PHOTOS
Anthony Lo-Giudice
Se Gæst | The Guest
2026/2027 touring
SECTION 1:
1) Why?
'England stands at a pivotal moment of socio-political transformation. The way we discuss our identity, who we are, where we come from, and where we are going, is pertinent both locally and globally.
My work explores stories of the human experience, rooted in the communities I am part of and those I collaborate with. My goal has always been to amplify the voices of these communities and ensure they are meaningfully represented in the broader cultural conversation, whether that be regionally, nationally, or internationally.
At the heart of the work are voices from the communities I live in and amongst that still feel unheard in the national narrative. The Guest has been shaped through conversations with people from migrant and underserved communities, and those voices are carried onto the stage by artists whose lived experiences directly inform the work. Representation here is not symbolic. it is structural. The performers are not speaking for communities, they are speaking from within them, and audiences consistently respond to this sense of authenticity, care and truth.
Continuing to tour the work feels essential, and creating positive reputational change in how the Tees Valley is perceived is vital. We can be an exporter of high-quality, touring production. I believe The Guest can be part of that positive change.
Transitioning to mid-scale touring is a crucial step in the development of my practice and the sustainability of the company. It will allow my work to reach wider and more diverse audiences whilst maintaining artistic ambition, fairer pay for artists, and higher production values. Mid-scale touring creates the conditions for longer-term partnerships with venues, deeper engagement with local communities, and more equitable access to the work beyond major cultural centres. It also supports a more resilient model of making and touring, enabling investment in the workforce, learning and skills development, and environmentally responsible planning.
As a queer, working-class immigrant from a Council Estate in Middlesbrough, I know firsthand the urgent need for authentic, tangible representation. I am committed to building a company that is grounded in these perspectives. Navigating the sector as a choreographer within these boundaries (/hurdles), I see how vital investment in sector development and learning support is. It opens doors to richer cultural output, higher quality work, and stronger workforce opportunities.
Above all, I believe there is a pressing need for art that people can engage with deeply and in ways that resonate with them, whether through co-creation, immersive experiences, or simply as thoughtful spectators. Art that is relevant, excellent, and enduring.'
Anthony Lo-Giudice
2) Our commitments to communities
'The work of mine and my collaborators creative practice is shaped by the lived experiences of underrepresented communities and driven by a commitment to equity, representation, and artistic excellence. We actively engage with people who are often excluded from mainstream narratives and decision-making in the arts, ensuring their not only voices inform every stage of our process, but can become part of a wider, global conversation.
Our contribution to the Creative Case for Diversity is intentionally embedded in how and why we create work. We fill a vital gap in the national and northern cultural landscape: a dance theatre company whose productions are co-created with, and deeply rooted in, the stories of people often unheard. Our methodology challenges structural inequality by recognising the value of creativity that already exists within marginalised communities.
We work particularly with people from the North, lower socio-economic communities, people from ethnically diverse backgrounds, and older adults, groups consistently underrepresented in dance and performance. By making space for these voices and perspectives, we provoke necessary dialogue, celebrate difference, and position diversity as essential to the creation of innovative, relevant, and high-quality dance theatre.
This approach supports Arts Council England’s ambition for a creative and cultural country in which everyone’s stories are valued, and where high-quality cultural experiences reflect the full breadth of England’s society.'
Anthony Lo-Giudice
The Need
Touring dance continues to under-represent working-class artists, disabled and neurodivergent performers, artists over 60, Black women, queer communities, and people with lived experience of migration, particularly outside major cultural centres such as the North East and Tees Valley. People from “semi-routine/working-class” backgrounds are far less likely to engage with theatre and arts events than professional/managerial households, reflecting socio-economic barriers (PEC). Equity notes the decline of working-class creatives due to poverty, education barriers, and industry practices (Equity), and the Local Government Association highlights low socio-economic diversity in cultural workforces (LGA).
Disabled artists remain under-represented on stage and in leadership roles, and many venues lack accessibility, trained staff, or touring support (ACE Report, British Council). Ageism limits opportunities for artists over 60, particularly in physically demanding forms like dance (Centre for Ageing Better). Neurodivergent artists face structural barriers from rigid rehearsal processes and touring systems (ACE Neurodiversity Guidance, Creative Lives). Black women and ethnically minoritised artists remain under-represented, requiring ongoing advocacy (National Black Arts Alliance). Queer and LGBTQIA+ artists and audiences experience limited access, and refugee and asylum-seeking communities are rarely included in sector-wide engagement (City Arts EDI Manifesto).
The Work
The Guest is a mid-scale touring production designed to address these gaps. It places marginalised voices at the centre, with disabled, neurodivergent, older, Black, queer, working-class, and migrant artists whose lived experience shapes both form and content. The work blends dance, live music, puppetry, and immersive storytelling, adapting to diverse spaces and audiences. Touring beyond major cultural centres ensures underserved communities can engage with high-quality performance and experience representation rarely seen on stage. Inclusive rehearsal processes and flexible touring structures support sustainable, equitable careers for artists traditionally marginalised in the sector.
Impact
The Touring impact
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Artists: Fair pay, visibility, and professional development for disabled, neurodivergent, older, working-class, Black, and queer performers, addressing long-standing workforce inequities (ACE Equality Data).
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Audiences: Engagement with communities often overlooked, including queer, neurodivergent, older, and refugee/asylum-seeking audiences. Feedback demonstrates audiences respond to authentic representation and engage deeply with themes of belonging, migration, and identity.
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Sector: Demonstrates an inclusive, ambitious mid-scale touring model, balancing artistic excellence, equitable employment, and environmental responsibility, providing a blueprint for sustainable, representative touring practice.
The Legacy
ACE investment enables The Guest to create lasting change: strengthening the regional arts ecology, expanding equitable touring opportunities, and ensuring the stories of marginalised communities are visible nationally. The work models inclusive practices for artists and audiences, fostering representation that is lived, not symbolic. Personally, as a queer, working-class immigrant from Middlesbrough, this work is both an artistic and personal commitment — ensuring audiences across England see themselves reflected on stage, promoting empathy, dialogue, and enduring cultural impact.
Working-Class Representation & Regional Inequality
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Research shows persistent class inequalities in cultural engagement: people from “semi-routine/working class” backgrounds are much less likely to attend theatre and arts events than those from professional/managerial households, highlighting socio-economic barriers to participation. Creative Industries Policy & Evidence Centre: inequality in arts and culture engagement
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Equity (the performers’ union) notes that the number of working-class actors, musicians and writers in the UK has declined significantly since the 1970s, with many working-class creatives facing exclusion due to poverty, education barriers and industry practices. Equity on representation and barriers in performing arts
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The Local Government Association reports that low socio-economic diversity remains a major issue in cultural workforces, with fewer people from working-class backgrounds in creative jobs, and barriers to entry for young people in deprived areas. LGA on cultural sector barriers and working‑class exclusion
(While these sources aren’t Tees Valley-specific, they reflect the broader structural inequity affecting regional practitioners across the North East.)
Disability Representation & Access
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The Arts Council’s own equality data shows dance has among the lowest representation of disabled artists, and disabled people are significantly under-represented in leadership and workforce roles within funded organisations. ACE Equality, Diversity and Creative Case Report (workforce data)
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A new British Council report found that a majority of arts venues and festivals do not regularly present or support work by disabled artists, with many lacking trained front-of-house staff and accessible booking processes — highlighting ongoing structural barriers. British Council on disabled artist under‑representation and access barriers
Diverse Representation
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ACE data also shows that ethnically diverse artists and leaders remain under-represented relative to the population, and disabled representation remains especially low within National Portfolio Organisations. ACE Diversity Data on ethnicity and disability in arts workforce
Queer and LGBTQIA+ Cultural Barriers
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While formal national data on queer audiences specifically is limited, broader arts equity reports consistently show LGBTQIA+ representation in arts workforces is low (around 8% in many funded organisations despite higher proportions in the general population), indicating further work is needed to create space for queer artists and audiences.
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Local studies of cultural spaces find LGBTQIA+-led venues often face licensing challenges and regulatory barriers, which can limit the platforms available for queer performance and community arts. London City Hall research on barriers for underrepresented cultural spaces
Refugee / Asylum Seeker Engagement
There is currently limited national data quantifying arts sector representation or attendance specifically for refugee and asylum audiences, which in itself signals a gap in how mainstream arts research and funding bodies track and value these communities. However:
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Community arts organisations across the UK (e.g., participatory and inclusion-focused groups) highlight the importance of creative programmes in supporting social inclusion for marginalised groups, including people from forced-migration backgrounds, reinforcing the need for work that directly engages and represents these audiences.
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The lack of data underscores the argument that sector tracking and cultural policy has not yet fully recognised or resourced engagement with refugee and asylum seeker communities, which supports the case for The Guest as work intentionally created with these voices at the centre.
Previous engagement activities with audiences as part of The Guest 2025 production and tour, and The Guest (formerly Ghosts of England) Research and Development 2024.
Live Performance - Dance City 11/12/15
SECTION 2:
1) The Venues for 2026
The Guest Impact Statement
The Guest is a professional contemporary performance touring project designed to increase access to high-quality arts in under-served and diverse communities across England and internationally. By strategically visiting regions with varying levels of deprivation, cultural infrastructure, and audience representation, the tour maximises both artistic excellence and social impact.
Strategic Touring and Regional Benefit
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ARC Stockton Arts Centre: Engages young people and low-income families in one of the North East’s most deprived areas, providing workshops and participatory events to develop creative skills and cultural confidence (also supporting the foundation developments of a Tees Valley touring circuit)
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Durham Cathedral: Connects LGBTQIA+ contemporary performance with heritage, attracting cross-generational audiences, encourages refugee/asylum communities to heritage venues, and supports local cultural tourism.
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Berwick Maltings: Brings professional queer-led arts to rural and coastal communities, fostering social cohesion and bridging geographic isolation.
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Bradford Arts Centre: Reaches ethnically diverse audiences, particularly neuro-diverse, LGBTQIA+ and South Asian communities, promoting inclusion and representation through engagement activities.
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The Place, London: Engages multicultural urban audiences and supports emerging artists, providing professional development and strengthening national networks (also enhancing Anthony's professional development through a new collaborative partnership).
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Alnwick Playhouse: Offers access to rural and LGBTQIA+ communities, with workshops nurturing local talent and encouraging creative participation.
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Hullabaloo Theatre, Darlington: Prioritises children and families, providing creative learning experiences that build dance sector development in Tees Valley (also supporting the foundation developments of a Tees Valley touring circuit).
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Teatro Area Nord, Napoli: Facilitates International cross-cultural exchange, with workshops and performances accessible to immigrant, Roma, and youth audiences.
Audience Feedback from 2025
Press reviews
'Anthony Lo-Giudice is a choreographer who goes where others would fear to tread. He challenges the definition of what a dance layman might imagine choreography to be, conjuring up memorable spectacles and presenting audiences with moments of startling beauty....'
Dave Whetstone - Cultured North East
'This is a political work, with free and raw dance and movement interspersed with text, drawn from conversations Anthony has had with people across the UK. Dancer Caroline Reece’s text comes across best as she longs for yesterday and she relates her fears of storms, the future, her desire for a ‘fag’. Reece is an impressive, charismatic performer. Old English is also used—percussionist Brendan Murphy delivers an old English poem with sonorous power.
The imagery is intense, low lighting by Mark Parry is melancholy and indistinct adding to the atmosphere..
The Guest is packed with emotion and ideas, some funny, some sad, some confusing, some enigmatic, some gripping—an ambitious dance theatre provocation!'
Dora Frankel - British Theatre Guide
'The dancing, especially in the first half once weeping George leaves the stage, is incredible: choreographed movement that seems to flip the world on its head. The dancers’ legs and feet are as dextrous as their hands, often spinning as fast as St Catherine to create a dizzying display of gymnastics and tumbling, combined with the poses and posture of tarot card figures and medieval marginalia. This truly encapsulates the meaning of the weird and the wonderful.
We watch men birthing men birthing myths, as suddenly a proto-Adam and Eve start to dance together, but there is something amphibian about their movement, with the piscine ease they slip and slide over each other’s bodies. These moments show how not only stories but people are made: as a process it is bodily, beautiful and bizarre.
Ultimately, this is a dance with two stories. The first is a weathered depiction of the politics and beliefs that many hold across the country today, and the other, burrows into the thicket of English folklore and history to discover a less neat but deeper portrayal of how our relationship with nature, magic and stories impacts our relationships to one another and the perceived Other in contemporary society.'
Maxime Swift - Dance Art Journal
'Watching Se Gæst felt less like attending a dance performance and more like being drawn into a shared act of reflection. From the harrowing start it was immediately clear that this was a work unafraid of discomfort. Anthony Lo-Giudice’s choreography, performed by a cast of eight strikingly committed performers, asks us to sit with questions of belonging, fear, and compassion rather than resolve them.
The choreography perfectly captures how communities can turn inward when faced with change, and how fear quietly reshapes behaviour. The performers shift fluidly between roles embodying England as something complex and unstable. Similarly, Knowing that the text and songs drew from the experiences shared in conversations with community groups across England made many moments feel uncomfortably familiar, deeply personal and emotional moving.'
Barrah T Al-Badry
Critical feedback to support re-working The Guest
“Studio development will focus on five interrelated risk areas identified through critical feedback:
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dramaturgical clarity (25%)
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audience orientation and access (25%)
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participatory depth (20%)
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space for reflection (15%)
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touring resilience (15%)
Addressing these risks ensures the re-tour delivers increased artistic quality and public benefit.”
Activity Plan: Studio Development Responding to Critical Feedback
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Dramaturgical clarity and structure
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Dedicated studio time to strengthen the dramaturgical spine of The Guest, responding to critical feedback that highlighted moments of narrative opacity and thematic overload.
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Refinement of transitions and section functions to improve clarity while retaining poetic ambiguity.
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This development responds directly to reviews such as Cultured North East, which noted the work’s ambition but suggested it “doesn’t always make for a wholly coherent narrative.”
https://www.culturednortheast.co.uk/p/review-the-guest-or-se-gst-at-seaton
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Audience orientation and invitation
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Reworking the opening and key moments of address to more clearly establish the audience’s role within the work.
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Development of clearer “rules of the encounter” to support first-time and neurodiverse audiences.
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This responds to audience feedback indicating uncertainty around how to position themselves within the experience.
https://www.culturednortheast.co.uk/p/review-the-guest-or-se-gst-at-seaton
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Integration of participatory material
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Further studio research into how community voices and participatory elements can be more fully embedded into the live dramaturgy rather than sitting alongside it.
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Testing participatory structures that offer deeper agency and coherence within the performance.
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This builds on learning from the project’s community-led development process.
https://www.anthonylogiudice.com/theguest2025
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Pacing and space for reflection
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Adjusting pacing, stillness, and duration in response to feedback that emotional reflection often occurred after the performance rather than within it.
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Experimenting with intentional pauses as dramaturgical tools to support meaning-making.
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Responds to reviews noting the work’s emotional intensity and scale, suggesting potential for greater internal reflection.
https://www.britishtheatreguide.info/reviews/se-gaest-the-gu-dance-city-new-25193
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Preparation for re-touring
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Testing revised dramaturgy in different spatial configurations to support touring to a range of venues.
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Informal audience feedback sessions to evaluate changes prior to the re-tour.
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Community feedback
Graph Concept: Audience Feedback of The Guest
Type: Radar chart (spider chart)
Axes / Metrics:
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Sense of Home / Belonging
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Connection to the North East / Regional Identity
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Opportunities for Participation
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Collaboration & Community Engagement
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Artistic Achievement / Spectacle
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Desire to See More / Future Engagement
Sample Data (out of 100):
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Sense of Home / Belonging: 92%
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Connection to the North East: 85%
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Opportunities for Participation: 78%
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Collaboration & Community Engagement: 88%
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Artistic Achievement: 90%
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Desire for Future Engagement: 80%
Narrative to Accompany Graph (for Arts Council)
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Sense of Home / Belonging:
Audience participants overwhelmingly described The Guest as “deeply personal” and “rooted in what it means to call England (and especially the North East) home.” This reflects the show’s success in creating emotional resonance with themes of identity and belonging. culturednortheast.co.uk+2culturednortheast.co.uk+2 -
Connection to the North East:
Many reviews emphasise Anthony’s strength in anchoring the work in his Tees Valley and North East identity, producing a piece that feels locally grounded while having national relevance. I Love North Shields -
Opportunities for Participation:
Audiences and community contributors praised the collaborative process and that the piece was co-created with real conversations from diverse communities. culturednortheast.co.uk -
Collaboration & Community Engagement:
The production’s community-led elements (story gathering, interviews, co-creation) were highlighted in local press as a key strength. North Shields Cultural Quarter -
Artistic Achievement:
Reviewers noted the show’s visual and musical ambition — from puppetry to live music and dance — calling it a “spectacle” with “moments of startling beauty.” culturednortheast.co.uk -
Desire for Future Engagement:
There is clear audience appetite for more: both in the press and through ticket demand for future venues (including national and possibly international). culturednortheast.co.uk
“Our dance group ‘Falling on Your Feet’ has had the honour, not only of working with Anthony Lo Guidice and musician and songwriter Bridie Jackson, but of being invited to play an integral part in creating lyrics and dance choreography/performance. To think that at our age we would have this opportunity is truly mind blowing.
Working with Anthony’s creative, fast and furious ideas was at first challenging but we it proved to be exciting, fun and hugely satisfying, putting to rest any doubts we had that age is a barrier.
Meeting and working with the young dancers from North Tyneside Youth Dance has been such an uplifting experience, an inter-generational triumph, highly enjoyable and hugely successful.
And performing to beautiful music and a song especially composed uniquely for this performance, with a wonderful choir, is truly magical and humbling.
I can’t express my delight and gratitude enough to all those who have made this amazing collaboration happen.”
Ann - Dancer with Falling on Your Feet
“Working with Anthony on The Guest has been one of the best experiences I’ve ever had. I’m part of NTYD, and before this project I’d never really understood how choreography was made. Anthony helped us explore ideas, try things out, and learn how movement can tell a story.
I felt like my voice actually mattered in the process.
Getting to perform at Seaton Delaval Hall, The Exchange, and on North Shields Fish Quay was incredible. Each place felt different, and it made me realise how dance can fit into all kinds of spaces. My absolute highlight was performing on the Fish Quay with a live choir! hearing their voices while we danced made everything feel huge and emotional. I’ll never forget it!
This project has made me more confident as a dancer and as a person. It showed me that people my age can be part of professional work too, and that my ideas have value. I’m really proud of what we created together.”
Jules - Dancer with North Tyneside Youth Dance
'Overall ‘The Guest’ was astonishing, how they did it in less than two months was incredible, it felt more like two years of work! There’s absolutely nothing I would change; the live music left me speechless, the dancing was breathtaking, and the emotion of the work was indeed present. Absolutely awesome! The story of a boy from an island far away, sailing to England, getting eaten by a whale, and being washed up on the shores of England, rejected by the British for who he was, what he looked like, what he wore, carried, and his sexuality… A long adventure! The show had live music and singers, with ancient sounds. The dancing was so well thought out and intricate, never lacking… I can’t describe how in awe I was, the effort and skill put into it was… shocking.'
Quins words so far were mainly about how inspiring it was to see his teacher Al and the different m styles he uses. Break and contemporary. He remarked that he could see Al had influenced his dance style much and how his ability is brilliant to witness. He also loved that they got to drop in on rehearsals for The Guest, it’s super educational he wrote. It draws you in further into feeling the whole piece. Very impressive piece. He also wrote about how great it was to watch how you work and direct, again, very inspiring.'
Feedback from Theo’s (12) and Quin's (17) essay on the pieces and time with Anthony (for English homeschooling).
Theo and Quin worked with Anthony through Tees Dance Youth and performed the curtain raiser at Middlesbrough Town Hall (see below)
“I'm currently in my second year of the BA at Northern School of Contemporary Dance. As part of of our creative modules, we worked with Anthony and Alex to learn some repertoire from The Guest. It is very reassuring to see a choreographer who is from the North East making successful and innovative movement which my classmates from all over the country (and world) felt challenged and inspired by. We need more artists from the North showcasing the incredible talent that exists here.”
We then went to see the performance at York Minster which was 10/10. I'm planning to take the trip up North to see if again at Dance City!'
Olivia - 2nd Yr BA Hons Student at Northern School of Contemporary Dance
I don’t often get chances to perform in my local area, so being part of the curtain raiser for The Guest was amazing for me as someone who wants to be a choreographer. Tees Dance helped me be part of something really interesting.
I learned so much from creating the piece, and it was inspiring watching my teacher, Alex Rowland, in the production. I loved how he blended breaking, contemporary movement and storytelling. it made me excited about what dance can be and what I want to make in the future.
It was also inspiring to work with Anthony, who is also from the Tees Valley and is making and touring dance across the country”
Quin - Dancer with Tees Dance Youth
“I got the chance to work with Anthony and make a piece for his show at York Minster with York Dance Space Youth Company.
It was amazing to be working with my friends in the summer and then rehearsing right up to the performance in October. I found the process extremely rewarding, and I loved learning the movement from his show.
The highlight was definitely getting the chance to perform in such an incredible venue with my friends, and then watching his show The Guest.'
Emily - Dancer with York Dance Space Youth Company
'Performing Aetherbound as a curtain raiser for The Guest was such a valuable and affirming opportunity in my early development of the work. Presenting the piece to a large scale audience allowed the piece to be seen by far more people than would have been possible independently. This contributed to supporting the work and generate audience feedback that has helped shape the ongoing life of the duet.
The platform also provided vital industry exposure. Members of Arts Council and various producers from established dance venues were able to see the work live, creating opportunities for dialogue, connection, and potential future support. For a dance artist like myself in the early stages of developing this piece, this visibility helped ease some of the ongoing challenges of getting new work seen. The experience reinforced the importance of shared platforms and highlighted how early opportunities like this can play a significant role in supporting emerging work to move forward.'
Rosie Macari - Choreographer
ACE Project number:NLPG-00823419
3) Cast evaluations and access support
Access as an Artistic Enabler
The access support outlined below has been identified collaboratively through artist reflection, discussion and ongoing communication, and is essential to creating equitable working conditions that allow the work to reach its full artistic potential.
Access support includes:
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Childcare support to enable artists with caring responsibilities to participate fully.
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Disabled access support staff, including practical assistance around venues (such as driving and safely parking an artist’s adapted vehicle away from stage doors).
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Note-taking support for neurodivergent artists, supporting clarity, continuity and adaptation to creative changes throughout rehearsals and touring.
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Overnight accommodation options when touring away from home, reducing fatigue and supporting sustainable performance schedules.
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Physiotherapy support on tour for older performers, promoting physical wellbeing, injury prevention and longevity in practice.
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Stage Management support to reduce the physical and cognitive demands on performers during get-ins and get-outs.
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Taxi travel provision for artists who experience anxiety using public transport, ensuring safe and accessible travel to and from venues.
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A flexible wellbeing and care support budget to respond to unforeseen access needs, enabling responsive and artist-centred touring conditions.
Alignment with Arts Council England’s Equality, Diversity & Inclusion Priorities
This approach directly aligns with Arts Council England’s Equality, Diversity & Inclusion principles by removing structural barriers that disproportionately affect disabled, neurodivergent, older, working-class and caregiving artists. By embedding access within the production and touring model, The Guest supports equitable employment, fair working conditions and sustainable careers, while enabling artists with lived experience to meaningfully shape the work. This commitment ensures that representation on stage is matched by inclusive practice behind the scenes, contributing to a more diverse, resilient and artist-centred touring ecology.
Hannabiell Sanders
Reflections on 2025
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A highlight of the project for Hannabiell was being part of a team where everyone is working collaboratively. She noted being proud to be part of the team as a queer person and woman of colour.
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She has found the supporting care with the artistic team and Anthony being receptive to change and support particularly important.
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Hannabiell discussed a hope for reduction of full day rehearsals during show days. This has caused her some fatigue on show evenings. She would like more break times in scheduales.
Reflections on 2026
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Hannabiell would love International touring.
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She would like to have more post show discussions she is part of, as she is curious about audiences responses and wants to be part of the conversation.
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She would like the show being performed in more non-traditional venues.
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Some shows that are free for audience members or PWYC in rural and marginalised community settings would be a highlight for her.
Alex Thirkle
Reflections on 2025
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Alex felt everything worked well, but would have loved more rehearsals with the whole cast.
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He felt the ritage spaces need more time for space in the day, and managing them in a way he was not fighting for it.
Reflections on 2026
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Alex requested a Stage Manager. This would support his role as a performer, which he could focus on more as opposed to supporting with setting up and getting out.
Caroline Reece
Reflections on 2025
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Caroline loves working with a multidisciplinary cast on such an ambitious project.
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She finds the heritage venues challenging but beautiful.
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She really hopes more people can see the work next year.
Reflections on 2026
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Caroline notes the need for a Stage Manager to support the ambition and demands of the work.
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The heritage spaces are beautiful but she would like more time in them to work through the challenges of each unqiue space.
Alex Rowland
Reflections on 2025
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Alex has loved working with text and props and being supported to take new challenges as an artist (also being supported by dramaturg Karen Traynor, who specialises in text)
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He has loved how the work is taking dance theatre productions to historical venues,
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Thet multigenerational cast feels special to him (and his learning) as an artsit.
Reflections on 2026
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Alex notes that the historical venues have their own challenges, and that for 2026 we need to manage our time better as a company in them.
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Employing more staff to come in and help with get-ins / get outs – taking the ease of the artists will make Alex's role as performer feel more supported.
Andrea Harris
Reflections on 2025
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Andrea loves the combination of movement and sound, noting the importance of the theme of the work and how it has been approached in The Guest.
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She has found talking to audiences after the show has been a positive experience, and has loved connecting with them.
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She has struggled to remember parts of her role in the show, and has worried sometimes about letting people down.
Reflections on 2026
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Andrea would like the performers to consider being mic'd up so that she can understand her cues a little better.
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She thinks a stage Manager would be really useful.
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Andrea would like more help bringing her things in etc (Andrea is disabled and has relied on the artists to support some access needs)
Brendan Murphy
Reflections on 2025
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Brendan loves the company and notes the excellence of the cast.
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For this production, he comes with a lot of equipment (so get-ins and get-outs have been challenging, particular in heritage venues).
Reflections on 2026
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Brendan thinks a stage manager would support Anthony and the cast to work more efficiently in their artistic roles.
Molly Procter
Reflections on 2025
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Molly thinks the team is strong, as well as the combination of art forms, which has also supported her to develop her skill-set and craft.
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She has loved workings in different spaces and being a ‘malleable artist.
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The voice work was a challenge for her but working with Dramaturg Karen Traynor was brilliant (she would like to have more time with Karen).
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Molly has found setting the spaces up challenging (but has also loved it).
Reflections on 2026
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Molly wants the energy of the cast and venues to stay the same as she loved it.
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She hopes the mentors will remain to support artistic growth in the project.
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She thinks a stage Manager required
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Molly has three children and has struggled with childcare, and so would like some support for this in 2026.
Michaela Gebremedhin Wate
Reflections on 2025
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Michaela feels Anthony has been very open for creative challenges and also individual comfort of choice.
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She reflects that hybrid performance space has been good.
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She would love more rehearsal time on the piece.
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Get ins are challenging (props etc take time and add pressure to get in and get out time). She questioned on whether this could these be done the day before some shows, if venues allowed.
Reflections on 2026
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Michaela would like some more rehearsals time.
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She would also like more get-in time for show days.
SECTION 3:
1) Where we are going in 2026/2027why
2025 tour
Middlesbrough Town Hall, Middlesbrough
Seaton Delaval Hall, Northumberland
York Minster, York
North Shields Fish Market, North Shields
Queens Hall Arts, Hexham
Auckland Palace, Bishop Auckland
Dance City, Newcastle upon Tyne
2026/2027 tour
Stockton ARC, Stockton
Durham Cathedral, Durham
Berwick Maltings, Berwick upon Tweed
Bradford Arts Centre, Bradford
Hullabaloo Theatre, Darlington
Teatro Area Nord, Napoli
The Place, London
Touring Strategy and Impact
The Guest’s 2026/2027 tour strategically positions Tees Valley–made dance theatre within both national and international contexts. Touring to venues such as ARC Stockton, Bradford Arts Centre, The Place (London), and Teatro Area Nord (Napoli) aligns with Arts Council England’s Let’s Create outcomes by building place-based cultural infrastructure, supporting Creative People, and strengthening Cultural Communities. Venues like ARC and Hullabaloo Theatre act as regional hubs, providing platforms for local audiences while enabling sustainable relationships with the national dance ecology. International touring to Teatro Area Nord further extends the reach of Tees Valley work, fostering cultural exchange, audience diversification, and export opportunities for English dance theatre.
A central aim of the tour is to support priority places, ensuring that high-quality dance theatre reaches communities often underrepresented in national touring networks. As a Middlesbrough-based, queer, working-class, immigrant artist, Anthony Lo‑Giudice brings lived experience of Tees Valley into his work, making the region both the creative home and a focal point for strategic cultural development. Touring to venues such as ARC Stockton and Hullabaloo Theatre, Darlington consolidates the region’s presence in the national cultural landscape, while rural and heritage locations like Berwick Maltings and Durham Cathedral extend access to high-quality work where professional dance is less visible, addressing geographic inequality and embedding lasting relationships with communities.
There is strong evidence for the need and demand for touring dance in both rural and urban areas. The Rural Touring Dance Initiative (RTDI) demonstrates that 98% of audiences enjoyed touring dance performances and 88% wanted to see more (theplace.org.uk). Similarly, the National Rural Touring Forum reports over 270,000 annual audience experiences, highlighting that touring expands cultural participation in communities often underserved by professional arts (nrtf.org.uk). Venues like Berwick Maltings, Durham Cathedral, and Hullabaloo Theatre are strategically selected to respond to this demand, providing rural and urban audiences with high-quality dance theatre while addressing geographic and cultural inequalities.
Community engagement is embedded at every venue. The Guest integrates workshops, artist talks, and participatory sessions that embed the production into local cultural life, turning audiences into active participants rather than passive spectators (fctt.org.uk). For example, Bradford Arts Centre benefits from the city’s City of Culture 2025 designation, enabling structured co-created activity with diverse audiences (visitbradford.com). Rural venues such as Berwick Maltings and ARC Stockton host workshops with schools and community groups, ensuring the work has both local resonance and lasting impact. Press coverage confirms that the production was developed through interviews and discussions with multiple communities, underlining its participatory creation process (aucklandproject.org).
Overall, the 2026 tour balances strategic ambition with place-based accountability, supporting audience development, artist progression, and cultural participation in line with Arts Council England’s Let’s Create outcomes of Creative People, Cultural Communities, and Place.
'The 2026/2027 tour of The Guest has been shaped by both opportunity and intention. While this iteration of the tour responds to invitations and momentum generated by the work in 2025, venue selection has also been guided by a clear commitment to reaching audiences who align with our values around access, equity and long-term relationship building.
I have tried to ensure that this approach directly reflects Arts Council England’s Let’s Create strategy, particularly in its focus on relevance, place-based practice and cultural communities. The tour prioritises venues that are invested in sustained engagement rather than one-off presentation, enabling The Guest to contribute meaningfully to local cultural ecologies while building confidence in the work over time.
As a Middlesbrough-based, queer, working-class artist from an immigrant background, my practice is rooted in the lived realities and hurdles of attempting to carve out a viable career as a choreographer from the Tees Valley. Touring nationally and internationally is not only about artistic visibility, but about strengthening pathways for dance theatre made in the region.
This tour represents a strategic step towards establishing stronger export routes for Tees Valley work, demonstrating its relevance beyond the region while remaining accountable to the communities it comes from.
The tour includes West Yorkshire, London and Italy, and will be the first time my work presented in full-length for the first time. These locations have been selected to reach new and diverse audiences and to build long-term relationships with venues that can support future touring, co-commissioning and international exchange. The intention is to develop trust, artistic dialogue and confidence between artist, venue and audience.
Alongside outward touring, this strategy supports a longer-term ambition to explore how a Tees Valley touring circuit might be mobilised by 2028. By strengthening relationships with regional, national and international partners, the tour creates leverage to advocate for more connected touring infrastructure within Tees Valley, ensuring work made in the region can circulate more sustainably and equitably.'
This touring strategy lays the groundwork for future investment by strengthening long-term venue relationships, increasing confidence in Tees Valley–made dance theatre, and creating lasting pathways for audiences, partners and artists beyond the lifespan of the 2025 tour.'
Anthony Lo-Giudice
2) Who are the communities we will be engaging
2025 evaluation audience figures
Total engagement participants: 1,096
Total Audiences: 1,244
Total Volunteers: (supported through Auckland Project, Helix Arts, and Seaton Delaval Hall): 18
Total: 2,358
2026 calculated audience figures
Total engagement participants: 1,241
Total Audiences: (ticketed: 855). (Pre show performers: 275) (ring fenced: 100): 1,230
Total Volunteers: (supported through Durham Cathedral and Berwick Maltings): 10
Total: 2,481
See 'Audience Development Plan'
All estimated audience figures have been calculated in consultation with our delivery partners prior to submission. Estimates are informed by registered attendance numbers for regular community groups, comparable audience data from previous dance performances, and a review of our PR and marketing strategy, alongside learning from the 2025 tour of The Guest (5 out of 7 sell-out evenings). Where performances take place in new regions (London, West Yorkshire and Italy), audience figures have been deliberately set at a lower level to reflect new audiences and a considered approach to risk mitigation.
Arc Stockton
Audience (ticketed): 80 (ring fenced): 25
Community Engagement activities:
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Middlesbrough Community Learning ESOL refugee/asylum group:
https://www.mcls.ac.uk/courses/esol/
Why: This partnership supports communities shaping culture by centring lived experiences of migration that sit at the heart of The Guest, aligning with Let’s Create priorities around equity, relevance and cultural participation for underrepresented communities.
How: 1 hour open studio observation and facilitated 45 minute discussion with Martin Renwick (group leader) (120 participants)
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MusINC Play On! (Clarinets and cellists aged 8–11):
https://musinc.org.uk/whats-on/play-on/
Why: Working with MusINC enables early engagement with high-quality artistic experiences, supporting Let’s Create ambitions for children and young people to develop creative confidence and access culture regardless of background.
How: 1 hour music session led by Brendan Murphy and Hannabiell Sanders at Middlesbrough Town Hall. The students will learn repertoire from The Guest and will guided through facilitated creative play with the material they learn. (15 participants).]
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MusINC UpBeat! Learning Disabilities group:
https://musinc.org.uk/whats-on/upbeat/
Why:This collaboration embeds inclusive practice and access at the core of the project, aligning with Let’s Create’s commitment to removing barriers and ensuring disabled people can meaningfully engage with and shape cultural experiences.
How: 1 hour music session led by Brendan Murphy and Hannabiell Sanders at Middlesbrough Town Hall. The participants will be invited to play music with Brendan Murphy and Hannabiell Sanders, with allocated time for 'touch sensitive' play with the facilitators instruments. (15 participants)
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Post Show Discussion:
Why: The post-show discussion supports relevance and connection by creating space for audiences to reflect, question and contribute, enabling deeper engagement with the work’s themes and supporting ACE’s ambition for meaningful cultural participation (50 participants).
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Pre show Performance: Tees Dance Youth Company
Why: This supports Creative People and Communities shaping culture by offering progression opportunities for young and emerging artists. Tees Dance Youth Company previously performed as a pre-show for The Guest at Middlesbrough Town Hall in 2025, and this continued collaboration reflects our commitment to sustained engagement rather than one-off activity.
How: Tees Dance Youth Company will work with their group leader to rehearse their previously performed piece. They will then be invited to stay and watch the full show. (10 participants)
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Stockton Riverside College BTEC Performing Arts
https://www.stockton.ac.uk/performing-arts
Why: Stockton Riverside College students will benefit from attending the dress run of The Guest through direct exposure to a professional touring dance production that explores contemporary themes of identity, belonging and collaboration. This experience supports Arts Council England’s Creative People priority by broadening students’ understanding of potential career pathways within the arts and live performance.
How: Students will attend the dress run at ARC to observe the creative, technical and performance processes in a real-world setting, followed by an opportunity to meet the cast. This facilitated exchange enables students to ask questions about training, creative practice and touring work, supporting skills development, aspiration and meaningful engagement with the cultural sector (30 participants).
Total number: 345
Previous engagement activities with audiences as part of The Guest 2025 production and tour, and The Guest (formerly Ghosts of England) Research and Development 2024.
Berwick Maltings at St Aiden's Peace Church
Audience (ticketed):75
Community Engagement activities:
Previous skill-sharing activities with audiences Antony has facilitated through investment support of Northumberland Arts Development Fund for regional pro artists.
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Nifty After 50 Dance Company
https://www.bethveitchdance.com/works/waiting-for-a-hug-film
Why: This engagement supports Arts Council England’s priority for inclusive cultural participation by enabling older dancers to engage with a professional touring production that reflects themes of memory and belonging present in The Guest.
How: The dancers will take part in a 1 hour workshop with Caroline Reece on the day of the performance. They will then be invited to the dress run (20 participants).
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Post Show Discussion
Why: The post-show discussion supports relevance and connection by creating space for audiences to reflect, question and contribute, enabling deeper engagement with the work’s themes and supporting ACE’s ambition for meaningful cultural participation (40 participants).
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Pre show Performance: Rag Bag Border Morris
https://www.facebook.com/61571942879619/videos/1848481412386980/
Why: This activity supports Communities shaping culture by foregrounding local, community-led dance practice alongside professional touring work, valuing diverse forms of cultural expression.
How: Rag Bag Border Morris will work with their group leader to perform a set of 3 regional folk dances. They will then be invited to stay and watch the full show. (20 participants)
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Skill Sharing: Northumberland Artists Talk – environmental touring focus
Why: This activity supports Creative People by addressing sector-relevant challenges, including environmental sustainability in touring, aligning with ACE’s commitment to environmentally responsible cultural practice.
How: Artists will take part in a facilitated skill-sharing discussion as part of the annual Northumberland Dance Development Fund Artists meeting, focussing on low-impact touring models, sharing learning from The Guest to support peer learning, professional development and more sustainable creative practice (12 participants).
Total number: 167
Bradford Arts Centre
Audience (ticketed):100 (ring fenced): 25
Community Engagement activities:
Anthony's previous work with students at Northern School of Contemporary Dance. Curtain Raiser performance and rep classes for the 2025 tour of The Guest
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Mesmac LGBTQ Creativity group
https://www.mesmac.co.uk/our-services/bradford/lgbt-youth
Why:This engagement supports Arts Council England’s priority for equity and representation by working with LGBTQIA+ participants whose lived experiences closely align with The Guest’s themes of LGBTQIA+ identity.
How: Participants will be invited to a creative puppetry workshop the day before the production, attend the performance, and take part in facilitated discussion, enabling meaningful engagement with the work and supporting confidence, connection and cultural participation (10 participants).
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Neuro Queer Bradford
https://www.healthyminds.services/services/neurodivergent-lgbtq-367
Why: This partnership supports inclusive and accessible cultural experiences, aligning with ACE priorities by centring neurodivergent and LGBTQ+ voices within a professional arts context.
How: Participants will engage through supported attendance to the dress run and a 30 minutes discussion, ensuring access needs are met and enabling participants to engage with the work on their own terms (18 participants).
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Northern School of Contemporary Dance
Why: This engagement supports Creative People by providing emerging artists with direct exposure to professional touring practice and contemporary choreographic approaches.
How: Anthony will be in residence for two weekends prior to the performance to create the work with the students (60 participants)
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Post Show Discussion
Why: The post-show discussion supports relevance and connection by creating space for audiences to reflect, question and contribute, enabling deeper engagement with the work’s themes and supporting ACE’s ambition for meaningful cultural participation (60 participants).
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Pre show Performance: Dhol Punjabi Drumming Class
https://bdartscentre.co.uk/whats-on/classes/dhol-drumming/
Why: This pre-show performance supports Communities shaping culture by placing culturally specific and emerging artist practices alongside professional touring work, valuing diversity of form and voice.
How: The group will perform in the foyer at Bradford Arts Centre prior to the performance of The Guest. They will then be invited to watch the performance (12 participants).
Total number: 345
The Place, London
Audience (ticketed):250
Community Engagement activities:
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London School of Contemporary Dance BA workshop (60).
https://theplace.org.uk/lcds-courses/ba-hons-contemporary-dance-performance
WhyThis workshop supports Arts Council England’s priority for talent development by engaging emerging artists in professional creative methodologies and encouraging critical engagement with source material and performance-making.
How:Students will participate in a structured workshop combining movement tasks and discussion, led by the creative team and adapted from the processes used in The Guest.
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Post Show Discussion:
Why: The post-show discussion supports relevance and connection by creating space for audiences to reflect, question and contribute, enabling deeper (100 participants).
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Pre show Performance:
Why: This activity supports Arts Council England’s priority for increasing access to culture by offering an informal and accessible introduction to the work for audiences who may not usually attend contemporary performance.
Group be confirmed (not currently calculated in final figures)
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Pro Class at The Place
https://theplace.org.uk/classes-courses/c-c-professional-class-2025-26
Why: This class supports Arts Council England’s priority for developing creative practitioners by providing professional dancers with access to contemporary choreographic practice rooted in research, collaboration and storytelling.
How: Participants will take part in a practical movement class led by the choreographer, drawing directly from the physical and musical language of The Guest. All participants will be given information about the show and will be encouraged to attend (25 participants).
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Queer Britain Museum talk
Why: This activity supports Arts Council England’s priority for equity and representation by engaging LGBTQIA+ audiences in dialogue around national storytelling, heritage and identity, directly reflecting the themes of The Guest.
How: Participants will attend a facilitated artist talk and discussion at Queer Britain Museum, offering insight into the creative process and creating space for shared reflection and audience-led conversation (30 participants).
Total number: 465
Teatro Area Nord, Napoli
Audience (ticketed):100
Community Engagement activities:
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Art Garage Pozzuoli .
Why Working with Art Garage supports Communities shaping culture by engaging local participants (internationally) through accessible, community-rooted cultural activity aligned with The Guest’s themes and a dance company currently being developed in the Tees Valley.
How: Participants will attend a workshop and will then be invited to the performance and post show discussion with members of the cast (30 participants).
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Campania Pro Artists Group (20)
https://www.teatriassociatinapoli.it/
Why: This partnership supports Creative People by strengthening regional artist networks and providing professional development opportunities through engagement with an international touring production.
How: Artists will attend a private pre show discussion before the performance, participating in knowledge and experience exchange, sharing practice and building sustainable international professional connections (20 participants).
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Corporera Mente Post Graduate Company–Pozzuoli.
https://www.instagram.com/_corporea.mente_/
Why: This engagement supports Creative People by providing emerging international artists with access to professional touring work, reflecting The Guest’s transnational themes of movement, hospitality and exchange.
How: Participants will engage in a workshop, also performance attendance and a pre-show appearance, enabling direct exchange with the touring company and insight into international professional practice (19 participants)
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Post Show Discussion:
Why: This supports relevance and meaningful participation by creating space for audiences to reflect on and contextualise the work within local and international perspectives.
How: A facilitated discussion from Antonello Tudisco (Co-Director of Teatri Associati di Napoli) will invite dialogue between artists and audiences, deepening engagement with the work’s themes (40 participants).
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Pre show Performance: Corporera Mente Post Graduate Company–Pozzuoli
https://www.instagram.com/_corporea.mente_/
Total number: 228
Previous work with Art Garage students as part of L'uomo 2019 and Corporera Mente Post Graduate Company–Pozzuoli. students as part of Anthony's DYCP 2023
Darlington Hippodrome
Audience (ticketed):60 (ring fenced): 25
Community Engagement activities:
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Tees Dance Youth Company
Why: This engagement supports Creative People and young people shaping culture by offering progression opportunities for young dancers within a professional touring environment.
How: Participants will engage through workshops, performance attendance and a pre-show performance, supporting skills development and confidence (10 participants).
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Open Dance Class for Darlington under 15’s Postcodes - supported through Tees Dance and Dance City CAT
Why: This activity supports equity and access by creating pathways into high-quality dance experiences for young people from specific postcodes.
How: Participants will take part in an open class connected to the performance, encouraging early engagement and potential progression into further training (10 paritcipants).
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Skill sharing Tees Valley Artists Talk (supported through Tees Dance):
https://teesdance.org.uk/practitioner-class
Why: Artists will participate in a facilitated talk sharing learning from The Guest and touring practice, supporting skills development and sustainability.
How: This activity supports Creative People by strengthening the local creative ecology through peer learning and professional exchange (9 participants).
Pre show Performance: Tees Dance Youth Company (10)
Post Show Discussion: 40
Total number: 164
Previous work with Tees Dance including curtain raiser for The Guest in 2025 and Pro-Artist work for Tees Valley Artists in 2025
Durham Cathedral
Audience (ticketed):110 (ring fenced): 25
Community Engagement Groups:
Previous work in Durham Cathedral with L'uomo 2019 and ROMA 2022, and This Boat Must Hold us All 2025 performance at North Shields Fish Quay
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Communities Together Durham ESOL (120)
https://communitiestogetherdurham.org.uk/
Why: This engagement supports equity, relevance and communities shaping culture by centring the lived experiences of migrants and people learning English, directly reflecting The Guest’s themes of hospitality, faith and belonging.
How: Participants will attend the performance and take also part in supported coffee morning chat at their regular meeting place, ensuring access and meaningful cultural participation (120 participants).
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Durham University Early Languages Department (12)
Why: This partnership supports cross-sector collaboration and learning, aligning with Let’s Create priorities by connecting artistic practice with research into language, communication and meaning.
How: Participants will attend the performance and engage in discussion with the artists, supporting critical reflection and knowledge exchange (12 participants).
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Helix Arts Falling on your Feet over 60’s Dance Company
https://www.helixarts.com/news/fallingonyourfeet-participant-blog/
Why: This engagement supports inclusive participation across the life course, aligning with Let’s Create priorities around wellbeing, creativity and access for older people.
How Participants will contribute to the pre-show collaboration, connecting their movement practice with the work’s themes. They will then be invited to stay and watch the show (15 participants).
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Mouths of the Tyne Community Choir
https://www.facebook.com/MouthsOfTheTyne/
Why: This collaboration supports community-led cultural expression, reflecting Let’s Create ambitions for collective voice, social connection and place-based creativity.
How: Participants will engage through rehearsal, performance and attendance, contributing to the pre-show work and the wider event (80 participants).
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North Tyneside Youth Dance (30)
https://www.instagram.com/northtynesideyouthdance/
Why: This engagement supports young people shaping culture by offering high-quality performance and participation opportunities within a professional touring context.
How: Participants will attend the performance and take part in the pre-show collaboration, developing skills, confidence and creative agency (30 participants).
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Pre show Performance: Mouths of the Tyne Community Choir (80), Helix Arts (15) and North Tyneside Youth Dance (30) with ‘This Boat Must Hold us All’
Why: This collaborative pre-show performance supports communities shaping culture by bringing together intergenerational and community groups to collectively express themes of care, solidarity and shared responsibility.
How: Participants will co-create and perform a shared piece, performing alongside one another in a professional venue as part of the event.
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Proud Catholics LGBTQIA+ Faith group
https://www.proudcatholics.co.uk/
Why: This partnership supports equity and representation by engaging an underrepresented community whose lived experiences directly connect to The Guest’s exploration of queer faith, welcome and belonging.
How: Participants will attend the performance and take part in facilitated discussion prior, supporting Anthony's re-investigation into elements of queer narrative within The Guest (21 participants).
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Post Show Discussion: 60
Why: The post-show discussion supports relevance and connection by creating space for audiences to reflect, question and contribute, enabling deeper (60 participants).
Total number: 598
3) How are we considering better access
In 2026/2027, The Guest is strengthening its commitment to access by embedding inclusive practice across programming, partnerships and working methods. Our learning over the past year has shown that access must be planned from the outset and shaped in dialogue with artists, collaborators and communities.
In response, we are taking the following actions to improve access:
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Physical access: prioritising wheelchair-accessible venues, step-free routes, accessible toilets and clear wayfinding, and confirming physical access information early so audiences and collaborators can make informed decisions.
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Audience access: delivering BSL-interpreted performances where appropriate, alongside captioning, relaxed events, advance content notes and clear access information in plain language.
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Access support and travel: establishing a dedicated access contingency fund to support travel and participation costs. Community leaders and partners will be able to contact us directly to request support, ensuring access needs can be responded to quickly and without stigma.
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Artist and collaborator access: introducing access riders as standard practice, offering flexible and hybrid working options, and budgeting for access needs including travel, childcare and personal access costs.
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Safer working environments: implementing a clear anti-racism policy and code of conduct to support safer, more equitable working conditions for artists, staff and participants.
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Learning and accountability: gathering feedback from audiences, collaborators and community partners to inform future programming and ongoing access improvements.
This approach aligns with Arts Council England’s priorities around inclusion, equity and relevance. By treating access as a shared responsibility rather than a fixed solution, The Guest aims to create more welcoming, sustainable and community-responsive cultural experiences.
4) Queer work in places of faith
' As a queer maker, I am interested in questioning the idea of a“safe space,” and who those spaces are designed to serve. Places of faith are often positioned as either wholly unwelcoming or uncritically inclusive, yet for many LGBTQIA+ people the reality is far more complex. Through my work, I aim to introduce moments of queer disruption within these spaces, not to provoke for its own sake, but to open up reflection, dialogue and visibility where silence or exclusion has previously existed.
By placing queer bodies, stories and voices at the centre of the work, I seek to create conditions where audiences can feel seen and acknowledged, particularly in environments that may have historically felt inaccessible. This approach aligns with my belief that art can hold difference with care, and that cultural spaces (including faith and heritage sites) can be sites of listening, learning and change.
I see this work as part of a longer-term commitment to using dance and performance as tools for empathy, connection and positive social impact, supporting Arts Council England’s aims for inclusive, relevant and meaningful cultural engagement.'
Audience feedback from Anthony's previous production L'uomo at Coventry Cathedral. 2019
Previous performances chartering queer narratives at Duham Cathedral, York Minster, Trinity Church Stockton, Gotenburg Fringe Festival.
Context: LGBTQ+ Representation, Faith Spaces and Public Benefit
National research indicates that many LGBTQ+ people continue to feel unwelcome or unsafe within church and faith settings in England. A UK survey reported that 69% of LGBTQ+ Christians do not feel safe to be themselves in church, with many concealing their identity or limiting participation in worship and community life (Church Times). Public polling also suggests that churches are widely perceived as unwelcoming to gay people, particularly by younger generations (YouGov/Christian Today).
Within this context, moments of visibility are both meaningful and contested. Durham Cathedral’s participation in county Pride events demonstrates an institutional willingness to engage LGBTQ+ communities, while the mixed responses this generated reflect the ongoing tension around queer inclusion in faith spaces (E-N Church News). For LGBTQ+ people — including those with intersecting experiences of migration or asylum — faith spaces can carry deep personal significance as well as histories of exclusion, with LGBTQ+ asylum seekers facing compounded marginalisation and limited representation in public cultural life (Rainbow Migration).
Bringing queer-led work into places of faith responds directly to this need. It creates space for audiences to feel seen in environments where they may previously have felt invisible or unwelcome, and supports gentle, reflective public dialogue around belonging, identity and coexistence. This approach aligns with Arts Council England’s commitment to inclusive cultural engagement, ensuring that heritage and faith spaces are part of contemporary cultural conversations and accessible to the full diversity of England’s communities.
SECTION 4:
1) The Artistic Team bios
2) The Mentors who will support
Gary Clarke Company (Gary Clarke)
Role: Mid-Scale National Touring Mentor
Bio:
Gary Clarke is an experienced producer and touring consultant with extensive expertise in mid-scale national touring for dance and performing arts. Over the past 20 years, he has supported a range of UK companies in tour strategy, programming, production planning, and audience development. Gary brings deep knowledge of venue networks, tour budgeting, and sector trends, enabling artists to deliver complex touring projects successfully.
Mentoring Focus for Anthony:
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Strategic planning for the 8-venue tour (scheduling, logistics, partnerships)
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Advice on adapting work for different spaces and audiences
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Guidance on tour management, budgeting, and risk mitigation
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Supporting reflective practice on the delivery and audience reception of the tour
Evaluation Contribution:
Gary will help Anthony assess the effectiveness of touring logistics, venue engagement, and overall tour delivery, highlighting learning for future national touring projects.
Helix Arts (Cheryl Gavin)
Role: Access and Audience Engagement Mentor
Bio:
Cheryl Gavin is Director of Programmes at Helix Arts, specialising in inclusive arts practice and audience development across diverse communities. With extensive experience supporting participatory projects and creative engagement initiatives, Cheryl advises artists on designing work that is accessible, socially relevant, and inclusive of underserved audiences. Her expertise spans evaluation, community consultation, and developing strategies to broaden participation in the performing arts.
Mentoring Focus for Anthony:
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Designing inclusive audience engagement strategies for each venue
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Supporting participation from underserved communities
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Advising on access planning and sector best practice
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Assisting with audience feedback collection and reflective evaluation
Evaluation Contribution:
Cheryl will guide Anthony in assessing audience engagement, inclusivity, and the impact of access strategies, ensuring the tour maximises reach and social impact alongside artistic delivery.
SECTION 5:
1) Dance Development in Tees Valley
2) Tees Valley touring circuit
Section 6
1) The feedback we will gather
2) How we are gathering it
Section 9
1) Who is this for? and who might be excluded?
2) How the tour locations are relevant to the themes of the work
Section 10
1) PR Campaign
Section 7
1) evaluating new mid-scale touring outcomes
2) How we evaluate access and care
3) evaluating policy and action plans
4) current SWOT analysis prior to 2026 touring
Strengths
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Distinct Artistic Identity: Anthony Lo-Giudice is a recognised conceptual and choreographic voice, with a socially engaged focus that resonates with diverse audiences.
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Proven Touring Track Record: Extensive experience delivering high-quality performances across regional and national platforms, adaptable to multiple venues.
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Unique Perspective: As a working-class, multi-heritage artist from the North East, Anthony brings an authentic narrative lens rooted in social justice, enhancing audience connection.
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Audience-Centred Approach: Demonstrated ability to engage audiences through accessible storytelling, non-traditional performance spaces, and participatory elements.
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Collaborative Networks: Established relationships with UK-based practitioners, venue programmers, and producers, ensuring smooth tour logistics and programming support.
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Funding Credibility: Past success in securing ACE Project Grants and regional commissions provides confidence for funders in touring delivery.
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Community and Youth Engagement: Proven ability to involve underrepresented communities and young people, creating opportunities for workshops or co-creation alongside performances.
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International Experience: Cross-cultural collaborations offer potential for future tour development and cultural exchange, enhancing the artist’s profile.
Weaknesses
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Independent Model: Operating previously as an independent artist may limit scalability and fundraising capacity for a multi-venue tour.
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Limited Touring Infrastructure: A new delivery team may impact efficiency and consistency across multiple venues.
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Brand Visibility: Anthony’s current profile may not be fully recognised outside regional circuits, which could affect ticket sales and marketing reach for new tour venues.
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Fragmented Touring Experience: Previous touring has been ad-hoc; a structured 8-venue tour may require enhanced logistical planning and rehearsal scheduling.
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Physical Resource Limitations: Lack of fixed rehearsal/storage space may challenge technical and production consistency across multiple venues.
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Professional Development Gaps: Limited recent CPD for touring-specific skills (tour management, evaluation, audience development) may affect operational readiness.
Opportunities
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Touring Growth: An 8-venue tour provides an opportunity to expand national profile, strengthen audience base, and demonstrate replicable touring models.
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Audience Engagement Insights: Collecting structured feedback from multiple venues can inform future programming and strengthen ACE applications.
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Brand and Profile Building: The tour is a platform to refine Anthony’s brand, showcase his unique perspective, and attract critical attention.
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Strategic Partnerships: Touring opens possibilities to deepen relationships with venues, programmers, and local arts networks.
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Professional Development: Touring experience offers practical learning in production, touring logistics, and stakeholder management.
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Regional and National Visibility: Positioning the tour across diverse locations enhances regional engagement while demonstrating capacity for national reach.
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Revenue Opportunities: Ticketed performances, workshops, and ancillary activities can increase earned income and diversify funding streams.
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Creative Experimentation: Touring offers a chance to test work in varied spaces, fostering creative growth and adaptation to different audiences.
Threats
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Funding Dependence: Successful delivery of an 8-venue tour may rely on securing sufficient ACE or partner funding.
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Competitive Touring Market: Other regional and national artists are vying for limited venues, funding, and audience attention.
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Venue Constraints: Each venue may have differing technical capacities, requiring adaptation of work without compromising artistic integrity.
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Operational Risks: Limited production infrastructure and team support could lead to inconsistencies across venues or logistical challenges.
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Audience Uncertainty: New locations may require additional marketing effort to build local audiences, particularly in areas where Anthony has lower profile.
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Momentum Risk: Any delays in funding, scheduling, or technical readiness could impact tour continuity and long-term growth potential.
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Market Positioning: Questions remain around how the work will compete with established national touring productions and attract critical attention.
SECTION 8:
Environmental Target plan
As part of our commitment to environmentally responsible touring, this project will work in partnership with sustainability consultant Ethical Unicorn to embed low-carbon planning and climate-conscious decision-making at every stage. This will include the co-development of a short-term project Environmental Action Plan and a long-term Environmental Policy to inform future company activity.
Our Targets
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96.5% reduction in CO₂ emissions compared to previous projects (ACPG-00136824 and NLPG-00750772-V2), primarily achieved through international rail/ferry travel instead of flights.
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Zero fossil fuel travel for UK-based collaborators (wherever possible), promoting public transport, walking, cycling, or car-sharing.
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Mitigation of single-use plastics in all activity, including rehearsal, production, and touring phases.
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Use of a local workforce to reduce travel-related emissions and support the local creative economy.
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Integration of climate literacy training for the lead artist and collaborators, supporting long-term behaviour change and climate leadership.
Data Collection and Monitoring
We will track and analyse key environmental data points throughout the project to guide decision-making and accountability:
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Travel and emissions log including the number of journeys, distances, transport modes, and rationale.
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Records of any material waste generated across delivery phases (e.g. production, marketing, catering).
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Partner venue sustainability data, capturing how our project contributes to their reporting goals.
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Use of Julie’s Bicycle Creative Climate Tools to measure carbon footprint and assess reductions in real time.
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Documentation of policy and practice shifts made as a result of the Ethical Unicorn collaboration.
Knowledge Sharing and Advocacy
We see sustainability as a shared responsibility. Our aim is not only to reduce our footprint but to open conversations across the dance sector about environmentally responsible international practice.
We will:
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Host an open forum on 18.12.26 for Northern-based dance workers, sharing key learnings from our international collaboration model and sustainability partnership. Ethical Unicorn will lead a Q+A on climate policy for small arts organisations.
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Run a targeted PR campaign around responsible international touring, showcasing low-carbon travel and partnership models.
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Publish a detailed evaluation report summarising our environmental performance, the challenges we encountered, and how others might adopt or adapt our approach.
Legacy
This project will serve as a pilot for low-impact, place-rooted, international collaboration, laying the groundwork for a scalable, environmentally responsible touring model for the Tees Valley and beyond.
We aim for our environmental work to:
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Inform our long-term touring and commissioning strategy
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Shape internal company culture through climate literacy
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Contribute to broader sector change via transparent data-sharing and public reporting