Premiere September 22nd at Acusticum in Piteå

September 25th Kulturens Hus Luleå


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The new creation Dance On Extended presents a triple bill by Johannes Wieland, William Forsythe and Wendy Houston.  It is a co-production between Age On Stage under the leadership of Charlotta Öfverholm and Dance On led by Christopher Roman, two companies that solely work with world-renowned performers over 40 years of age.

Dance artists: Charlotta Öfverholm, Christopher Roman, Jone San Martin, Frederick ,Brit Rodemund, Ty Boomershine, Jan-Erik Wikström and Rafi Sady.

ALTERNATIVE FACTS (working title)

Choreography: Johannes Wieland

Johannes Wieland is starting the creation of a new piece for nine dancers (six from Dance On, three from Age On Stage) that will have its world premiere in Piteå. Wieland is known for his startlingly powerful, terse, strange pieces.

A show. A late one. Some guests and a show master. As the show starts everything seems to go accordingly, but the concept is fast forgotten and there is a reality built by the show master’s actions and behaviour, flipping him into a fantastic ‘reality changing beast’. The show master of twisting reality- and opinions of everybody and everything- is living in his own world, and the others are turning into projections of his mind. The show escalates into a political system of dictatorial fear covered by fun, misleading statements and misinformation – soon becoming a threat to not only the show itself, but the world!

CATALOGUE (First edition)

Choreography: William Forsythe

In artistic collaboration with Jill Johnson, Brit Rodemund and Christopher Roman

Performed by: Brit Rodemund and Christopher Roman

Lighting Design: Benjamin Schälike

An “intricate, almost baroque piece” – this is how the celebrated choreographer William Forsythe describes his new work for the DANCE ON ENSEMBLE. The richness of the bodily knowledge shared between Jill Johnson and Christopher Roman, both former Forsythe dancers, and Brit Rodemund, is part of the fabric of the piece. Forsythe continues to search for new shapes and modes of movement. He is looking back in order to re-invent himself.

The idea for the duet came from an intention to highlight the special relationship, shared sensibilities and coordinative skill set of Jill Johnson and Christopher Roman. They have collaborated closely for a long time, staging many of Forsythe’s works all over the world. Brit Rodemund, who has not worked with Forsythe before, was included in the rehearsal process from the beginning. Different facets of these three dancers and their professional experiences come together to form the basis of Catalogue (First Edition).

The game they are playing amidst the silence appears effortless: hands touch four points, hip, hip, shoulder, shoulder. They perform the same movements, but not identically. One of them slows down, the other follows with a delay. Slowly, the hands move higher, torso and head become more articulated – all the while following the precise set of patterns introduced early on. A series of repetitions and variations unfolds, where it seems as if the dancers were offering each other a pulse or rhythm. […] It is a delightful duet, celebrating togetherness and a shared sense of doing. (Tanz, Melanie Suchy, November 2016)

Co-production Theater im Pfalzbau, tanzhaus nrw. With support from BASF SE.

In collaboration with the University of Southern California, Glorya Kaufman School of Dance, Los Angeles.

DANCE ON is a project by DIEHL+RITTER gUG funded by the German Federal Government Commissioner for Culture and the Media.




Choreography: Wendy Houstoun

Performed by: Charlotta Öfverholm

Costume/set design: Elle Kunnos de Voss

A collaboration between British based grand diva Wendy Houstoun, 58, and Swedish physical theatre queen Charlotta Öfverholm, 51, both ex DV8 performers. A few minutes of living freedom, the importance of life, with witty political text in a physical theatre and tragicomical atmosphere. A full evening piece in just 13 min.

Too much walking. Too much walking around. Too much standing still. Too much standing still and nothing happening. Too many things happening. All at the same time.

Too Much is the Swedish part of Mobile Dialogue, solos that are produced with several countries involved. Partners are Holland Dance Festival (NL), Codarts (NL), Belgrad Dance Festival (CS), Sadler’s Wells (GB), Company Jan Martens (B), Nomad Dance Academy (SI) and Dance On Diehl+Ritter gUG (DE).


Manager Anna Cederberg, +46-70-910 3821
Technical director Tobias Hallgren, +46-70-974 3608
Artistic director Charlotta Öfverholm, +46-70-566 7939



Johannes Wieland received his early dance training in Berlin and later earned his BFA at the Amsterdam School of the Arts. He danced at the Staatstheater Braunschweig, the Berlin State Opera, and as a principal at the Béjart Ballet Lausanne.

Ready for a radical change, he then moved to New York City where he was awarded a scholarship to NYU’s Tisch School of the Arts, earning his MFA in contemporary dance and choreography in 2002. His company, Johannes Wieland, was founded that same year and debuted with Tomorrow at the Joyce Soho Theater. Since 2006, he also holds a permanent position as the Artistic Director and Choreographer of the Staatstheater Kassel. He teaches and choreographs at universities and companies all over Europe and North America and has a strong interest in the links between dance practice and research. Johannes is nominated for the German theater preis “der Faust” 2016 for his creation You will be removed.


William Forsythe began his professional career as an apprentice with the Joffrey Ballet in 1971 before following his then wife, Eileen Brady, to join the Stuttgart Balletin 1973. Forsythe began choreographing works for the company and was appointed Resident Choreographer in 1976.

During the next seven years, he created original works for the Stuttgart Ensemble, and for ballet companies in Munich, The Hague, London, Basel, Berlin, Frankfurt am Main, Paris, New York, and San Francisco. In 1984 he was appointed director of the Ballet Frankfurt. After the closure of Ballet Frankfurt in 2004, he founded the Forsythe Company with the support of the states of Saxony and Hesse, the cities of Dresden and Frankfurt am Main, and private sponsors. The Forsythe Company is based in Dresden and Frankfurt am Main. 

Forsythe has produced and collaborated on numerous installation works, including White Bouncy Castle (1997, in collaboration with Dana Caspersen and Joel Ryan), City of Abstracts (2000), Scattered Crowd (2002), airdrawing|whenever on on nohow on (2004, collaborating with Peter Welz), and You made me a monster (2005). Installation works by Forsythe have been shown at the Louvre Museum, Venice Biennale, the Renaissance Society in Chicago, and other locations. Forsythe has been commissioned to produce architectural and performance installations by architect-artist Daniel Libeskind, ARTANGEL (London), Creative Time (New York), and the City of Paris.


CHARLOTTA ÖFVERHOLM Artistic director, Performer
Since the start of Compagnie Jus de la Vie 1995, Swedish Öfverholm has created over 25 productions, which have toured all over Europe, North and South America and Africa. Her work is physical dance theatre with depth, irony, brutality and humour.

Öfverholm graduated from Balettakademien, Alvin Ailey ADC (NYC), is a theatre graduate of UCLA in Film/TV/Video and from The Lee Strasberg Theatre Institute (LA). She has a background as dancer with numerous companies such as DV8 Physical Theatre/Lloyd Newson, Bill T. Jones/NYC, Sean Curran /NYC, Complexions/ NYC, Farm in the Cave/Viliam Docolomansky/ Prague, Roberto Galván/ Tanzcompagnie Giessen, Joseph Tmim /Toláda Berlin, Ramon Oller/ Metros Barcelona, Robert Poole/ Ballet Linz, Cie Corinne Lanselle in Paris, Dorte Olesen and Richard Turpin at the Royal Dramatic Theatre and Björn Elisson Kompani in Stockholm among others.

Lead roles include Shakespeare’s Hamlet (Landestheatre Linz by Robert Poole), Alice in Alice in Wonderland (Stadttheater Giessen by Roberto Galvan), and Lola in Lola and Mr Talk at Divadlo Archa (by Jan Kodet) for which she was nominated a Thalia Prize at the National Theatre in Prague CZ 2005. She performed in musicals like Cabaret at the Royal Dramatic Theatre and Leva Livet at Chinateatern, Stockholm. Charlotta choreographs commissioned works for companies such as Norrdans/SW, Vertedance Prague/CZ, Ballet Linz/AU, Tanztheater Münster/DE, Folkoperan/SWE and Gothenburg Dance Company/SWE. She has choreographed films and documentaries for Swedish Television among them Holiday and Bortkopplad by Anna Duell and Gunstlingen by Astrid Ohlsén. Coordinates and programmes for Balettakademien’s International Summer festival since 2005. Created Fucking burn it – Age on Stage 2015, a big festival about age and dance. Seminars, performances, films, workshops with mature dancers from all over the world. 



Had his dance training at Bat-Dor Beer-Sheva/Tel-Aviv dance school. He was a member of the Cullberg Ballet for 14 years where he danced many lead roles, as Carabosse in Mats Ek’s Sleeping Beauty, Don José in Mats Ek’s Carmen and Romeo in Birgit Cullberg Romeo and Juliet

He worked with many world known choreographers: Ohad Naharin, Jirí Kylián, Christopher Bruce, Oscar Araiz, Rudi van Dantzig, Didy Veldman, Robert North, Kenneth Kvarnström, Carolyn Carlson, Örjan Andersson, Cristina Caprioli.

Previously, he was a soloist in the Bat-Dor Dance company and principal dancer in Ballet du Grand Théâtre de Genève for 7 years. He has made guest appearances with Het National Ballet in Amsterdam, the Royal Swedish Opera and soloist Company Stockholm 59° North in the USA and Finland.

In 2009 he toured with Cristina Caprioli with Cicada Remix and helped Mats Ek instructing Danza Contemporánea de Cuba Casi Casa in Havana, Cuba, and The Sleeping Beauty in the Zurich Ballet. In the winter of 2010 he danced in Orphée directed and choreographed by Mats Ek at the Royal Opera in Stockholm, and the Royal Dramatic Theatre in Stockholm with The Tempest 2010/11. 20012/13 he was assisting Mats Ek with his latest creation for the Royal Swedish Ballet with Julia & Romeo, 2013 he was teaching Mats Ek’s Carmen to Sylvie Guillem and the Tokyo Ballet. 2014 Rafi taught The Sleeping Beauty to the Nederlands Dans Theater (NDT). In 2015 he taught Mats Ek’s Swan Lake for the Royal Swedish Ballet. Working with Stockholm 59° North on Mats Ek’s pointless passengers (meningslösa hagar). Rafi has been invited to participate in many performances and galas around Europe, USA and Israel.


WENDY HOUSTOUN Choreographer (GB) 
London based director, choreographer and performance maker who has worked with experimental movement and theatre forms since 1980. Her solo works Haunted Daunted and Flaunted, Happy Hour, The 48 Almost Love Lyrics and Desert Island Dances and 50 ACTS have all toured in Europe, Australia and the US.

Long term collaborators are composer John Avery, lighting designer Nigel Edwards who also act as directorial voices. Collaborative work with companies and individual artists include: Lloyd Newson and DV8 Physical Theatre, Tim Etchells and Forced Entertainment, Charlotte Vincent and Vincent Dance Company, film-maker David Hinton, dancer Jonathan Burrows, composer Matteo Fargion, performer Nigel Charnock, dancer Rachel Krische, artist Terry O’Connor, performance artist Rose English, Gloria Theatre, Lumiere & Son Theatre, Ludus Dance Company in theatre and site specific pieces, films and installations.

She has taught open workshops internationally and in the UK and continues to develop a mentoring role with independent artists. She has received a Time Out Award for her performance in If Only… with DV8 Physical theatre, a Paul Hamlyn Award for Performance, a Golden Sun Award for her film Touched made with David Hinton, a TMA award for her piece 50 ACTS and was nominated for a Critics Circle Award for the same piece. She recently received a Critics Award for Pact with Pointlessness. Wendy has made pieces for Candoco Dance Company (Imperfect Storm), Yorke Dance Project (Home on The Range), VCAM in Melbourne (Macbeth) Antonia Grove and Probe (Small Talk) as well as directing two projects in Sydney: In the Dark - with Independent dancers at The Performance Space and No Success Like Failure for The Fondue Set. She is currently working on a new piece for 5 women called Stupid Women.


CHRISTOPHER ROMAN Artistic Director and Dancer (USA)
Christopher Roman began his formal training with The School of Cleveland Ballet, continuing at The School of American Ballet in New York City. 

He was invited into the ranks of the Pacific Northwest Ballet and danced as a soloist and principal with Edward Villella’s Miami City Ballet, Les Grands Ballets Canadiens in Montreal, The Pennsylvania Ballet, Ballett Frankfurt and The Forsythe Company. In 2009 he received Germany’s highest theatre honour – Deutscher Theaterpreis DER FAUST – for best performance. He is the European MFA Study Curator and Co-ordinator for Hollins University in the US. From 2013 to 2015, Christopher was Associate Artistic Director of The Forsythe Company. He is a Trustee for the Forsythe Foundation.


Ty Boomershine studied dance at the Fort Hayes School for the Performing Arts in Columbus, Ohio, completing his studies with a B.F.A. from Stephens College in Columbia, Missouri. 

In addition to working with Lucinda Childs Dance, Emio Greco | PC, LeineRoebana, Dan Wagoner, Gus Solomons Jr., Bill T. Jones, Ton Simons and the Merce Cunningham Repertory Ensemble, he has also performed in various works by DANCENOISE and in Robert Wilson’s Einstein on the Beach. Since 2007, he has been Artistic Assistant to Lucinda Childs and since 2013 rehearsal director for ICKamsterdam.


Brit Rodemund trained at the Staatliche Ballettschule Berlin and became a soloist at the Deutsche Staatsoper Berlin in 1991. In 1995 she moved to Aalto Ballet Essen where she won the Aalto Stage Prize for her interpretation of Tatjana in John Cranko’s Onegin.

In 1998 she joined the Ballett Nürnberg. Since 2000 she has been working freelance with among others Marco Santi, Nina Kurzeja, Efrat Stempler, Martin Stiefermann and Dansity Amsterdam. The 2011 critics poll for the dance journal tanz voted her Dancer of the Year for her performance in Helena Waldmann’s production revolver besorgen.


Jone San Martin studied dance with Mentxu Medel as well as at the Institut del Teatre in Barcelona and at Mudra International in Brussels. She was a dancer at the Ballet Nacional de España, at Ulmer Theater, with Jacopo Godani in Brussels and at the Ballet Royal de Wallonie in Charleroi.

She joined Ballett Frankfurt in 1992 and The Forsythe Company in 2005. She has been choreographing many of her own works since 2000. In 2006, she received the Lifetime Achievement Award from the Asociación de Profesionales de Danza de Gipuzkoa.


Jan-Erik Wikström danced in the Royal Swedish Ballet from 1987-2015, being appointed soloist in 1991, principal dancer in 1993 and hovdansare in 2000. 

He has danced all major principal roles in the classical repertory as well as solos in ballets by Alvin Ailey, George Balanchine, Mauro Bigonzetti, Nils Christe, Ulysses Dove, Santos, Spuck Christian and many others. From 2001-2004 he danced with English National Ballet in London. Guest appearances too him to New Zealand, Florence, Budapest, Tokyo, Osaka, Pillow, Houston, London, Biarritz, Munich, Moscow, Warsaw, Johannesburg, Oslo and others. He received the King’s medal Litteris et Artibus in 2012.