From the creator of Dynamotion; a brilliantly joyful dance-theatre work that teeters between heartache and hilarity. Set to an eclectic soundtrack including INXS, Sharon Van Etten, and Chris Knox.
Please note: This show was originally scheduled for February 2022 and then for August 2022. If you had tickets to those dates we'll be in touch with you directly.
Death. Disco. Heartbeat is an intergalactic dance-theatre piece by Dynamotion creator, Lara Fischel-Chisholm. This brilliantly joyful work navigates a shifting landscape of loss, loneliness, friendship and resilience using humour and visually rich imagery. There will be heartfelt performances but also disco balls, boobs and a lot of purple.
Made in collaboration with Alice Canton, Cat Fawcett-Cornes, Liv Tennet and Tallulah Holly-Massey, Lara presents a eulogy, a love letter... one last mix-tape to a friend who took his own life.
What do you do with that kind of loss? A loss that moves in and makes renovations; a loss that hosts parties and causes a scene; a loss that holds your hand at night and leaves the bed cold in the morning?
But this show is not about him, it’s not about his death, or even his life - it’s about everything that came after.
Set to an eclectic soundtrack that includes Shintaro Sakamoto, Screamin’ Jay Hawkins, Sharon Van Etten, Marlon Williams and Chris Knox ‘Death. Disco. Heartbeat’ is the vibrant, energetic, anarchic dance show of our times.
Contains boobs and haze.
Choreographer/Creator: Lara Fischel-Chisholm Performers: Liv Tennet, Cat Fawcett-Cornes and Lara Fischel-Chisholm Collaborators: Tallulah Holly-Massey, Alice Canton, Liv Tennet, Cat Fawcett-Cornes Costumes: Lara Fischel-Chisholm Producer: Lara Fischel-Chisholm
Learn more about presenting a show in Summer at Q here.
Living life at high voltage – Jo Randerson bares their soul, sharing the exhilaration, exhaustion, joy, and absurdity of living and parenting with neurodiversity, packed with punk poetic magic and comedy
Written in 1923, following Joan of Arc’s canonization as a saint in 1920, Bernard Shaw’s masterpiece about a young woman’s resistance against foreign occupiers, misogyny and false faith is as blazingly relevant now, as it was 100 years ago.