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    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.
    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.
    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. 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, 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."
    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.
    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.
    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.
    Scott Elstermann is an award-winning dancer and choreographer based in Perth. He is the first Australian and youngest-ever international recipient of the prestigious Pina Bausch Fellowship for Dance & Choreography. This granted Scott a placement with Marina Mascarell whom he accompanied to some of the world’s most renowned dance companies including Nederland Dans Theater and GoteborgsOperans Danskompani. Scott received the Palisade Award for ‘Most Outstanding Graduate’ of the Bachelor of Arts (Dance) course at WAAPA and has a versatile background, receiving titles such as Junior Australasian Jazz champion and Youth Queensland Ballroom DanceSport champion. Scott has performed for the Merce Cunningham Trust (USA), Lucy Guerin Inc., Stephanie Lake Company, Shona Erskine and Brooke Leeder to name a few. In 2020, Scott was named ‘Best Performer’ at the Performing Arts WA Awards. Scott regularly presents his own freelance choreographic work to critical acclaim alongside commissions for various companies such as the West Australian Opera, WA Youth Orchestra, Freeze Frame Opera and LINK Dance Company. In 2023, Scott was one of two emerging choreographers selected to present at La Biennale di Venezia under the mentorship of Wayne McGregor. All of this has led Scott to being named WA Young Achiever of the Year (Arts & Culture).
    Felicity is a dancer, choreographer and physical theatre performer based on Kaurna Yerta (Adelaide, South Australia). Felicity’s practice involves a multi-disciplinary approach to art-making with an emphasis on vulnerability and the exploration of the unknown. Felicity’s roles as a performer have included working for Australian Dance Theatre as a replacement dancer on Garry Stewart’s 'South', touring with Lewis Major Projects on 'Losers', and touring ilYoung dance company’s 'Q&A'. Felicity has worked with artists Lina Limosani, Tobiah Booth-Remmers, Eldad Ben-Sasson, Wim Vandekeybus, Matan David and APHIDS. Felicity’s physical theatre credits include Taylor Nobes’ 'She’s Evil', Erin Fowler’s 'FAFF', Adelaide Cabaret Festival’s 'L’Hotel' and Frank Theatre’s 'Chameleon'. Felicity’s choreographic commissions include works for Australian Dance Theatre’s 'The World’s Smallest Stage', Vitalstatistix’ 'Adhocracy', Tom Borgas’ 'HyperObject', Dragon Mill’s 'Unseen Fire Festival' and 'Square Fire' and Motus Collective’s 'White Rhino' (winner of Best Emerging Artist award), 'Old Body, New Management' and 'Trifle'. A graduate of AC Arts/Flinders University, Felicity was awarded The Mill's ilDance Scholarship upon graduation.
    Originally from Darkinjung Country, Chimene studied at the New Zealand School of Dance and the Western Australian Academy of Performing Arts. Chimene has worked with artists including Sheridan Lang, Omer Backley-Astrachan, Lewis Major, Shian Law, Melissa Jones, and Luke George/Bec Reid (Stompin). Other highlights include Reckless Sleepers (UK)/Natalie Cursio’s, A String Section, Stephanie Lake’s Multiply, Lauren Langlois’ 2047 and Jennifer Barry Knox’s, Eleo Pomare Retrospective. Chimene worked extensively with Opera Australia between 2011-2021, touring throughout Australia and China. In 2022, Chimene performed in Project Animo’s inaugural season in works by Alice Topp, Cass Mortimer-Eipper, Izzac Thomas and in solo work In Real Life by Kristina Chan. Chimene joined Australasian Dance Collective in 2023 for the developments and resulting seasons of Lucie in the sky, by Amy Hollingsworth, at QPAC and Canberra Theatre Centre. Chimene’s choreographic work has been presented at the National Gallery of Australia, the National Gallery of Victoria, the Lawler Theatre, Dancehouse, Melbourne Fringe Festival Hub and the Winter in Banyule Festival. Her solo work IN FORMATION II was nominated for a Green Room Award for Concept and Realisation in 2015.
    Ruben completed professional training at The London Contemporary Dance School. His first professional job after graduating was with Requardt & Rosenberg in their production ‘Dead Club.’ After this Ruben has worked internationally as a contemporary dance artist and performer. He lived and worked in Brussels for Compagnie THOR before working on projects further afield in the United States and South Korea. Now based back in London, he continues to work with Requardt & Rosenberg, as well as choreographers such as Lea Anderson and Joe Moran. Read Ruben's interview on Fame Reporter here.
    Tobias Manderson-Galvin is a performance maker, artist, and writer based in Naarm / Melbourne. He's best known for his work as Co-Director General of climate activist performance company Doppelgangster; as artistic director of Melbourne’s MKA; and more recently as part of hauntological collective The Midnight Horrors. His work includes contemporary performance, dance, live art, installation, pretty brutal music, and critical writing. More about that at or follow him @luckytobie
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