Esplanade March On

Presents

An Esplanade Co Production

Akram Khan Company (UK)

6 & 7 Mar 2024, Wed & Thu, 2.30pm (For schools only)
8 Mar 2024, Fri, 7.30pm | 9 Mar 2024, Sat, 3pm
Esplanade Theatre
About Esplanade – Theatres on the Bay
Esplanade is Singapore’s national performing arts centre and one of the busiest arts centres in the world. Since its opening in
2002, the centre has presented more than 53,000 performances and activities, drawing an audience of 34 million patrons and
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complemented by a comprehensive range of professional support services.

Esplanade’s vision is to be a performing arts centre for everyone and its programming is guided by its social mission—to
entertain, engage, educate and inspire. It seeks to enrich everyone’s lives, including seniors, youth, children and underserved
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Esplanade regularly presents world-renowned companies and artists that attract international attention and add to Singapore’s
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C
O F E S T I VA L M E S S A G E 4

N AT U R E L ’ S M E S S A G E 5

N AKRAM KHAN ON
J U N G L E B O O K R E I M AG I N E D
6

T
SHARON CLARK EXPLAINS THE 8
P R O C E S S O F R E I M AG I N I N G
JUNGLE BOOK

E
A B O U T J U N G L E B O O K R E I M AG I N E D 10

SYNOPSIS 11

N
PRODUCTION CREDITS 13

A B O U T A K R A M K H A N C O M PA N Y 16

T BIOGRAPHIES 18

S
F E S T I VA L
M E S SAG E
In a world that grows ever more complex and uncertain, how do our children navigate their
journey to adulthood? What constitutes a safe haven for them, and where do they find a sense
of home?

March On, Esplanade – Theatres on the Bay’s children’s festival returns from 6 – 17 Mar 2024.
In its fourth edition, the festival presents specially commissioned immersive experiences by
homegrown companies as well as international co-productions and presentations exploring
the themes of home, adventure and coming of age. Throughout the festival and all around
the centre, there will be free programmes as well as workshops for children, families, and
caregivers. We also continue our partnership with ASSITEJ Singapore to put together
professional development and industry-based discussions for educators and artists.

For children, home transcends the confines of a roof overhead; it encompasses emotions
and an imaginative refuge where they can freely engage in play and weave dreams. March
On delves into the concept of “shelter”, exploring its diverse expressions and forms through
captivating performances and interactive workshops. We encourage children to reflect on what
shields and inspires them, fostering a desire to contribute to a brighter future for themselves
and the world they inhabit.

We hope the festival will inspire everyone to re-imagine, play, hope, and reach out for the
shining stars in space. Let’s March On towards a brighter world for us all!

Rachel Lim
Producer, The Esplanade Co Ltd

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N AT U R E L ’ S
M E S SAG E
Naturel continues to be a proud sponsor of Esplanade’s March On 2024, an annual children’s
festival that explores relevant issues for the young through multi-disciplinary programs and
participatory art experiences. This sponsorship reflects a positive association with event,
and emphasises Naturel’s commitment to supporting initiatives that contribute to the
community’s cultural and educational enrichment.

With Naturel’s long history, brand leadership in the cooking oil and olive oil markets, and
organic staples, it is a brand that resonates well with local consumers.

We extend our warmest wishes for an enjoyable and enriching experience at the Festival!

Mr. Whang Shang Ying

Executive Chairman
Lam Soon Singapore Pte Ltd.

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AKRAM
KHAN
ON JUNGLE BOOK
R E I M AG I N E D

“I feel compelled to share the story – lovingly known

as The Jungle Book – with children and adults from all
cultures.” – Akram Khan

I want to dive into the myths of today, and children’s

stories of tomorrow. Hence, I want to find a way to take
a known, familiar story and observe it through the lens
of today’s children, my children, our children, who are
and will become our present and future storytellers.

Why?

The Jungle Book’s story has always been close to me.

Not only because I had played the role of Mowgli in
an Indian dance production as a young boy, but more
because of the three deep lessons it held within it that
I have since carried with me throughout my life—the
lessons of commonality between species, the binding
interdependence between humans, animals and
nature, and finally, a sense of family and our need to
belong.

We are now living in unprecedented and uncertain

times, not only for our species but for all species on
this planet. And the root cause of this conundrum
is because we have forgotten our connection to our
home, our planet. We all inhabit it, we all take from it,
and we all build on it, but we have forgotten to return
our respect for it.

So I believe that we must make changes from the

grass roots up, if we are to see a brighter future. And
so I feel compelled to share the story—lovingly known
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as The Jungle Book—with children and adults from
all cultures, in order to re-learn what we, as a species,
have so conveniently forgotten. And I believe that the
strongest, and deepest way to tell this story is through
the magic of dance, music and theatre.

What?

This production traces the original story by Rudyard

Kipling, but this particular version is very much my
own interpretation of the original. Mowgli and all the
known characters from the original are in this new
version, with a new original score.

How?

I am extremely conscious of the deep messages within

the original work. But I am also aware of the potency
and relevance of these messages for today’s world.
And I have always believed that before words comes
actions. So, I decided to approach this production with
a direct action towards climate change.

Climate change is and will continue to affect all living

creatures on this beautiful planet. So then how do
we create a work that uses less sets, so we can travel
lighter when touring? Since lockdown, I have come to
appreciate technology, in ways that I did not before
COVID-19. And that’s simply because it has allowed me
to stay connected with my loved ones, my artistic team
and the wider world. Without the use of technology, I
would have felt truly alone.

And so, for Jungle Book reimagined, the stage is nearly

empty—there is no traditional physical set. To achieve
this, I explored the use of technology, projections
and film as the non-physical set. We must not forget
that most often, great storytelling can be told by the
simplest of tools—our bodies, our voices, and our
conviction in that story.

– Akram Khan

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SHARON
CLARK
EXPLAINS THE
PROCESS OF
R E I M AG I N I N G
JUNGLE BOOK

“We humans have become geological agents, by

changing the most basic physical processes of the
earth.” – Amitav Ghosh

The process of reimagining Jungle Book was ignited by

Akram’s provocation as to how the production could,
through the story of Mowgli’s adventures, explore a
near future world that nature is hungrily starting to
reclaim? A world where human relationship with the
wild is changing and the interconnectivity between
animal and human is becoming more complex and
precarious.

The role of water in this future world became an

imperative in creative explorations. The increasing
lack of it in certain parts of the world and the huge rise
in sea levels in others – so the creative team began
to explore the places where water strips land and
reclaims land.

It was from this volatile world of water that Mowgli’s

journey began to emerge. It felt more and more
urgent that in this reimagination Mowgli is born of
an indigenous tribe from South-East Asia. Mowgli’s
parents have stowed the family away on a huge
container ship escaping with thousands of others from
a homeland ravaged by drought.

On this huge floating island of migration, Mowgli falls

overboard and is carried by the water to a modern,
high-rise city that has been deserted by its human
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inhabitants due to a tumultuous change in its
climate—the winters bring huge floods and the
summer, perilous drought. In this city, animals who
have escaped from the zoos, from the hands of private
owners, from laboratories, have formed an uneasy
alliance, a ramshackle pack whose instincts allow
them to understand the natural ebb and flow of this
new unreliable climate. They now claim this cityscape
as their own—marking their territories in the libraries,
the parliament buildings, the cathedrals.

And so this is the jungle of our story. A jungle where

a menagerie of animals forges an uneasy alliance in
order to take a stand against a cunning and ruthless
predator who they have long feared to name. The
jungle where Mowgli finds the most unlikely allies in
an aged albino panther and a geriatric bear who lives
on past glories. A jungle where Mowgli is taught to
listen to the water rhythms of this new world in order
to combat the dangerous outsider who carries the gun.

Our creative ambition in reimagining Jungle Book was

to forge a compelling visual story that deftly steers
its audiences through the slapstick antics of Baloo
and Bagheera, the drama of the chase as Mowgli is
snatched from her pack and an intimate portrayal of a
child and the mother she has lost.

– Sharon Clark, dramaturgical advisor

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ABOUT
JUNGLE
BOOK
R E I M AG I N E D
“Really the piece is about our lack of listening but
also the sadness of not being able to listen and how
important it is to be able to listen to the earth. It’s one
of our biggest mistakes. Climate change is here and
we were aware of it a long time ago.”

– Akram Khan, February 2022, in an interview with

Martin Ballard

Embark on a thrilling adventure in a future world

ravaged by climate change. Join a family’s escape to
a modern city, where a child discovers allies among
wild animals. Presented by one of the most celebrated
and respected dance artists today, Akram Khan’s
Jungle Book reimagined is a captivating dance-theatre
production that reinvents the journey of Mowgli
through the eyes of a climate refugee.

Dive into a magical world with your family and

celebrate the importance of belonging and respecting
nature. Featuring an original score, ten international
dancers and state-of-the-art animation and visuals,
Jungle Book reimagined is a beautifully compelling
and vital piece of storytelling that is not to be missed.

This production is presented as part of March On,

Esplanade’s annual children’s festival that explores
relevant issues for the young through multi-disciplinary
programmes and participatory arts experiences.

(2 hrs, including 15min intermission)

Performed in English.
6 – 9 Mar 2024, Wed – Sat
9 Mar 2024, Sat: Relaxed Environment
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SYNOPSIS
ACT I
Sea levels are rising; waters dominate land; and
humans scramble for their survival in search for higher
ground. A young child finds herself separated from her
family and ends up in a flooded city, deserted by its
human inhabitants. Monuments have been uprooted
and rearranged, and animals of all shapes and sizes
have congregated here and formed an uneasy alliance
as they try to live with this new unreliable climate.They
have claimed this cityscape as their own – marking their
territories in libraries, supermarkets, governmental
buildings, and even places of worship.

The child is discovered by the wolf pack led by Raksha

and Rama. Raksha wants to keep the child, but Rama
insists that humans bring danger, and they must
destroy it. Raksha protects Mowgli and presents her
to an animal council, led by Akela, a dog, and with the
watchful eyes in the sky of Chil, the kite. The animals
speak of a mysterious hunter, a human who has been
cast out by his own kind. The hunter has returned to
these lands and keeps the animals in constant fear.
After much deliberation, the child is accepted by the
council and the naming process begins: Mowgli.
Mowgli is set to work straight away; she must prove
her worth and help the animals in their search for food.
Maybe human instincts are just what they need.

Mowgli finds herself in the company of Bagheera, a

kidnapped albino panther who grew up in a palace,
and Baloo, an escaped dancing bear. However, on their
quest for food, Mowgli is taken by the Bandar-log; lab
monkeys who have had all kinds of experiments done
on them.Through cunning, the Bandar-log outwit Baloo
and Bagheera and steal Mowgli. Bagheera and Baloo
must now find an animal capable of striking fear into
the Bandar-log. After all, they are not animals of the
tree world. They seek out Kaa, a rock python, who has
escaped from captivity but still lives with the traumas
of a lifetime stuck behind a glass viewing screen.
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ACT II
Mowgli is taken to the Bandar-log’s lair, a ransacked
governmental building.The Bandar-log are no strangers
to humankind; they come from testing laboratories—
and regurgitate commercial jingles and political rants
they heard from their cages. They listened, copied, and
aped the humans, but now they want to become them.
Mowgli is the missing piece of the puzzle. A human
child to teach them how to fully become human.

With the help of Kaa, Baloo and Bagheera rescue

Mowgli from the hands of the Bandar-log just at the
moment she is about to help them create fire: the most
feared possession of mankind. Animals can’t control
this. Mankind can.

When Mowgli is saved, the trio return to the council

where Hathi, the leader of the elephants, tells them of
their ancient tale, back to the time when the jungles
they once knew were created.

But when the hunter finally breaches their territory, and

shoots down Chil, the animals know that this spells
the beginning of the end of the peace they have forged
together. Mowgli, remembering her mother’s words
throughout her journey, decides to stand up and fight
for her newfound friends and seeks out the hunter and
end his savagery.

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PRODUCTION
CREDITS
Director/Choreographer
Akram Khan

Creative Associate/Coach
Mavin Khoo

Writer
Tariq Jordan

Dramaturgical Advisor
Sharon Clark

Composer
Jocelyn Pook

Sound Designer
Gareth Fry

Lighting Designer
Michael Hulls

Visual Stage Designer

Miriam Buether

Art Direction and Director of Animation

Adam Smith (YeastCulture)

Producer/Director of Video Design

Nick Hillel (YeastCulture)

Rotoscope Artists/Animators
Naaman Azhari, Natasza Cetner, Edson R Bazzarin

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Rehearsal Directors
Nicky Henshall, Andrew Pan, Angela Towler

Dancers
Maya Balam Meyong,Tom Davis-Dunn, Hector Ferrer, Harry Theadora Foster, Filippo Franzese,
Bianca Mikahil, Max Revell, Matthew Sandiford, Elpida Skourou, Holly Vallis, Jan Mikaela
Villanueva, Lani Yamanaka

Assistant Animators
Nisha Alberti, Geo Barnett, Miguel Mealla Black, Michelle Cramer, Jack Hale, Zuzanna Odolczyk,
Sofja Umarik

Voice Actors
Tian-Lan Chaudhry, Joy Elias-Rilwan, Pushkala Gopal, Dana Haqjoo, Nicky Henshall, Su-Man
Hsu, Kathryn Hunter, Emmanuel Imani, Divya Kasturi, Jeffery Kissoon, Mavin Khoo, Yasmin
Paige, Max Revell, Christopher Simpson, Pui Yung Shum, Holly Vallis, Jan Mikaela Villanueva,
Luke Watson, 3rd year students of Rambert School.

Producing Director Touring Production Manager and Prop Maker

Farooq Chaudhry Harry Abbott

Executive Director Lighting Engineer

Isabel Tamen Stephane Dejours

Project Manager Sound Engineer

Mashitah Omar Philip Wood

Technical Director Video Technician and Projectionist

Zeynep Kepekli Matthew Armstrong

Technical Manager Technical Stage Manager

Michael Cunningham Samuel Collier

Co-produced by
Curve Leicester, Attiki Cultural Society – Greece, Birmingham Hippodrome, Edinburgh
International Festival, Esplanade –Theatres on the Bay, Festspielhaus St. Pölten, Internationaal
Theater Amsterdam, Joan W. and Irving B. Harris Theater for Music and Dance – Chicago,
Lincoln Center for the Performing Arts – New York, Maison de la Danse / Pôle européen
de création – Lyon, National Arts Centre – Canada, New Vision Arts Festival – Hong Kong,
Orsolina28, Pfalzbau Bühnen – Theater im Pfalzbau Ludwigshafen, Romaeuropa Festival,
Stanford Live / Stanford University, Teatros del Canal – Madrid, théâtre de Caen, Théâtre de la
Ville – Paris.

The technical adaptation of Jungle Book reimagined is kindly supported by Les Théâtres de la
Ville de Luxembourg.
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With the support of
Garfield Weston Foundation, Genesis Foundation and Angela Bernstein CBE

Supported by
Arts Council England

Special thanks to
Pui Yung Shum, Luke Watson, Thomasin Gülgeç, Lucia Chocarro, Fukiko Takase, Vanessa
Vince-Pang, Tina and Richard Fagan, Sue Buckmaster, The Coronet Theatre, University of
RoTehampton, Mr. & Mrs. Khan, Yuko Khan, Sayuri, Kenzo & Ayana Khan, Amanda Britton,
Darren Ellis, Sharon Watson, Ann David, Anda Winters, Ella Roberts, Anna CY Chan and all
the students of Hong Kong Academy of Performing Arts that took part in creation rehearsals,
and all the 3rd year students of Northern School of Contemporary Dance (2021-2022) and 3rd
year students of Rambert School (2021-2022) who worked on the R&D residency with Akram.

Jocelyn Pook’s music © Copyright 2022 Chester Music Limited

Music recorded by

Singers
Tanja Tzarovska, Melanie Pappenheim, Sushma Soma, Sohini Alam, Voya Zivkovic

Musicians
Jocelyn Pook (piano, viola, voice, keyboards), Mulele Matondo (guitar and sanza), Belinda
Sykes (shawm and gralla)

Recording and mixing

Steve Parr

How Dare You?, Greta Thunberg, recording property of United Nations

Blah, blah, blah, speech by Greta Thunberg

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ABOUT
AKRAM
KHAN
C O M PA N Y
In July 1999 in the foyer of the Queen Elizabeth
Hall in London, an animated and curiosity-filled
conversation took place between the young gifted
dancer/choreographer Akram Khan and an ambitious
former dancer and just recently graduated arts
manager Farooq Chaudhry. That conversation laid
the foundation stone for a dynamic collaboration,
culminating in the creation of Akram Khan Company
one year later.

Inspired by Akram Khan’s early training in the Indian

classical dance form kathak, and the hybrid language
that organically emerged when Akram’s kathak training
encountered contemporary dance in his teens, a vision
began to form, fuelled by a desire to learn and create
through collaboration with the very best people across
all the disciplines in the arts.

The rules were simple: take risks, think big and daring,
explore the unfamiliar, avoid compromise and tell
stories through dance that are compelling and relevant,
with artistic integrity.

In over 23 years, Akram Khan Company is now

undisputedly one of the foremost innovative dance
companies in the world. The programmes range
from kathak and modern solos to artist-to-artist
collaborations and ensemble productions. The
Company has a major international presence and
enjoys busy tours that reach out to many cultures and
peoples across the globe. Akram Khan has been the
recipient of numerous international dance awards,
the most notable being an Olivier Award for his solo
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A milestone in the Company’s journey was the creation
of a section of the London Olympic Games Opening
Ceremony in 2012.

Akram Khan Company enjoys artistic association with

Sadler’s Wells Theatre in London, Curve in Leicester,
and other leading venues and festivals around the
world.

Akram Khan Company

Artistic Director Creative Associate

Akram Khan Mavin Khoo

Producing Director Executive Director

Farooq Chaudhry Isabel Tamen

Finance Director Technical Director

Jan Hart Zeynep Kepekli

Technical Manager Head of Touring &

Michael Cunningham Production
Mashitah Omar

Touring Assistant Creative Learning Manager

Margaux Karayianni Emma Bellerby

Marketing & Communications Manager

Chelsea Robinson

Marketing & Communications Coordinator

Sabrina Pui Yee Chin

Visa and Work Permit Coordinator

Svitlana Bil

Executive Assistant to Executive Director

Marie Lhotellier

Office and Legacy Manager

Emma Saville

Executive Assistant to Akram Khan

Natalie Payne
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BIOGRAPHIES
Akram Khan
Artistic Director/Choreographer

Akram Khan (he/him) is one of the most celebrated and

respected dance artists of today. In just over 23 years
he has created a body of work that has contributed
significantly to the arts in the UK and abroad. His
reputation has been built on the success of imaginative,
highly accessible and relevant productions such as
Jungle Book reimagined, Outwitting the Devil, XENOS,
Until the Lions, Kaash, iTMOi (in the mind of igor),
DESH, Vertical Road, Gnosis and zero degrees.

As an instinctive and natural collaborator, Khan has

been a magnet to world-class artists from other cultures
and disciplines. His previous collaborators include
the National Ballet of China, actress Juliette Binoche,
ballerina Sylvie Guillem, choreographers/dancers
Sidi Larbi Cherkaoui and Israel Galván, singer Kylie
Minogue, indie rock band Florence and the Machine,
visual artists Anish Kapoor, Antony Gormley and Tim
Yip, writer Hanif Kureishi and composers Steve Reich,
Nitin Sawhney, Jocelyn Pook and Ben Frost.

Khan’s work is recognised as being profoundly

moving, in which his intelligently crafted storytelling
is effortlessly intimate and epic. Described by the
Financial Times as an artist “who speaks tremendously
of tremendous things”, a highlight of his career was
the creation of a section of the London 2012 Olympic
Games Opening Ceremony that was received with
unanimous acclaim.

As a choreographer, Khan has developed a close

collaboration with English National Ballet. He created
the short piece Dust, part of the Lest We Forget
programme, which led to an invitation to create his
own critically acclaimed version of the iconic romantic
ballet Giselle. Creature is Khan’s latest work for English
National Ballet.

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Khan has been the recipient of numerous awards
throughout his career including the Laurence
Olivier Award, the Bessie Award (New York Dance
and Performance Award), the prestigious ISPA
(International Society for the Performing Arts)
Distinguished Artist Award, the Fred and Adele Astaire
Award, the Herald Archangel Award at the Edinburgh
International Festival, the South Bank Sky Arts Award
and eight Critics’ Circle National Dance Awards.
Khan was awarded an MBE for services to dance in
2005. He has recently been announced as the new
Chancellor of De Montfort University, and he is also
an Honorary Graduate of University of London as well
as Roehampton and De Montfort Universities, and an
Honorary Fellow of Trinity Laban.

Khan is an Associate Artist of Sadler’s Wells, Mountview

Academy of Theatre Arts, London and Curve, Leicester.

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Mavin Khoo
Creative Associate & Coach

Mavin Khoo is internationally recognised

as a dance artist, teacher, choreographer
and artist scholar. His initial training was
in Malaysia. He then pursued his training
in bharatanatyam intensively under
the legendary dance maestro Padma
Shri Adyar K.Lakshman in India. As a
contemporary dance artist, he has worked
with Wayne McGregor, Akram Khan,
Shobana Jeyasingh and many others.
Khoo founded mavinkhooDance in 2003.
He was Artistic Director of ZfinMalta
Dance Ensemble between 2014–2017.
He currently maintains his touring
work as a mature artist with a focus on
solo bharatanatyam performances and
specifically commissioned contemporary
duet works. He also worked as rehearsal
director for Akram Khan Company
productions iTMOi, XENOS, Outwitting
the Devil and worked alongside Akram
on Giselle (English National Ballet) and
Creature (English National Ballet and
Opera Ballet Vlaanderen). In 2019, he
was appointed Akram Khan Company’s
Creative Associate.

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Tariq Jordan
Writer

Tariq Jordan is a writer, actor, and

practitioner of proud Russian-Jewish
and Iraqi-Muslim heritage. He graduated
from the Royal Central School of Speech
and Drama in 2007 and has worked
extensively as an actor for stage and
screen since. His debut play ALI AND
DAHLIA, inspired by his experiences
working in Palestine, premiered at the
Pleasance Theatre Islington in spring
2019 directed by Kerry Michael MBE. The
play received three Off West End Award
nominations, including Most Promising
New Playwright, and was a finalist for
the Best Play Award in the 2020 Writers’
Guild Awards. Tariq currently works as a
tutor at RADA Business. Here, Tariq trains
companies around the world in personal
impact and storytelling.

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Sharon Clark
Dramaturgical Advisor

Sharon Clark is a playwright, dramaturg,

producer and Creative Director of the
immersive, multidisciplinary theatre
company Raucous. She has previously
worked with the National Theatre, the
RSC, Theatre 503, Arcola, Theatre 503,
New Diorama, Aardman Animations, Bath
Theatre Royal, Sherman Cymru, Watford
Palace Theatre and Bristol Old Vic (where
she was Literary Producer). In 2017 she
was awarded a Bruntwood Judge’s Prize
for Playwriting and her plays have also
been shortlisted for the Yale Drama Prize
and the PapaTango Prize. In 2019 she was
awarded a Digital Fellowship with the
RSC and the spatial computing company,
Magic Leap. She is a resident artist at
Bristol’s Pervasive Media Studio, a senior
lecturer in writing for performance at
UWE and also writes for film.

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Jocelyn Pook
Composer

Jocelyn Pook is an award-winning

British composer and musician known
for her unique and versatile voice in
contemporary music. Her work spans
cultures and genres ranging from
orchestral and choral to minimal,
frequently inspired by found sound and
field recordings and conjuring evocative
soundscapes. She is also known for her
highly acclaimed film scores such as The
Wife, The Merchant of Venice, Brick Lane,
and Kubrick’s Eyes Wide Shut. In 2018, she
won the BAFTA for Best Original Score
for the TV film of Mike Bartlett’s play King
Charles III. Her previous collaborations
with Akram Khan include scores for Dust
(from English National Ballet’s Lest We
Forget) and the much-celebrated score
for DESH, for which she was awarded the
British Composer Award in 2012.

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Gareth Fry
Sound Designer

Gareth Fry is a multi award-

winning sound designer,
best known for his cutting-
edge work in theatre. Dance
includes The Language of
Kindness (Wayward), Stones of
Venice, Invisible Cities (MIF, 59
Productions & Rambert), Othello
(Frantic Assembly), John (DV8).
Other productions include Harry
Potter and the Cursed Child;
Complicité’s The Encounter;
Bedknobs & Broomsticks, and
the Opening Ceremony of the
2012 Olympic Games. He is the
author of Sound Design for the
Stage. Awards for best sound
design include three Olivier
Awards, two Tony Awards,
two Drama Desk Awards, two
Helpmann Awards and an
Evening Standard award.

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Michael Hulls
Lighting Designer

Over the last 20 years, Michael

Hulls has worked exclusively
in dance, particularly with
choreographers Russell Maliphant
and Akram Khan, and established
a reputation as a “choreographer
of light”. His collaborations with
Russell Maliphant have won
international critical acclaim
and many awards. Michael has
worked with Akram over many
years on productions including
In-I, DESH, TOROBAKA, Until the
Lions, XENOS and most recently
Creature. In 2009, Michael became
an Associate Artist of Sadler’s
Wells. In 2010, his contribution to
dance was recognised with his
entry into the Oxford Dictionary
of Dance, as only the fourth
lighting designer to be given an
entry. In 2014 Michael received
the Olivier Award for Outstanding
Achievement in Dance.

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Miriam Buether
Visual Stage Designer

Miriam Buether is an award-

winning stage designer working
internationally in theatre, opera
and dance. Born in Berlin, she
trained in costume design at
Akademie für Kostüm Design
in Hamburg, and in theatre
design at Central Saint Martin’s,
London. Recent work includes
To Kill a Mockingbird, Three Tall
Women and A Doll’s House 2
on Broadway, The Jungle for
the Young Vic, subsequently
transferring to the West End and
New York, and Caryl Churchill’s
What If If Only for the Royal
Court. Miriam won The Linbury
Prize for Stage Design in 1999
and received the Evening
Standard Best Design Award in
2010 for Earthquakes in London
and Sucker Punch, and again in
2018 for The Jungle.

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Adam Smith
Art Direction and
Director of Animation

Adam Smith is an award-

winning Animation and Art
Director who has been working
in live dance, theatre and
music for over a decade. He
graduated from Southampton
Solent University in 2005 with a
degree in Animation and moved
straight into television and
film before being introduced
to creating animation for live
performances and video design
by YeastCulture. Working with
YeastCulture his first piece
was the animation for Akram
Khan’s DESH. He has since
gone on to create work for
ballet, contemporary dance,
opera, as well as classical
and contemporary music
with productions such as The
Nutcracker and I, The Cunning
Little Vixen, Petrushka and Nitin
Sawhney’s Dystopian Dream
with Wang Ramirez.

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Nick Hillel
Producer/Director of
Video Design

Nick Hillel is a video artist, producer

and video designer based in London.
In 1998 he graduated from a film and
politics degree and went on to direct a
number of documentaries for the BBC
and Channel 4 before establishing the
digital media company YeastCulture.
The first major project was a to
create visuals for Nitin Sawhney’s
global Prophesy tour. He then went
on to produce and direct visuals for
artists including Akram Khan (DESH),
Philhramonia Orchestra (RE-RITE and
Bartok’s Bluebeard’s Castle), Simon
Rattle and the LSO (Ligeti’s Le Grand
Macabre), Courtney Pine (Live tour),
The Berliner Philharmoniker and
Peter Sellars (Janacek’s Cunning
Little Vixen), Boy Blue’s (The Five),
Matthew Herbert (Big Band Tour) and
Hussein Chalayan (Gravity Fatigue)
at Sadler’s Wells.

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YeastCulture
Production Company

YeastCulture was established in London

in 1999 as a space to explore innovative
ways of connecting the stage, video and
the screen into one integrated audience
experience. Video design and projection
mapping creations have since featured in
orchestral performances, contemporary
dance, ballet, theatre, gallery installations
as well as visuals for live bands for
international tours. Past productions
include collaborations with Sir Simon
Rattle, Esa Pekka Salonen, Akram Khan,
Ludovico Einaudi, Michael Tilson Thomas,
Nitin Sawhney, Hussein Chalayan, Cirque
du Soleil, Michael Nyman,The Beastie Boys,
Philharmonia Orchestra, London Symphony
Orchestra, San Francisco Symphony
Orchestra, Berlin Philharmoniker, Clod
Ensemble, Dickson MBi, George Fenton
and The V&A. The company works across
art forms blending film, live performance,
animation, documentary, set design and
projection mapping.

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Nicky Henshall
Rehearsal Director

Nicky trained at the Royal Ballet Lower

and Upper school and performed
professionally as an Artist with English
National Ballet company from 2009 to
2015. Her rehearsal director credits
include Akram Khan Company’s
Outwitting the Devil and Jungle Book
reimagined, English National Ballet’s
Creature (choreographed by Akram
Khan) and Nora (choreographed
by Stina Quagebeur), New English
Ballet Theatre’s 2018 Season,
and Birmingham Royal Ballet’s
Embrace (choreographed by George
Williamson). Nicky’s performing
credits include An American in Paris, a
West End production (choreographed
by Christopher Wheeldon), On The
Town, Japan Tour (choreographed
by Ashley Page), New English Ballet
Theatre’s 2017 season, and Nutcracker
Reimagined (choreographed by Jenna
Lee). She has also appeared on the
BRIT Awards with Wayne McGregor,
in Disney’s Nutcracker and the Four
Realms, and was a 2nd year tutor at
the Central School of Ballet during
the 2020/21 school year. Nicky is also
director of Staffordshire Youth Ballet,
and is mentored by Kerry Nicholls.

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Andrew Pan
Rehearsal Director

Andrew was born in Kuala Lumpur,

Malaysia. Studying at the Federal
Academy of Ballet in Malaysia, he
was offered a scholarship to study
at the Central School of Ballet in
London. During his second year at
Central, Andrew worked with Dublin
City Ballet, in Giselle dancing the
part of Peasant Pas De Deux. After
touring with Notre Dame de Paris
for three years, he spent five years
in Celine Dion’s show A New Day
in Las Vegas. Throughout his career
Andrew has worked with different
choreographers and directors,
including Jirí Kylián, Rui Horta, Itzik
Galili, Richard Wherlock, Roberto
Galvan, Mia Michaels,Karl Schreiner,
Christian Spuck, Carlus Pardrissa,
Johann Kresnik, Jean Renshaw,
Philipp Stölzl. Andrew joined Akram
Khan Company in 2018 as a dancer in
Outwitting the Devil.

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Angela Towler
Rehearsal Director

Angela has had a long professional

career dancing with Richard Alston
Dance Company and Rambert. She
has worked with internationally
celebrated choreographers including
Christopher Bruce, Wayne McGregor,
Mats Ek, Jirí Kylián to name a few.
She was nominated for a TMA award
for Achievement in Dance and the
Critics’ Circle National Dance Award
for Outstanding Female Performance.
She has choreographed many works
for Rambert and for BBC, ITV and
live events. She is working with The
Royal Ballet School, English National
Ballet School teaching contemporary
technique and also continues to work
with leading companies. She joined
Akram Khan Company summer of
2021 as Rehearsal Director.

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Maya Balam Meyong
Dancer

Native from Belgium with

Cameroonian origins, Maya
graduated from a BFA in dance
at the PSPBB/Paris 8 University
as well as from Rick Odum’s
professional training and
teaching programmes under
scholarship award. Alumnus
of the Springboard Dance
Montreal and of the Jacob’s
Pillow Contemporary Program,
she is also an awardee of
the Vocatio Foundation as
well as Phil Collins’ Little
Dreams Foundation. Upon
graduating, Maya moved to
Brussels where she danced
for different choreographers
and since moving to New York,
has danced with CR Dance
Company.

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Tom Davis-Dunn
Dancer

Tom graduated from the Northern

School of Contemporary dance (NSCD)
in 2017 and has since had the privilege
of working with the likes of Lloyd
Newson DV8/Rambert for the revival
and world tour of Enter Achilles, Gary
Clarke’s Wasteland, Theo Lowe, Jamaal
Burkmar, amongst many others. Tom
has a keen eye for detail and strives
himself on delivering the best quality
of work at all times with enthusiasm
and rigour. Tom constantly explores
his movement practice with curiosity
and generosity, immersing himself into
the depths of his thinking body to find
new paths, questioning his artistry with
consideration and dexterity.

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Hector Ferrer
Dancer

Hector was born in Barcelona,

Spain. He started dancing at
the age of 10 pursuing his
studies at the conservatoire
of Barcelona Institut del
Teatre. He moved to Madrid
to continue his training with
Victor Ullate and later moved
to Stuttgart to complete his
diploma at the Stuttgart Ballet
Akademie, the John Cranko
Schule. Since 2013, he has
been dancing professionally
for different dance institutions
such as Opera Ballet van
Vlaanderen and Ballet de
l’Opéra National du Rhin. He
has performed works from
Pina Bausch, Maurice Béjart,
Sidi Larbi Cherkaoui, Edward
Clug, Sharon Eyal, Andonis
Foniadakis, William Forsythe,
Akram Khan, Jîri Kylian,
Kurt Jooss, Jean Christophe
Maillot, Hans van Manen,
Ohad Naharin, and Crystal Pite,
among other choreographers
as well collaborating and being
part of different creations in
Belgium, France, Spain and
Germany.

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Harry Theadora Foster
Dancer

Harry (he/him) was born in Los

Angeles and moved to the UK
as a child. He trained at Rambert
School, graduating with a First
Class BA (Honours) in 2022. Now
a London-based dance artist and
choreographer, he joined Akram
Khan Company on their production
of Jungle Book reimagined in 2022.
He has also had the privilege of
working with and performing works
by Christopher Bruce, Richard Alston,
Richard Chappell and Tim Casson
(Casson and Friends Dance), among
others. He has created a number of
dance films and staged his own work
in the UK, as well as co-founding
Elbow Dance Collective in 2021.

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Filippo Franzese
Dancer

Filippo was born in Naples, Italy,

where he started his modern dance
studies. In 2016 he moved to Agora
Coaching Project Junior Company,
Italy, and in 2017 he began his studies
at Codarts, University of the Arts in
Rotterdam, Netherlands where he
graduated in 2021. In 2020 he became
a member of Skånes Dansteater in
Malmö, Sweden, as an intern-dancer.
From 2021, onwards he worked as
freelance dancer for Marcel Leemann
Physical Dance Theater, Bern, ARK
Connor Schumacher, Rotterdam,
WDTanztheater, Düsseldorf, and
GrossDanceCompany, Amsterdam.
In 2022, he was also the répétiteur at
Codarts, University of the Arts, for the
re-staging of the dance piece Façade
by Andonis Foniadakis.

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Bianca Mikahil
Dancer

Born and raised in São Paulo,

Brazil, Bianca moved to
London in 2019 to study at
Rambert School of Ballet and
Contemporary Dance, from
where she graduated with a First
Class BA (Hons). Throughout her
career Bianca has performed
works by Alleyne Dance, Joy
Alpuerto Ritter, Ivri&Greben,
Richard Alston, and toured with
National Dance Company Wales
performing works by Marcos
Morau and SAY (Sarah Golding
and Yukiko Masui). Bianca
was one of the National Youth
Ballet’s Beyond Ballet Artists in
2021/2022 and co-created Elbow
Dance Collective in 2021.

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Max Revell
Dancer

Growing up in Cornwall, Max

began training in Plymouth, taking
breaking and popping classes
with Street Factory from age nine,
later returning there to teach. As a
teenager he travelled across the UK
competing in battles, and worked
with several theatre companies
before joining Northern School of
Contemporary Dance in Leeds. In
2019 he won the BBC Young Dancer
competition, graduating NSCD
in 2020 he joined postgraduate
company Verve. He has enjoyed
working with The Hiccup Project,
Frantic Assembly, Patricia Okenwa,
Gary Clarke, Eleanor Sikorski,
Susanne Thomas, Dickson Mbi,
Tony Adigun, Barnaby Booth, Botis
Seva, Caroline Finn, and Matthew
Robinson.

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Matthew Sandiford
Dancer

Born and raised in Luton, Matthew

(he/him) discovered his passion
for dance at 17 while studying
performing arts. He furthered his
skills at Trinity Laban, earning a
First Class BA Honours Degree in
Dance Theatre. Matthew’s journey
led him to an eight-year tenure as
a company dancer at BalletBoyz,
where he toured and performed
internationally in acclaimed works
by renowned choreographers such
as Russell Maliphant, Ivan Perez,
Christopher Wheeldon and more.
His artistic pursuits expanded with
engagements at National Dance
Company Wales and James Cousins
Company before joining Akram Khan
Company in August 2021. Matthew
also serves as a Board Member for
BalletBoyz, bringing depth to his
multifaceted dance career.

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Elpida Skourou
Dancer

Elpida, born and raised in Athens,

embarked on her dance journey at age
four with ballet and contemporary
dance. Exploring genres like hip
hop and Latin during her teenage
years, she channelled her passion
into formal education and graduated
from the Greek National School of
Dance in 2018. Notable performances
include Antony Lachky’s with the
Hellenic Dance Company Special
Gala. Delving deeper, she became
a certified Pilates teacher. Her
professional career commenced at
the Athens and Epidaurus Festival,
featuring in Christos Papadopoulos’
Exercise 27. Joining AKC in 2019,
she contributed to Father: Vision of
The Floating World in Bangladesh
and appeared in MOVE, Netflix. As
Assistant Choreographer and dancer,
Elpida worked with RootlessRoots in
collaboration with the Greek National
Opera for the Finality project in 2021.
Selected for Outwitting the Devil from
2020 to 2022, she toured globally,
gracing historical theatres like the
Herodes Atticus in Athens.

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Holly Vallis
Dancer

All their life, Holly has been

questioning and challenging the ways
we, as a society, grow, move and live
and as they’ve entered the profession,
how this can exist within art and
movement expression. Over the
past couple of years, Holly has been
trying to integrate what they continue
to learn about their own identity,
community, and imperatively, the
experiences of those belonging to
different communities into their day-
to-day life as well as their work. Holly
trained at Rambert School of Ballet
and Contemporary Dance and after
graduating worked with TanzTheater
Münster, Ballet Cymru, and Matsena
Productions before joining Akram
Khan Company in 2021.

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Jan Mikaela Villanueva
Dancer

Jan Mikaela (she/her) was born and

raised in the Philippines. She was
a full government scholar of the
Philippine High School for the Arts and
recipient of the Outstanding Student
Artist Award. At the age of 15, she
joined Ballet Philippines where she
performed and toured the company’s
repertoire for three seasons. She
has performed and worked with
renowned choreographers such as
Paxton Rickets, Anh Ngoc Nguyen,
Zoltan Fodor, Eve Chan, Carlo Pacis
and Alice Reyes. A Full Academy
Scholar and recipient of the HKSAR
Government Scholarship Fund (ROA),
Mika obtained a Bachelor of Fine Arts
(Honours) degree with First Class
Honours at The Hong Kong Academy
for Performing Arts before joining the
Akram Khan Company in July 2022.
Aside from performing arts, Mika is
also passionate about dance science,
writing, outreach programmes and
giving back to the arts community by
mentoring students.

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Lani Yamanaka
Dancer

Lani Yamanaka is a fourth-generation

Japanese American artist based in
California. Upon graduating from
UC Irvine, Lani started her freelance
career as an original ensemble
dancer in Pearl by Daniel Ezralow,
which premiered at Lincoln Center.
As a freelance artist, she has
performed works by Edward Clug, Yin
Yue, Bryan Arias, Alba Castillo, Kat
Burns, Kate Weare, Yayoi Kambara,
Shanda Sawyer, Laura O’Malley,
and as a company member with SF
Danceworks, Entity Contemporary
Dance, and ODC Dance. In 2018,
she was Dance Captain for the
off-Broadway production Dragon
Spring Phoenix Rise, her first time
working with choreographer Akram
Khan and associate choreographer
Joy Alpuerto Ritter. She went on to
collaborate with AKC as Lead Dance
Artist for Father: Vision of the Floating
World featuring in MOVE, Netflix.

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Esplanade gives our heartfelt thanks
to our Esplanade partner, arts benefactor, donors and sponsors for
believing in our vision to be a performing arts centre for everyone.
They made all these possible!ˆ

4,562 3,354 Free

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People attended our activities at the centre.
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12,059
Participants
We believe that everyone

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With Gratitude
Esplanade – Theatres on the Bay is a charity, a not-for-profit organisation and Singapore’s national performing
arts centre. We seek to entertain, engage, educate and inspire through the arts.

We thank everyone who has helped us bring joy, inspiration and positive impact to Singaporeans from all
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Our heartfelt appreciation goes especially to our Donors and Sponsors, for their steadfast belief in our
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