Acclaimed choreographer and dance artist Marc Brew presents Boys Don’t Dance, a poignant dance theatre show for 8-13 year oldswhich reflects on Brew’s journey as a boy who defied society’s expectations to embrace his love for dance. Unfolding through a tapestry of memories, the piece sheds light on the loneliness of being the only boy in a rural Australian town who dared to dance.
If you reviewed your own show, how would you describe it?
An emotional roller coaster ride, that is uplifting, challenging and inspirational. A powerful story of determination with a bangin’ 80’s soundtrack that celebrates the joy of difference, despite the hardships of life’s challenges.
Tell me a little more about your show and what audiences can expect?
Boys Don’t Dance is a poignant dance theatre show reflecting on my journey as a boy who defied society’s expectations to embrace my love for dance. The performance unfolds through a tapestry of memories, shedding light on the loneliness of being the only boy in a rural Australian town who dared to dance.
Performed by a talented cast of wheelchair and non-wheelchair dancers, combining movement with BMX, storytelling, lighting and an uplifting 80s soundtrack – alongside visual projections and animation to create an immersive audience experience. Boys Don’t Dance celebrates individuality and the liberating power of dance, encouraging audiences to embrace their unique passions and find strength in their differences. Each performance is relaxed and includes creative captioning and audio description, with creative translation of signed performances.
Can you talk about some of the creative team involved (director, writers, collaborators etc.)?
I was very excited to bring an amazingly talented group of creatives together to make this work. I am a disabled choreographer and artistic director of Marc Brew Company. I came up with a concept of the story for the work, but it grew by the influence and input from all our collaborators and performers who took this work and made it their own.
Ross Malloy – Performer
Piotr Iwanicki – Performer
Jay Whitehead – Trainee/ Understudy Performer
Hayley Earlam / Jade Adamson – Rehearsal Director
Azariah Felton – Composer
Rachel O’Neill – Set & Costume Design
Jamie Wardrop– AV Design
Drew Taylor-Wilson – Dramaturg
Nia Wood – Production Manager & Lighting Design
Ruari Gordon – Stage & Technical Hand
Sam Martin-Randerson – Sound Engineer
Petre Dobre – Creative Translation
Yvonne Strain - BSL Collaborator
Emma Jane McHenry – Audio Description
Where do you draw inspiration from for your work, both in terms of creation and performance?
Recently I have been looking more internally and reflecting on my life journey and what it has taught me. This has led me to creating more autobiographical work drawing on my lived experience that I feel has a universal appeal. Previously, I would draw inspiration from my surroundings, artwork, literature, and people. I love to observe my surroundings and be in nature to create space for artistic ideas to brew.
Looking at this production, how would you say it links to previous work personally and Thematically?
My previous work an Accident / a Life is a large-scale work, created in collaboration with Sidi Larbi Cherkaoui. It looks at the car crash that changed my life and left me paralyzed, and the journey to become whole and find my purpose. This work made me think about when I was younger, which led me to Boys Don’t Dance. This work looks at my life growing up and the challenges of being told ‘no’ to dance because I was a boy. After the car crash and acquiring my disability, I was told ‘no’ again because I was disabled. I believe the work has an important message to tell young people about overcoming adversity, finding possibilities and achieving dreams.
Why is this an important story to tell?
I grew up in a poor and rural area of Australia surrounded by sheep, cows, and country folk who loved football. All I wanted to do was dance but I was told “boys don’t dance”. Throughout my life, society has told me that I cannot dance – whether that was during my upbringing as a boy from a working-class household, or after I acquired my disability. I’ve worked to prove people wrong by championing and celebrating differences.
What would you like audiences to take away from seeing you/this production at the Fringe?
We really try to create work that is versatile and engages with different audiences. I hope people will be engaged, emotionally moved, inspired and challenged about their own expectations of dance, what dance should look like, who should be dancing, and who should be making dance. I want to show them the possibilities and joy of dance for all.
The work celebrates individuality and the liberating power of dance, and I want to encourage audiences to embrace their unique passions, have fun, and find strength in their differences. I want them to feel something, to question things and to get excited by the work we create.
Do you tend to take inspiration from events happening in the world around you in terms of your work? Do you think artists have a responsibility to respond to what’s happening?
It has an influence on me and, even though I may not always make work directly related to world events, I am an artist making work in a very unstable world where it is getting harder and harder to create and present work.
What do you do to relax in August?
It’s a great opportunity to catch up with friends as, often, a lot of colleagues and friends are in town for the Festival whom I enjoy relaxing, having a drink and catching up with. I also really need time to decompress from being over stimulated so returning home to my family and dogs gives me the chance to unwind and reenergize.
Why are arts festivals such as the Fringe so important for international exchange?
It’s a wonderful opportunity to be showcased on an international platform at such a prestigious festival and have delegates and school groups see the work. It is our hope that delegates will want to book the work and present it at their festivals and theatres adding to the longevity of it.
What can the wider arts community do to get more people involved in their specific disciplines?
Invite the community into your space or, even better, bring your discipline to communities to remove the barriers that may prevent them from getting involved.
How can Edinburgh audiences keep up with you beyond the festival?
Info@marcbrew.com
@marcbrewcompany
Boys Don’t Dance, Assembly @ Dance Base, until 23 Aug (not 17), 1.15pm