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Fallen Angels Dance Theatre seeks new board members

Posted on January 3, 2014


Based in the north west, Fallen Angels Dance Theatre (FADT) is a professional dance theatre company that exists to break down barriers through creativity and self-expression by demonstrating the power of transformative theatre.

FADT offers creative dance participation and performance activities for young people and adults, and specialises in social inclusion for those sections of the community that are excluded through economic and social barriers. It inspires and supports them to make positive life choices through its education and outreach programmes. The company’s vision is to strive for artistic excellence whilst raising awareness that art changes lives with its rehabilitative power.

FADT are currently looking for additional directors to join its Board, who share the company’s ambitions and have the passion to drive its future development forward. FADT would especially welcome applications from creative practitioners, and other professionals who have a range of skills, experience and knowledge, in particular:

· Existing board experience
· Financial management
· Fundraising and income generation
· Business support
· Legal (particularly company and employment law)
· HR and personnel

Board members are required to attend quarterly meetings, sub groups, events, as well as to advocate and champion the innovative work of Fallen Angels Dance Theatre. A renumeration for travel expenses is available to support the activity.

To apply: Please email for an application pack. Further information about Fallen Angels is available here.

Closing date for applications: January 21, 2014

Pictured: a member of FADT performing at a recent awareness event.

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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