Bare Bones // The 5 Man Show

ROH2 PRESENTS A DX PRODUCTION

THE

5 MAN SHOW

SOUVENIR PROGRAMME FRIDAY 12 - SUNDAY 14 MAY 2006 LINBURY AT THE ROYAL OPERA HOUSE

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ROH2 CREATIVE DIRECTOR DEBORAH BULL HEAD OF ADMINISTRATION PHYLLIDA RITTER PRODUCER PHILIPPA ROOKE HEAD OF DEVELOPMENT DILSHANI WEERASINGHE TECHNICAL MANAGER MARTIN ADAMS

THE ROYAL OPERA HOUSE'S ROH2 PROGRAMME IS MADE UP OF A VARIED RANGE OF PERFORMANCES AND EVENTS COMPLEMENTING THE REPERTORY ON THE MAIN STAGE AND OFFERING ADDITIONAL AND DIFFERENT OPPORTUNITIES TO ARTISTS AND AUDIENCES. THE EVENTS INCLUDE EXHIBITIONS AND A WIDE RANGE OF TALKS, MASTERCLASSES AND OPPORTUNITIES TO JOIN IN WHICH OFFER A UNIQUE INSIGHT INTO THE ART FORMS OF THE ROH AND ENHANCE THE UNDERSTANDING AND ENJOYMENT OF OPERA AND BALLET. THE PERFORMANCE PROGRAMME INCREASES THE RANGE AND DIVERSITY OF THE ART, THE ARTISTS AND THE AUDIENCES ENGAGING WITH THE ROH. IT PROVIDES A LABORATORY FOR THE ROH AND ITS ART FORMS, ENCOURAGING CREATIVITY, COLLABORATION AND EXPERIMENTATION. PERFORMANCES TAKE PLACE IN THE ALTERNATIVE SPACES OF THE ROH, INCLUDING THE LINBURY, CLORE AND FLORAL HALL, FEATURING CONTRIBUTIONS FROM THE ROH'S RESIDENT COMPANIES AND A RANGE OF ASSOCIATE ARTISTS AND COMPANIES.

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ROH2 PRESENTS A DX PRODUCTION

5 THE

5 MAN SHOW ...AND THEN GONE

CHOREOGRAPHY ARTHUR PITA INTERVAL (20 MINUTES)

WITH THE COMPANY WE KEEP CHOREOGRAPHY DAVID MASSINGHAM INTERVAL (20 MINUTES)

CRAZY GARY

CHOREOGRAPHY LIAM STEEL (STAN WON’T DANCE)

ARTISTIC TEAM PERFORMERS NEB ABBOTT RIVER CARMALT ANDREW COWAN OMAR GORDON JOHN THOMPSON CHOREOGRAPHERS DAVID MASSINGHAM ARTHUR PITA LIAM STEEL (STAN WON’T DANCE) LIGHTING DESIGNER HOWARD LUSCOMBE COSTUME DESIGNER ANNA JONES ARTISTIC DIRECTOR DAVID MASSINGHAM REHEARSAL DIRECTOR SUZANNAH WEST MARKETING KATHERINE FLYNN COMPANY MANAGEMENT BETH NABBS TECHNICIAN JOHN SLATER FUNDERS ARTS COUNCIL ENGLAND, WEST MIDLANDS BIRMINGHAM CITY COUNCIL DANCEXCHANGE

BARE BONES IS THE RESIDENT COMPANY OF DANCEXCHANGE, THE DANCE HOUSE FOR BIRMINGHAM AND THE WEST MIDLANDS

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BARE BONES FIVE YEARS, 5 PRODUCTIONS AND THE MAKING OF THE 5 MAN SHOW I really cannot believe it. Here we are in 2006 and Bare Bones is performing its fifth production in as many years and it just happens to be called The 5 Man Show. And it’s all down to timing, which is of course everything in the dance world. When I became the Artistic Director of DanceXchange (dx) in Birmingham, it was about to be developed into the Dance House it is today within the new Hippodrome building. Being without a building base for two years meant we really needed to come up with a project to keep and indeed raise our profile nationally. It came to me straight away; build a dance performance project that could tour to nontheatrical spaces, a subject I knew all about, in the rep formula that seemed to be fairly unusual at that time.

There has always been a kind of peculiar personal attachment for me in putting on dance in unusual and sometimes difficult spaces. This really grew from a commission in 1994 to make a piece of touring dance for rural communities in the East of England. A new work was made by my company, David Massingham Dance, in a mobile classroom in Lincolnshire. Although conditions were not perfect, there were some conveniences to be had; there were plenty of work surfaces on which to make lunch as it was some sort of science lab and, for some inexplicable reason, there was a bath in the corner should anyone need a hot soak after a hard days dancing.

When you are making dance for village halls, you might as well make it in a mobile classroom as the spaces we actually performed in were really quite small at times. However, I also discovered that the way in which the audiences actually viewed the work was significantly different from dance on stage. They seemed to experience the dance as opposed to watching it, due to the intimacy of performer with the viewer and the lack of any theatrical fourth wall. I also noticed that the makeup of audiences was really different; many more family groups were watching and the age range of youngest to oldest was much wider than I saw in theatres. Children watched abstract dance quite happily in this intimate setting, the dancers’ physicality enthralling them.

With Bare Bones it was going to be different, with an audience on all four sides. I also wanted to react against the amount of multimedia-based dance that was being made at the beginning of this century and so decided the project was going to go back to basics and be about what the performer alone could do in the space. Therefore there would be no sets and no props. I stuck my neck out and also decided the four-sided performance space was going to be 9m by 9m as I knew there were quite a lot of larger non theatrical spaces to work in across the country. So, the basic parameters were set and it was down to auditioning a group of dancers and finding the choreographers.

The sticky issue was working within slim finances but also wanting to break the usual triple bill mode of rep, so we went with five choreographers, making work at breakneck speed within a two week rehearsal period each! Amazingly, fortune was on our side and we managed to pull together a fantastic line up of choreographers quite quickly; Akram Khan, Henri Oguike, Yolande Snaith, Jasmin Vardimon and myself. All of us attended the auditions for dancers in Birmingham and it was quite something to be there. We ended up with five dancers from five different countries with a great range of experience.

The notion of making work in the round was a real i n c e n t i ve to the choreographers who had previously all worked vir tually solely on end-on productions. I also wanted to bring choreographers to the project that liked sets or props. Jasmin Vardimon, on being asked to make work, said, ’David do you really mean no props’ and I answered ‘yes I do, unless you can get them out of a pocket’. Jasmin took up the challenge, and in her Bare Bones 1 piece Shabbat, a duet for two men, one of them produces a cap from his trouser pocket. For Akram Khan it was the first time he had been commissioned to make a piece without being in it as a performer.

This amazing first year line-up ensured that the Bare Bones tour was big, with forty gigs across the country as well as two short Birmingham runs; the first at mac whilst the new dx was being built, and the second at The Patrick Centre, our new venue.

The dancers were superb and Bare Bones very quickly gained the reputation of high quality dance and dancing going to places others did not reach.

At this stage, Bare Bones was very much a project but there were lots of potential touring spaces to be uncovered and as yet we had not performed in London. The Bare Bones second show began to be discussed. How were we to make another success?

The answer was of course another great company of dancers from five different countries and a sterling line-up of choreographers.

William Tuckett and I had known each other from the famous Gulbenkian International Course for Choreographers and Composers some 15 years earlier. I was delighted that he wanted to make a piece and he relished the opportunity to make an intimate work with simple production values after several Royal Ballet commissions. This time I also felt we should push further into the theatre side of things and so Frantic Assembly was commissioned to make its first ever work for a dance company.

The challenge for Carol Brown was to make a piece stripped bare of her trademark installation settings and she came up with that year’s wonderful duet Maybe: a duet for man and wo m a n swallowed by space. Kim Brandstup and Robert Moses joined the ranks and a new show was made

BY DAVID MASSINGHAM, ARTISTIC DIRECTOR BARE BONES ready. Another huge tour took us everywhere and our fi rst Linbu ry perfo rmances happened in J a nu a ry 2004. B a re Bones was now fi rm ly established as a touring success with ten fantastic commissions and a roll call of fabulous dancers.

The pressure was on and the desire was there to forge ahead with a third Bare Bones show. This time we wanted to go even further and decided to m a ke two shows almost simu l t a n e o u s ly. We managed to raise more funds so Bare Bones 3 could happen alongside a show made especially for children. We knew the company had to be right for both productions and so set about building another international line-up of dancers.

The choreographers for Bare Bones 3 were in some ways partly set up because two of them, Luca Silvestrini and Montreal’s Hélène Blackburn, had previously been approached. Wendy Houston joined the line-up along with Holland’s Hans Tuerlings. Due to a late pull out this line-up was incomplete until after the making had begun.

Hofesh Shechter came to our rescue and amazingly made a beautiful solo in a week on Elizabetta D’Aloi.

More than the first two shows, Bare Bones 3 was a performance concept show, with work ranging from neo-classical dancing involving a dialogue with the audience, to a near-naked duet performed by Vicki Manderson and Jacob Dorff-Petersen, called To The Bone, a signature work for the company if ever there was one.

Once this show was up and running we went back into the studios to make the children’s show.

William Tuckett was back with us telling the tale of The Firebird. Next to this we wanted to present an abstract work and so commissioned Enrique Cabrera from Madrid. I know of no other dance company that has made a repertory show with two contrasting dance styles for children. A really successful idea was to link the two works via a Master of Ceremonies who helps guide the children about the ways in which dance can be both visual and tell a story (played by Suzannah West doubling up on her role as Rehearsal Director). We also ventured into the realms of audience participation for The Fire b i rd with children volunteering to join the cast of performers as the piece unfolded.

dented the team and so a change of tack was sought. It was decided not to make five works in the next show. Contracting and organising five choreographers to make work in a tight ten-week block had always been a major feat, so we decided to have just three choreographers and give them longer making periods (all of a week longer that is!).

Bare Bones 3 and Bare Bones for Children were ready to tour side by side and indeed were often booked by the same venue. Six months and 82 performances later, we had done it. Both shows came to the Royal Opera House and secured the feeling that the Linbury was our home from home.

Bare Bones for Children was an enormous hit across the country and it was really rewarding to venture into the realm of making work for young people.

It became clear that we had the potential to create an all male Bare Bones from the one and only audition. Neb and Omar were interested in doing both the Jerwood project and Bare Bones, whilst John had already shown a keen interest in joining the company. I had seen Andrew dancing on a graduate summer school in Montreal and was keen to bring him to this project. River had been with the company on the previous two productions and demonstrated his skill at working in a range of styles. And so, with the right team in mind, we went down that path and simultaneously engaged Liam Steel and Arthur Pita alongside myself to make the work. Suzannah West returned as Rehearsal Director adding the female dimension to an entirely male artistic team.

By this stage Bare Bones was no longer a project but a fully-fledged company touring extensively and beginning to break down the international door.

Arts Council, West Midlands recognised this and awarded the company regular funding status a l l owing the artistic planning to work more effe c t i ve ly into the future. H owe ve r, doing simultaneous shows and touring so much had

I had had it in mind to do an all male dance company project at some point but not necessarily for Bare Bones.

DanceXchange was also auditioning dancers for its Jerwood Changing Stages Choreolab project and so we pro-actively sought more men to come to our auditions as we hoped to get dancers for the month-long Choreolab in January and then form the new Bare Bones company shortly after.

At the end of January, the whole team came together. Each choreographer put forward ideas for the photo shoot and discussed what they would do in the creative process. I felt it was important to be visually true to the name The 5 Man Show and we all agreed that we would use all five dancers, making the works very much about men, in whatever way we felt true to.

With just one month to go, all was set and ready to begin with the creative process that would bring you The 5 Man Show…

BARE BONES 2 (2003) Improper (Frantic Assembly) Photo: Chris Nash

THE 5 MAN SHOW

OPENING FILM

(4 MINS)

A CELEBRATION OF BARE BONES (CREATED BY NEIL NISBET, ARTICLE19)

... AND THEN GONE

(18 MINS)

ACT I THE PLAY ACT II THE DANCE MUSIC BURLESQUE BACKGROUND ANONYMOUS PRELUDE (FOR THE BRASS): FAST AND EXACT FUGUE (FOR THE SAXES): EXACTLY THE SAME RIFFS (FOR EVERYONE) LEONARD BERNSTEIN CHOREOGRAPHY BY ARTHUR PITA With thanks to the dancers for their creative input The creation of this piece began with many starting points; death, seduction, mourning, rhythm, showmanship, zest, space, body and lots of steps, inspired by Bernstein's immense passion, the charms and spells of burlesque artist Tempest Storm, shiny black shoes and all those gentlemen. The piece is divided into two; Act I – The Play, in which the audience can have a direct relationship with the performers, absorbing a close-up of the tiniest of moves and looks. Being so close in the Bare Bones space this was an ingredient to the recipe that could not be ignored. In Act II – The Dance, the performers work for each other, allowing the audience to be voyeurs whilst having an intimate experience of the performers virile physicality. But like everything I can only guess, eventually it's gone.

For June

WITH THE COMPANY WE KEEP (22 MINS) MUSIC LENTO HOWARD SKEMPTON CHOREOGRAPHY BY DAVID MASSINGHAM With thanks to the dancers for their creative input and also Damian Marquez for costume making With The Company We Keep is a series of events involving five men. Relationships between them occur and slip away. In the making of the piece there was no attempt made to tell anyone's personal journey but more so to make visual the ebb and flow of time and portray the men's pathways in it. We worked in an open-ended way throughout the process and so I did not particularly know how the piece might eventually feel and look, indeed even the music was not chosen until halfway through the rehearsal period. As material was developed I tried to juxtapose sequences against each other as opposed to creating transitions from one to another, which I believe more truthfully reflects the fabric of our lives.

CRAZY GARY (25 MINS) MUSIC I LIKE THE WAY BODYROCKERS HOW BABIES ARE BORN CHRISTOPHER RECORDINGS MICHELE, YOU NEED TO LEAVE EZIO BOSSO IS THAT WHAT EVERYBODY WANTS CLIFF MARTINEZ COMINAGETCHA PROPELLERHEADS SUEZ MOTEL TIPSY SYMPHONY FOR ISABELLE (PART 3) CRAIG ARMSTRONG CLAPPING DUDE SONG NOISY BUNCH MELODIA AFRICANA I LUDOVICO EINAUDI TEXT GARY OWEN (EXTRACT FROM CRAZY GARY’S MOBILE DISCO) CONCEIVED AND DIRECTED BY LIAM STEEL CHOREOGRAPHY BY LIAM STEEL IN COLLABORATION WITH THE DANCERS The starting point for my work is always the observation of real people in real situations. With this particular Bare Bones project it was impossible to ignore the significance of placing 5 men together in an empty space, and so observations of the very particular physical and hierarchical interactions men have with each other when there are no women present was the initial stimulus for the choreography. I always work very closely and collaboratively with the dancers and this was no exception. Their personalities, bodies and particular ways of moving guide the rehearsal process and it is very important for me to still be able to see their individual personalities on stage in the final product. Pursuing my own personal fetish for trying to find ways of combining movement and text, I discovered Gary Owen’s text and felt it provided a perfect vehicle to look at a specific angle of the male emotional psyche, and for the Bare Bones dancers to find themselves (however tangentially) in the characters he had written.

NEB ABBOTT

RIVER CARMALT

After completing a psychology degree at the University of Northumbria and debating what to do next, Neb started a dance foundation course at Kensington & Chelsea College. This led to 3 years at LABAN and a fourth with Transitions Dance Company. Whilst on tour in the Netherlands with Transitions, Neb got his first job in Amsterdam with Truus Bronkhorst. He stayed in Holland for a further 3 years working with Galama & Kho, Arthur Rosenfeld and Jack Gallagher. The 5 Man Show is Neb's first professional job in the UK.

Since graduating with a degree in Dance Theatre at LABAN (2002), River has danced with companies including Attik Dance (Tangled, The Big Bang), Angela Woodhouse (Court), Transitions Dance Company, Suzannah West Dance Company, and C.O.D Productions – Angela Praed (Body of Long Memory). River is a South-West based artist who, in addition to working as a freelance dance artist and teacher, continues to pursue his own choreographic interests. Having previously performed in Bare Bones 3 and Bare Bones for Children (20042005), River returns to the company for The 5 Man Show.

ANDREW COWAN

OMAR GORDON

JOHN THOMPSON

Born in Southern California, Andrew began his dance training at the Idyllwild Arts Academy and continued at New York University's Tisch School of the Arts, where he received a Bachelor of Fine Arts in Dance. Since graduating, Andrew has performed in New York with Notario Dance Company, at the Joan Weil Center for Dance (NYC) as a member of WilliamsWorks, and at City Center (NYC) with Keigwin & Co. Andrew's own choreography has been shown at New York University, Dixon Place, The Yard on Martha's Vineyard, and in Montreal, Canada, at Ballet Dive r timento's Professional Project. Andrew moved to the UK to join The 5 Man Show.

Omar trained at the Central School of Ballet before joining Northern Ballet Theatre, where he danced principal roles in productions including Romeo & Juliet, A Christmas Carol and Dracula.

He then spent several years abroad, fi rst at Compagnia Aterballetto (Italy) and then Ballet de L'Opera National de Lyon (France), working with choreographers including William Forsythe, Ohad Naharin, Jiri Kylian and Mats Ek. Omar returned to the UK to join Richard Alston Dance Company.

Before joining The 5 Man Show, Omar worked with choreographer Cathy Marston in an adaptation of Henrik Ibsen's Ghosts.

A graduate of Lewisham College and London Contemporary Dance School, John began his performance career with the National Youth Dance Company in 2000, working with choreographers including Mavin Khoo and Cathy Marston.

Following his graduation, John worked with EDge, Random Dance Company and Rashpal Singh Bansal Dance Company. He has also performed with the physical theatre companies Darkin Ensemble, RE:form Dance Company and Helix Dance. John is very happy to be a member of Bare Bones.

ARTHUR PITA

Arthur is Portuguese, was born in South Africa and studied dance in Johannesburg. He came to London in 1991 where he trained at London Contemporary Dance School. He was a member of Adventures in Motion Pictures (1997 – 2003) and performed principal and featured roles in Cinderella, The Car Man, Nutcracker, Swan Lake and Spitfire. His choreographic work includes works for Johannesburg Dance Umbrella, Resolution! and Spring Loaded at The Place, M appa Mundi for the Royal National Theatre, Caledonian Road for the Almeida Theatre, La Boheme directed by Francesca Zambello at the Royal Albert Hall, Idomeneo with Placido Domingo for Los Angeles Opera, Frankenstein for Derby Playhouse, La Forza Del Destino for the Lithuanian State Opera and The Gambler for Opera Zuid. Arthur was an Associate Artist at The Place and it was there in 2003 that he launched Arthur Pita Open Heart with the double bill BoomShe SheBoom and Bugger,A Fairy Tale. He also premiered his first full-length work Camp, which ran for three weeks at The Place followed by a UK tour.

Snow White In Black, his new commission for Phoenix Dance Company, was recently performed at Sadler’s Wells and will tour the UK. Other future work includes research on a new Arthur Pita Open Heart production, Show Boat at the Royal Albert Hall and Carmen at the Royal Opera House.

HOWARD LUSCOMBE LIGHTING DESIGNER

H oward is a Lighting Designer and Production Manager for a diverse range of companies from dance to theatre and architectural. Born in Surrey and starting his career at the Redgrave Theatre in Farnham, he has gone on to production manage and design for many of DanceXchange projects including British Dance Edition and Bare Bones 1, 2 and 3. Outside of DanceXchange, H oward has re-lit and toured worldwide with The Watermill Theatre on Sweeney Todd (UK and West End) and Pinafore Swing (UK)) as well as Henry V, Comedy of Errors (UK, Germany, Malta, Cyprus, Italy, Mexico, Sri Lanka, Bangladesh, Malaysia, Indonesia and the Philippines), Rose Rage (UK, Italy and Poland) and A Midsummer Nights Dream (UK, Germany and Italy) for Propeller. Rose Rage and A Midsummer Nights Dream both won the TMA award of Best Touring Production of the Year.

He is also currently designing for Blue Tuna Television and has just finished working as design assistant to David Atkinson on the Charlie and the Chocolate Factory ride at Alton Towers.

DAVID MASSINGHAM

LIAM STEEL (STAN WON'T DANCE)

ANNA JONES COSTUME DESIGNER

She then worked on Pinocchio at the Royal Opera House as assistant to Will Tuckett before returning to Bare Bones for The 5 Man Show. In addition to working as Rehearsal Director, she continues to pursue an interest in performance and choreography, primarily through her own project Suzannah West Dance Company.

David Massingham trained at LABAN before becoming a member of Transitions Dance Company for which he made several works. He was founder and Co-Director of Adventures in Motion Pictures in 1987 before establishing David Massingham Dance in 1989.

The Company toured extensively in the 1990s taking work from rural village halls to large-scale theatres. Its last work, Untold, premiered in Spring Loaded at The Place in 1998. David was also Choreographer in Residence at Northern Arts in 1995, before returning to perform his own work in 1999 with the Channel 4 Per4mance series. David has worked in a variety of choreographic fields such as film, theatre and music theatre. His credits include Cabaret (Live Theatre, Newcastle), The Red Balloon (The REP, Birmingham) and The Tempest (The National Theatre, London).

David is currently Artistic Director of DanceXchange and of resident dance company Bare Bones. He also continues to pursue choreographic projects, his latest being a new work for the New Zealand School of Dance in 2004.

Anna trained on The Motley Theatre Design Course.

Since graduating in July 2004 she has designed The Biggleswades (Southwark Playhouse), Protection and British Beauty (The Tabard Theatre), Through a Cloud and The Red Channel (The Arcola), The Freedom of the City (The Finborough) and Futures (Theatre 503).

She has also assisted other designers including Jon Bausor on The Last Waltz and Tartuffe (The Arcola) and The Hoxton Story (The Red Room), Patrick Burnier on Les Bacchantes (Theatre Moulin Neuf) and Making Things Public (ZKM Karlsruhe), and Neil Irish on Woyzeck (The Gate).

SUZANNAH WEST REHEARSAL DIRECTOR

After dancing in the Cornwall and National Youth Dance Companies, Suzannah trained at LABAN (1993 – 1996) and then joined Transitions Dance Company.

As a performer she has appeared with Scottish Dance Theatre, Cathy Seago & Dancers, and Attik Dance, and has been part of several short projects including Angela Woodhouse and Springs. Suzannah has extensive teaching experience having taught on the faculty at LABAN, as a guest tutor on dance and theatre courses, and in leading creative residencies in community dance. In 2004/2005, Suzannah was Rehearsal Director for Bare Bones 3 and Bare Bones for Children.

Liam works as a director, choreographer and performer.

He is Artistic Director of his own company Stan Won’t Dance, which toured its first piece Sinner through 2004 to huge critical acclaim. For eight years he was a core member of DV8 Physical Theatre as both a performer and Assistant/Associate Director of the company.

Productions worked on included MSM, Enter Achilles (including the Emmy award-winning film version), Bound to Please, The Happiest Day of My Life, and The Cost of Living. Recent directorial/choreographic wo rk includes The Shooky, Birmingham Repertory Theatre; Paradise Lost, Northampton Theatre Royal; Pericles, RSC/Cardboard Citizens Theatre Co.; Devotion,Theatre Centre; F r a n ke n s t e i n, Blue Eyed Soul Dance Co.; Heavenly, Frantic Assembly/Soho Theatre and 2004 Broadway remount; Vurt, Contact Theatre, Manchester ; The Fall of the House of Usher, Graeae Theatre Co.; Look at Me, Theatre Centre; Hymns, Lyric Hammersmith/F rantic Assembly; Sparkleshark, Royal National Theatre; The Flight, Restless Dance Co. (Adelaide Festival-Australia); 15 Degrees and Rising, Circus Space; The Secret Garden, Beauty and the Beast,Tom’s Midnight Garden,The Ghosts of Scrooge, Library Theatre, Manchester ; and choreography for the original production of Strictly Dandia for which he was awarded a Herald Angel for Outstanding Achievement at the 2003 Edinburgh International Festival.

BETH NABBS COMPANY MANAGER

Beth was born in Birmingham and has worked in the dance industry for more than ten years. Since completing her training at LABAN, Beth has been working as a Dance Manager in the West Midlands, during which time she was Producer for Bare Bones for Children. Having taught at DanceXchange, local schools and colleges, Beth has extensive experience in delivering outreach and educational projects. In April 2005 Beth founded two’s company dance management along with Hannah Sharpe, which now holds a strong portfolio of clients including Bare Bones, Rosie Kay Dance Company and ROH2. Beth is also a Dance Fellow at Dance United and delivers practical dance sessions at Holloway Prison, London.

BARE BONES 1 Titles: Stop – Start – Ki;The Poetics of Space; Casual Grace; Duet & Three Songs; Shabbat Choreographers: Akram Khan, David Massingham, Henri Oguike,Yolande Snaith, Jasmin Vardimon Dancers: Amanda Banks, Benjamin Dunks, Clare Luiten, Paul Anthony O’Brien,Teresa Simas Photographer: Roy Peters

Casual Grace

Duet & Three Songs

Shabbat

BARE BONES 2 Titles: Bounced Bach; Maybe: a duet for a man and a woman swallowed by space; Improper; Misconsumption;Tautology Choreographers: Kim Brandstrup, Carol Brown, Frantic Assembly (Scott Graham & Steven Hoggett), Robert Moses, William Tuckett Dancers: Vicki Manderson, Leon Baugh, Delphine Gaborit, Benjamin Dunks, Elisabetta d’Aloia Photographer: Chris Nash

Tautology

Bounced Bach

Improper

BARE BONES 3 Titles: Dance, Love, Sex And Other Little Details;Take Me Out; Untitled;To The Bone; Giornata Choreographers: Hélène Blackburn, Wendy Houston, Hofesh Shechter, Luca Silvestrini, Hans Tuerlings Dancers: River Carmalt, Alessandra Cito, Elizabetta d’Aloia, Jacob Dorff-Petersen,Vicki Manderson, Maria Palliani, Keir Patrick Photographer: Chris Nash

To The Bone In memory of Jacob Dorff-Petersen, our Bare Bones dancer who sadly passed away in summer 2005

Take Me Out

Dance, Love, Sex And Other Little Details

BARE BONES FOR CHILDREN Titles: Any Which Way;The Firebird Choreographers: Enrique Cabrera, William Tuckett Dancers: River Carmalt, Alessandra Cito, Elizabetta d’Aloia, Jacob Dorff-Petersen,Vicki Manderson, Maria Palliani, Keir Patrick Photographer: Johan Persson

The Firebird Any Which Way

The Firebird

SPECIAL THANKS BARE BONES WOULD LIKE TO THANK THE STAFF TEAM AT DANCEXCHANGE FOR THEIR CONTINUOUS SUPPORT AND EXTREMELY HARD WORK, AND TO ALL BARE BONES DANCERS AND CHOREOGRAPHERS FOR THEIR DEDICATION, COMMITMENT AND ENTHUSIASM. WE'D ALSO LIKE TO THANK: DANCEXCHANGE BOARD OF DIRECTORS NEIL NISBET, ARTICLE19 (www.article19.co.uk) SELINA GOODFELLOW, BLIND MICE DESIGN DUNCAN GRIMLEY BECCA THOMAS KATIE NABBS THE ROH2 TEAM AND ALL THE CHOREOGRAPHERS, PERFORMERS AND DESIGNERS THAT HAVE MADE BARE BONES WHAT IT IS TODAY

BARE BONES IS THE RESIDENT COMPANY OF DANCEXCHANGE, THE DANCE HOUSE FOR BIRMINGHAM AND THE WEST MIDLANDS ALL IMAGES FOR THE 5 MAN SHOW: JOHAN PERSSON. DESIGN; BLIND MICE DESIGN 024 76 230600