Lucie trained professionally from the age of 10, first at the Arts Educational School and then, aged 15, at the London School of Contemporary Dance.
Arts Educational gave her a wonderfully well-rounded base in theatrical arts and subsequently, The Place (LCDS) was a rigorous training that connected her with the world of contemporary dance. Some legends she learned about continue to inspire to this day, such as Pina Bausch, Steve Petronio, Bill T Jones, Isadora Duncan and Martha Graham. The Place allowed for such a lot of creativity and choreography was taught by Jane Dudley, who danced in Martha Grahams’ company.
The Place was an environment of making, rehearsing, experimenting. It was while at the Place that Lucie first tried text and movement, and later in her career was awarded some research and development time at the Place Choreodrome to experiment further. It was from an end-of-year show that she was asked to choreograph her first promo at 17. She graduated a year later and embarked upon a dancers’ life for the ensuing 11 years.
When time came to stop dancing, Lucie was already starting to work as a choreographer. TV shows, such as a series for Peter Kaye and one of the first make-the-band-famous shows called get Your Act Together (her band won!) and had made her first inroad at the National Theatre, thanks to a recommendation from Anthony Van Laast, for whom she had danced extensively. Throughout her dancing days, she’d also been regularly self-producing and choreographing shows at the Place Theatre and the Lilian Baylis Theatre. These were invariably multi-media in their nature with live music, musicians interacting with other performers, spoken word, film, no animals, but for two pieces she made, her then-10-year-old niece was in the cast… the real life/making work life was often interwoven!!
Moving through and working within a wide range of genres has kept her professional life interesting and resulted in a wealth of influence and experience to bring to each new project.
She’s at home choreographing intimate solos to staging large groups. Setting striking and seductive combinations for more edgy commercial productions, or creating pieces designed to be more thought provoking.
“The past few decades have seen the separation of genres in dance and theatre lessening. We’re healthiest when we’re cross-germinating! It’s a constructive and inspiring time for the art form of dance, the industry of showbiz and everything in between!”
The Special Relationship
by Hassan Abdulrazzak
26th February – 21st March 2020
True stories from the sharp edge of transatlantic deportation.
Yes I was deported back. Old Trump sent me here. Anything happens to my family, I’m coming across that ocean if I got to come in a tugboat, singing, “Row, row, row your boat”.
A grain of cocaine, a digit on a breathalyser, a forged cheque, a DEA sting or Murder One?
In America, foreign nationals can be deported after serving prison sentences; some of them are British. Caught in the transatlantic tango between Trump and May and proudly presented by a gun-toting Immigration officer, these are their verbatim stories of double punishment and separation from loved ones.
Hassan Abdulrazzak interviewed ex-prisoners and experts in immigration and criminal law to get behind the political rhetoric and explore the extraordinary realities of people caught up in the quagmire of immigration detention and deportation.
The Special Relationship was researched in collaboration with Prisoners Abroad, a UK charity supporting British citizens imprisoned overseas and returning to the UK.