About
Trapped in an airless, dusty land of the living dead, Underworld is Vincent’s darkly haunting take on the Orpheus and Eurydice myth, created for the longest, darkest, filthiest of the Dark Arches under Leeds Railway Station and seen by over 10,000 people over a weekend in 2012, draws on the myth of Orpheus & Eurydice and is inspired by the work of acclaimed artists The Quay Brothers.
Eight athletic performers engage in a series of disconcerting, relentless rituals and beautiful vignettes to form constantly shifting, visually striking cinematographic images, formed with 150 chapel chairs and accompanied by a stunning soundtrack of rushing rivers, church bells and faint children’s voices by internationally renowned composer Gavin Bryars.
Originally devised with Phoenix Dance Theatre for OverWorlds & UnderWorlds in 2012, VDT re-staged Underworld in 2015 as a 5 hour durational work / 2 hour production as part of our 21 Years / 21 Works , a live and online collection of Artistic Director/Choreographer Charlotte Vincent’s film and production work that toured to Shoreditch Town Hall London, Dance Xchange Birmingham, Warwick Arts Centre and Brighton Festival 2015. Look At Me Now Mummy also featured at WOW Festival at London’s South Bank Centre in 2015.
Underworld was originally commissioned by Leeds Canvas for the Artists Taking the Lead 2012 Cultural Olympiad project Overworlds and Underworlds as a collaboration between Phoenix Dance Theatre and Charlotte Vincent,
Credits
Directed and Designed 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.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 socially engaged movement practice and particularly around her campaigning, creative health work with women at risk, raiaing awareness of violence against women and girls and championing gender equality.
Vincent has long been an advocate for parents and carers working in the performing arts, supporting flexible working and welcoming collaborators children into the working space. Her pioneering work on film with Film Maker Bosie Vincent ensured VDT could distribute VDT’s work throughout the Covid 19 crisis in 2020, work which is no also screened and applied in social work, sociology, creative health and safeguarding training contexts
Charlotte is an experienced keynote 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 Liz Aggiss as V&A Artefacts, curated a 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 in the 2000’s the and Steering Group for Dance UK’s National Choreographic Conference in 2013.
Vincent is Designated Safeguarding Lead for VDT, trained in Trauma Informed Practice, Mental Health First Aid, therapeutic parenting and First Aid. She has completed the Clore Leadership Short Course (2010), the Clore Programme for CEO/Artistic Directors (2011/ 2022) and Clore Brave Conversations Programme (2013) and also trained in FA Football Coaching (2022-2024).
Vincent ‘s work ifs included in several Routledge Publications and MA and PhD students’ dissertations. Her work Art of Attachment lies at the heart of Dr Cath Lambert‘s book Troubling Adoption.
In 2023, 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.
Rehearsal Director
Devised and Performed by
Robert Clark
Artistic Associate / Collaborator (He /Him)
Robert Clark was a contemporary dance performer, choreographer and teacher working across Europe and the USA. Robert initially trained at the Laban Centre London BA (hons), before going on to complete his training at London Contemporary Dance School with EDge. Robert worked with VDT from 2011 -2025 as Artistic Associate and Collaborator, devising and performing Broken Chords (2005), Motherland (2012), Underworld (21/21 in 2014), Virgin Territory (2016), Virgin Territory Film Installation (2017), Shut Down (2017), Shut Down Film Installation (2018), Art of Attachment (2018), In Loco Parentis (2020), Art of Attachment on Film (2021), Hold Tight (2022) and PLAY (2024) where he worked as Rehearsal Director and stage manager of the young people inmvolved. Work with other companies include Charles Linehan Dance Comapny, Fevered Sleep, Sasha Waltz and Guests, Cie Felix Ruckert, Cie Soit/Hans van Der Broek, Le Grand Jeu/Louis Zeigler, Lisa Torun Dance Company, Barebones (Rui Horta and Garry Stewart/Australian Dance Theatre), Ben Wrights Bgroup, Alletta Collins and Troika Ranch. Robert’s own choreographic work has been recognised with the Simone Michelle Choreography Award and selection for the “Escalator Dance” programme, becoming a supported artist in the Eastern region of England. Robert was a Work Place (associate) Artist with The Place, London, Resident Artist with Greenwich Dance, Londonand Associate with Dance4 in Nottingham, England. Robert was commissioned by Mapdance (University of Chichester), Wellcome Collection, Academy of Dramatic Art Zagreb and Koreokroj (Croatia). In 2024/5 Robert began a new career in Paediatric Physiotherapy in London.
Antonia Grove
Artistic Associate / Collaborator (She/Her)
Toni is a choreographer, writer, filmmaker, facilitator, lecturer and award-winning performer with over two decades experience leading Contemporary Dance and cross-artform collaborations. As Artistic Director of Probe (2004-2018), Toni created ‘boundary-blurring’ (The Times) multidisciplinary, experimental productions, devising and performing work commissioned by internationally celebrated choreographers, directors, writers and cross artform collaborators.
As a performer she has worked with Rambert Dance Company, Walker Dance Park Music, Company Wayne Mcgregor, The National Theatre, Bonachela Dance Company, Teac Damsa, The Cholmondeleys, Charles Linehan Company, Clod Ensemble and Vincent Dance Theatre (VDT). Performing physically & technically demanding contemporary dance repertoire (Merce Cunningham, Mats Ek, Christopher Bruce, Jiri Kylian, Richard Alston, Siobhan Davies, Ohad Naharin etc), alongside cross artform dance and theatre work (Lindsey Kemp, Lea Anderson, Michael Keegan-Dolan, Wendy Houstoun, Matthias Sperling, New Art Club etc).
Toni has worked with VDT since 2015, performing and collaborating on: Underworld, Virgin Territory, Art of Attachment, Hold Tight and a short site specific piece, Place for Reflection. Toni was a winner of the first Place Prize in work by Rafael Bonachela, has been nominated 3 times for Critics Circle National Dance Awards best female dancer (modern – including for VDT’s Virgin Territory) and for a Time Out Live Award. Her work with Probe gained the Guglielmo Ebreo Award and a London Theatre Award nomination. After six full-length touring productions with Probe Toni now leads projects under her own name.
She regularly leads, facilitates and designs trauma-attuned creative spaces for mixed ability and multi-generational groups / individuals to find artistic expression through art/dance with safety and access at the core.
Toni obtained her MA: Creative Practice from Trinity Laban, researching relationships between female hormones and creativity. She has 3 children and is an activist for mothers working in the arts.
Toni worked as VDT’s Participation Producer from 2025 – 2026, establishing our inaugural programme of movement sessions for Young People at Moulsecoomb Hall in East Brighton.
Photo: Jo Thorne
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.
Composer
Sound Design by
Production Manager
Mat Ort
Production Manager
Over the past 15 years Mat has worked as Production and Technical Manager for a diverse range of theatre, dance and arts companies delivering touring productions, site specific work, international arts festivals and numerous one-off site responsive commissions. Companies include Salisbury International Arts Festival, Inside Out Dorset Festival, Milton Keynes International Festival, Inside Out Dorset Festival, In Between Time Festival, The World Famous, National Theatre of Scotland, Frantic Assembly, Dreamthinkspeak, AndNow:, Bgroup, Vincent Dance Theatre, Theo Clinkard Dance, Probe, Unlimited Theatre, New Movement Collective, Stan Won’t Dance, Paines Plough and Trestle Theatre.
Sound Technician
Lighting Design
Photos
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Underworld, Leeds Cultural Olympiad Programme 2012
Press
“Contemporary dance fans should beat a path to her door... Superb performances... Vincent choreographs with such a specific attention to gesture, atmosphere and motive… a fully imagined world. ★★★★”Luke Jennings, The Observer, 15 March 2015
“On paper, the images sound random but Vincent choreographs with such a specific attention to gesture, atmosphere and motive that in performance they feel part of a fully imagined world. ★★★★”Judith Mackrell, The Guardian, 6 March 2015
“Fluid and evocative”
Culture Leeds
Audience Feedback
“One of the most strangely compelling and visually stunning pieces I’ve seen”
Audience Member, March 2015
“I can liken my experience of watching Charlotte’s work with Phoenix with the greatest (Pina Bausch, Alain Platel), very moving, powerful and so clear.”
Wieke Eringa, Artistic Director, Yorkshire Dance
“Fantastic! Eerie and atmospheric in the dark arches”
Helen Oldham
“Fabulous dance piece”
“My favourite! Dark Arch Vincent’s piece with Phoenix was brilliant – so much so that I am going back today!”
“I am very grateful… this piece will be remembered long into the future.”
“Woke up thinking how great long arches worked as performance spaces- this performance used the depth and lighting to brilliant effect.”
“Thank you for the best performance I’ve seen in Leeds so far.”
“Vincent/Phoenix – a clear highlight of Underworlds & Overworlds. ”