Touch Compass on tour

4 December 2009
From its first performance in Auckland in 1997, Touch Compass has earned a reputation as a ground-breaking contemporary dance company. The pioneer of integrated dance in New Zealand, it presents one major season or tour a year (depending on funding), and provides ongoing classes and workshops.

In 2007, it celebrated its tenth anniversary with a four-centre North Island tour and the publication of Touch Compass: Celebrating Integrated Dance (David Ling Publishing), written by Michele Powles.

Touch Compass is renowned for its aerial work, which sees wheelchairs and dancers suspended and swinging above the stage. Over the years, it has toured throughout New Zealand and to Australia three times. And every time, the company has to negotiate access to each venue – for both the company and the audience.

“The best process is when the venue is open to working with us to make the event as accessible as possible,” says Artistic Director Catherine Chappell. “Some of the older buildings, in particular, have very limited access and we simply can’t use them. But sometimes, it’s just a matter of being creative and open to doing things in a different way.”

For instance, when Touch Compass performed at the Hawke’s Bay Opera House in Hastings in 2007, the venue’s front-of-house and technical  staff were friendly, flexible and knowledgeable.

“We’re keen to return to Hastings, knowing that the venue is open to working collaboratively and marketing the show to a wide cross-section of people,” Catherine says.

Touring involves a huge amount of careful planning, including travel, accommodation and each of the venues. Is it accessible backstage? Will disabled audiences be welcomed and have good access? Is there a space where the performers and crew can socialise and wind down after the show?

“Many venues are limited in the seating available to disabled audiences, and what they do provide is often up the back or to the side,” Catherine says. “Inaccessible backstage facilities such as toilets and narrow doorways are often an issue too and put incredible stress on the dancers before they perform. Anything a venue can do to be flexible is really appreciated both by the company and the audience.”