Alice Dixon is a dancer, performer, choreographer, teacher and movement artist working across contemporary dance, theatre and experimental performance. Her practice spans devised performance, choreography and interdisciplinary collaboration. Alice has extensive performance credits with leading companies and artists, including Lucy Guerin Inc., Chunky Move (Antony Hamilton), Opera Australia, Reckless Sleepers (UK), Natalie Cursio, APHIDS, Deanne Butterworth,Philip Adams (BalletLab), Monica Bill Barnes & Co. (NYC). Recent performance highlights include Lucy Guerin’s retrospective NEWRETRO (ACCA, 2023), NEWRETRO REDUX (2024), international tours of Pendulum, and performing alongside Mish Grigor in Class Act at Sydney Opera House. Alice’s solo practice has been supported through national and international residencies, choreographic commissions and major arts funding bodies. Her works with collective alicewillcaroline have been presented at Dance Massive, Next Wave, FOLA, Dancehouse, Carriageworks, the NGV, and for the Keir Choreographic Award. They received the 2020 Green Room Award for Best Ensemble (Dance) and a Fellowship in 2022 from the late Chloe Munro. In 2024, they were Directors in Residence at Lucy Guerin Inc. and recipients of a bespoke residency at The Australian Ballet Centre.

Geoffrey Watson is a Melbourne-based artist whose work is rooted in choreography but has branches in wearable design, text, lighting, sculpture and photography. Through this work, Geoffrey advocates for a state of perceptual unrest: an agent to further confound the already confusing landscapes of art, history and reality. Geoffrey’s performance works include Camel (Arts House, 2016), Loving You Ad Nauseam (Trades Hall, 2016) DISTRACTION: Smackdown! (Melbourne Fashion Festival, 2017), DISTRACTION: T.C. F’d Up (Counihan Gallery, 2017), Geoffrey’s Corpse: Violet Spurlock (Uferstudios Berlin, 2019), Rachael Wisby (Newport Substation, 2019), and ongoing visual arts mission Reverse Fruit. As a performer, Geoffrey has worked with companies and artists including BalletLab, Nana Biluš-Abaffy, Lucy Guerin Inc. Lee Serle, Alisdair Macindoe, and Gekidan Kaitaisha. His costumes have been featured in Virgin Australia Fashion Festival, Melbourne Fashion Week, and in works by Lilian Steiner, Brooke Stamp, Matthew Bird et al.

Jenny Hector is a lighting and set designer who has developed a strong design aesthetic driven by her collaborations and the spaces they find themselves in since graduating from The Victorian College Of the Arts in 1992. Her work has been experienced nationally and internationally, most recently with Kamila Andini’s The Seen and The Unseen for Asia TOPA (Jakarta, Singapore and Melbourne), Sydney Chamber Opera’s The Howling Girls for Tokyo Festival World Competition 2019 and X-Risk, Kuopio Finland, collaborating with Madeleine Flynn, Tim Humphrey, Pekka Mäkinen, and Johanna Tuukkanen. She has designed lights for Paul Kelly and Paul Grabowsky- Meet Me In The Middle of the Air, Arts Centre-For Those About to Rock, Dark Mofo-Night Mass 2018 and Funeral Party 2016, Back to Back Theatre and The Theatre of Speed, Finucane and Smith-The Rapture, and Shanghai MiMI, Circus Oz-Aurora and From The Ground Up, Rimini Protokol- 100% Melbourne and 100% Darwin and Federation Square- Light In Winter. In Fragment 31’s Irony is not Enough, Parker’s Small Details and Shian Law’s Personal Mythologies, Jenny performed as part of the design. She developed a residential lighting installation, How Are You? that used light and colour to express the emotions of her collaborating neighbours, and through four of Hannah Bertram’s 24 Hr Drawing Projects, explored duration and colour through painting and counting. Her work for Fraught Outfit-Exodus II, Prue Lang -Stellar and Sandra Parker’s Out of Light were nominated for the Green Room best lighting. Jo Lloyd’s Overture, Jacob Boehme’s Blood on the Dance Floor and Jodee Mundy’s Imagined Touch received Green Room Awards for Best Production, for which Jenny realised both the lighting and set designs. Jenny is the recipient of two Green Room awards, for Balletlabs Miracle and Jenny Kemps Madeleine and received the 2016 Award for Technical Achievement.

Robbie Divine is a Melbourne/Naarm-based artist and performer working along the slippery edges of pop music. Drawn to tensions between the ugly and beautiful, organic and digital, and realism and artifice, his work explores how opposing forces can strengthen and undermine one another. Recently completing a practice-based Masters of Research, Robbie examined how digitally manipulated voices and animated sonic environments can express forms of selfhood beyond naturalism. This research has culminated in “POP PLUS”, a night of genre-bending performance (Now Or Never 2023); an A/V performance tour of Java, Indonesia (2024); an album Snakes & Ladders released via .jpeg Artefacts (2025); & a show at Dark Mofo (2025).

Sam Martin is an emerging lighting designer and programmer based in Narrm/Melbourne, working across theatre, dance, musical theatre. She completed a Bachelor of Fine Arts (Production) at the Victorian College of the Arts (VCA) in 2025. Her design credits at the VCA include Into the Woods; Marry Me a Little; and a three-piece contemporary dance collaboration Pluriverse which featured works by Melanie Lane, Jill Crovisier, Wirastuti Susilaningtyas, and Rheannan Port. Her recent theatre credits include Lighting Designer of Never Closer (Patalog Theatre Co. and fortyfivedownstairs) and Silence (Subverse Theatre), and Lighting Associate of Year of the Rooster (Spinning Plates Co.) and The Doll Trilogy (Red Stitch Actors’ Theatre), assisting awarding winning lighting designer Rachel Burke. She was the recipient of the 2025 Orloff Family Charitable Trust Award and the 2025 APDG Outstanding Student Award for her lighting design work at the VCA. In 2025, Sam undertook lighting design secondments on Hadestown (Opera Australia); In the Heights (Joshua Robson Productions); and Much Ado About Nothing(Melbourne Theatre Company).