Past memories seemed to be a running theme in this double-bill, featuring nineteen dancers apparently over sixty years of age. I am not trying to ‘be kind’ by sticking the word ‘apparently’ in there – all of them moved with more dexterity than considerably younger people I encountered negotiating the London Underground on the way home. Established in 1989, Company of Elders comprises older non-professional dancers from the local community – I had a look at the ‘Over 60s interest form’ on the Sadler’s Wells website (I wonder if there are non-digital ways to register one’s interest?) and ‘local community’ is defined as “living in a London Borough”.
Much is made of upcoming younger talent, so it was intriguing to encounter the Company of Elders, bringing to life newly devised dance pieces. The first, They Look Like People, probably contained far more spoken word than I have ever encountered in a dance, with thoughts being spoken out loud. This made the narrative almost ridiculously straightforward to follow – dance moves largely dictated by what was being described, until the company started thinking out loud at the same time. Two people talking at once is bad enough. But an entire Company of Elders? I simply chose to zone out as though I were at a major railway station or an airport, having to put up with indecipherable Tannoy announcements. The gist of the performance seemed to be that every person has a life story, and while there are some commonalities to plenty of them, there is also a degree of uniqueness. Or perhaps it was just a collection of random thoughts to pass the time whilst waiting for whatever it was the characters were waiting for.
The Real Me, after the interval – for which the venue insisted the entire audience leave the auditorium, which inevitably took some time for the target audience of a performance of the Company of Elders – was far less didactic, and far more enjoyable, not least because there was a substantially greater variety of music. Therefore, a substantially greater variety of dance styles accompanied the eclectic mix of sounds from the sixties. It was a way for the dancers to roll back the years (or even, dare I say it, the decades) and hark back to a previous generation. Still, they dress as one might expect them to dress in this day and age, a sobering reminder that they realise their limitations.
More than that, though, the Company of Elders has realised their capabilities. As both dances were very much ensemble pieces, it was quite impossible to pick a standout performance. You might be tempted to think that after the show, they sat down and had a hot chocolate or a cup of tea. Wrong. Instead, the lights came up, the music kept playing, and the audience was invited to take to the dancefloor themselves with the company. Because everyone watching had a life story too. Proof that inclusiveness is something done, rather than merely said.
Review by Chris Omaweng
In loving memory of Company of Elders dancers Pam Zinkin and Genia Browning
The Company of Elders invite you to join them on a journey of identity through two compelling new dance pieces, created especially for them by choreographers Euan Garrett and John-William Watson.
Working closely with both artists, the Company have brought their personal stories and experiences to the stage – exploring what it means to be individual, yet part of a group. The result is two distinct and original dance works that celebrate uniqueness, creativity, and connection.
Company: Bernadette Durso, Keiko Onishi, Rachel Thompson, Sara Harris, Roberto Ishii, Kate Marshall, Stephen Rowe, Terri Erdem, Dahlia Douglas, Isidora Joseph, Monica Duck, Catriona Maccoll, Jennifer James, Judy Lipsey, Amina Patel, Hisami Okamoto, Fred Manson, Margaret Gaskin, Almeric Johnson
They Look Like People by John-William Watson
Who are we, in the awkward moments in-between? Waiting for the kettle to boil, the rain to stop, the bus to arrive; the beautiful but seemingly unremarkable moments. In Watson’s latest surreal dance play, we are invited to observe a group of strangers inside a doctor’s waiting room; as their comfort in their anonymity is slowly upended by a person who is uncannily not like the others.
Writer, Director, Choreographer John-William Watson
Set and Costume Designer Joshua Cartmell
Composer and Sound Artist Adam Vincent Clarke
Lighting Designer Amelia Hawkes
Voice Actor Beth Emmerson
Violin Edgar Gomes
Vocalists Barbershop John and Valentina Jazz
The Real Me by Euan Garrett
Exploring themes of memory and identity, The Real Me takes us back to the 1960s. Through movement, we step into the world of Mods and Rockers, experiencing a day in the life of each persona. The piece captures the energy, style, and spirit of the era, while reflecting on how these identities shaped youth culture and self-expression.
Choreographer Euan Garrett
Lighting Designer Amelia Hawkes
Costume Joshua Cartmell
Designer Danielle Levy
COMPANY OF ELDERS: MIXED BILL
Lilian Baylis Studio
18 October 2025
