Playing Shakespeare with Deutsche Bank


Text in Performance

Photo of Sian Williams - Choreography

At what point does the choreographer become involved in the creative process?

I had some preliminary meetings with Bill [the director] and with Isla [the designer], which were helpful to understand what their vision for the whole production is. As well as the final jig, Bill wanted me to work with him on the post-battle celebration at Macbeth’s house and the apparition. We worked on a lot of movement ideas for that, first of all through improvisation with the actors and then staging those ideas.

I also have a conversation with Olly, the composer, because the music tends to influence the movement, the style of movement in a dance tends to follow the way that the rhythms work. What has happened is that we agreed on tempo for the music, the beat per minute, and seems to work very well. It gave us something to work with, but it wasn’t anything that we were bound by. It allowed Olly to see what we’re working on, and then he could get inspired by that, provide us with some new music, and then we’d get further inspired by that. It’s really collaborative.


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