Biography

Madeleine Dahm is an internationally respected artist with almost thirty years of experience in professional theatre and contemporary dance arts. Madeleine has worked with some of the world’s leading theatres, companies, arts organizations and training academies – and has collaborated with renowned innovators  in theatre, dance, multi-media, film, music and art. Currently she works as an independent theatre director, choreographer, a physical arts practitioner and an arts education specialist.

Born in Britain, Madeleine originally studied acting at the Old Vic and The Royal Court Youth Theatre, prior to receiving a scholarship to train at the former Graham based conservatory, The London School of Contemporary Dance under Jane Dudley, and with Nina Fonaroff, Bob Cohen, Pina Bausch, Bill Louther and Martha Graham herself. For ten years she was a professional dancer performing in concert dance at such venues as the Royal Sadlers Wells Theatre, the Royal Albert Hall and the National Theatre.

A growing concern about accountability across the arts, led to Post-Graduate Studies at the Trinity Laban Conservatoire for Music and Dance – studying composition and also training with theatre pioneer Lloyd Newson (DV8 Physical Theatre) led to an interest in creating her own theatre work. Emerging, experimental, and underpinned by political and social concerns, Madeleine’s work was presented across the UK: Institute of Contemporary Arts, The Place Theatre, Edinburgh Fringe Festival, Hackney Empire, Glasgow Arts

In 1997 Madeleine re-located to Los Angeles, to pursue further creative opportunities. She founded Hybrid – physical theatre ensemble, and developed a key artistic partnership with Christopher Aponte (former principal American Ballet Theatre and Bejart), after choreographing him in the acclaimed short film ‘Room’.

This period of discovery and growth led to widespread collaborations with artists across art forms – creating unique movement compositions for dramatic plays, art installations, and live music events. Madeleine presented work at concert venues and festivals across Los Angeles including: Dance Kaleidoscope, Luckman Fine Arts Complex, Dorothy Chandler Pavillion, Disney Hall. In 2001 after an Anne Bogart Siti Intensive, she founded a movement based theatre company with a group of local actors  – ‘Garung’ went on to receive critical acclaim in Los Angeles and New York: “Theatre on the edge” LA Times – “What a stunning company” The Village Voice, NY.

In 2011 Madeleine directed an award winning production of Equus, and later became the Movement Director for ‘The House is Black’, a multimedia concert by world acclaimed singer and activist Sussan Deyhim, and Emmy Award winning film composer Richard Horowitz. Freud Playhouse and The Royce Hall UCLA 2015. (She is now the Movement Advisor and Associate Director for the productions national tour 2016/17.)

She directed and staged Mo.men.tum in 2016 at The Wallis Annenberg Centre for Performing Arts (Bram Goldsmith Stage), a concert for emerging choreographers. Most recently she directed and Choreographed Oktoberfest The Musical: An Almost True Story – Book/Lyrics by renowned Disney writer Philip LaZebnik, Music by Emmy winning composer Harold Faltermeyer (Beverley Hills Cop/Top Gun). She is currently adapting famed arts critic and writer Victoria Looseleaf’s novel Isn’t It Rich? for the stage, Fall 2016.

Madeleine has taught extensively in the UK and across California, leading professional workshops and specialized trainings. She was an adjunct professor at The USC School of Theatre, and has been on the faculty of Theatricum Botanicum Shakespeare Academy for eight years. In 2008 she became involved in  Testimonial Theatre through her award winning work in arts education with The Music CenterPerforming Arts Center of Los Angeles. Madeleine has created numerous youth theatre productions, and served as a Department Head in the Performing Arts Academy of CHAMPS High School for the Arts. She is also the founding Artistic Director of The Wallis Annenberg Youth Theatre Company (2016).

Review

Reviews:

“Surrealistic poetry, and lush, multi lingual text – stunning”  Eva Asantewaa, Village Voice – New York

“Dahm clearly knows what she is about and the inspired moments are many – the piece is at its strongest when it delves into the inarticulate logic of imagination, and makes no attempt to explain.”                     Julie Blkumenthal – New York Theatre.com