Theatre and Film credits include:
Aletta Collins, Itzik Galili, Joanna Fong, Lea Anderson, Nigel Charnock, Jonathan Lunn, Carolyn Choa, Tom Cairns, Andonis Foniadakis, Fiona Shaw, Hubert Essakow, Kim Brandstrup, Deborah Warner, John Cameron Mitchell, Wayne McGregor, Robert Binet, Amir Hosseinpour, Gary Clarke, Phyllida Lloyd, Stijn Celis, Robert Cohan, David McVicar, Rambert Dance Company, Tanztheater Wuppertal Pina Bausch, The National Theatre, Royal Opera House, The Young Vic, English National Ballet, Invisible Circus, Duckie (Royal Vauxhall Tavern), English National Opera, Lyon Opera, National Dance Company Wales, Live Arts New York, Brooklyn Academy of Music and Salzburg Festspiele.
Choreography, Directing & Assisting credits include:
The Royal Ballet, Staatsoper Berlin, The Hollywood Bowl,
Landestheater Passau, Aldeburgh Music Festival, The Print Rooms, Corali Dance Company, The Royal Opera House, Tanzkompagnie Theater St.Gallen, Blind Summit, Akademi, Anjali Dance Company, the BBC, The Fritz Koenig Museum of Sculpture, Fighting Dog Theatre, Bastard Assignments, Royal Academy of Music, Impermanence & The Rabbit Hole @ Glastonbury Festival.
Teaching and Workshops credits include: The Ballet Boyz, Gary Clarke Company, The Young Vic, Legat School of Ballet, Myrtle Theatre Company, Rambert School of Ballet and Contemporary Dance, Winchester/Plymouth/Bristol Universities.
Daniel is an award winning filmmaker, presenting his work in Operas, Galleries, Hospitals, Nursing Homes, Public Spaces and on YouTube.
“I can think of no other male performer for whom movement is a more naturally expressive state. There is no other-dimensionality to Hay-Gordon, no barrier of self-consciousness or artifice. All is weight and heft and flow” (The Observor)
"Hay-Gordon is also excellent: compelling, and utterly physically commanding." (A Younger Theatre)
"marvellously eloquent" (Time Out, New York)
"...finally gets out of his chair to perform one of the most naturally expressive contemporary dances I’ve ever seen, he completely shatters my expectations. Hay-Gordon’s dancing honestly took my breath away" (Everything Theatre)
"Daniel Hay-Gordon is such a beautiful dancer to watch, the audience would probably be happy to watch him perform his solo for the full hour" (Cloud Dance Festival)
Eleanor Perry trained at the Rambert School (BA) and at Laban (MA). She has worked for choreographers and companies including Gary Clarke, Lea Anderson, Julie Cunningham, Clod Ensemble, Nigel Charnock, Russell Maliphant, Jonathan Lunn, Lucy Guerin, Lucy Suggate and Martin Nachbar. Eleanor was an Associate Artist of Impermanence Dance Theatre for 5 years.
m/y by Julie Cunningham at Sadler's Wells
CRAVE by Julie Cunningham at the Barbican
’NADA: Act 2’ by Jasmina Cibic, choreographed by Lea Anderson
Thatcher in COAL by Gary Clarke
Eleanor has taught for Laban, Impermanence Dance Theatre, Gary Clarke Company, Brighton Dance Network and in Limerick for Step Up Dance Project. She assisted Lea Anderson on John Cameron Mitchell’s ‘How to Talk to Girls at Parties’, also playing an alien. She has worked as a movement director, lighting designer and costume designer.
Eleanor makes solo work as well as collaborating with other artists such as Tim Spooner and David Sheppeard. She has presented her work at Yorkshire Dance, The Place, London Topophobia and Battersea Arts Centre.
'Eleanor Perry as Thatcher is a highlight of the show. She gestures madly, dancing with staccato steps and dominates the stage with her movements whenever she is on it.' (Brinkworth, on Gary Clarke's COAL)
‘Cameo Cookie is a vibrant, vigorous solo and Perry gives a powerful physical performance as the vociferous Bryant with strong mime sections and a great floor-stomping dance sequence’