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Oct

05

Joshua is on a 3-city tour of South Korea with “Concerto”

"Concerto" is being performed throughout South Korea at the following venues. Sejong International Dance Festival - Oct 5, 2016 Seoul International Dance Festival - Oct 7, 2016 Busan Dance Market - Oct 11,

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Oct

04

Joshua teaching at Tokyo’s Architanz

Joshua just finished teaching a fantastic 2-day workshop at Tokyo's Architanz

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Sep

15

The Cape Times covers Joshua’s first foray into Opera with “The Magic Flute”

The Cape Times covers Joshua Beamish's first opera choreography. He will create work for Cape Town Opera's "The Magic Flute" in collaboration its Artistic Director Matthew Wild. The production will also feature students from the University of Cape Town Opera

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Aug

15

The Chicago Tribune profiles Beamish’s Chicago Dancing Festival debut

The Chicago Tribune profiles Beamish's Chicago Dancing Festival debut with

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Aug

08

Joshua Beamish in creation with Sarah Brinson

Joshua is creating a new solo for Sarah Brinson which will premiere in August 2016 at the Vancouver Playhouse for the Cultural Architect

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Jul

15

The Dance Current on LONE WOLF and Beamish’s improv with Walter Kubanek

The Dance Current on Beamish's first full-length solo show, LONE WOLF .. "After a quick change to sleek grey pants and socks, Beamish then launched into one of his own pieces, a ballet with a hint of Beyoncé called "Concerto". Set to Bach’s Concerto for Violin, Oboe and Strings in D Minor, it showed Beamish, as with "radios" (by Ame Henderson), in fabulous command of his body, this time displaying solid classical technique. It was easy to see why he has had significant worldwide success choreographing for some of the biggest names in ballet, such as New York City Ballet principal Ashley Bouder and former principal Wendy Whelan. "Concerto" was both elegant and overtly sexy, fusing classical ballet vocabulary with angular contemporary isolations, with little shivers of pop video come-ons." And positive notices for his improv duet with Walter Kubanek "... a few succeeded brilliantly. Josh Beamish and Walter Kubanek, for instance, scored with Ann-Bernice Thomas’s poem

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Jul

09

The Georgia Straight rave for Beamish/Henderson collaboration “radios”

"Beamish folds himself into a endless series of contorted postures, many of which seem to defy the laws of gravity. MOVE: the company’s founder has long been one of Vancouver’s most watchable performers, and nothing here will change that status." - Alexander Varty of The Georgia Straight on "radios", my collaboration with Ame

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Jun

15

Beamish’s first evening of solos LONE WOLF to premiere July 2016!

We're exiited to announce the world premiere of LONE WOLF, Joshua's first ever full-length evening of solo works. He will dance new solos by Noam Gagnon of Company Vision Impure/The Holy Body Tattoo and Ame Henderson of Toronto's Public Recordings and a work of his own. Saturday, July 9th, 2016 at The ROMP Festival in Victoria, BC Ame Henderson's work can also be seen in Vancouver at the Dancing on the Edge Festival - July 7/8, 2016 and Noam Gagnon's will run at the same festival July 11 and 13,

May

15

Beamish’s choreography in TV profile of Royal Ballet soloist Nicol Edmonds

Check out Royal Ballet Soloist Nicol Edmonds dancing Joshua Beamish's choreography in this Crane TV

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May

03

Great reviews for “SALT” and “Concerto” in Santa Barbara

The reviews are in for "Salt" and "Concerto". "Against a barebones stage and dressed in nothing more than a pair of snug-fitting chinos, a scruffy-faced Beamish peacocked and vogued before the audience in his exquisite solo "Concerto", capturing the restless angst of a gentleman-in-waiting. Choreographed to a Bach score, his pointed technique and wistful gesturing seamlessly fused classic and contemporary movement together in an eerily timeless manner that could have easily transferred from an 18th century royal court to a Chelsea nightclub. By stark contrast, his dark and weighted piece "Salt" tackled the grave subject of climate change, with seven emotionally charged dancers shape-shifting and recoiling against a dystopian milieu, desperation and rue hanging off their distorted limbs. The decision to cast Malcolm McCarthy, a community dancer with an acting pedigree, paid off to great effect, with McCarthy rising to the occasion as the soulful centerpiece tasked with drawing out