our work

Every Way Up Has its Way Down – Brighton Fringe Festival 2015

Every Way Up Has its Way Down looks back to a time when Brick Lane meant beigels, and traces the footsteps of Jewish immigrants who made their mark here long before we arrived. As we dance through time and across the globe, we map the paths of our ancestors, our cultural experiences, and how we find ourselves simultaneously inside and outside of these traditions, as well as the city we now call home.

nylon theatre’s first Fringe festival appearance with Every Way Up saw 10 performances over 4 days at the West Porch Kitchen at St Mary’s Church in Kemptown, Brighton.

Public Displays of Affection – Site Specific

LBLA - credit Matt Haswell (4)

We had the pleasure and privilege of re-configuring Public Displays of Affection when we were commissioned by the London Bridge Live Arts Festival and Fantasy High Street to perform as part of he London Bridge Live Arts festival in September 2014.  A newly-figured piece for four or more dancers.  Performed in an open public space instead of on a stage, we invite the audience to watch and interact, as we play out those daily intimacies which we see all around us – a touch, an embrace, holding of hands; often the essence of our humanity in faceless city.

and time yet

and time yet, short film collaboration with Electric Copy Films, August 2013

A short dance made for the screen, and time yet catches fleeting moments, dissolving memories and small glimpses of a meeting of two people.

Every Way Up Has Its Way Down


Amy Watson and Heather Caruso, image by Alicia Clarke

Every Way Up Has Its Way Down, premiered at Rich Mix as part of the Stories of London series in July 2013.  We have since performed Every Way Up at The Roundhouse, Camden, as part of the Accidental Festival 2014. 

With London as our backdrop and home, in Every Way Up Has Its Way Down, we trace the footsteps of historic Jewish immigrants in the East End.  Simultaneously mapping the paths of our own ancestors, our cultural experiences, and how we find ourselves both inside and outside of these inherited and learned social conventions, we ask:  ‘Do we know where we are going, if we don’t know where we have been?’

Every Way Up photo album here.

We have also had the pleasure of taking Every Way Up out of theatre spaces and into kitchens, including homes and community centres.  We have performed in homes, in the test kitchen at JW3 in Hampstead.

Dancing in the Mason's kitchen.  photograph by Caroline Silver Lewis

Dancing in the Mason’s kitchen. photograph by Caroline Silver Lewis



Hannah Pickett, Robyn Cabaret, Sara Gero, image by Alicia Clarke

Revision, The Place, Resolution! Festival, January 2013
When we recall a memory, is it a perfect replica or re-created anew? ‘Revision’ challenges the truthfulness of how we re-remember our past and its impact on our future.

Revision photo album here.

Public Display

Amy Watson, Heather Caruso, Michael Spenceley, Hannah Wroblewski, images by Jim D., picstitch’d by us

Public Displays of Affection, Anthropologie, Edinburgh – August 2012

A re-working of PDA for a site-specific performance at the retailer Anthropologie in Edinburgh as part of their series of events as part of the Edinburgh Festival.  By moving the piece out of the theatre space and into the public, this idea of being watched and watching was heightened and the piece came full circle – from being inspired by public performances of affectionate acts, to the performing of these in the public arena.

Public Displays of Affection


Evangelia Kolyra and Callum Millard, image by Alicia Clarke

Public Displays of Affection, The Place, Resolution! Festival – January 2012
From the epic to the seemingly banal, the piece mines our recognisable daily rituals and activities in order to create movement material that is both evocative and provocative – and which interrogates the politics of watching and being watched.

Booth, A Dance Fair

Social dance with Jenny Hill and Ellie Sikorski, image by Eulanda Shead

Social dance with Jenny Hill and Ellie Sikorski, image by Eulanda Shead

Booth, Bloomberg Gallery, November 2011 – in collaboration with Simon Ellis (Comma40 commission)


Liminal, Michaelis Theatre, March 2010
Two girls play in, around and between the mental, physiological and geographical thresholds of twoness.  There is nothing but them, the space and an unspoken connection.


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