About
Against a backdrop of decaying theatrical grandeur, Punch Drunk finds six extraordinary performers moving like ghosts through a disused theatre. Slipping in and out of half-remembered acts, they piece together the tatters of a show long since past its prime. Emotionally raw and darkly humorous, Punch Drunk is an enthralling journey into the world of vaudeville and burlesque. Created in 2004 in celebration of Vincent Dance Theatre’s tenth anniversary.
Punch Drunk was originally commissioned in 2004 by Sheffield Theatres, and the Nuffield Theatre, Lancaster and funded by Arts Council England and the Esmee Fairbairn Foundation.
Director’s Note 2007
Looking back on 10 years of making work is like reliving the shifting phases of my life in glorious Technicolor: sincere in the first duets we made, dark with sexual politicking in the mid-nineties, humour and playful later. As the company has grown and toured to far away places, the mixing up of nationalities, sexualities and ages has corresponded with the heady collision of dance, theatre and play that has always informed our work.
Punch Drunk was made in 2004 to mark Vincent Dance Theatre’s tenth anniversary. Ten years on, you have to smile. Ten years on, you can’t think short term anymore. You realise you might be here to stay.
Punch Drunk is a piece about six performers who are stuck in a theatre they cannot leave. It’s a piece about acts and the act of performance. It makes explicit the vulnerability of the performer. It makes transparent the expectations that exists between audience and performer.
We made Punch Drunk with our tongues planted firmly in our cheeks. The performers work hard, play hard and throw all caution to the wind. They revel in big dance numbers, colourful costumes and physically demanding acts. They take you into the dark underbelly of their lives, revealing things that you are not meant to see. They keep going through the chaos of it all, refusing to quit, through gritted teeth and painted on smiles.
This is the way the performers live their lives. I hope you enjoy the show.
Charlotte Vincent
Director’s Note 2004
Looking back on 10 years of making work is like reliving the shifting phases of my life in glorious Technicolor: sincere in the first duets we made, dark with sexual politicking in the mid-nineties, humour and playful later. As the company has grown and toured to far away places, the mixing up of nationalities, sexualities and ages has corresponded with the heady collision of dance, theatre and play that has always informed our work.
10 years on, and you have to smile. At this point in our careers we can’t think short term any more, In Punch Drunk the dancers work hard, play hard and throw all caution to the wind. They keep going in the chaos of their world, through gritted teeth and genuine smiles.
This is the way we live our lives. I hope you enjoy the show.
Charlotte Vincent
Credits
Directed by
Charlotte Vincent
Artistic Director & Chief Executive (She/Her)
Charlotte formed Vincent Dance Theatre (VDT) in 1994 and has directed all the company’s collaborative work to date, on stage and on film. Vincent has also designed the work since 2005 and performed with the company until 2002. Vincent’s distinctive, contemporary choreography ‘stages ideas’ and embeds her own and her collaborators’ lived experience within the work, raising awareness of personal and political issues, breaking down the barriers between professional and non-professional performers and in VDT’s film installation and engagement spaces, between audience and participant.
Vincent is recognised as a sector leader in movement based socially engaged creative practice and creative health, particularly around her work with care-experienced young people and women at risk, championing gender equality and advocating for best practice to support parents and carers working in the performing arts. Her pioneering work on film ensired VDT were ‘covid ready and able to work through Covid and consequently allows Vincent’s work to be purposefully ‘applied’ in non-arts settings as well within conventional arts venues and settings.
Charlotte is an experienced speaker, lecturer and Mentor, working with early and mid-career artists to develop their creative practice and production work. Vincent has also worked as a director, dramaturg, and facilitator for other artists and companies, most notably Two Destination Language (Near Gone, winner Total Theatre Awards for Innovation and Experimentation 2014), Keira Martin (Here Comes Trouble Sadlers Wells Wild Card and Good Blood) and facilitating early R&D for Sue MacLaine’s Can I Start Again Please (2013).
In the past, Vincent has performed and collaborated with Professor Liz Aggiss as V&A Artefacts, curated an inaugural 4-week festival of experimental performance practice, Juncture at Yorkshire Dance in Leeds and co-hosted The Table, a forum to nurture dialogue across disciplines between established female artists with Dr Claire Macdonald. Charlotte sat on the Artists Advisory Group at Yorkshire Dance for several years and Steering Group for Dance UK’s National Choreographic Conference in 2013. Most recently she has been a driving force behind the development of the London Road Network in Brighton, a collaborative group of organisations and individuals working towards deeper interaction between arts orgs and grassroots organisations in one of Brighton’s more deprived areas.
Vincent is Safeguarding Lead for VDT, trained in Trauma Informed Practice, Mental Health First Aid, therapeutic parenting, and First Aid. She completed a Clore Leadership Short Course (2010), the Clore Programme for CEO/Artistic Directors (2011) and Clore Brave Conversations Programme (2013). Vincent is also trained in FA Football Coaching.
Vincent has written chapters and been written about in several Routledge Publications (resources) and PhD’s, and her work Art of Attachment lies at the heart of Dr Cath Lambert‘s imminent publication Troubling Adoption.
In 2023, Dr Vincent gained a PhD in Performing Arts from Canterbury Christ Church University, reflecting on VDT’s socially engaged practice, supervised by Professor Angela Pickard, Director of the Sidney de Haan Centre for Arts and Health.
Dr Charlotte Vincent lives in Brighton with her son, who loves mountain biking, fishing and gaming.
Devised and Performed by
Aurora Lubos
Artistic Associate
As an independent artist she created solo performances “Knife, Horse and Stairs.”, “Unfinished” and “Zanzibar”, and installation/performances “Still Alive” (2011) and “Food Cycle” (2011), ” Four corners” (2010), ” .No 1″ (2003), and several short animations “winter 2010”. In 2005 she was nominated to The Rolex Mentor and Protégé Arts Initiative. In the past she has worked extensively with Dance Theatre of Gdansk and Dada von Bzdülöw. She collaborated with Avi Kaiser, Tatiana Baganowa, Jerzy Mazzoll, Bronek Duży. With other three artist Jacek Staniszewski, Oskar Martin and Patrycja Kujawska she co-founded KLM’S Group and created “Te Takie Te”.
Aurora first came across VDT’s work when Charlotte was invited to Gdansk to workshop choreographic ideas as part of the Baltic University of Dance Winter Explosion festival. For VDT Aurora has performed in Caravan of Lies (1999), made and toured Drop Dead Gorgeous (2001), Let The Mountains Lead You To Love (2003), Punch Drunk (2004), Broken Chords (2005), Fairy Tale (2006), Look At Me Now, Mummy (2007), If We Go On (2009) and Motherland (2012-2014). Aurora lives in Poland.
Janusz Orlik
Artistic Associate
Janusz Orlik is a performer, choreographer and dance practitioner.
After graduating from ballet school in Warsaw, Janusz became a student of Brucknerkonservatorium Linz in Austria. During his studies he became a founding member of x.IDA Dance Co. and performed in productions created by Olga Cobos, Peter Mika, Catherine Guérin, Rebekka Murgi, Nicole Caccivio and Charlotte Vincent. Since 2002, Janusz has been a regular member of Vincent Dance Theatre. Simultaneously, Janusz creates his own choreographic works, including “Exérèse monobloc” (2004), “and thy neighbour as thyself” (2006), “Live on stage” (2008), “The Rite of Spring” (2011), “Insight” (2013) awarded by The Minister of Culture and National Heritage of the Republic of Poland for Janusz Orlik and Joanna Leśnierowska for the best choreography granted as part of Polish Dance Platform 2014, “Mute” (2018) and “Koda (a tribute)” (2019). In 2007 he performed in “nothing” by towarzystwo gimnastyczne and in 2009 in “Happy” by Nigel Charnock, in which he was also involved as choreographer’s assistant.
In 2010 Janusz joined Kwaad Bloed Company performing in “Forces”. In 2011 he joined Nigel Charnock + Company to create new work “Ten Men”. In the same year, he collaborated and performed in “Reconstruction” by Joanna Leśnierowska and in 2012 with Gary Clarke performing in “Horsemeat”. In 2013 he began a collaboration with Daniel Landau. In 2014 he performed in “… (Rooms by the sea) from the series Exercises in Looking” by Joanna Leśnierowska, in “Unintended Consequences” by Sjoerd Vreugdenhil, “Back to bone” by Rosalind Crisp and “Collective Jumps” by Isabelle Schad. In 2015 he performed in an excerpt of “Shirtology” by Jérôme Bel. In 2016 he worked as a movement director in “Ojczyzna” (Polish Theatre in Poznań), collaborated and performed in Polish-Brazilian production “Yanka Rudzka Project: Leavining”. In 2018 he collaborated and performed in Polish-Brazilian-Georgian-Armenian production “Yanka Rudzka Project: Polyphonies”.
Janusz is an author of a series of dance and movement workshops “Moved” which in a cyclical form took place throughout 2018 in cooperation with various institutions in Poland. Other works include “High heels” for the ballet ensemble of The Opera House in Kraków, “Alpha” for The Contemporary Dance Scene in Poznań, “Adagio” for the Musical Theatre in Poznań. As well as performing Janusz delivers movement and choreographic workshops in various venues, dance schools and community centres in Poland and abroad. Scholar of the Ministry of Culture and National Heritage of the Republic of Poland in 2011 and 2018.
Repertoire performers include
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Photos
A dramatic stage scene with actors in eclectic costumes. A seated man holds a chalkboard. Emotions are tense, and the mood is intense and theatrical.
A performer in a dramatic pose wears an extravagant feathered headdress and gown. White drapery hangs above, adding elegance to the theatrical scene.
A person with wet hair joyfully stretches their arms and legs while sitting in a metal bathtub, wearing a patterned swimsuit, set against a dark background.
A dancer performs a dynamic pose on stage, leaning on one arm with muscles tensed. Another person in a robe sits in the background, watching intently. The scene is dramatic and intense.
A contemplative seated performer in a flowing robe watches another in a revealing pose mid-dance, bending forward, showcasing fluidity and strength.
A woman stands on stage with an accordion, extending one arm expressively. The lighting is dramatic, creating a focused, intense atmosphere.
A performer with short hair and wearing a patterned dress poses expressively on stage, surrounded by bright stage lights, evoking a playful mood.
A bridal-themed performance with three women on stage. One wears a veil and holds flowers, another assists with the veil, and a seated man appears contemplative. The mood is theatrical.
Performer in elaborate costume sits on stage, illuminated by dramatic lighting. Wear cross-legged, with a feathered headdress and satin robe.
A dancer in beige shorts energetically poses on stage holding a white sheet and leafy branches, conveying a sense of movement and grace.
A performer in fishnet tights and a flowing metallic outfit leans back dramatically, with confetti scattered on the dark stage, creating a dynamic and theatrical scene.
A person in a dark coat raises their arms triumphantly on stage, exuding energy. Blurred background shows people and furniture, suggesting a performance setting.
Ballet dancer in a feathered costume performs a high leg lift on stage, surrounded by elegantly dressed individuals, evoking grace and sophistication.
A dancer in a white costume elegantly balances on a man's shoulder on a stage. Draped fabric and scattered props create a dramatic, theatrical ambiance.
A person emerges from a large, gray, ribbed container on stage, surrounded by scattered confetti. The scene conveys an element of surprise and performance art.
A man in a dark suit stands on stage under dramatic lighting, with red draped curtains in the background. He appears focused and expressive.
A male dancer in a dark suit elegantly lifts a female dancer in a white dress on stage. The performance exudes grace and strength, with a dramatic, uplifting atmosphere.
A dancer in white costume with feathered shorts is lifted by a partner on a dimly lit stage, conveying intensity and drama amidst spotlights.
Two performers on stage: one in a gold costume with a feathered headpiece, posed gracefully, and another in black, supporting them. Draped fabric backdrop.
Aerial performer in dramatic pose with white feathers and flowing fabric backdrop. The scene is intense, with focused expression and dynamic movement.
A person stands under dramatic, draped white fabric, wearing black underwear, with their back turned. The lighting creates a contemplative mood.
A dancer in a black outfit and white shirt lifts a woman in beige attire horizontally on a dimly lit stage, conveying grace and strength.
A dancer in beige attire performs expressively on a dimly lit, confetti-strewn stage. A second dancer in flowing robes moves energetically behind them.
A performer in a dark suit strikes a dynamic pose on stage, holding a large feathered hat. The scene is lively, with scattered confetti and draped fabric.
A person stands on stage, back turned, wearing a black corset dress. The dim lighting and gathered curtains suggest a dramatic theatre setting.
A performer in beige attire plays an accordion on a dimly lit stage. Confetti surrounds them, and a white curtain hangs in the background, creating a theatrical atmosphere.
A circus performer wearing a leopard-print outfit does a handstand, while another plays the accordion energetically. The scene is dynamic and lively.
A person in an elaborate white wig and gold robe stands with raised arms on a stage, framed by billowing white curtains, creating a dramatic, theatrical scene.
Woman energetically playing a large accordion on stage, surrounded by scattered confetti. She's in mid-performance, conveying a lively and dynamic atmosphere.
Performer in minimal costume plays an accordion on stage, with a white drape as backdrop. Confetti scattered on the floor, conveying a festive mood.
Press
“Characters such as these are theatrical gold dust, tugging at the heartstrings with their unrequited enthusiasm”
The Scotsman
“This delicious and melancholic plunge into the impulses behind theatrical artifice is the most engaging and emotionally truest work by Vincent and her collaborators that I’ve seen.”
Donald Hutera Dance Europe, 1 May 2005
“Silence; Vincent Dance Theatre’s Punch Drunk starts in silence. Patrycja Kujawska stands poised before a curtain draped opening, her ivory gown and feathered hat assign grandeur to a growing sense of vulnerability.”
Hannah Young Virtual Brighton Magazine, 21 March 2005
“Punch Drunk flows beautifully but shuns any attempt at linear development. Perfect!”
Kulturflash, 16 March 2005
“The Sheffield- based, internationally-acclaimed Vincent Dance Theatre celebrates its tenth birthday with this darkly humorous journey into shadowy world of vaudeville and burlesque.”
Manchester Online, 1 February 2005
“Punch Drunk, by Sheffield’s Vincent Dance theatre, is a piece about faded grandeur and past-it entertainers.”
Ellie Carr Sunday Herald, 21 November 2004
“The set for Punch Drunk could serve as a background for a significant painting, perhaps a forgotten Lautrec. What we see is the backstage area of a disused theatre.”
Ellie Carr Sunday Herald, 21 November 2004
“The set for Punch Drunk could serve as a background for a significant painting, perhaps a forgotten Lautrec. What we see is the backstage area of a disused theatre.”
Kevin Berry, The Stage
“It’s a fierce, dark, yet edgily- funny production from a multi-talented, multi-national company celebrating 10 successful years of the show going on, regardless.”
The Herald, 15 November 2004
“The fading grandeur of vaudeville and burlesque forms the backdrops of Vincent Dance Theatre’s tenth anniversary show. Aerial artistes, slapstick clowns, fishnet- wearing strippers- they’re all here, hanging on by their fingernails to a profession in decline.”
Kelly Apter The Scotsman, 15 November 2004
“Coming to Edinburgh for the first time Vincent dance Theatre’s Punch Drunk left the audience buzzing with delight and hoping they’ll return soon.”
Thelma Good Edinburgh Guide.com, 13 November 2004
“It’s joyful, goofy, no-holds-barred bonanza of gags, giggles and slapstick comedy. It’s also sombre, dark, and disturbing. Welcome to the backstage, morning- after, hungover world of Punch Drunk. An evening of vignettes ranging from the beautiful to the bitter, Punch Drunk fuses theatre and dance in a reeling romp through a landscape of cabaret comedy.”
The British Theatre Guide, 1 November 2004