MEET THE TEAM 

Frauke Requardt trained in Germany, New York and London. As well as directing dance and performance, she has also worked as one of Lea Anderson’s Cholmondeleys.

Frauke was a Work Place artist at The Place, and is now an Affiliate Artist. Her full-evening works to date include Jammy Dodgers, a fantastical world, with a rolling line up of bands from the London contemporary Jazz scene; the Lynch-esque Roadkill Cafe; and Pequenas Delicias, an absurdist site-specific piece; Episode premiered at The Place (June 2011); Mothers (2017), an anarchic response to her experience of being a new parent; and most recently Dadderrs (2019) with Daniel Oliver.

Current projects include The Anatomy of Survival (working title) with writer Vivienne Franzman.

David Rosenberg co-founded Shunt to pursue an interest in the role of an audience in theatrical productions and directed all their shows: The Ballad of Bobby Francois, Tennis Show, Dance Bear Dance, Tropicana, Amato Saltone, Money, The Architects and The Boy Who Climbed Out of His Face.

Working with Glen Neath he has created several shows: Ring, Fiction and - most renowned in Australia - DARKFIELD, including SÉANCE, FLIGHT, COMA , EULOGY which are all in complete darkness and create imaginary environments with audio. He also worked on Wiretapper, a performance hidden in public spaces using a phone app to deliver the sound to the audience.

Hannah is a London based set and costume designer working in opera, theatre and dance. She trained in theatre design at Nottingham Trent University and Central School of Speech and Drama. She was a winner of the 2005 Linbury Biennial Prize for stage design. She is a frequent collaborator of Requardt & Rosenberg. Hannah designed Deadclub™ (2017) and Motor Show (2012) and was the costume designer for The Roof (2014).

Recent productions include – Plateé (Opernhaus Zürich); Semele (Glyndebourne Opera); In The Realms Of Sorrow (London Handel Festival); Il Trittico (Scottish Opera / Welsh National Opera); Berenice (Royal Opera House, Linbury); Mitridate Re Di Ponto and Idomeneo (Garsington Opera); Stiffelio (Opéra national du Rhin); 4.48 Psychosis (Royal Opera House, Lyric Hammersmith / Prototype Festival New York); Henry Vi Rebellion, The Wars Of The Roses, The Taming Of The Shrew and Queen Anne (Royal Shakespeare Company); Cosi Fan Tutte (Northern Ireland Opera); L'incoronazione Di Poppea (Opera Theatre of St Louis);Alcina, Silent Night,Un Ballo In Maschera, Suor Angelica, L'incoronazione Di Poppea and costumes for L'enfant Et Les Sortiléges, Trouble In Tahiti and Destiny (Osud) (Opera North).

Brothers Ben & Max Ringham have worked together in music and sound design for over 15 years. Initially as Narcosis producing drum and bass and Breakbeat for seminal dance label React, then as two thirds of avant-pop band Superthriller with whom they have released four albums, toured extensively in the UK and Europe and played to large festival crowds.

Max and Ben have produced scores and sound designs for major productions extensively throughout the UK and beyond. They are associate artists with the Shunt collective, collaborating on large scale site specific shows such as Dance Bear Dance (2002), Tropicana (2004) and Amato Saltone (2006) and were sound designers on Motor Show (2012) and Electric Hotel (2009-2011).

Ben and Max’s work is celebrated in the world of theatre. They have been twice nominated for Best Sound Design at the Tony Awards, for Prima Facie and A Doll’s House, and their work on Cyrano de Bergerac (West End, BAM NYC) won Drama Desk Best Sound Design. They have also worked for productions at theatres such as the National Theatre, the Old Vic, Donmar Warehouse, (BLINDNESS 2020-2021) Sheffield Theatres, Almeida, Chichester Theatre and Sadler’s Wells.

Malcolm Rippeth is a London based lighting designer working across opera, theatre and dance.

He was an associate artist of Kneehigh for 20 years, lighting productions including Brief Encounter, Tristan and Yseult and The Red Shoes, and was lighting associate to Shakespeare's Globe under Emma Rice.

He has recently worked at the National Theatre, Old Vic, Glyndebourne, Santa Fe Opera, Badisches Staatstheater Karlsruhe and Opéra de Marseille. He is the recipient of a WhatsOnStage Award and a Village Voice OBIE, and has been nominated for Los Angeles Drama Critics Circle and New York Drama Desk Awards.

The Place, London’s creative powerhouse for dance development, has been leading the way in dance training, creation and performance for over 50 years. In a changing landscape, our vision for the future remains steadfast: we are powering imagination through dance, championing new ideas, embracing risks and creating a dance ecosystem unlike any other in the world, with optimal conditions for dance artists and enthusiasts to realise their full potential.

The Place is home to London Contemporary Dance School, an extensive theatre and artist development programme, education projects, a range of classes and courses and an international producing & touring house. As a pioneering dance organisation, we are committed to creating no-barriers access to exciting dance experiences and opportunities for everybody, offering a diverse and dynamic theatre programme for audiences, supporting artists and dance makers and giving young people access to the highest quality opportunities to touch their lives with dance. theplace.org.uk

Future Cargo UK was originally supported by Without Walls and commissioned by Norfolk & Norwich Festival, Stockton International Riverside Festival, Freedom Festival Arts Trust and Out There International Festival of Circus & Street Arts. Future Cargo was co-commissioned by The Place, Festival.org and DanceEast via Stomping Ground, Southampton City Council as part of Mayflower 400, Pavillion Dance South West. Creation supported by 101 Creation Space and Royal Docks. Supported using public funding by the National Lottery through Arts Council England. The R&D for Future Cargo was supported by Blueprint: Without Walls R&D Investment Fund."

Future Cargo is the latest production for Realscape, who are known for introducing innovative and captivating formats of presentation to the Australian theatrical landscape, such as DARKFIELD, Mummy’s Milk and Ghost Stories. With a distinct focus on stimulating both the senses and intellect, Realscape aims to transcend traditional boundaries of theatre, making it an exhilarating experience for audiences.

At the core of Realscape's vision is the fusion of technology with powerful creative endeavours. The productions curated by Realscape leverage cutting-edge advancements to enhance the impact of their storytelling. By seamlessly integrating technology, they create immersive and multidimensional experiences that go beyond the conventional confines of the stage.

One of Realscape's key objectives is to make theatre accessible and appealing to diverse audiences, irrespective of their familiarity with the medium. Their commitment to providing thought-provoking experiences ensures that each production is not merely a spectacle but a journey that enlightens and resonates with audiences on various levels. Whether one is a seasoned theatre enthusiast or a newcomer, Realscape Productions strives to inspire and captivate, fostering a love for the arts that extends beyond the boundaries of traditional theatre.