Board of Trustees

Dancers’ Career Development’s Board of Trustees bring a diversity of knowledge and lived experience to the charity

Trustees are responsible for the governance of DCD as well as overseeing finance, risk, auditing, compliance and other operational aspects of DCD’s work. The DCD Board is a group of committed and engaged individuals who have a strong commitment to the career development of dance artists in the UK and to DCD’s values and approach.

Dancers' Career Development are grateful for the continued support of our Trustees.

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Charles Glanville

He / Him

Chair

Former managing director of Oberon Books, the most prolific publisher of new plays and books on theatre practice. Chair Yorkshire Ballet Seminars, Trustee The Faction Theatre.

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Joce Giles

He / Him

Vice Chair

Joce is Director of Learning & Engagement at Sadler’s Wells, overseeing the organisation’s extensive work with children and young people, local communities as well as talent development programmes including the National Youth Dance Company and Young Associates. Prior to joining Sadler’s Wells, Joce was Director of Creative Projects at Rambert, where he worked as part of the senior management team for 9 years. Having previously worked as a professional dancer, performing with Scottish Ballet from 1998 – 2004, Joce was supported by DCD in 2009 to undertake an MA in Cultural Leadership at City University London.

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Adam Adnyana

He / Him

Equity Representative

Adam Adnyana is the Assistant General Secretary for Live Performance at Equity. Equity is a trade union representing performers and creative practitioners, including dancers. Adam has overall responsibility to support and improve the working lives of dancers, including management of trade union negotiations with employers and engagers across the sector.

Adam has worked in the finance sector, and for a number of trade unions in the banking and public services sectors, in the UK and Australia. He holds an MA in Employee Relations from Newcastle University.

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Former managing director of Oberon Books, the most prolific publisher of new plays and books on theatre practice. Chair Yorkshire Ballet Seminars, Trustee The Faction Theatre.

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Joce is Director of Learning & Engagement at Sadler’s Wells, overseeing the organisation’s extensive work with children and young people, local communities as well as talent development programmes including the National Youth Dance Company and Young Associates. Prior to joining Sadler’s Wells, Joce was Director of Creative Projects at Rambert, where he worked as part of the senior management team for 9 years. Having previously worked as a professional dancer, performing with Scottish Ballet from 1998 – 2004, Joce was supported by DCD in 2009 to undertake an MA in Cultural Leadership at City University London.

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Adam Adnyana is the Assistant General Secretary for Live Performance at Equity. Equity is a trade union representing performers and creative practitioners, including dancers. Adam has overall responsibility to support and improve the working lives of dancers, including management of trade union negotiations with employers and engagers across the sector.

Adam has worked in the finance sector, and for a number of trade unions in the banking and public services sectors, in the UK and Australia. He holds an MA in Employee Relations from Newcastle University.

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Sarah Eliot-Cohen

She / Her

Chair of the Grants Committee

For the last 15 years, Sarah has worked closely with young dancers at The Royal Ballet School, many of whom are now dancing at the highest level and enchanting audiences around the world. As Head of Development, along with a small team of never more than two, she raised over £50m to support these young dancers during their demanding eight-year training.

Always concerned by the ‘what next’ for these extraordinary young people, so often unaware of the invaluable and transferable skills they had acquired as dancers, Sarah has been a great advocate of DCD’s work and was honoured to be invited to join their Board. She also sits on the Board of the Frederick Ashton Foundation.

Previously, Sarah was part of the Breast Cancer Haven start-up team, raising the initial £25m to establish three breast cancer support centres. Her learning ground was Macmillan Cancer Support where she was part of their successful events team.

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Headshot of Judy Leering. Judy is a white woman with chin length, straight blonde hair. She is in her 60s and wears a dark coloured shirt just visible. She is smiling at the camera.

Judy Leering

She / Her

Judy is a chartered accountant with 25 years’ experience working in the voluntary and charitable sector.  She recently worked with Home Start Cymru as a consultant and previous roles include Director of Corporate Services at Cwmpas and Finance Director at Chwarae Teg.

A Trustee on the board of WCVA for many years, she also served on a number of Third Sector financial committees in Welsh Government and the Welsh European Funding Office.

Judy started her career as a dancer, training at the Royal Ballet School and dancing professionally with the Berlin Ballet, Ballet de Monte Carlo, Northern Ballet and Ballet Arizona.

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Ida Levine

She / Her

Ida Levine is a principal with Two Rivers Associates Limited, consulting on policy, strategy and governance. She is Policy Lead Expert and Non-Executive Director on the Board of the UK Impact Investing Institute.  Ida also sits on the Board of Trustees of the Royal Academy of Dance and the Maria Bjornson Memorial Fund, and the Advisory Board of the UCLA Institute for Carbon Management.

Previously Ida was Board Director, Senior Vice President and Senior Counsel for the Capital Group in Europe.  Before CG, Ida was European Counsel at JP Morgan Investment Management and a Partner at the international law firm Jones Day (London and New York).

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For the last 15 years, Sarah has worked closely with young dancers at The Royal Ballet School, many of whom are now dancing at the highest level and enchanting audiences around the world. As Head of Development, along with a small team of never more than two, she raised over £50m to support these young dancers during their demanding eight-year training.

Always concerned by the ‘what next’ for these extraordinary young people, so often unaware of the invaluable and transferable skills they had acquired as dancers, Sarah has been a great advocate of DCD’s work and was honoured to be invited to join their Board. She also sits on the Board of the Frederick Ashton Foundation.

Previously, Sarah was part of the Breast Cancer Haven start-up team, raising the initial £25m to establish three breast cancer support centres. Her learning ground was Macmillan Cancer Support where she was part of their successful events team.

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Judy is a chartered accountant with 25 years’ experience working in the voluntary and charitable sector.  She recently worked with Home Start Cymru as a consultant and previous roles include Director of Corporate Services at Cwmpas and Finance Director at Chwarae Teg.

A Trustee on the board of WCVA for many years, she also served on a number of Third Sector financial committees in Welsh Government and the Welsh European Funding Office.

Judy started her career as a dancer, training at the Royal Ballet School and dancing professionally with the Berlin Ballet, Ballet de Monte Carlo, Northern Ballet and Ballet Arizona.

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Ida Levine is a principal with Two Rivers Associates Limited, consulting on policy, strategy and governance. She is Policy Lead Expert and Non-Executive Director on the Board of the UK Impact Investing Institute.  Ida also sits on the Board of Trustees of the Royal Academy of Dance and the Maria Bjornson Memorial Fund, and the Advisory Board of the UCLA Institute for Carbon Management.

Previously Ida was Board Director, Senior Vice President and Senior Counsel for the Capital Group in Europe.  Before CG, Ida was European Counsel at JP Morgan Investment Management and a Partner at the international law firm Jones Day (London and New York).

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Ingrid Mackinnon

She / Her

Board EDI Champion

Ingrid Mackinnon is a London based movement director, choreographer, teacher and dancer. Movement direction credits include Red Riding Hood (Stratford East), Antigone (Mercury Theatre), Romeo & Juliet (Regent’s Park Open Air Theatre), Bonnie & Clyde (UWL: London College of Music), Hamlet (Royal Central School of Speech and Drama), First Encounters: The Merchant of Venice (Royal Shakespeare Company), Typical (Nouveau Riche), The Border (Theatre Centre), Breathing Space (Royal Court), Liar.Heretic.Thief (Lyric), ReImagining: Cacophony (Almeida), #WeAreArrested (Royal Shakespeare Company), Kingdom Come (Royal Shakespeare Company), #DR@CULA! (Royal Central School of Speech and Drama), Fantastic Mr. Fox (associate movement director- Nuffield and Lyric Hammersmith), Hansel & Gretel (assistant choreographer – Uchenna Dance), The Headwrap Diaries (assistant choreographer – Uchenna Dance). Performance credits include Dallas Black Dance Theater, Tavaziva Dance, Disney’s The Lion King (West End), Royal Opera House, English National Opera, Green Candle Dance Company and Uchenna Dance. Ingrid also is a certified STOTT Pilates instructor in matwork and reformer. She holds a BA in Kinesiology from Western University in Canada and an MA in Movement: Directing & Teaching from Royal Central School of Speech and Drama. Ingrid is also co-founder of MoveSpace.

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Jean-Marc Puissant

He / Him

Jean-Marc Puissant is an award-winning set and costume designer working internationally in opera, theatre, dance and musicals. For The Royal Ballet he has designed Christopher Wheeldon’s Aeternum, Electric Counterpoint, DGV: Danse à grande vitesse and Tryst, set designs for George Balanchine’s Jewels and Javier De Frutos’s Les Enfants Terribles. For The Royal Opera he designed sets for David McVicar’s production of Aida. Further work at the Royal Opera house includes Whelan/Watson: Other Stories for The Royal Ballet, A Dream within a Midsummer Night’s Dream for Ballet Black Arthur Pita’s God’s Garden and Alexander Whitley’s The Measures Taken. He has also appeared on the main stage as a dancer with Birmingham Royal Ballet.

Puissant began his career as a dancer, training at the Paris Opera School and dancing professionally with BRB and Stuttgart Ballet. He then studied on the Motley Theatre Design Course and studied art history at the Sorbonne. He designs for leading international companies including New York City Ballet, American Ballet Theatre, BRB, Dutch National Ballet, Rambert, Lyric Opera of Chicago, Los Angeles Opera, Santa Fe Opera, Scottish Opera, Norwegian National Opera, Palau de les Arts Reina Sofía, Valencia, Menier Chocolate Factory and Théâtre du Châtelet.

Several productions Puissant has designed have won Olivier, South Bank Show and Critics’ Circle awards. He was nominated for Best Scenographer at the 2016 Benois de la danse and was a finalist at World Stage Design 2013. Several productions he has designed have won Olivier, South Bank Show and Critics’ Circle awards. He has given talks about his work at the V&A and Guggenheim Museum, New York, has tutored theatre design at Central School of Speech and Drama. He is a 2018 Fellow at New York University’s Center for Ballet and the Arts.

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Ash Sharma

He / Him

Ingrid Mackinnon is a London based movement director, choreographer, teacher and dancer. Movement direction credits include Red Riding Hood (Stratford East), Antigone (Mercury Theatre), Romeo & Juliet (Regent’s Park Open Air Theatre), Bonnie & Clyde (UWL: London College of Music), Hamlet (Royal Central School of Speech and Drama), First Encounters: The Merchant of Venice (Royal Shakespeare Company), Typical (Nouveau Riche), The Border (Theatre Centre), Breathing Space (Royal Court), Liar.Heretic.Thief (Lyric), ReImagining: Cacophony (Almeida), #WeAreArrested (Royal Shakespeare Company), Kingdom Come (Royal Shakespeare Company), #DR@CULA! (Royal Central School of Speech and Drama), Fantastic Mr. Fox (associate movement director- Nuffield and Lyric Hammersmith), Hansel & Gretel (assistant choreographer – Uchenna Dance), The Headwrap Diaries (assistant choreographer – Uchenna Dance). Performance credits include Dallas Black Dance Theater, Tavaziva Dance, Disney’s The Lion King (West End), Royal Opera House, English National Opera, Green Candle Dance Company and Uchenna Dance. Ingrid also is a certified STOTT Pilates instructor in matwork and reformer. She holds a BA in Kinesiology from Western University in Canada and an MA in Movement: Directing & Teaching from Royal Central School of Speech and Drama. Ingrid is also co-founder of MoveSpace.

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Jean-Marc Puissant is an award-winning set and costume designer working internationally in opera, theatre, dance and musicals. For The Royal Ballet he has designed Christopher Wheeldon’s Aeternum, Electric Counterpoint, DGV: Danse à grande vitesse and Tryst, set designs for George Balanchine’s Jewels and Javier De Frutos’s Les Enfants Terribles. For The Royal Opera he designed sets for David McVicar’s production of Aida. Further work at the Royal Opera house includes Whelan/Watson: Other Stories for The Royal Ballet, A Dream within a Midsummer Night’s Dream for Ballet Black Arthur Pita’s God’s Garden and Alexander Whitley’s The Measures Taken. He has also appeared on the main stage as a dancer with Birmingham Royal Ballet.

Puissant began his career as a dancer, training at the Paris Opera School and dancing professionally with BRB and Stuttgart Ballet. He then studied on the Motley Theatre Design Course and studied art history at the Sorbonne. He designs for leading international companies including New York City Ballet, American Ballet Theatre, BRB, Dutch National Ballet, Rambert, Lyric Opera of Chicago, Los Angeles Opera, Santa Fe Opera, Scottish Opera, Norwegian National Opera, Palau de les Arts Reina Sofía, Valencia, Menier Chocolate Factory and Théâtre du Châtelet.

Several productions Puissant has designed have won Olivier, South Bank Show and Critics’ Circle awards. He was nominated for Best Scenographer at the 2016 Benois de la danse and was a finalist at World Stage Design 2013. Several productions he has designed have won Olivier, South Bank Show and Critics’ Circle awards. He has given talks about his work at the V&A and Guggenheim Museum, New York, has tutored theatre design at Central School of Speech and Drama. He is a 2018 Fellow at New York University’s Center for Ballet and the Arts.

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Jean-Marc Puissant is an award-winning set and costume designer working internationally in opera, theatre, dance and musicals. For The Royal Ballet he has designed Christopher Wheeldon’s Aeternum, Electric Counterpoint, DGV: Danse à grande vitesse and Tryst, set designs for George Balanchine’s Jewels and Javier De Frutos’s Les Enfants Terribles. For The Royal Opera he designed sets for David McVicar’s production of Aida. Further work at the Royal Opera house includes Whelan/Watson: Other Stories for The Royal Ballet, A Dream within a Midsummer Night’s Dream for Ballet Black Arthur Pita’s God’s Garden and Alexander Whitley’s The Measures Taken. He has also appeared on the main stage as a dancer with Birmingham Royal Ballet.

Puissant began his career as a dancer, training at the Paris Opera School and dancing professionally with BRB and Stuttgart Ballet. He then studied on the Motley Theatre Design Course and studied art history at the Sorbonne. He designs for leading international companies including New York City Ballet, American Ballet Theatre, BRB, Dutch National Ballet, Rambert, Lyric Opera of Chicago, Los Angeles Opera, Santa Fe Opera, Scottish Opera, Norwegian National Opera, Palau de les Arts Reina Sofía, Valencia, Menier Chocolate Factory and Théâtre du Châtelet.

Several productions Puissant has designed have won Olivier, South Bank Show and Critics’ Circle awards. He was nominated for Best Scenographer at the 2016 Benois de la danse and was a finalist at World Stage Design 2013. Several productions he has designed have won Olivier, South Bank Show and Critics’ Circle awards. He has given talks about his work at the V&A and Guggenheim Museum, New York, has tutored theatre design at Central School of Speech and Drama. He is a 2018 Fellow at New York University’s Center for Ballet and the Arts.

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Click here to read bio.

Sue

Sue Sloan

She / Her

Sue Sloan qualified as a solicitor with an international law firm. After practising in London and Hong Kong she moved into executive search, specialising for several years in senior legal appointments and consulting for leading UK and US law firms. She is a qualified executive coach and has worked in that capacity with senior law firm partners and executives.

Sue serves as Chair of the English National Ballet Development Board. She has been a member of the Development Committee of the Royal Ballet School, served on The Grange Festival inaugural Ballet Committee and was Chair of the London Supporters of the City of Birmingham Symphony Orchestra. She is a member of the V&A Photographs Acquisition Group.

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Sue Sloan qualified as a solicitor with an international law firm. After practising in London and Hong Kong she moved into executive search, specialising for several years in senior legal appointments and consulting for leading UK and US law firms. She is a qualified executive coach and has worked in that capacity with senior law firm partners and executives.

Sue serves as Chair of the English National Ballet Development Board. She has been a member of the Development Committee of the Royal Ballet School, served on The Grange Festival inaugural Ballet Committee and was Chair of the London Supporters of the City of Birmingham Symphony Orchestra. She is a member of the V&A Photographs Acquisition Group.

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