canada Games. Since then, circus has defined his path. Specializing in Chinese pole, Hand to Hand and Icarian Games, he graduated from the National Circus School, Canada in 2025 with a unique and powerful acrobatic vision.
Nationality: Canada
Lakesshia “Kiki” Pierre
Performer
LAKESSHIA “KIKI” PIERRE is a multidisciplinary artist with over 13 years in the international street dance scene. She’s won battles in Japan, Paris, and New York, and was a Top 6 finalist on America’s Best Dance Crew, Canada. Now based in Los Angeles, she has performed with stars like Will Smith, Janelle Monáe, The Black Eyed Peas and many more.
Nationality: Canada, Québec.
Trevor Bodogh Performer
TREVOR BODOGH is a professional trial bike artist who has performed internationally since 2012. Known for his precision, power, and creativity, he’s worked with top productions like Cirque du Soleil and Cirque Éloize. His shows captivate audiences by blending technical mastery with strong artistic expression in arenas and under the big top.
Nationality: Canada
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Photo
Caroline Thibault
Cirque Éloize: iD Reloaded
Company
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iD
RELOADED
Creative Producer & Stage Director | Jeannot Painchaud
Choreographer & Associate Stage Director | Elon Höglund
Musical Composers | Jean-Phi Goncalves & Alex McMahon
Set Designer | Frederick Ouellet
Costume Designer | Liz Vandal
Lighting Designer | Stéphane Ménigot
Video Designers | Bernard Mauran, Yannick Doucet
Sound Designer | Rémy Jannelle
Makeup Artist | Veronique St Germain
Technical Director/Video Manager | Bernard Mauran
Head Carpenter | Emmanuel Landry
Head Rigger | Alissa Bonneville
Lighting Operator | Simon Vanneste
Stage & Tour Manager | Élianne Désilets-Dubé
iD
RELOADED PERFORMERS
Alexia Medesan | Contortion, Aerials
Adam Dransfield | Dancer, B-Boy, Chair Balancing & Trampoline
Bryan “Slinky” Boyer | Dancer, B-Boy
Lakesshia “Kiki” Pierre | Dancer, B-Girl
Trevor Bodogh | Trial Bike
JP Deltell | Juggling & Trampoline
Kayden Woodridge | Chinese Pole, Hand to Hand & Trampoline
Christophe Bate | Straps, Cyr Wheel
Florence Amar | Aerials, Hand to Hand
Photo
Caroline Thibault
CIRQUE ÉLOIZE
DIRECTION
Founder, President and Chief Creative Officer | Jeannot Painchaud
Chief Executive Officer | Elise Charbonneau
BUSINESS DEVELOPMENT & TOURING SHOWS
Executive Producer | Pascal Auger
Business Development Manager, Live Shows and Touring Exhibitions | Jean-Marc Peslerbe
CREATION & PRODUCTION
Artistic Lead | Andrew Corbett
Artistic Coordinator | Francine Tremblay
Production Manager | Jean-René Giard
MARKETING & COMMUNICATIONS
Ticketing Manager & Administrative Assistant | Pamela Goffinet
EVENTS & STUDIOS
General Manager and Interim Events Director | Elise Charbonneau
Project Manager – Sales, Marketing and Development, Events | Claire Philippe
Project Manager, Events | Roxane Blais Decamps
Project Manager, Events | Anne-Catherine Caron
Technical Director, Events | Marc-Antoine Sirois
Assistant Technical Director, Events | Antoine Lefebvre
Technical Coordinator, Studios & Warehouses | Diogo Pinto
Technical Director and Facility Management, Station Master | Louis-Philippe Morency
Studio Maintenance Manager | Yves Deschênes
Receptionist | Linda Lavigueur
Bar Manager | Charles Painchaud
Photo by Caroline Thibault
Reload:Remix Creating Circus in the 21st Century
By Katharine Kavanagh
In the public consciousness at large, something about the image of circus is stuck in a mythologised past somewhere in the mid 20th century. Ask someone today what the word ‘circus’ means to them, and you will most likely still hear ideas about tradition, big tops, and populist entertainment. AI programmes - that trawl the internet to synthesise our human knowledge and regurgitate the most common findings - produce images of red and white striped tents, elephants, redcoated ring-masters and clowns in bright greasepaint. And yet we know there is more out there than that. Like any art form, circus has been a constantly evolving and expanding set of ideas and practices over human history. It was given a name and codified in the late 1700s, but the exact meaning of the word continues to shift and slide, referring variously to types of skill, types of setting, or types of experience. Even the more recent term ‘contemporary circus’ has grown ill-defined, overlapping sometimes with use of the earlier label cirque nouveau (or ‘new circus’); at other
times used to mean a particular set of experimental approaches; at others to encompass the entire gamut of circus taking place today, in the contemporary moment. One thing that has remained common to circus history though, is the spirit of remix.
The idea of remix is often associated with internet culture after the advent of web 2.0 at the start of the millennium, when consumers of content also became producers of content; where users now build memes and stitch media into new collaged creations, combining elements shared by others with their own complementary or juxtaposing ideas. Of course, the spirit of remix has been around much longer. Mark Twain famously described a kaleidoscope of creation with the oft-cited phrase “There is no such thing as a new idea”. The same elements continually swirl into new and unforeseen combinations with each artistic turn of the wheel. In particular, remix practices have been central to the hip hop culture that infused both
Photo by Caroline Thibault
the original iD and its new incarnation, establishing sampling as a musical technique and seeing street dance styles develop from various combined influences of urban communities to fill looped ‘breaks’ in the music.
In circus, the presence of remix has been less commented upon. In a field where novelty and innovation have long been prized, proprietorial tensions have often arisen, and the idea of ‘stealing’ someone’s act carries a sort of moral horror. But from the earliest days, an ever-shifting amalgamation of skilled physical forms, entertainment ideas and technological capabilities has characterised circus. The same ideas get re-used, upcycled, or reinvented, appearing again at different times and places throughout history. Philip Astley, who is often credited with ‘inventing’ circus, is given the accolade for combining trick horse-riding from his military career with the juggling and acrobatic feats of London street performers and then charging admission for them in a combined programme. Daniel Cyr, one of the Cirque
Éloize co-founders, combined concepts from a circular metal clothes rack and a large hula hoop to create the apparatus now named after him – the Cyr wheel. He had been unaware of similar contraptions used by American dancer Doris Humphreys in the 1920s or by German athletes in the 1950s, and Cyr’s literal reinvention of the wheel illustrates the convergent evolution Twain’s kaleidoscopic metaphor for creation hints at.
When the Cyr wheel first appeared in the UK in Cirque Éloize’s Excentricus in 1999, the press gave barely a passing mention to the use of “a giant hoop in place of a German Wheel” . Daniel Cyr was instead applauded and credited in the papers for his acrobatic ladder routine. A quarter of a century on, of course, it is that giant hoop which not only carries his name around the globe, but has become a contemporary staple among circus disciplines (these days, it is the German wheel – a double rimmed structure joined by horizontal bars like a hamster wheel - which is more a rarity).
Photo by Caroline Thibault
That visit to Edinburgh Festival Fringe in 1999 was also the first time Cirque Éloize had appeared under a big top. The tent - a staple ingredient of circus expectation for many people - was provided by British circus proprietor Phillip Gandey after he met the company at Monte Carlo International Circus Festival earlier that same year. Éloize director Jeannot Painchaud found that they were “alone as circus at the festival” in Edinburgh, and here again much has changed over the last twenty-six years. The ‘Dance and Physical Theatre’ section of the Fringe programme where Excentricus was listed was renamed ‘Dance, Physical Theatre and Circus’ more than a decade ago, and the 2025 programme lists more than 35 different circus offerings. That Fringe experiment in 1999 was well received, and Éloize were able to return to the UK the following year for a tour of the theatre venues the show was designed for. At that time, it was unusual for circus to be created for a proscenium theatre rather than a ring, although in the early years of the 20th century –and, incidentally, the early years of the 19th century – this was much more common. Now,
in the early years of the 21st century, we find circus performances again inhabiting theatres on a regular basis, as well as a further variety of venues: in tents, in the open-air, in bar rooms, in churches and in all manner of other repurposed spaces. Sometimes these shows feature only a single discipline or a solo performer, highlighting different strands of 21st century circus development that now sit alongside the ensemble work and variety format of larger companies like Éloize.
The performing arts staples of music, dance and drama have always been ingredients of circus, but their recipe has also been remixed at different times to bring different flavours to the fore. In 2010’s original iD, Cirque Éloize brought hip hop and circus together in this spirit of transformation, along with the burgeoning technology of projection mapping. Today, performing circus on a traditional theatre stage is no longer in itself unexpected and fresh; instead, the company’s work expands these conventional venues, transforming spaces through video projection and sound spatialisation. Cirque Éloize are now front runners
Photo by Caroline Thibault
Photo by Caroline Thibault
innovating ways to present circus through multimedia installations and immersive experiences. At home in Montreal the company have their own permanent 360° virtual environment, and advances in both technology and artistry since the premiere of iD in 2010 have led to bespoke creations and to the spectacular new visual projections showcased in iD Reloaded. Director Painchaud has described this new iteration as “more cartoon-like” than its predecessor, and the video designs of Bernard Mauran and Yannick Doucet bring graphic novel influences to the remix.
The futuristic visuals also reflect how urban experience has changed over the last fifteen years. Rollerblading is out, virtual experiences and digital devices are in.
When audiences experienced the exhilarating trampowall finale of iD for the first time, the young discipline was surprising and novel. YouTube was yet to become a global media platform, Instagram had barely launched and TikTok was still several years away. Now, such feats are made ubiquitous across social media, where the novel quickly becomes prolifically shared and emulated. Today, the novelty comes from witnessing such feats performed live; from sharing the same physical proximity as such online icons.
The remix history of the trampowall - sometimes also called trampoline wall or trampwall - is interesting to trace. The performance discipline was developed by Cirque du Soleil in the 1990s, and was adopted both by other artists and as an extreme sport. The trampoline itself was invented less than a century ago, although the word had been used for various springboard type devices in circus performance previously. Gymnasts George Nissen and Larry Griswold were inspired to build the prototype that would become the modern trampoline by watching trapeze artists land and bounce on their safety nets. Sports, in this case, borrowed from circus and, at the start of the millennium, trampolining became an Olympic event. In the years that followed the pair’s innovation, circus claimed the remixed invention back, spawning clowning acts like Griswold’s own famous routine as a drunkard on a diving board, as well as more aesthetically-driven or thrill-inducing numbers.
As writer and filmmaker Kirby Ferguson says, “everything is a remix”, with all creation drawing on the three key principles of copying, transforming and combining. Circus has always done this exceptionally well, but it is unusual for a complete production to be re-developed and brought back into the circuit. By reloading iD with an evolved set of skills, technologies and contexts, Cirque Éloize demonstrate again their innovation in the field, as they continue to earn their place as one of the best-loved circus companies in the world.
Dr Katharine Kavanagh is a circus writer, researcher and educator based at Cardiff University. She is the founder of The Circus Diaries, an online platform for critical perspectives on circus performance.
Photo by Caroline Thibault
Photo by Caroline Thibault
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Caroline Thibault
When and Where
Marlowe Theatre Canterbury
FRI 19 - SAT 20 SEP 2025
BOOK NOW
Mayflower Theatre Southampton
TUE 23 - WED 24 SEP 2025
BOOK NOW
Wycombe Swan Theatre
FRI 26 - SAT 27 SEP 2025
BOOK NOW
Wales Millennium Centre Cardiff
TUE 30 SEP - WED 1 OCT 2025
BOOK NOW
Wolverhampton Grand Theatre
FRI 3 - SAT 4 OCT 2025
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Milton Keynes Theatre
FRI 10 - SAT 11 OCT 2025
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Alhambra Theatre Bradford
TUE 14 - WED 15 OCT 2025
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Hull New Theatre
FRI 17 - SAT 18 OCT 2025
BOOK NOW
Photo by Caroline Thibault
Learning and Engagement
Dance Consortium’s engagement programmes run parallel to tours, offering audiences an opportunity to deepen their understanding and passion for dance and circus. Cirque Éloize’s UK tour not only delivers captivating performances but also presents enriching learning and participation activities tailored for schools, community groups and dance enthusiasts.
Post-Show Q&As: Cirque Éloize artists host illuminating post-show Q&A sessions on the tour’s opening night in each city. Audiences gain valuable insights into the artistic process, inspirations and stories behindthe creation of iD Reloaded
Workshops: A unique opportunity to join Cirque Éloize artists for a workshop, providing participants
with the chance to learn from world-class performers. The workshop includes a warm-up followed by the opportunity to learn a combination of circus and movement skills (e.g. juggling and hip-hop dance) and an opportunity to hear about the life and career of a circus artist. Workshops can be tailored to community groups with varied movement experience offering a fun and energetic way to connect with the show.
Open Rehearsals: Go behind the scenes to observe the artists as they prepare for the performance. Providing a unique chance to gain insight into preparation for the show. Seated in the auditorium guests can watch world class circus artists individually prepare for the evening’s performance. Each artist will provide insight into their specific discipline e.g. juggling, trampoline, aerial or
Photo by Caroline Thibault
Photo by Caroline Thibault
dance. Check with your local venue to see what’s on offer.
Insight Notes: This free resource provides insights into Cirque Éloize, the artists and collaborators that created ID: Reloaded. Teachers, students and community groups can access complimentary introductory notes containing links to further reading and video clips. Suitable for formal and informal learning, these materials support curriculum study and enrich understanding, appreciation and creative responses to the show. Available at danceconsortium.com.
Talent Development: Dance Consortium has yearround commitment to supporting creative careers and talent development. Recent initiatives include
ongoing project, Future Leaders, that establishes connections between our 24 member theatres and the next generation of off-stage theatre workforce. Work placements provide hands-on experiences for students from the Liverpool Institute for Performing Arts (LIPA) during many Dance Consortium tours, offering invaluable real-world experience.
The Ailey Project UK, fosters diversity in dance through a partnership with the world-renowned Alvin Ailey American Dance Theatre. Dance Consortium is also a registered Arts Award Supporter, signposting young people to as many arts experiences as possible.
Visit danceconsortium.com for more information.
Photo by Caroline Thibault
Photo by Caroline Thibault
Past tours and credits
Supported 2009, 2010, 2012 & 2014)
Alvin Ailey American Dance Theater (2005, 2007, 2010 & 2016)
Ailey 2 (2011 & 2023)
Dance Theatre of Harlem (2004)
Danza Contemporanéa de Cuba (2010, 2012 & 2017)
Australian Dance Theatre (2007)
Bill T Jones / Arnie Zane Dance Company (2004)
Breakin’ Convention (2007.
Cirque Éloize (2015. Supported 2011)
Cedar Lake Contemporary Ballet (2013)
Companhia de Dança Deborah Colker (2004, 2006 & 2010)
QDance Company (2024)
La La La Human Steps (2008)
Les Ballets Trockadero de Monte Carlo (2008/2009, 2011, 2013, 2015, 2018 & 2022)
Mark Morris Dance Group (2001, 2009 & 2019)
Nederlands Dans Theater NDT 2 (2004, 2005, 2007, 2009, 2012, 2016 & 2022)
Paul Taylor Dance Company (2003)
Dada Masilo (2019 & 2023)
Acosta Danza (2020 & 2022)
Sao Paulo Dance Company (2024)
Les 7 Doigts (2021)
Co Chairs: Stephen Crocker & Marianne Locatori
Directors: Anand Bhatt, Helen Costello, Stephen Crocker, Andrew Hurst, Rosie Kay, Marianne Locatori, Chris Stafford, Iona Waite & Suzanne Walker
Chief Executive: Joe Bates
Senior Producer: Claire Morton
Audiences & Engagement Manager: Megan Saunders
Social Media Management: Matt Fishel
Marketing: Shereden Mathews and Mark Dooley at Dressing Room 5; Helen Snell & Emma Russell at Helen Snell Ltd
Press: Sue Lancashire & Martha Oakes at Martha Oakes PR
Accountants: Rebecca Gaskin & Janice Jane Webster at Rowlands Webster
Auditors: Vanessa Graham at Topaz Solutions Limited
Website: HdK Associates
Programme Design & Print: Consider This Agency
Tour Manager: Emily de Mariveles
Production Management: Phil Webb
Production Electricians: Alex Frost & Jonny Reed
Lighting Support: White Light
Trucking Arrangements: Strada
Travel Arrangements: The Production Touring team at Specialised Travel
Insurance: Gordon & Co Insurance Brokers Learn
Ballet British Columbia (2018 & 2025)
Batsheva Ensemble (2012)
Cloud Gate Dance Theatre of Taiwan (2008)
Compagnie Kafig (2005 & 2014)
Grupo Corpo (2005 & 2014)
Eun-Me Ahn Dance Company (2025)
Stephen Petronio Company (2008)
m¡longa (2017)
Nederlands Dans Theater NDT 1 (2008)
Sutra, A Sadler’s Wells Production (2013)
Greener Touring
Dance Consortium is committed to exploring ways to reduce the impact of its activities on the environment through its environmental action plan. Whilst acknowledging that international touring creates an unavoidable carbon footprint, we are actively seeking ways to improve and mitigate against this. We endeavour to promote best practice across our membership and to raise awareness of the effects of climate change amongst our members, the companies we tour, suppliers, audiences attending our performances and the young people engaging in our Learning and Engagement programme.
We continue to develop and promote new and innovative initiatives across the member venues. In the meantime, here’s a snapshot of some of the achievements that we are proud of…
• We supply all visiting companies with reusable Ocean Bottles for each company member and our venues provide water stations next to the stage. Dancers drink lots of water, so this reduces plastic waste from single-use bottles of mineral water.
• Our touring technical team uses Velcro fasteners in place of PVC electrical tape for cabling work wherever possible, reducing the sacks of tape waste usually produced at the end of each run of performances.
• All of our catered events use local suppliers and are vegetarian or vegan, with boxes to take-away leftovers to reduce waste.
• Eden Court, Inverness achieved a 10% reduction in gas use and switched to Automated Meter Readings. Since 2020, their Climate Emergency group has driven a public commitment and action plan covering all operations. With funding from the Community Regeneration Fund and Patron support, they’ve committed to initiatives including installation of Rockwool insulation across the
venue, boosting energy efficiency and advancing long-term sustainability.
• To date, the solar panels at the Marlowe Theatre Canterbury have powered the equivalent of 111 shows. In partnership with Canterbury City Council, they have installed new all-LED lighting in the auditorium which will save up to 83% energy use compared to the old lighting.
• Norwich Theatre Royal installed a 10.6m x 2.6m Living Wall on the side of the fly tower.
• Brighton Dome and Festival is on a mission to reduce single-use plastics across the whole organisation and have teamed up with reusable cup experts Green Goblet to serve up audience drinks in an earth-friendly way.
• Each of our member venues has appointed a Green Champion and Dance Consortium facilitates a nationwide e-group to share ideas and resources.
• In November 2023, Dance Consortium held its first Greener Touring Symposium at the Marlowe Theatre, Canterbury, bringing together representatives from across the large-scale theatre sector to explore the challenges and support changes to ensure touring is more sustainable with the next event in October 2025.
• Two of our Trustees are part of Arts Council England’s Board Environmental Champions Programme, which aims to embed environmental responsibility within Dance Consortium at governance level. This will support the members to step up their sustainability plans, reduce their environmental impact, and inspire peers and audiences at a time when it is most needed.
• As well as the direct actions Dance Consortium and our member venues are taking to mitigate the climate crisis, we also see our role as helping to support our audiences understand what they do to help. A recent report titled Act Green by Indigo, an award-winning organisation that researches audience behaviours and trends, showed that 86% of cultural audiences are worried about the climate crisis and 93% have made changes to their lifestyle to help tackle it. However, audiences feel that organisations are not doing enough or feel that they are not communicating what they are doing effectively. Whereas, 72% think cultural organisations have a responsibility to influence society to make radical change in response to the climate emergency. In November 2023, Dance Consortium ran its first Greener Touring Symposium which looked at what large-scale theatres and their audiences can do support climate action. Here are just a few ideas that you could consider:
• Travel: Can you use public transport to travel to the theatre? If not, then could you travel with friends and family to reduce the impact of private travel? Try using You Smart Thing, a new tool which can help you compare travel options and the amount of CO2e for each option: https://yousmartthing.com/
• Reduce waste: Think about the flyers and brochures you collect and throw away. Could you take a photo of the information, so you have it digitally instead? Could you change your subscription to receive news from your venue via its e-newsletter rather than printed material through the post?
• Reuse cups and glasses: The Act Green Report suggested that 88% would reduce their use of disposable packaging and single use plastic at venues. Many of our member theatres now have reusable cups to help eliminate single use plastics. If you have a drink before the show, take them back for a refill at the interval, rather than requesting a fresh cup – we reuse glasses and cups at home so why not when we’re out and about!
• Recycling: Look out for recycling points around the theatres and if you can’t see them, just ask a member of staff to direct you.
• Turning your lights of at home: by coming together for a collective experience in the theatre, you can help offset the energy being used on stage to make the show happen by making sure lights and appliances are turned off whilst you’re out of the house.
Photo by Caroline Thibault
Where we are
Dance Consortium is a group of 24 large theatres located across the UK and Ireland.
Dance Consortium was formed in 2000 with the aim of enriching the high-quality dance offer in the UK by presenting regular tours from international companies. It has since grown into a widespread consortium of venues with a core strategic aim to develop audiences for dance across the UK and Ireland, engage new attenders in innovative ways, and promote the art form as a source of accessible enjoyment and entertainment.
Since its formation Dance Consortium has presented 55 tours by 30 different companies whose performances and education activities have been experienced by hundreds of thousands of people across all parts of the UK and in Ireland.
His Majesty’s Theatre ABERDEEN
Tickets: 01224 641122 www.aberdeenperformingarts.com/ his-majestys-theatre
Grand Opera House BELFAST
Tickets: 028 9024 1919 www.goh.co.uk
BIRMINGHAM Hippodrome
Tickets: 0844 338 5000
Calls cost 4.5p per min plus access charge www.birminghamhippodrome.com
BLACKPOOL Grand Theatre
Tickets 01253 290190 www.blackpoolgrand.co.uk
Alhambra Theatre BRADFORD
Tickets: 01274 432000 www.bradford-theatres.co.uk
BRIGHTON Dome
Tickets: 01273 709709 www.brightondome.org
BUXTON Opera House
Tickets: 01298 72190 buxtonoperahouse.org.uk
The Marlowe Theatre CANTERBURY
Tickets: 01227 787787 www.marlowetheatre.com
Wales Millennium Centre CARDIFF
Tickets: 029 2063 6464
Mac croeso I chi cysylitu â ni yn Gymraeg www.wmc.org.uk
The Bord Gáis Energy Theatre
DUBLIN
Tickets: +353 (1) 677 7999 www.bordgaisenergytheatre.ie
Festival Theatre EDINBURGH
Tickets: 0131 529 6000 www.capitaltheatres.com
Wycombe Swan Theatre
HIGH WYCOMBE
Tickets: 0343 310 0060 www.trafalgartickets.com/wycombe-swantheatre
HULL New Theatre
Tickets: 01482 300306 www.hulltheatres.co.uk
Eden Court Theatre INVERNESS
Tickets: 01463 234 234 www.eden-court.co.uk
Sadler’s Wells and Peacock Theatre LONDON
Tickets: 020 7863 8000 www.sadlerswells.com
MILTON KEYNES Theatre
Tickets: 0844 871 7615 www.atgtickets.com/venues/miltonkeynestheatre
Theatre Royal NEWCASTLE Tickets: 0191 232 7010 www.theatreroyal.co.uk
Theatre Royal NORWICH Tickets: 01603 630 000 www.norwichtheatre.org
NOTTINGHAM Theatre Royal and Concert Hall Tickets: 0115 989 5555 www.trch.co.uk
Theatre Royal PLYMOUTH Tickets: 01752 267222 www.theatreroyal.com
The Lowry SALFORD Tickets: 0343 208 6000 www.thelowry.com
Southbank Centre LONDON Tickets: 020 3879 9555 www.southbankcentre.co.uk
Mayflower Theatre SOUTHAMPTON Tickets: 02380 711811 www.mayflower.org.uk
WOLVERHAMPTON Grand Theatre
Tickets: 01902 42 92 12 www.grandtheatre.co.uk
Teaċ Daṁsa Michael Keegan-Dolan
‘overflows with depth and soul ... a heavenly, glorious, wildly whirling dervish’ The Arts Review
UK TOUR 2026
Tue 3 - Wed 4 Feb
SALFORD Lowry
Fri 6 - Sat 7 Feb
BIRMINGHAM Hippodrome
Tue 10 - Wed 11 Feb
BRIGHTON Dome
Fri 13 - Sat 14 Feb
NORWICH Theatre Royal
Tue 17 - Wed 18 Feb
SOUTHAMPTON Mayflower
Fri 20 - Sat 21 Feb
CANTERBURY Marlowe Theatre
Tue 24 - Wed 25 Feb
INVERNESS Eden Court Theatre
Fri 27 - Sat 28 Feb
ABERDEEN His Majesty’s Theatre
Tue 3 - Wed 4 Mar
PLYMOUTH Theatre Royal Plymouth
by
Photo
Caroline Thibault