About Us

 

CLOD ENSEMBLE create provocative, finely crafted performance and participation projects driven by movement and music.

For over 25 years, director Suzy Willson and composer Paul Clark have developed a highly original performance language, in collaboration with dancers, actors, musicians, medics, architects and orchestras.

Each production has a unique visual identity and distinctive musical score.  Highlights include Silver Swan, featuring a choir of seven unaccompanied singers; Under Glass, where performers are contained within glass cases, from a jam jar to a test tube; An Anatomie in Four Quarters in which the audience cut a path through the auditorium of a large theatre and Red Ladies, a chorus of identically dressed women who transform, celebrate and interrupt the familiar streets of a city.

Our work is presented in London, across the UK and internationally in theatres, dance houses, galleries and public spaces including Sadler’s Wells, Tate Modern, The Lowry, Wales Millennium Centre, Serralves Museum Porto and Public Theater New York.

Our approach to performance making embraces difference and ambiguity, allowing us to work with complex ideas in complex systems. Each of our projects upholds movement, music and visual languages as vital ways of knowing, learning, and communicating.

We offer a wide-reaching programme of education and participation projects in schools, higher education institutions and NHS Trusts. These different areas of our work overlap, creating fertile ground for dialogue, debate and collaboration.

 

 

Trustees

Lucy Davies (Chair), Executive Producer, Royal Court Theatre

Lucy is Chair of Trustees for CLOD ENSEMBLE. She became Executive Producer at the Royal Court in April 2013 and was previously the founding Executive Producer at National Theatre Wales. She launched NTW in 2009 with Artistic Director John McGrath, and subsequently produced the first three years of work. Previously, Lucy was Executive Producer at the Donmar Warehouse and Head of Studio at the National Theatre under Nicholas Hytner. Lucy was Literary Manager at the Donmar Warehouse in the 90s, where she produced an annual season of new plays, and left for a five year stint in the film industry, commissioning, developing and working on feature films. Lucy is the current Chair of London Theatre Consortium.

 

Mwiza Mkandawire (FSC chair), Head of Finance, Transaid

Mwiza Mkandawiree is currently the Head of Finance at Transaid Worldwide Services, an international development charity based in London. Prior to that she worked at Artsadmin Ltd as the Head of Finance. She was born in Malawi and grew up there. She is a qualified Chartered Accountant and holds a masters degree in Accounting with Finance from London South Bank University.

Before joining Artsadmin Ltd in 2008 she worked at Free Form Arts Trust Ltd and various organisations in both the commercial and charity sectors in Malawi. Mwiza has excellent knowledge and understanding of arts and charity finance and is on board of tiata fahodzi.

 

James St Ville, IP Lawyer, 8 New Square

Barrister, James St Ville was called to the Bar in 1995. At Gray’s Inn, he was awarded the Bird & Bird Award for Intellectual Property, the Moot Society Prize and the Prince of Wales Award. At St. John’s College Cambridge, he was a Morton Scholar and awarded 1st Class Honours in Engineering, Sir Joseph Larmor’s Plate, the St.John’s College Prize and the University IEE Institution Prize. He is recommended as a Leading Junior in Information Technology and Intellectual Property by Chambers UK and by Legal Experts and is a chartered engineer with commercial experience of electronics, optical communications and engineering.

 

Fatimah Awan, Head of the Research Office, Guildhall School of Music & Drama Bia Oliviera, Head of Producing & Touring, Sadler’s Wells

Fatimah Awan is currently Head of the Research Office at the Guildhall School of Music & Drama, London. Prior to this she worked at a number of higher education institutions in research management roles, including the Royal College of Art and Queen Mary University of London. Fatimah also held academic positions and was a Research Fellow in Media Users and Creative Methodologies at the University of Westminster, London, and taught media and cultural studies for a number of years at Southampton Solent University. She has a PhD from Bournemouth University, is a Fellow of the Higher Education Academy and a member of the Association of Research Managers and Administrators (ARMA).

 

Caroline Maude, Arts Consultant, Freelance

Caroline is a freelance Arts Consultant, having worked for a number of Theatre companies and venues over the past 25 years. Prior to her freelance consultancy, Caroline was the Director of Headlong Theatre and Boundless Theatre, and secretary at the Young Vic and Gate Theatre. Alongside her consultancy, Caroline is a trustee of The Special Yoga Centre and Headlong Theatre.

 

Amanda Saunders, Director of Development & Enterprises, Royal Opera House

Current Director of Development and Enterprises, Amanda leads a team of 37 fundraisers that are responsible for 28,000 key business, funder and advocacy relationships at the Royal Opera House. ROH is home to two of the world’s greatest artistic companies, The Royal Opera and The Royal Ballet, performing with the Orchestra of the Royal Opera House. Amanda is amongst the teaching staff of the Master in Performing Arts Management programme in Milan, established by Accademia Teatro alla Scala.

 

Jenny Mollica, Director of English National Opera Baylis

Jenny is the Director of Strategy and Learning & Participation at the ENO, where she is responsible for leading the ENO’s learning and participation programme and for developing organisational strategy. Since joining the ENO in June 2020 Jenny has developed a range of new programmes and initiatives, including the award winning ENO Breathe, an arts and health collaboration with Imperial College Healthcare NHS Trust that aims to provide crucial support for people recovering from Covid-19. The programme now works with over 30 NHS Trusts across the country, and has received widespread press and media coverage from both across the UK and globally.
Prior to this, Jenny was Director of Creative Learning at the Barbican and Guildhall School of Music & Drama, where she worked for just over a decade on a range of participatory arts programmes across visual arts, theatre, dance, film, music and literature. Highlights in her time there include the flagship schools programme, Barbican Box; launching the London training centre for the world’s first disabled-led youth orchestra, the National Open Youth Orchestra, in partnership with Open Up Music; and a National Creative Learning Award for the department’s three-year partnership with The Garden School in Hackney, a school for learners with autism.
Jenny trained at postgraduate level as both an artist and educator. She has a Masters (Distinction) in Theatre Directing from Middlesex University and the Russian Institute of Theatre Art (GITIS), a PGCE from the University of Greenwich and an MA (Hons) from the University of St Andrews. She is a trustee on the Board of the Clod Ensemble.

 

Mike Wright, Innovation Business Partner, Chelsea and Westminster NHS Foundation Trust

Mike is Head of Innovation at Chelsea and Westminster Hospital NHS Foundation Trust, leading the CW Innovation, a collaboration between the trust and CW+. He works collaboratively with the DigitalHealth.London Accelerator to support the widespread adoption of innovation across the NHS with the aim of putting them into the hands of patients and staff more quickly. Prior to his current role, Mike was Programme Director for long-term conditions at Guy’s and St Thomas’ Charity, building new approaches to tackling the social determinants of ill-health. Prior to that he was Head of Health Investment, leading the establishment of the NHS’s first Investment Fund (the Bright Ideas Fund), Health Foundry, one of the UK’s first dedicated digital health co-working spaces, and investing in Europe’s first digital health accelerator, Healthbox. Mike has supported the development of innovation programmes within public sector organisations since 2001 including at the Centre for Applied Microbiological Research, the Harwell Research Centre, and Culham Fusion.

Suzy Willson

Over 25 years, Suzy Willson has created an extraordinary body of work that has pushed the boundaries of choreographic practice. After training with legendary theatre and movement teacher Jacques Lecoq in Paris she created CLOD ENSEMBLE with composer Paul Clark, creating award-winning, movement- based performance work which ‘defies categorisation’. Her work is provocative, uncompromising and finely crafted – ambitious in scale and concept – shown in art galleries, theatres, dance houses and public spaces in the UK and internationally.

From the choral lament Silver Swan in Tate Modern’s vast Turbine Hall, to Red Ladies – performed across an entire city (complete with helicopter, stretch limousine and owl) – to An Anatomie – dissecting Sadler’s Wells auditorium and stage – Suzy’s work has always encouraged people to see familiar spaces from a new perspective. She has inspired a generation of artists and choreographers who want to make interdisciplinary work and has created a powerful platform for artist development.

Suzy’s work in the area of movement and medicine is pioneering. The Performing Medicine programme encourages people working in healthcare to appreciate the choreographic, non-verbal and spatial dimensions of care as well as inviting the general public to consider themes at the heart of 21st century medicine. She is Professor of Movement, Arts & Medicine at Barts and The London School of Medicine and Dentistry, Queen Mary University of London.

Suzy is powerful advocate for the importance of dance, movement and choreography in our culture and an articulate spokeswoman for its potential to change the way we think about our bodies and how they move in relation to the contexts and spaces we inhabit. She is a regular contributor to journals and books on both performance and medicine – with articles in Dance Theatre, The Guardian, The Lancet, Performance Research, Routledge and Methuen edited collections, and has been interviewed on BBC Radio, More4 News and Sky Sports after a project with footballers at Cardiff FC.

Paul Clark

Paul is co-artistic director of CLOD ENSEMBLE and has written critically acclaimed original scores for all the company’s productions to date – ranging from totally acoustic works, to multi speaker installations. Each score is a bespoke piece that is in a dialogue with the visual material; Silver Swan is an acapella piece for seven classical singers; Under Glass is an entirely recorded surround-sound installation; whilst An Anatomie counterpoints electronics, live orchestral music and a rock band.

As a leading composer on the British theatre scene, Paul has written dozens of scores for theatre in the UK and internationally. He has written music for and with a hugely diverse range of musicians from Manchester Camerata and Österreichisches Ensemble für Neue Musik; to Dangermouse, the Welsh National Opera male chorus and Mark E Smith (The Fall).

Paul has a long-standing collaboration with theatre and opera director Katie Mitchell for whom he has written over twenty scores in theatres across Europe, including Waves and Wunschkonzert, and with Gare St Lazare with whom he created Here All Night (Lincoln Center, New York, Brighton Festival, The Abbey, Dublin) an acclaimed words and music piece using texts by Samuel Beckett. In Spring 2019 Paul composed the score for Norma Jeane Baker of Troy featuring Renee Fleming and Ben Wishaw, as part the inaugural season at The Shed, New York.

In TV and film, he has collaborated with Simon Amstell, French auteur Arnaud Desplechin, award winning Anglo Irish Director John Michael McDonagh and written scores for David Sedaris audio books. Other works include The Weather Man (Opera North) and Liebeslied/My Suicides, a collaboration with photographer Rut Blees Luxemburg (ICA/Genesis Foundation), gallery installations (ICA, Ceri Hands) museum installations (V&A) and one-off events (e.g. 500th anniversary of Hampton Court video/firework event).

Paul is a powerful advocate for the access of young people to live music and leads CLOD ENSEMBLE’s inspirational project for music creators, Ear Opener.

Suzy Willson

Over 25 years, Suzy Willson has created an extraordinary body of work that has pushed the boundaries of choreographic practice. After training with legendary theatre and movement teacher Jacques Lecoq in Paris she created CLOD ENSEMBLE with composer Paul Clark, creating award-winning, movement- based performance work which ‘defies categorisation’. Her work is provocative, uncompromising and finely crafted – ambitious in scale and concept – shown in art galleries, theatres, dance houses and public spaces in the UK and internationally.

From the choral lament Silver Swan in Tate Modern’s vast Turbine Hall, to Red Ladies – performed across an entire city (complete with helicopter, stretch limousine and owl) – to An Anatomie – dissecting Sadler’s Wells auditorium and stage – Suzy’s work has always encouraged people to see familiar spaces from a new perspective. She has inspired a generation of artists and choreographers who want to make interdisciplinary work and has created a powerful platform for artist development.

Suzy’s work in the area of movement and medicine is pioneering. The Performing Medicine programme encourages people working in healthcare to appreciate the choreographic, non-verbal and spatial dimensions of care as well as inviting the general public to consider themes at the heart of 21st century medicine. She is Professor of Movement, Arts & Medicine at Barts and The London School of Medicine and Dentistry, Queen Mary University of London.

Suzy is powerful advocate for the importance of dance, movement and choreography in our culture and an articulate spokeswoman for its potential to change the way we think about our bodies and how they move in relation to the contexts and spaces we inhabit. She is a regular contributor to journals and books on both performance and medicine – with articles in Dance Theatre, The Guardian, The Lancet, Performance Research, Routledge and Methuen edited collections, and has been interviewed on BBC Radio, More4 News and Sky Sports after a project with footballers at Cardiff FC.

Paul Clark

Paul is co-artistic director of CLOD ENSEMBLE and has written critically acclaimed original scores for all the company’s productions to date – ranging from totally acoustic works, to multi speaker installations. Each score is a bespoke piece that is in a dialogue with the visual material; Silver Swan is an acapella piece for seven classical singers; Under Glass is an entirely recorded surround-sound installation; whilst An Anatomie counterpoints electronics, live orchestral music and a rock band.

As a leading composer on the British theatre scene, Paul has written dozens of scores for theatre in the UK and internationally. He has written music for and with a hugely diverse range of musicians from Manchester Camerata and Österreichisches Ensemble für Neue Musik; to Dangermouse, the Welsh National Opera male chorus and Mark E Smith (The Fall).

Paul has a long-standing collaboration with theatre and opera director Katie Mitchell for whom he has written over twenty scores in theatres across Europe, including Waves and Wunschkonzert, and with Gare St Lazare with whom he created Here All Night (Lincoln Center, New York, Brighton Festival, The Abbey, Dublin) an acclaimed words and music piece using texts by Samuel Beckett. In Spring 2019 Paul composed the score for Norma Jeane Baker of Troy featuring Renee Fleming and Ben Wishaw, as part the inaugural season at The Shed, New York.

In TV and film, he has collaborated with Simon Amstell, French auteur Arnaud Desplechin, award winning Anglo Irish Director John Michael McDonagh and written scores for David Sedaris audio books. Other works include The Weather Man (Opera North) and Liebeslied/My Suicides, a collaboration with photographer Rut Blees Luxemburg (ICA/Genesis Foundation), gallery installations (ICA, Ceri Hands) museum installations (V&A) and one-off events (e.g. 500th anniversary of Hampton Court video/firework event).

Paul is a powerful advocate for the access of young people to live music and leads CLOD ENSEMBLE’s inspirational project for music creators, Ear Opener.