#HOFEST was a 4-week long season of performances, giving audiences the opportunity to experience the breadth of Hofesh Shechter Company’s ground-breaking work in some of the capital’s leading theatres and iconic venues: Royal Opera House, Sadler’s Wells, O2 Academy Brixton and Stratford Circus.

Political Mother: The Choreographer’s Cut

Wed 7 & Thu 8 Oct
O2 Academy Brixton
Performed for the first time at the iconic O2 Academy Brixton, Political Mother: The Choreographer’s Cut is a dance show like no other. With the atmosphere of a rock gig and 40 dancers and musicians on stage, this big hit show has wowed audiences from Paris to Hong Kong and now comes home to London.  

Orphée et Eurydice

Mon 14 Sep – Sat 3 Oct
Royal Opera House
Hofesh co-directs his first opera with John Fulljames, the Royal Opera’s Associate Director of Opera. Experience Hofesh’s distinctive and visceral take on this classic opera featuring Hofesh Shechter Company dancers who will be joined by the Monteverdi Choir, The English Baroque Soloists, conductor John Eliot Gardiner and a team of soloists including Juan Diego Flórez as Orphée.


Fri 18 – Fri 25 Sep
Sadler’s Wells
The infinitely unpredictable Hofesh presents a sparse world for three wildly different takes on intimacy, passion and the banality of love. From the elegant and nervy baroque-inspired choreography of the opening to a poignant duel-duet, via a joyous and trance-like underground groove, this evening will showcase the singular and wry voice of Hofesh Shechter together with the versatility and talent of his dancers.


Thu 1 & Fri 2 Oct
Presented by East London Dance at Stratford Circus
The company’s rising stars perform a trio of his early work. Cult (2004) and Fragments (2003), which introduced Shechter to the dance world alongside the UK premiere of Disappearing Act (2015), recent winner of the 2015 French critics circle award for dance.


"Effortlessly hip, endlessly energetic, exhilarating, sexy and loud enough to burst your eardrums" - Daily Telegraph on Political Mother: The Choreographer's Cut 

"One of the sharpest, most daring choreographers/composers working today..." - Vogue on Orphée et Eurydice

"Superb stuff: juicy, nervy ensembles and a wittily unsettling commentary." -  The Guardian on barbarians in love

"We move with the gestures which are at once intoxicating and synchronised by these bodies possessed by a dynamic and youthful energy" - A Nous Paris on deGeneration