Choreographers and movement directors in theatre are undervalued by awards ceremonies and deserve greater acknowledgment, says the Equity group representing both disciplines.<\/p>\n
At last weekend\u2019s Oliviers ceremony, the award for best theatre choreographer went to Fabian Aloise for Evita at the London Palladium. In a statement<\/a>, Equity\u2019s Choreographers and Movement Directors Network<\/a> (CMDN) said it was \u201cbrilliant to see choreography recognised on major stages like the Olivier awards\u201d but drew attention to the movement directors who worked on nominated productions yet went unrecognised with their own category. The ceremony \u201copens up a bigger conversation about what language we use to describe how theatre is made, and questions who gets named in that process \u2013 especially when it comes to movement and choreography\u201d, said the CMDN.<\/p>\n \u201cWe want to spotlight the movement directors whose work has been integral to some of the year\u2019s most powerful productions: Leanne Pinder for Punch, Sarah Golding for Kenrex, Imogen Knight for [the opera] Dead Man Walking, Jenny Ogilvie for Into the Woods, Sung Im Her for The Glass Menagerie, Lucy Hind for Inter Alia and Klo\u00e9 Dean for The Boy at the Back of the Class.\u201d<\/p>\n Powerful \u2026 The Boy at the Back of the Class. Photograph: Manuel Harlan<\/p>\n While theatre choreography usually refers to dance sequences, movement direction is integral to creating the physical language of an entire production, enhancing storytelling, characterisation and drama. Many choreographers also work as movement directors, but productions often use different individuals in each role.<\/p>\n \u201cMovement direction sits in a nuanced space: not always \u2018dance\u2019, not always credited as choreography, yet essential to how a show lives and breathes,\u201d said the CMDN. \u201cIf we celebrate the impact of physical storytelling, we must also evolve how we acknowledge the artists behind it.\u201d<\/p>\n The network praised the Black British theatre awards<\/a> for expanding their choreography category in 2022 to include movement direction. But it highlighted that the UK Theatre awards<\/a> typically has no dedicated choreography or movement category and neither does the Critics\u2019 Circle theatre awards<\/a>.<\/p>\n Movement director and choreographer Polly Bennett established the CMDN in 2023 for her professions \u201cto be seen, recognised and respected\u201d. The network has more than 200 members. In 2025, steering group member Ellen Kane \u2013 who works for the screen as well as the stage \u2013 asked in an interview with the Guardian<\/a>: \u201cWhy aren\u2019t there Oscars for choreography? Why aren\u2019t there Baftas? Why aren\u2019t we being credited?\u201d<\/p>\n