There was a quiet shift in the room on Day 1. Not loud, not dramatic—but unmistakable. Something softened. Something opened. 

Sitting together at the end of the day—Arianna, Jo, Laura, and Claire from the creative team—we found ourselves reflecting on what had just unfolded. And what emerged was a shared recognition: this process feels different. 

At the heart of Alice Godfrey’s approach is something deeply simple, but profoundly impactful—a person‑centred beginning. Rather than rushing toward outcomes or performance, the day unfolded through gentle awareness. 

Layers were introduced slowly. Thoughtfully. Without pressure. 

There was structure, yes—but it was loose, spacious, and guided by themes rather than rigid direction. Each Angel was invited to interpret those themes in their own way, unlocking something we don’t always get to access in more time-pressured environments: autonomy. 

And with that autonomy came discovery. 

New ways of moving. 
New ways of expressing. 
New ways of co-existing in the space. 

The energy felt different—not better, not worse, just… shifted. Expanded. 

One of the most striking observations was the sense of enjoyment across the group. There was a visible lightness—an ease in how the Angels entered each task. 

The day began gently, almost like a recalibration. A chance to reconnect with body, breath, and self before anything was asked of them. 

From there, the work built organically. As Jo described, it wasn’t about “creating” something immediately—it was about layering experience. 

Improvisation became the heartbeat of the day. 

It’s the moment they wait for. The moment where everything drops away: expectation, structure, self-consciousness. In improvisation, they find freedom—freedom to release, to connect, to simply be. 

And crucially, this process honoured that need instead of containing it. 

Historically at Fallen Angels, we often work closely with personal narrative—stories that are powerful, but sometimes emotionally demanding. 

This residency introduces something lighter. More playful. 

It’s not that depth is lost—it’s that it’s being approached through a different language. One of exploration rather than excavation. 

And that shift matters. 

The Angels spoke about feeling tired (as you would after a full creative day), but not overwhelmed. Not apprehensive about what was coming next. Instead, there was anticipation. Excitement. 

They’re looking forward to tomorrow. 

That in itself, is a quiet success. 

In conversations between sessions, another insight surfaced: the idea of “autopilot.” 

Like many dancers, the Angels have familiar movements they return to—safe, known, reliable. Particularly in short workshop settings, where time is limited, those “go-to” movements become a default. 

But here, time is being stretched. 

Instead of five minutes to explore, they are being given days. Space to sit inside the unknown. Space to move past instinct. 

And in doing so, they’re beginning to disrupt those patterns—discovering alternative pathways, new physical vocabularies, and unexpected possibilities within their own bodies. 

One particularly powerful moment was observed with Shelley, who is partially sighted. 

There was a noticeable shift in how she approached movement. Rather than focusing on external choreography or “what the steps should be,” she began exploring internally—through sensation, energy, and what might be described as a “mind’s eye.” 

It was less about navigating what to do, and more about feeling what is possible. 

It’s early days, but moments like this hint at the deeper potential of the residency—not just as a creative process, but as a reimagining of how each Angel experiences movement itself. 

Growth has also been visible in quieter, more personal ways. 

Josh reflected on allowing himself to take risks—moving beyond the familiar sequences he usually relies on to ground himself. 

Through Alice’s guidance—her language, her invitations, her framing of movement as play—he felt able to step into something less certain. 

And that matters. 

Because Josh has already evolved so significantly as a performer. To see him continue to push those boundaries, to lean into uncertainty again, speaks volumes about the environment that’s being held. 

If Day 1 tells us anything, it’s this: when space is held gently, when time is honoured, and when people are trusted, something powerful begins to emerge. 

Not forced. Not rushed. 

But real. 

This residency is not just about making work. It’s about making space—space for play, for risk, for rediscovery. 

And as we move into the next phase, one question lingers with quiet excitement: 

What else might unfold, now that the door has been opened? 

This project has been made possible by funding from Arts Council England, The Linbury Trust, Ernest Hecht Charitable Trust, Big Give Art of Impact as well as partnership support from Storyhouse, Royal Ballet Opera and Liverpool Everyman and Playhouse