Alice Dixon & Emma Riches
Alice is choreographer, dancer, teacher and performance maker working across contemporary dance, theatre and experimental and interactive performance.
She has worked with Australian and international artists and companies including: Natalie Cursio, Monica Bill Barnes & Company, CHUNKY MOVE (Antony Hamilton), Opera Australia, Victoria Chiu, Reckless Sleepers, Phillip Adams BalletLab, Lucy Guerin, Walter Dundervill, Rob McCreddie, Euginia Lim, Nebahat Erpolat, Deanne Butterworth, RAWCUS, Victoria Chiu and One Step at a Time Like This amongst others.
Since 2014 she has worked in a collaboration with Caroline Meaden and William McBride (alice will caroline). Their work has been presented by Dance Massive, Next Wave, Arts House, Temperance Hall, Abbotsford Convent, NGV and Darebin Arts Speakeasy. She was recently awarded a Green Room for Best Dance Ensemble for Doors Shut.
Her work has been supported by The City of Melbourne, Lucy Guerin Inc., CHUNKY MOVE, The Substation, Darebin Arts Speakeasy, Arts House, Tasdance, Vitalstatistix, The Australia Council for the Arts, Creative Victoria, Creative Partnerships Australia, Vitalstatistix, City of Maribyrnong, Mosaico Danza (Turin, Italy) and Besen Family Foundation.
Emma Riches is a Melbourne/Naarm-based dance artist working in contemporary and experimental dance as a performer, choreographer and teacher. She is interested in the intersection of these three modes of engaging with dance and considers ways in which they can inform each other.
Her choreographic work has been presented at Temperance Hall (Exquisite Corps, 2021), Dancehouse (Emerging Choreographers Program 2020), The University of Melbourne (First Commissions Program 2019), Melbourne Fringe Festival (Compass Program supported by Gandall Philanthropy, 2016/17) and LASALLE College of the Arts (M1 CONTACT Festival, Singapore 2015). As a collaborator, she has worked with artists including projection and visual artist Clinton Green (West Projections Festival 2018, Sunshine Art Spaces 2019) and Benjamin Hurley/Luke Fryer (Strawberry Fields Music Festival 2018).
Across 2020, Emma was an active member of Think Tank Dance Assembly, an advocacy network for the independent dance sector, through which she wrote an article titled 'an emerging perspective' for the DAMN Writing project.
As a dancer, Emma has worked with notable artists including Jo Lloyd, Siobhan McKenna, alice will caroline, Phillip Adams/Matthew Bird, Victoria Hunt, Emily Johnson, Piaera Lauritz, Thomas Woodman, Adele Varcoe, Shian Law, Polito, Deep Soulful Sweats and has performed small roles with Lucy Guerin Inc and Phillip Adams BalletLab.
She has performed at Dance Massive Festival, Next Wave Festival, Festival of Live Art, Melbourne Art Fair, Immigration Museum Victoria, Melbourne International Festival, Public Art Melbourne, Yirramboi Festival and the Art Gallery of NSW.
Emma participated in the Teaching Dance program facilitated by Lucy Guerin Inc (2021) with mentorship from Jo White. She is a graduate of the Victorian College of the Arts (BFA Dance, 2015) and a certified Barre instructor.
Roslyn Helper (composer)
Roslyn is a multidisciplinary artist, writer and composer. Her work explores technological systems of language production, communication and meaning-making, to understand the ways networked systems
infiltrate, co-opt and disrupt our perceptions of reality, ouremotional transmissions and experiences of time, memory, death, desire, friendship and other socially formed cognitions.
Roslyn has presented work at institutions including Next Wave Festival, Underbelly Arts Festival, Liquid Architecture, Vitalstatistix, UTS Gallery, Seventh Gallery, Desire Lines, MOANA, Firstdraft, the Biennale of Sydney, PACT Centre for Emerging Artists, Sydney Festival, Liveworks Festival and Kaldor Public Art Projects amongst others.
She holds a BA (journalism, international relations) from the University of Sydney and an MA (Arts Politics) from Tisch School of the Arts, New York University.
Excerpts of previous work
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Excerpts of previous work
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Exchange Number 1.
A play in 4 parts.
You can write for both parts
Stage directions are allowed
Guest appearances can happen
Location and time can shift
You can’t add until the other person has done their bit.
Vivid descriptions of the environment are allowed
Is there sound or music?
Two women sit inside the shelter at an inner city train station. The wind has changed suddenly and the rain is annoyingly now being blown onto them. It's Sunday and the train goes via the city Loop. The LED screen reads 9mins.
A: I can’t belie-
A freight train suddenly whooshes past, blowing E’s hat across the platform onto the tracks behind them.
A: Why did you bring a hat, anyway?
E: It is a gift for my brother's new partner. I was going to see them for dinner tonight…
A: I didn’t know you had a brother.
A stares blankly at the tracks.
E: Oh, you didn’t?
A continues to stare at the tracks, eyes widening.
E: Umm… it doesn’t really matter, does it?
A doesn’t blink
E: Here, let me show you a photo.
E goes to reach into her bag and notices a neatly folded note sitting at the bottom of it. She reaches, and reaches, and reaches, but can’t seem to quite reach it. She reaches once more and dives, falling into and through the bag, through the platform and deep into a swirling abyss much like a tornado somehow underneath the surface of the earth.
A is still staring blankly at the tracks.
A magpie squawks and A is jolted out of her paralysis.
A: E? E?
A looks quickly around for her friend. She scans the platform. There is no sight of her. She starts to get visibly agitated.
3 girls, all in Kappa press stud tracksuit pants, fix their eyes on A and walk towards her. Right foot left foot. Right crosses over the left. Left crosses the right. Their arms swing loosely conveying confidence. Christina Aguilera’s ‘Genie in a Bottle’ starts to play in A’s head.
Girls (in unison): You alright?
A is confused. Is it 1998? She hasn’t seen a pair of black and white kappa track pants for a long time…
A: Have you seen my friend? Petite, wavy shoulder length auburn hair.
Girls (in unison): Soz, nah, haven’t seen her.
A: This is bizarre. One minute she was sitting next to me and then Snap! She’s gone. Her bag is still here and that’s what's super weird about this whole thing.
A peers into the bag.
Girl 1: You look pale. Here, have some water.
Girl 1 moves towards Alice to hand her a bottle of water.
A: DON’T TOUCH ME!
Girl 2 starts crying.
Girl 3: You upset my friend!
A starts crying.
The sun is setting, moving so quickly it feels like a timelapse image.
A (through sobs): Where is this damn train?
A looks up to speak to the girls. They are nowhere to be seen. In fact, neither is the platform. A is sitting in a field of daisies. E’s bag is with her. A magpie squawks nearby.
Scene end. Black out.
Emma arrives at the downtown Manhattan studio 15 minutes early. It's lucky she did as she spent the last of her dollar bills the night before on cheap drinks and potato dumplings and the teacher only takes cash. She rushes back uptown a few blocks until she finds a cash machine. She arrives back at the studio with 2 minutes to spare and hastily begins to climb the old wooden staircase, taking it two steps at a time. As she climbs she wonders why an elevator has never been installed? She reaches the fourth floor slightly out of breath, takes off her shoes and coat and dumps them in the vicinity of the other shoes and outer garments. Just as she is about to walk through the door and hand over her $14 to the annoying ‘we met a couple of times and now we’re best friends’ guy from Queens, A small dog rushes towards her. She hates dogs. For Emma, her morning has taken a disappointing turn. She collects her belongings, puts on her shoes and coat and walks back down the stairs. On the first floor landing a tall woman with short curly cropped hair and red Adidas pants connects with Emma’s shoulder as she hurries past her. I hope she likes dogs, Emma muses.
Scene end. Black out
Lights fade up in the upstage right hand corner. A small girl walks on. One step, two, three. She turns to face the audience. After a beat, the small girl opens her mouth and releases a blood curdling scream. A timpani begins to play in the distance as a second small girl quietly enters via the upstage left hand corner of the stage and walks into the light.
Alice (low pitch, booming voiceover narration): CHARLIE ALWAYS WANTED TO BE THE ONLY GIRL IN THE WORLD
CRASH! The floorboards the second small girl is standing on splinter and give way. She falls through the floor and is caught at the waist. She looks like the bust of a marble statue in a museum only there is terror in her eyes and bloody scratches on her body.
Audience member (turns to their friend in the chair sitting next to them): Wow! That was cool.
First Small girl (turns to the wings and tries to catch Alice’s eye): What do I do?! (she mouths)
Alice (makes hand gesture for her to continue): CHARLIE ALWAYS WANTED TO BE THE ONLY GIRL IN THE WORLD!
First Small Girl takes a deep breath, turns to the audience and plasters a big smile on her face
Curtain drops. Black out. Roaring audience cheer erupts from the speakers. Sound fades. Lights up. Curtain slowly rises to reveal a small desk placed centre stage. Curtain drops. Black out.
(From the darkness) Alice’s voice: I can’t belie-
The sound of a freight train suddenly whooshes through the speakers. A large gust of wind rustles the audience's hair.
(From the darkness) Alice’s voice: Why did you bring a hat, anyway?
(From the darkness) Emma’s voice: It is a gift for my brother's new partner. I was going to see them for dinner tonight…
(From the darkness) Alice’s voice: I didn’t know you had a brother.
(From the darkness) Emma’s voice: Oh, you didn’t?
Second small girl (still stuck in the floor): what’s happening?! Who’s saying that?? That’s not in the script! I’m meant to do my adagio now! (she struggles, trying to extragate herself from the hole)
Worlds are conflating, slipping in and out of one another. Emma and Alice appear like a glistening mirage in the upstage prompt corne, like a radio frequency one can’t quite land on. An audience member gasps. Hushed whispers roll across the auditorium. Something is very strange indeed…
Scene end. Black out
An octopus wanders along a cobblestone alley.
A middle aged man in a top hat crumples in a heap on the floor.
The sun sets, and rises again.