Concept, Direction, Choreography: Nicole Beutler
Performers: Anna Herrmann (Dance On Ensemble), Lia Witjes Poole (Dance On Ensemble), Felix Schellekens, Timo Tembuyser, Margarida Constantino, Hillary Blake Firestone, C’Cesirhe Sedney, Abigail Vrede

Understudy: Seline Hauptmann, Estéban Obregon
Music: Gary Shepherd
Choral Compositions: Timo Tembuyser
Choir: Local city choir
Tour Choir Leader: Tristan Knelange
Head of dramaturgy: Justa ter Haar
Dramaturgy: Igor Dobričić
Dramaturgical Advice: Tom Swaak (OBV), Richard Kofi
Set Design: Lena Newton, Noa Helder
Lighting: Minna Tiikkainen
Light operator:Maarten van Dorp
Costumes: Jessica Helbach
Repetitor: Catarina Ferreira da Silva
Assistant Director (Stage): Kaya Korabiowska-Dean
Technical Coordinator: Durante van Kuijk
Project Management VONK: Lise Thomas
Production Management NBP: Raïssa Pater

Production: Nicole Beutler Projects / Opera Ballet Vlaanderen / VONK / DANCE ON / Bureau Ritter / Opera2Day
Coproduction: O. Festival for Opera. Music. Theatre

Residence: Grand Theater Groningen
Special thanks to International Theater Amsterdam, Maarten Boussery, Kris Adem, Magne van den Berg 

NOW WE ARE EARTH is a grand future vision of choreographer and theater maker Nicole Beutler. Music, dance, choir, and audience unite in this eco-futuristic symphony, creating a sense of greater harmony. With 8 dancers and singers, accompanied by a city choir of 45 voices, this 100-minute piece becomes a vibrant convergence of sound and movement, offering a glimpse into a dream of a possible future.

The piece explores the theme of interconnectedness, seeking balance across five realms: animals, humans, plants, fungi, and technology.

NOW WE ARE EARTH promises to be a total artwork, a dance opera featuring a local city choir, with a key role for the audience. Drawing inspiration from the intricate, interconnected threads of a mycelium, the performers weave a multi-layered, resonating tapestry of colors and sounds, unfolding in endlessly branching and repeating patterns.

A co-production by Nicole Beutler Projects with Opera Ballet Vlaanderen, Dance On Ensemble, and Opera2Day, supported by Internationaal Theater Amsterdam.

Premiere: 25 April 2025, Opera Antwerpen
Dates: 26 & 27 April 2025
Click here for the tickets

Part of the Biennale of the Berliner Philharmoniker 2025
Dance On Ensemble / Jugendtanzcompany von Sasha Waltz & Guests and the Hochschule für Musik und Theater Hamburg

Cast: Members of the Berliner Philharmoniker and of the Karajan-Akademie
Dance: Leah Marojević, Gyung Moo Kim
Dance On Ensemble: Ty Boomershine, Gesine Moog, Tim Persent, Lia Witjes Poole
Jugendtanzcompany von Sasha Waltz & Guests: Noomi Aldinger, Toni Lehnert, Leah Soltau, Nika Brovot, Jonathan Walker

Artistic direction, conception, composition and sound direction: Alexander Schubert
Concept, development of the piece and choreography: Colette Sadler
Scenography: Dominic Huber
Light design: Diego Muhr
Costume: Felina Levits
Assistant director: Ludmilla Mercier
Video mapping and lighting assistance: Candid Rütter
Music notation, instrumentation and composition assistance: Oscar Corpo

What does it mean to be human in a world that is increasingly characterised by technology? Terminal Infinity, an immersive, audiovisual installation, explores this transition and its impact on our identity and environment. Commissioned by the Berliner Philharmoniker as part of their Biennale 2025, it combines music and visual art to create a unique performance. Humans in transition take centre stage: a reflection on the end of the Anthropocene and the interplay between technology and nature. Immerse yourself in this fascinating and at the same time disturbing world.

Premiere: 23 February 2025, Radialsystem Berlin
Age recommendation: from 16 years
Click here for the tickets

Also as a school concert: 24 February 2025, 11 am
Registration required at https://www.berliner-philharmoniker.de/education/kita-schule/biennale-projekt/

Production: Berliner Philharmoniker in collaboration with DANCE ON / Bureau Ritter, Jugendtanzcompany von Sasha Waltz & Guests and the Hochschule für Musik und Theater Hamburg

With the friendly support of

Dance On Ensemble & Solistenensemble Kaleidoskop
In collaboration with Rabih Mroué

Choreography, Music, Performance: Javier Arozena, Alba Barral Fernandez, Ziv Frenkel, Anna Herrmann, Emma Lewis, Miki Orihara, Jone San Martin, Marco Volta, Anna Faber, Mia Bodet, Mari Sawada, Ildiko Ludwig, Yodfat Miron, Isabelle Klemt, Sophie Notte, Michael Rauter

Concept, Book: Rabih Mroué
Dramaturgy: Maxi Menja Lehmann
Composition Choir: Grégoire Simon
Costume Design: Werkstattkollektiv
Vocal Coaching: Doreen Kutzke
Technical Production Management & Light: Martin Beeretz

Production: DANCE ON / Bureau Ritter and Solistenensemble Kaleidoskop
In cooperation with Berlinische Galerie – Landesmuseum für Moderne Kunst, Fotografie und Architektur, in collaboration with Radialsystem. Funded by Hauptstadtkulturfonds.
Media Partner: radio3

Premiere: 29 November 2024, Berlinische Galerie
Dates: 30 November, 1 & 3 December 2024
Click here for the tickets

 A Sky Like A Wall is the first major collaboration between the musicians of the Solistenensemble Kaleidoskop, the dancers of the Dance On Ensemble and the author and performance artist Rabih Mroué.

In the rooms of Berlinische Galerie the sixteen performers create miniatures in duos, trios and quartets. They are precisely arranged with each other; in one place in the room, a movement becomes visible, while in another place the sound that matches this movement is heard. Gradually, a sculpture of sound, dance and voices emerges, inviting the audience to constantly refocus their gaze and ear on what is happening and sounding. Many scenes take place simultaneously side by side. The audience travels with the artists through the space and decide for themselves which frame they choose, what they focus on.

Both ensembles develop a collective authorship and team up with Mroué who wrote a notebook entitled ‘The Notebook of an Unspecified Colour’ for the production. Various scores are collected in it: Drawings, collages, illustrations, settings, instructions, which form the starting point of the creative process. The leitmotif of the notebook is the story of the Tower of Babel, which fails due to a lack of understanding. The idea of polyphony and multilingualism is inherent in the way both ensembles work. They ask themselves: How can we use different languages and still communicate? How can a project like this speak about the lack of dialogue in our day? An encounter in the rooms of the Berlinische Galerie.

Meg Stuart/Damaged Goods & Dance On Ensemble

Choreography: Meg Stuart
With: Omagbitse Omagbemi, Meg Stuart, Mieko Suzuki

Live music: Mieko Suzuki
Scenography: Nadia Lauro
Light design: Nico de Rooij
Costume design: Claudia Hill
Dramaturgy: Igor Dobričić
Artistic assistants: Luna Luz Sanchez, Valentin Braun
Technical coordinator: Tom De Langhe

Production: Damaged Goods and DANCE ON / Bureau Ritter
Coproduction: Théâtre Garonne – scène européenne Toulouse, Centre Chorégraphique National d’Orléans – Direction Maud Le Pladec, HAU Hebbel am Ufer Berlin, Tanzquartier Wien, PACT Zollverein Essen, Kunstencentrum VIERNULVIER Ghent, Perpodium

Choreographer Meg Stuart and Dance On Ensemble dancer Omagbitse Omagbemi create a trio
with composer and musician Mieko Suzuki in the framework of the Dance On series
‘Encounters’, where choreographers become visible on stage in a meeting with a member of
the ensemble. This new work touches on fundamental questions: how do we share a creative
process? What is the balance between a choreographic desire and freedom of interpretation?
How can we transgress and reinvent our roles?

Meg Stuart has always considered her own body as a site, a testing ground. By dancing in her
own pieces, she intuitively deconstructs the choreographic principles that she tries to
articulate. Omagbitse brings another perspective to this search. Beneath the raw physicality
that characterizes Stuart’s style, she recognizes first and foremost a quiet care and attention to
detail. Playing with these seemingly opposing traits, the three collaborators look for a common
ground and a shared language. Cumulating, morphing, becoming, they move towards a group
portrait that remains just out of reach.

Premiere: 16, 17, 18 October 2024, Théâtre Garonne, Toulouse (FR)
On tour: from December 2024

With the support of Goethe-Institut and the tax shelter measure of the Belgian Federal Government via Cronos Invest.

The residency in Orléans is supported by Culture Moves Europe, a project funded by the European Union and Goethe-Institut.

Damaged Goods is supported by the Flemish Government and Flemish Community Commission. Meg Stuart/Damaged Goods is artist-in-residence at Kunstencentrum
VIERNULVIER (Ghent).

Choreography: Christos Papadopoulos
Artistic Director Dance On Ensemble: Ty Boomershine
Dancers: Ty Boomershine, Javier Arozena, Alba Barral Fernández, Anna Herrmann, Emma Lewis, Gesine Moog, Miki Orihara, Tim Persent, Jone San Martin, Marco Volta, Lia Witjes Poole
Choreographic Assistant: Georgios Kotsifakis
Music: Coti K
Lights: Eliza Alexandropoulou
Costume: Werkstattkollektiv
Technical Director: Martin Beeretz

A body that is outwardly still and inwardly vibrating – what processes does the energy undergo before it breaks through? How does it change when the body matures?

In his new production „MELLOWING“ Greek choreographer Christos Papadopoulos embarks on his inaugural collaboration with the dancers of the Dance On Ensemble. Incorporating their knowledge and experience into the creation, together they explore moments of perception and intensities of the moment that create a lively restlessness, a permanent vibration in which the spectator is inevitably involved.

Christos Papadopoulos’ works are fed by an intensely observant approach to movement and often unfold a lively and meditative power. His attention is focused on the minimal shifts of perception, the perpetual, often unnoticed and yet powerful movements that are ever-present in nature, in everyday life, within physical phenomena and political contexts. His debut “Elvedon” (2016) was inspired by Virginia Woolf’s novel “The Waves” and captures the continuous undulation of the sea. This was followed by “Opus” and his third choreography “ION”, an artistic exploration of the phenomenon of ionization and its underlying forces of attraction and repulsion. In his latest work, “Larsen C”, he turns his attention to the micro-phenomena of movement, this time inspired by the popularised iceberg of the same name, which lost a large part of its surface in 2017.

Production: DANCE ON / Bureau Ritter
Coproduction: ONASSIS STEGI, Athens and Centre chorégraphique national de Rillieux-la-Pape / Direction Yuval PICK, as part of the accueil-studio programme.
Supported by the Hauptstadtkulturfonds.

Jan Martens & Dance On Ensemble

Choreography: Jan Martens

Cast: Ty Boomershine, Truus Bronkhorst, Jim Buskens, Baptiste Cazaux, Zoë Chungong, Piet Defrancq, Naomi Gibson, Kimmy Ligtvoet, Cherish Menzo, Steven Michel, Gesine Moog, Dan Mussett, Wolf Overmeire, Tim Persent, Courtney May Robertson, Laura Vanborm, Loeka Willems
Understudies: Pierre Bastin, Georgia Boddez, Wannes Labath, Zora Westbroek

Artistic Assistance: Anne-Lise Brevers
Lighting Design: Jan Fedinger
Costume Design: Cédric Charlier
Assistance Costume Design: Alexandra Sebbag and Thibault Kuhn

Production: GRIP
In collaboration with the Dance On Ensemble

International Distribution: A Propic / Line Rousseau and Marion Gauvent
Co-Production: deSingel international arts campus (Antwerp, BE), Theater Freiburg (DE), Sadler’s Wells (London, UK), Julidans (Amsterdam, NL), Festival d’Avignon (FR), Le Gymnase CDCN Roubaix Hauts-de-France (FR), Norrlandsoperan (Umeå, SE), La Bâtie – Festival de Genève & l’ADC – Association pour la Danse Contemporaine Genève (CH), tanzhaus nrw (Düsseldorf, DE), Le Parvis Scène Nationale Tarbes-Pyrénéés (Tarbes, FR), La Danse en grande forme (CNDC – Angers, Malandain Ballet Biarritz, La Manufacture – CDCN Nouvelle-Aquitaine Bordeaux – La Rochelle, CCN de Caen en Normandie, L’échangeur – CDCN Hauts-de-France, CCN de Nantes, CCN d’Orléans, Atelier de Paris / CDCN, Collectif Fair-e / CCN de Rennes et de Bretagne, Le Gymnase | CDCN Roubaix | Hauts-de-France, POLE-SUD CDCN / Strasbourg and La Place de La Danse – CDCN Toulouse Occitanie) and Perpodium
With support of: De Grote Post (Ostend, BE), Charleroi Danse (BE), CCNO – Centre Chorégraphique National d’Orléans icw Théâtre d’Orléans (FR) and December Dance (Concertgebouw and CC Brugge)
With financial support of: the Flemish Government, the city of Antwerp, Tax Shelter of the Belgian Federal Government and Cronos Invest, The Creative Europe Programme of the European Union as part of Dance On Pass On Dream On

Premiere: 18 July 2021, Festival d`Avignon

‘Snowflakes, leaves, humans, plants, raindrops, stars and molecules all come in communities. The singular cannot really exist.’ – Paula Gunn Allen in Grandmothers of the Light: A Medicine Woman’s Sourcebook

With any attempt will end in crushed bodies and shattered bones, Jan Martens is for the first time fully turning his attention to the main stage. A production about the power that lies in being out of step, performed by a seventeen-strong, atypical corps de ballet made up of unique personalities.

The heterogeneous group of dancers spans several generations, the youngest being 16 and the eldest 69, with significant differences between them in terms of track record and technical background. In any attempt will end in crushed bodies and shattered bones, they seek their own voice within the dance and beyond, looking for an idiom that fits them like a glove. One by one they claim their place on stage, without cutting off the others for all that. A horizontal exercise in giving each other the necessary space, while being careful not to steal the limelight.

any attempt will end in crushed bodies and shattered bones is a rich performance that does not hesitate to seek out the ecstatic. In times of extreme polarization, this group sets social dogmas aside to recognize and embrace a range of distinct identities. Being uninhibitedly themselves – in both life and art – with the stage as their ideological testing ground. They are supported by a soundtrack that consists of atypical protest songs from different ages – from Henryk Gorecki via Max Roach & Abbey Lincoln to Kae Tempest.

In “Making Dances”, the Dance On Ensemble invites contemporary artists – Tim Etchells, and Mathilde Monnier– to respond in their own artistic languages to iconic works of modern and postmodern dance by Martha Graham and Merce Cunningham.  In these performance works the artists reflect on classical but radical works that challenged the rules of their time.

Starting with Martha Graham’s “Deep Song” (1937) performed by long term Graham soloist and Dance On Ensemble member Miki Orihara. Danced within a neon text installation created by artist and performance maker Tim Etchells in response to Graham’s seminal work.  Merce Cunningham’s radically experimental “Story” (1963) re-imagined by the Dance On Ensemble.  Followed by the choreography of Mathilde Monnier, “never ending (Story)” who reacts to Cunningham’s “Story”, using the poetry by David Antin, a contemporary of Cunningham/Cage, as a starting point.

In presenting these works a connection is opened between dance heritage and contemporary dance creation as well as between artists of different generations and backgrounds.