productions
FOOT IN HAND’s productions are generally a response to the needs or gaps in current provision. We strive to keep them portable, accessible, and relevant. The majority of productions are designed to scale down to accommodate schools or small venues or work as full productions in traditional theatre spaces.

one night only

“One Night Only”is a vibrant re-imagining of classical composer Charles-Camille Saint-Saëns’ famous suite “Carnival of The Animals”.

The well-known score traditionally representing animals is reapplied to the all too human characters in the “Carnival” nightclub, revealing the rhythms and emotions of their inner worlds hidden beneath the noisy chaos of a night out on the town.

One Night Only: The Concept
The whole of “One Night Only” changes from performance to performance as it is usually completed via a one week intensive residency with non-professional, integrated (disabled and non-disabled) groups. Professionals and non-professionals combine on stage as an ensemble: a process the company believe enhances the performances and the development of all involved.

Please contact us to discuss a residency.
“truly moving….accessible in every sense and a human quality that cut across the boundaries of ‘professional’, ‘community’ and ‘disabled’ that we sometimes create. I’m looking forward to seeing more!”
Jeanette Bain, Director, ADAD (Association of Dancers of The African Diaspora)

A State of Becoming
(2006 - 2009)

A commission from Louise Katerega and featuring Foot In Hand’s regular disabled dance artists for The Place Prize 2006 sponsored by Bloomberg. Inspired by the painting “The Raft of the Medusa” and a score of strings and voice samples played by the Kronos Quartet, the piece depicts the pull between hope and despair for humanity; the choices we face in terms of living with - or dying over - our differences. Lighting Design by New Art Club’s Andy Finn with scenography and costume by Sweetshop Revolution’s Andy Hamer.
“The most ambitious work…One could say that ‘A State of Becoming’ was naively didactic. I think it was more than that and with very diverse cast was also challenging preconceptions of what dance and dancers should be like. (It would be defamatory of me to say that my liking for this piece was anything to do with the fact that I found myself sitting next to its charming and interesting choreographer.)”
John Mallinson, Ballet.co.uk

Some of the best work of this type I have ever seen…very beautiful and truly integrated. This was first and foremost an incredibly thoughtful piece of dance performed by a company of talented dancers who were really engaging. The lighting design and soundscape were very evocative and the way that the dancers used the space and filled the stage was really satisfying”
Jane Rice Bowen, Chief Executive, The Circus Space

“Never mind integrated…just a great piece of dance. It rocked!”
Chris Stenton, Development Director Foundation for Community Dance

“I didn’t realise until half way through - and I mean this as a compliment - that some of the performers were disabled”
Audience member, writer/critic

“Did I need a tissue? I needed five! I’m so proud. And I didn’t expect to but I understood it… said all the things people need to hear today”
Parent of disabled dancer in the work, first time dance

Pockets On Fire (2004/5)

Toured East & West Midlands with extensive community programme. The piece is part music gig and part dance featuring singer-songwriter Anna Ryder. As flexible as shuffling tracks on a CD, performed in different lengths and formats according to venue (anything from middle scale theatres to primary schools). Taking things beyond the “curtain raiser”, professionals made and performed work with community participants at the different venues including these pieces in the show.
“By the end of their last show I was dancing in the aisles and screaming out ‘more”!...appealing to young and old, contemporary dance purists and those who would rather watch paint dry - there is something for everyone at a Foot In Hand show”
Audience feedback

Words Afoot (2003)

Site specific work on the subject of reading commissioned by Derby Festival of Words featuring a combination of professionals and non-professionals. Inspired by active consultation with a group of older readers and performed for primary school groups and as the festival finale at Derby Dance Centre where the company was in residence from 2003 - 2005.
“I couldn’t find anyone of any age or background who didn’t enjoy this wonderful production”
Festival Evaluation Report

“Amazing…the children loved the whole experience, but it’s about so much more than just reading. Following the production from beginning to end in fact it’s a gradual lesson in how to read dance itself. What an achievement!”
Head Teacher, Participating School