Online programme book
Falling into Shadow
Wir sagen uns Dunkles – Marco Goecke
Walking Mad – Johan Inger
Watch Ur Mouth – Botis Seva
Wir sagen uns Dunkles – Marco Goecke
Walking Mad – Johan Inger
Watch Ur Mouth – Botis Seva
Dear friends,
Welcome to Falling into Shadow, NDT 2’s second programme this season. We introduce new voice Botis Seva alongside iconic NDT works —honouring our legacy with fresh perspectives and celebrating the versatility of our dancers. We are delighted that part of the programme in The Hague will be accompanied live by the Dutch Ballet Orchestra.
Associate choreographer Marco Goecke is renowned for his complex, emotional movement. Wir sagen uns Dunkles (2017) is built around the creative exchange between dancer and choreographer. The work presents striking compositions, with urgent vibrations rippling through the dancers’ bodies like butterfly wings. Fast, raw, precise yet untamed—it is a Goecke classic.
We’re excited to welcome Botis Seva, choreographer and founder of Far From The Norm, for his first world premiere at NDT. Blending contemporary dance, hip-hop, and physical theatre, Watch Ur Mouth embodies the journey of navigating the relentless chatter of everyday life and is a testament to the power of holding on and finding purpose.
Walking Mad (2001) by Johan Inger takes us through the stages between madness and violence. A wall on stage illustrates the boundaries we create in relationships and in our minds. As Ravel’s Bolero marches on, Walking Mad draws you in. A work that continues to move us—and, we hope, you too.
A heartfelt thank you to Marco, Botis, Johan, our wonderful collaborators, the Dutch Ballet Orchestra, César Ramos, our extraordinary dancers, and our dedicated team. And you, for joining us.
Enjoy!
Emily Molnar
Artistic Director
VIEW TONIGHT’S PERFORMING CAST
Part of this programme will be accompanied live by the Dutch Ballet Orchestra, conducted by César Ramos, at the performances in The Hague.
STAGED BY
Ralitza Malehounova
MUSIC
Franz Schubert: Trio, Nocturne in e flat, opus 148, D. 897.
Placebo: Song to Say Goodbye; Slave to the Wage; writers: Steven James Hewitt; Brian Molko; Stefan Olsdal; Scott Kannberg; Stephen Malkmus, Loud like Love; writers: Brian Molko; Stefan Olsdal; Steven Joseph Forrest; William Patrick Lloyd, Publishers: BMG Rights Management (UK) Ltd.
Alfred Schnittke: Piano quintet, part 2: ‘in tempo di Valse’. © Edition Peters, Leipzig / Albersen Verhuur B.V., ‘s-Gravenhage.
MUSIC ADVISOR
Jan Pieter Koch
LIGHT DESIGN
Udo Haberland
DECOR & COSTUMES
Marco Goecke
NDT REHEARSAL DIRECTOR
Ander Zabala
WORLD PREMIERE
November 4, 2017, Zuiderstrandtheater, The Hague
DURATION
29 minutes
Nathan Allen, Maša Anić, Viola Busi, Conner Chew, Sophia Frilot/Ruth Lee, Miquel Martínez Pedro, Casper Mott, Nathanaël Plantier, Gabriele Rolle, César Sautès-Vescovali, Rebecca Speroni
Esmee Boevink, Eliana Hayward, Giovanna Doria, Joey Gertin, Ruth Lee, César Sautès-Vescovali, Miquel Martínez Pedro, Nathan Allen, Nathanaël Plantier, Nathaniel Belnavis-Wright, Sophia Frilot/Maša Anić
Marco Goecke’s creation for NDT 2 begins with encounters in the studio between the choreographer and the dancers. Their meetings appear unimportant, yet simultaneously they are more important than anything else; young, naughty and evil, playful and punky. “Today, my feelings belong to the dancers, more than ever before”, says Goecke. A blink of the eye, a glance, a seemingly fleeting gesture. Just a moment or a story? What remains is a tear on an eyelash that is fanned away.
How do we get closer? A butterfly that remains a second before it flies away. The sounds of Schubert and Schnittke meet those of Placebo, The Swan Song and Song To Say Goodbye. Then there are the rattling pants, its sound interfering with the music. Goecke: “The dancers understand me immediately. There is no limit, they want to be challenged.” They move fast, virtuoso, gesticulate in peculiar ways, unconscious yet self-assured, and – whether solo, in a pas de deux or larger group – they communicate in Goecke’s language, as if they had never learned another. Darkness Spoken, without words.
“Wir sagen uns Dunkles, meaning “we tell our darkness/dark thoughts”, is a piece that reaches deeply into our beings, us being the dancers and the viewers.
Marco transforms the stage into a space to explore and indulge in parts of us that are often too dark or weird to share with others, or that, when you decide to share them, bring us a sense of urgency and thrill, almost danger, yet always elegant and beautiful. I feel like one of the most special aspects of Marco’s language is the ability to elevate any element, no matter how provocative, graphic or ugly to beauty. I perceive this movement almost as visceral, with the repetition and facial expressions, a very human and gestural way of moving, but then specifically stylised so that it becomes the most beautiful dance. Beauty, simplicity and intricacy with a twist of madness, vibrancy and passion. Even with the costumes, so simple in the front and full of sparkles in the back. Sparkles that create sound, movement and visual effects while being attached to our dancing bodies.
I find this piece very special because of the space we all have on stage to go on our intimate individual journeys, to touch once again our own darkness and find vulnerability in it, and yet to feel connected with the group in this sharp, dynamic and vibrant movement language.
The music is also a beautiful contrast that keeps us on our toes, even from the wings when we wait for our turn to run on stage.
I am so grateful to be dancing this piece as part of my last production with NDT 2, Marco Goecke’s style has been a very special part of my experience in this company and I love the exhilaration it brings me whenever I’m on stage. The process of learning this piece has also been a journey of discovery and excitement, getting in touch with parts of us that we often keep hidden and creating a space to share them in the studio and on stage under the loving guidance of Ralitza.
I hope the audience can perceive all the vulnerability we pour on stage with this piece and is moved by it as much I am by dancing it and watching my colleagues.”
“Wir sagen uns Dunkles is my first experience dancing Marco’s work. It is a piece that welcomes dancers and audience to a gloomy and intimate atmosphere where a true vulnerability lies under sharp movements. Marco’s way of crafting the space is really special and unique. Within the darkness all kinds of encounters occur : dancers enter and leave the space with speed that resonates through the beaded pants, chasing the light as much as it chases them, being both hidden and visible, whispering to each other and to the viewers… it is in itself a sharing of one’s privacy. You are immersed into a realm of rich sensations and emotions, enhanced by Marco’s diverse musical choices.
It has been a joy working with Ralitza on this piece. She was able to take all of us on a journey of self discovery and deep research. A lot of the movements or stories come from very dark places, but many others feeds off of humorous references. I find in Marco’s imaginary a complex yet evident duality between sorrow and joy, ugliness and beauty, rawness and refinement ; and it invites us to dig into our deepest selves, face our roots and find how to say some of the things we usually keep private. Something that surprises me every time is the feeling of urgency coming from the speed at which each movement flows into the next while staying very sharp. It forces me to play with myself, others and the music all at once, and it’s what makes me so alive while performing !
Overall, Wir sagen uns Dunkles creates a sense of completeness within me, as it reflects many different layers of what it is like to feel as a being. It transports me and blurs time in an odd way that I love. I’ve been faced with really strong emotions while dancing and watching this piece, and I am excited to share all of it with our audiences!
I hope we meet somewhere, so I can tell you dark thoughts.”
STAGED BY
Yvan Dubreuil
MUSIC
Maurice Ravel: Boléro for orchestra (1928)
Arvo Pärt: Für Alina for piano (1976); published/ licensed by © Universal Edition, Wenen, / Albersen Verhuur B.V., ‘sGravenhage.
LIGHT DESIGN
Peter Lundin
Original light design by Erik Berglund
DECOR & COSTUMES
Johan Inger
NDT REHEARSAL DIRECTOR
Lydia Bustinduy
WORLD PREMIERE NDT 1
May 17, 2001, Lucent Danstheater, The Hague
DURATION
28 minutes
Conner Chew, Giovanna Doria, Joey Gertin, Eliana Hayward, Ruth Lee, Miquel Martínez Pedro, Gabriele Rolle, César Sautès-Vescovali, Rebecca Speroni
Nathan Allen, Maša Anić, Nathaniel Belnavis-Wright, Esmee Boevink, Viola Busi, Conner Chew, Sophia Frilot, Casper Mott, Nathanaël Plantier
“Our greatest blessings come to us by way of madness” – Socrates
Ravel’s famous Boléro has been imbued with a somewhat erotically charged character in the worlds of art, dance, and opera, which inspired Johan Inger to create his own interpretation. This resulted in Walking Mad, a ballet exploring relationships in various forms and circumstances. A rotating wall transforms the space into smaller, ever-shifting rooms, leading to constantly changing situations. Walking Mad is a journey through time, confronting us with universal fears and desires, interwoven with humor and the lightness of existence.
For Walking Mad (2001) and Dream Play (2000), Inger was awarded the VSCD Lucas Hoving Production Prize in 2001 (currently known as the Dutch Zwaan).
“As she stands there
So brilliantly strong
A glimmer of maybe
May I?
A drop in the world is all it takes
the spiral falls into motion
All it does is consume
a madness of depth
Look at me
I’ve got you
Can I be here for you?
just let me..
It’s been my offer
A melted shoulder
Take your time
But come
To waiver
yet you stand in your home
My desperation is more than that
It’s more than just a cry
okay
let me check one more time
just a few more steps
just one more”
ASSISTANTS TO THE CHOREOGRAPHER
Jordan Douglas, Victoria Shulungu
MUSIC
New composition by Torben Sylvest
with use of Bunny Sigler: Shake your booty; Sony music, Warner-Tamerlane Publishing Corp (BMI), Warner Chappell Music Holland B.V.
Vocal performances by Magero, The Seva Family
LIGHT DESIGN
Tom Visser
DECOR & COSTUMES
Botis Seva
NDT REHEARSAL DIRECTOR
Lydia Bustinduy
WORLD PREMIERE
March 27, 2025, Amare, The Hague
DURATION
25 minutes
Nathan Allen, Maša Anić, Nathaniel Belnavis-Wright, Viola Busi, Eliana Hayward, Casper Mott, Nathanaël Plantier, Rebecca Speroni
This new creation is made possible with financial support from Ammodo
“In a world filled with constant noise, inner turmoil, and external judgment, we all carry a weight. The pressure of the daily grind, the conflicting voices in our heads, and the expectations placed on us — it’s overwhelming. But in the midst of this chaos, there is also a strength that arises from connection, resilience, and love.
Watch Ur Mouth is a deeply personal reflection of these struggles. This performance embodies the journey of navigating the relentless chatter of everyday life — the critics, the doubts, and the noise we face. Inspired by the unwavering support of a strong partner and the unconditional love of my children, this work is a testament to the power of holding on, moving forward, and finding purpose.
For those who face the daily battle, I hope this piece reminds you to keep walking. Even in the toughest moments, remember the strength within you and the people who lift you up.”
– Botis Seva
“For me Watch Ur Mouth is something in between darkness and hope. That tough moment in your life where you have a big desire to change, but the only way depends on your ability to use your will power to come up and face the challenges that life is putting you through.
The broader focus of your life is to avoid being discouraged by endings, and to see them as an opportunity for new beginnings.
We’ve been very lucky to have Botis here with NDT 2!!! As a contemporary dancer, the creation process with Botis Seva and his team was a full immersion in a world that was completely far from our style.
This piece was and it will be a challenging and rewarding experience, cause it allows us to express and release emotions throughout a completely different movement language. Even though we all have different journeys in this piece, the safety I feel inside of this group while dancing is so comforting and beautiful.”
“Seva’s work emanates from a place far greater than only having the theatre in mind. Watch Ur Mouth is larger than a piece; it’s a journey in reflection, in managing the hardships dealt with as an artist. The intrusive inner and outer voices that become a great deal in the way we show up.
Vulnerability is pushed to the forefront, serving as the reason for the movements. In fighting with exhaustion, Botis finds beauty within the battle rather than dismissing it, using it as another element of showing one’s vulnerability.
It’s a pleasure to be in the studio with Botis, along with Jordan and Victoria. Creating something culturally significant that differs strongly from the various repertoire I’ve had the ability to perform. The energy shared on stage feels as a celebration and acknowledgment of one’s journey accompanied by a beautiful auditory landscape, produced by Torben Sylvest. For the viewer and dancers, pride, love, poetry, and a youthful innocence are apparent, leaving a mark long after leaving the theatre.”
View more photos in the gallery