About
Trapped in an airless, dusty land of the living dead, UNDERWORLD is Vincent’s darkly haunting take on the Orpheus and Eurydice myth.
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 commissioned by Leeds Canvas and devised with Phoenix Dance Theatre for OverWorlds & UnderWorlds in 2012, VDT restaged UNDERWORLD in 2015 as a 5 hour durational work / 2 hour production as part of 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 and Southbank Centre in London, Dance Xchange in Birmingham and Brighton Festival 2015.
Context – 2012 Production
A collaboration between Phoenix Dance Theatre and Vincent Dance Theatre’s Artistic Director Charlotte Vincent, originally commissioned by Leeds Canvas for the Artists Taking the Lead 2012 Cultural Olympiad project Overworlds and Underworlds.
UNDERWORLD was 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.
Initially set in an airless, dusty land of the living dead, accompanied by 140 antique chapel chairs and a haunting, atmospheric soundtrack of rushing rivers, church bells and feint children’s voices by acclaimed composer Gavin Bryers, UNDERWORLD explores the art of not looking back. Eight of the UK’s finest athletic performers – Phoenix Dance Theatre – engage in a series of highly physical games and disconcerting rituals designed to pass time in an environment from which there is no escape.
UNDERWORLD is a durational live performance for unconventional spaces. UNDERWORLD is not easy to categorise – it is a site-specific live installation. It is punishing choreography. It is visual art. It is highly physical theatre. It is a series of dark, beautiful vignettes. It is robust, risky ensemble work. It is a piece that transforms the space over and over to form a series of striking cinematographic images.
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. 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.
Rehearsal Director
Performed by
Robert Clark
Artistic Associate
Robert Clark is a contemporary dance performer, choreographer and teacher working across Europe and the USA.
As a freelance performer Robert has worked with VDT since 2011 on a range of projects. Other employments include work with Charles Linehan, 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 amongst others. In Loco Parentis is his 7th work with Vincent Dance Theatre.
Robert’s choreographic work has been recognised through a number of awards and prizes including the Simone Michelle Choreography Award and selection for the “Escalator Dance” programme, becoming a supported artist in the Eastern region of England. Robert has been; a Work place (associate) artist with The Place, London; a Resident Artist with Greenwich Dance, London; and an associate with Dance4 in Nottingham, England.
Robert regularly undertakes commission work. Recent commissions include work for Mapdance (University of Chichester), Wellcome Collection, Academy of Dramatic Art Zagreb and Koreokroj (Croatia).
Robert initially trained at the Laban Centre London BA (hons), before going on to complete his training at London Contemporary Dance School with EDge.
Antonia Grove
Participation Producer (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 reshaped the industry with ‘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 in prestigious companies including 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 and Hold Tight.
Toni was a winner of the first Place Prize by Rafael Bonachela, has been nominated 3 times for the Critics Circle National Dance Awards- best female dancer (modern)- and a Time Out Live Award. Awards for Probe include: Guglielmo Ebreo Award & London Theatre Award nomination. After six full-length touring productions with Probe she now leads projects under my own name.
Toni regularly leads, facilitates and designs trauma-attuned creative spaces for marginalised, mixed ability and multi-generational groups and individuals to find artistic expression through art/dance with safety and access at the core.
Toni recently 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.
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
Dimly lit room with six people dynamically moving between rows of stacked chairs. Dramatic lighting and fog create an intense, theatrical atmosphere.
A dramatic black and white scene shows a dancer arching back gracefully on a dimly lit, empty theatre stage, while musicians play in shadowy background.
A man with outstretched arms stands center stage, surrounded by six others, under a spotlight in a dimly lit theatre, conveying drama and intensity.
Dimly lit theatre with rows of empty chairs. Two figures leap dramatically in misty light, while three stand watching, creating a tense atmosphere.
A group of eight people stands solemnly on a dimly lit stage, wearing muted coats. Soft spotlights shine overhead, creating a dramatic and contemplative mood.
A dimly lit scene depicts a woman playing a violin in the background. In the foreground, a person weaves threads between two chairs, creating a tense atmosphere.
A dimly lit stage scene shows a group of actors. One holds a box overhead, another pretends to duck, while a violinist plays. Seated individuals surround a table filled with bottles, creating a dramatic, tense atmosphere.
Dimly lit warehouse with dirt floor and scattered chairs in background. A person lunges forward toward a small, dark horse figurine under glowing chandelier.
Seven people kneel in a dimly lit, rustic room with exposed brick walls, under dramatic lighting. The mood is solemn and introspective.
A group of people, silhouetted and standing in a line, face forward in a dimly lit industrial setting. Overhead lights cast dramatic shadows.
A theatrical scene with two actors on a dimly lit stage. One wears a long coat, the other raises her arms, holding a basket, conveying drama and tension.
Dimly lit scene of people moving among rows of empty chairs on a stage, with one person carrying another. A spotlight casts dramatic shadows, evoking tension.
Eight silhouetted individuals stand solemnly on a dimly lit stage with spotlights above and smoke in the background, facing rows of empty chairs in the foreground.
Silhouettes of people stand among scattered chairs in a dimly lit room, with a bright light casting shadows and creating a mysterious, contemplative atmosphere.
A dimly lit stage with a large pile of wooden chairs at the center, surrounded by silhouetted figures. Smoke and soft lighting create a dramatic, mysterious atmosphere.
A man in a suit crouches beside a wooden chair on a dimly lit stage, arms crossed, conveying tension and introspection in a misty atmosphere.
A person curled inside a large basket with legs stretched out, surrounded by a smoky, dimly-lit room. Two figures in the background create a sombre, introspective mood.
A musician plays drums under dramatic stage lighting, silhouetted by bright beams and shadowy surroundings, creating a mysterious and intense atmosphere.
A dimly lit room with rows of wooden chairs, one person sitting calmly in the foreground while blurred figures in motion suggest hurried activity. The atmosphere feels tense and dramatic.
Dimly lit underground venue with exposed brick walls, metal beams, and a central chandelier. A few people are arranging chairs, creating an intimate, moody atmosphere.
A group of people stands solemnly behind a row of empty chairs in a dimly lit setting. The atmosphere is tense and serious, conveying anticipation.
A group of five people dressed in dark clothing stand in a dimly lit space. The atmosphere is tense, with a spotlight on a bald man in the foreground.
Dark, industrial setting with people in coats jumping over rows of chairs amid bright stage lights, creating a sense of urgency and chaos.
A dimly lit scene shows a sombre mood. Three men sit on scattered chairs; one leans over another wrapped in a checked blanket, suggesting comfort or despair.
A man in a suit stands with arms outstretched beneath a glowing chandelier in a dimly lit room, surrounded by sombre onlookers. The scene conveys drama and tension.
A dimly lit scene shows a person slumped over the edge of a bathtub in the foreground. In the background, four people sit around a table under soft light, creating a sombre mood.
A person stands under dim lighting, reaching out towards empty, stacked chairs in a dark, spacious room, conveying solitude and introspection.
Two individuals kneel in a dimly lit theater with chairs lining the sides. The atmosphere is sombre, with cool blue lighting and shadows.
Seven people are seated in a dimly lit theatre, heads bowed under bright stage lights. The atmosphere conveys sombreness and introspection.
A group of people sits in a row on stage under dim lighting, casting shadows. The setting is dramatic and sombre, with a focus on emotion and intensity.
Dimly lit theater scene with a vintage chandelier hanging above. Seven people stand among scattered chairs on a rustic stage, creating a mysterious atmosphere.
A black-and-white image of a dimly lit warehouse with people silhouetted against bright stage lights. One person is jumping onto a stack of chairs. The scene conveys energy and movement.
Dimly lit black and white theatre scene with scattered chairs and shadowy figures. Spotlight highlights activity, creating a mysterious, dramatic atmosphere.
A dark, industrial setting with silhouetted figures arranging a spotlighted art installation, casting dramatic shadows. Edgy and mysterious atmosphere.
Break dancer performing a handstand in a dimly-lit industrial hall, illuminated by a chandelier. The mood is intense and dynamic, highlighting urban artistry.
A person dramatically extends their arms in a dimly lit, industrial setting. Five others stand behind, illuminated by a warm chandelier overhead, conveying intensity.
A dimly lit stage shows a tense scene with three people. A woman sits writing on paper at a table with chairs around, while another stands nearby reaching towards her. A third person stands in the shadows, watching. The mood is sombre and dramatic.
A woman in a green dress knits while sitting on a chair in a dim, rustic room with brick walls. A man runs past under a chandelier, adding tension.
Two women are in a dimly lit, rustic theater set. One sits winding yarn on a spinning wheel, while the other stands, looking contemplative. The scene evokes a sombre, introspective mood.
A dimly lit stage shows a woman in minimal clothing, appearing tense or cold, standing near a man in dark clothing. The scene conveys a sombre, dramatic tone.
A person sits anxiously in a metal tub while water pours down from above, surrounded by dim light and empty chairs, creating a tense, dramatic atmosphere.
A lone person sits curled up in an empty metal tub under a spotlight in a dimly lit room, surrounded by chairs, evoking feelings of solitude and melancholy.
A person in white clothing stands in a spotlight within a dimly lit room, arms outstretched, next to a large metal basin, creating a dramatic, contemplative mood.
Dimly lit, industrial theater scene with three actors seated center-stage, wearing masks. Empty chairs line the sides. A sombre, atmospheric mood.
A dimly lit scene shows seven people in an industrial setting. A man kneels in the foreground. The mood is tense and dramatic, with exposed brick walls and scaffolding.
A dramatic stage scene shows a man in a suit dancing exuberantly under a chandelier in a dimly lit, rustic setting, with five people watching behind him.
A group of people sit in a row on chairs under dim stage lights, with an illuminated sign above. The scene conveys a dramatic and introspective mood.
Press
“‘Superb performances’ ****”
The Guardian, March 2015
“‘Contemporary dance fans should beat a path to her door’ ****”
The Observer, March 2015
“Vincent choreographs with such a specific attention to gesture, atmosphere and motive…a fully imagined world.’”
The Observer, March 2015
“Fluid and evocative. One of the most crowded arches!’”
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