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Male and Female Dancers Required for Fallen Angels Dance Theatre

Posted on November 30, 2011

Fallen Angels Dance Theatre are auditioning for their Spring 2012 tour of Battle for the Soul, to be performed in the north west and internationally. Chapter One: Battle for the Soul is a montage of stories where addict’s paths collide with the brutal realities of their lives. Revelations, despair, desperation, fear and denial – standing at the crossroads, which way will they choose? And do they have a choice?

Fallen Angels Dance Theatre (FADT) are a process led company based in North West England and led by artistic director, Paul Bayes Kitcher. Paul, previously a soloist with Birmingham Royal Ballet, formed the company to develop his work with vulnerable young people and adults that have experienced addiction and alcoholism.

Chapter One is an imaginatively-devised, powerfully-performed exploration of the people in society it is easy to dismiss as losers and freaks and the ease with which recreational drugs and alcohol unleash and empower the freak within those we perceive as ‘normal’. Full of narrative and emotional content, Chapter One is an unexpectedly powerful and fulfilling piece of dance theatre. Fallen Angels Dance Theatre is looking like an important new player in contemporary dance.” Peter Jacobs

FADT is looking for strong classical and contemporary trained dancers. Two female dancers to play Mother and Daughter, and one male dancer, preferably with partnering experience. The piece will be rehearsed and premiered at the Lowry Theatre, Salford, in May 2012.

Auditions and will take place on Feb 9 from 1 to 4pm at the Lowry Theatre by invitation only. Visit Youtube link:

Please send images and CV to here

Jonathan Gray is editor of Dancing Times. He studied at The Royal Ballet School, Leicester Polytechnic, and Wimbledon School of Art where he graduated with a BA Hons in Theatre Design. For 16 years he was a member of the curatorial department of the Theatre Museum, London, assisting on a number of dance-related exhibitions, and helping with the recreation of original designs for a number of The Royal Ballet’s productions including Danses concertantes, Daphnis and Chloë, and The Sleeping Beauty. He has also contributed to the Financial Times, written programme articles for The Royal Ballet and Birmingham Royal Ballet, and is co-author of the book Unleashing Britain: Theatre gets real 1955-64, published in 2005.

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