I was directing shows long before I even knew what that meant.
I was directing shows long before I even knew what that meant.
The first stage I ever worked on was in the front room of a house in South East London.
The first stage I ever worked on was in the front room of a house in South East London.
I was three, maybe four. I'd shut the door so nobody could watch because this was rehearsal time, then I’d rewind Michael Jackson on VHS until the tape wore out, and rebuild whole music videos using the sofa and anything else the room had available. I'd recreate every detail. Even then it wasn't really the steps I was after. I wanted to know how the whole thing held together so tightly, and what it took to create the magic we felt as an audience watching.
I was three, maybe four. I'd shut the door so nobody could watch because this was rehearsal time, then I’d rewind Michael Jackson on VHS until the tape wore out, and rebuild whole music videos using the sofa and anything else the room had available. I'd recreate every detail. Even then it wasn't really the steps I was after. I wanted to know how the whole thing held together so tightly, and what it took to create the magic we felt as an audience watching.
I was three, maybe four. I'd shut the door so nobody could watch because this was rehearsal time, then I’d rewind Michael Jackson on VHS until the tape wore out, and rebuild whole music videos using the sofa and anything else the room had available. I'd recreate every detail. Even then it wasn't really the steps I was after. I wanted to know how the whole thing held together so tightly, and what it took to create the magic we felt as an audience watching.
That question basically built my career.
That question basically built my career.
At twelve I lied about my age to get into a youth arts programme in Deptford, because it was for ages 13+ and waiting a year felt ridiculous.
At twelve I lied about my age to get into a youth arts programme in Deptford, because it was for ages 13+ and waiting a year felt ridiculous.
At twelve I lied about my age to get into a youth arts programme in Deptford, because it was for ages 13+ and waiting a year felt ridiculous.
When the money for dance ran out, I sold sweets at school to keep me in those classes.
When the money for dance ran out, I sold sweets at school to keep me in those classes.
When the money for dance ran out, I sold sweets at school to keep me in those classes.
And when people said an all-female crew wouldn't work unless we moved the way girls were expected to, I built one anyway and kept it performing on stages across the UK and Europe for over a decade.
And when people said an all-female crew wouldn't work unless we moved the way girls were expected to, I built one anyway and kept it performing on stages across the UK and Europe for over a decade.
And when people said an all-female crew wouldn't work unless we moved the way girls were expected to, I built one anyway and kept it performing on stages across the UK and Europe for over a decade.
Being told "No. You can't." is still the most exciting brief ever.
Being told "No. You can't." is still the most exciting brief ever.
Little Simz // Glastonbury Pyramid Stage
Little Simz // Glastonbury Pyramid Stage
Little Simz // Glastonbury Pyramid Stage
Anne-Marie // Dysfunctional Tour
Anne-Marie // Dysfunctional Tour
Anne-Marie // Dysfunctional Tour
Performing came first for me...
Performing came first for me...
Performing came first for me...
And years touring internationally as a professional dancer taught me what a show feels like from inside it, which is crucial knowledge you can’t fake and most directors never get. Eventually I stopped dancing in those shows and started building them.
And years touring internationally as a professional dancer taught me what a show feels like from inside it, which is crucial knowledge you can’t fake and most directors never get. Eventually I stopped dancing in those shows and started building them.
Now I create and direct large-scale live performances for artists and brands. Little Simz on the Pyramid Stage at Glastonbury. The NFL's London halftime show. The five hour SAULT headliner at All Points East. As well as campaigns for Nike, Rapha, Timberland, M&S and Lewis Hamilton to celebrate his first year with Ferrari.
Now I create and direct large-scale live performances for artists and brands. Little Simz on the Pyramid Stage at Glastonbury. The NFL's London halftime show. The five hour SAULT headliner at All Points East. As well as campaigns for Nike, Rapha, Timberland, M&S and Lewis Hamilton to celebrate his first year with Ferrari.
Now I create and direct large-scale live performances for artists and brands. Little Simz on the Pyramid Stage at Glastonbury. The NFL's London halftime show. The five hour SAULT headliner at All Points East. As well as campaigns for Nike, Rapha, Timberland, M&S and Lewis Hamilton to celebrate his first year with Ferrari.
The shows nowadays are infinitely bigger than where I began, but my method still comes from that front room: build the structure so tight and pay close attention to every detail so that nothing is left to luck, then give the humans within that creative space room to breathe and freedom to execute.
The shows nowadays are infinitely bigger than where I began, but my method still comes from that front room: build the structure so tight and pay close attention to every detail so that nothing is left to luck, then give the humans within that creative space room to breathe and freedom to execute.
The shows nowadays are infinitely bigger than where I began, but my method still comes from that front room: build the structure so tight and pay close attention to every detail so that nothing is left to luck, then give the humans within that creative space room to breathe and freedom to execute.
Everyone understands the part they play, whether they’re performing in the show or paying for it, which means the whole production moves together and nobody disappears into the formation.
Everyone understands the part they play, whether they’re performing in the show or paying for it, which means the whole production moves together and nobody disappears into the formation.
Everyone understands the part they play, whether they’re performing in the show or paying for it, which means the whole production moves together and nobody disappears into the formation.
If that's the standard you're after:
If that's the standard you're after:
If that's the standard you're after:
Or if you already know, skip straight to the starting line by emailing me directly on: hey@kloedean.com
Or if you already know, skip straight to the starting line by emailing me directly on: hey@kloedean.com
