Dancers’ Reflection on CHORA – Tom O’Gorman
8 May 2025
Tom O’Gorman shares how each piece pushed him in different ways – technically, physically, and artistically. From the precise demands of partnering to the openness of improvisation, Tom speaks to the challenge of shifting between choreographic styles and the sense of trust and connection built throughout the process.
In the last of dancers reflections, Tom O’Gorman writes:
There’s something uniquely exciting about working towards a triple bill. As a dancer, it’s an enjoyable challenge to move between three pieces of work created by different choreographers, each with their own way of working, their own creative vision us dancers as the common thread. As a new company, we were coming together for the first time, dancers and choreographers and I’ve found it incredibly enriching getting to know people by dancing together, fostering a connection and trust that’s hard to articulate.
Guy and Maria’s work demanded an exceptional level of attentiveness. As a professional, it’s rare to work with choreographers who offer such clear parameters with their practice. Often, the focus is on interpreting a concept or idea through your own body, but with Guy and Maria, they proposed something very concrete. This required a sense of remastering both old and new skills with a wealth of information, this was immensely valuable and rewarding to tackle collectively. The work is deeply physical and technical, relying on the group’s ability to see, listen, and respond to each other. There’s a shared ambition to be on the same wavelength as we throw, catch, and fall, constantly negotiating the space, working with the physical structure of the body, and testing its limits.
Liz’s work, in contrast, emphasises human connection on stage. It features beautiful, sensitive imagery, innately human and heartfelt. Working with Liz created an environment of openness and intuition. There was space for ideas to emerge naturally, often following how things evolved or felt in the moment. It was a joy to offer movement and watch Liz deconstruct, mould, and shape it to fit the broader context of the piece. With multiple bodies to compose with, the work maintains a high level of detail and is rich with interactions. It offers the audience an open interpretation, inviting their eyes to wander and be drawn to moments that speak to them.
Junior’s work began with an open and exploratory approach, creating space for collective discovery, allowing the group to identify and develop areas of deeper interest. With an open mind and heart, the process drew from memories and how they are stored in the body. While we explored abstract concepts through lengthy, critical discussions, Junior’s movement language remained grounded in athleticism. When combined, this blend created something raw, gritty, and cathartic, offering a powerful physical expression of complex ideas.
Each of these three works challenged us in distinct ways, yet together, they shaped an experience that was both physically demanding and deeply enriching. Chora is a testament to the power of collaboration, not only does it bring together choreographers and dancers, but the orchestra, costume, lighting, and set designers, stage managers and technicians too, it brings us all together, creating a compelling and exciting evening for everyone involved.
