Reece McMahon

Reece was on the Northern School of Contemporary CAT programme between 2010-2014. He went on to train at London Contemporary Dance School at The Place. He is now the Executive Director of Chisenhale Dance Space at the age of 28, and a Producer working across theatre, dance, live, and outdoor arts.

What year did you start CAT? 2010

What year did you graduate from CAT? 2014

How did you discover the CAT scheme? What had been your experience of dance before the CAT scheme?

My main background was in Ballroom and Latin dancing. I was  a competitive Ballroom and Latin dancer for about ten years, starting that journey when I was seven. I hadn’t really explored many other dance styles beyond that. I’d dabbled a little here and there, but I’d never properly trained or committed to anything outside of Ballroom and Latin.

My first real introduction to more formalised styles of dance came through school. There was a taster workshop delivered at our school, and I took part in that. It was through that workshop that I learned more about the CAT scheme in Leeds.

If it hadn’t been for that workshop, I probably wouldn’t have found out about it at all. That’s why I think it’s so important that we continue delivering those kinds of workshops and finding people through similar routes—it makes such a difference.

Reflecting back now, what did the CAT scheme teach you?

The CAT scheme taught me so much, especially in my early training. First and foremost, it allowed me to believe that it was possible for me to go to university and pursue a dance degree. Coming from a background in Ballroom and Latin dancing, which was very specific, CAT helped me formalise what I already knew about dance. It transformed that knowledge into a structured practice and a way of thinking—a sort of methodology, if we want to use a fancy term.

Before CAT, I hadn’t really considered what it meant to train in different techniques. It gave me a deeper understanding of what was required to develop as a dancer. The commitment of the programme was significant—not just in terms of time , but in terms of the structure it provided. That consistency was so important in shaping my practice and helping me see dance as something to invest in and develop over time.

Another major aspect was the exposure to leading industry professionals at such a young age. Looking back now, as someone who is deeply embedded in the sector, I realise how lucky we were to work with incredible people. It wasn’t just the regular tutors, but also the visiting professionals. Working with such high-calibre professionals gave me invaluable insight into the craft and what it means to be part of the dance world.

CAT also gave me lifelong connections. I made friends during that time, many of whom I’m still close with today. Some I’ve worked with professionally, and others I’m still connected to in different ways. Going through that four-year journey with a group of people taught me collaboration, teamwork, and how to understand my body in relation to others.

On a personal level, CAT helped build my confidence. I was a fairly confident kid, but I didn’t necessarily believe that someone like me—a working-class lad from York—could attend a prestigious dance institution. Being part of CAT at an internationally respected organisation like Northern allowed me to start seeing myself in that space.

By the time I auditioned for LCDSLaban when I was 18, I was fully prepared. The training I’d received at CAT from the age of 13 gave me a clear understanding of what to expect in those auditions. While college also provided me with additional skills, CAT gave me a significant head start and laid the groundwork for my future. Without it, I wouldn’t have been as ready or as confident to take that next step. It was absolutely brilliant.

Where did you go after CAT – what has been your career trajectory?

The CAT scheme played a pivotal role in shaping my career trajectory, providing me with foundational experiences and an early understanding of the dance sector’s breadth and complexity. At the time, I didn’t fully grasp the range of roles and pathways available within the arts, but the opportunities I had—working with leading practitioners, performing on professional stages, and engaging with a variety of organisations—gave me a rich and immersive education that continues to influence my work today.

Through CAT, I gained a deeper understanding of the dance ecology at a young age, even if I didn’t fully appreciate it at the time. For example, the showcases we participated in gave me early insight into the different roles required to bring a production to life—the facilitators and coordinators behind the scenes, the teachers shaping our skills, and the support staff ensuring everything ran smoothly. While I didn’t have the language then to describe these roles, looking back, I realise I was already being introduced to the principles of producing, arts administration, and management.

This awareness of the sector’s complexity informed many decisions I’ve made throughout my career. For instance, CAT exposed me to a wide variety of dance practices and structures—from independent artists and small collectives to large, nationally recognised touring companies. These early experiences helped me understand the differences between working with independent companies versus national portfolio organisations like Phoenix Dance Theatre. This knowledge has been invaluable in my role as a producer, where I now support artists and organisations across the sector.

One of the most significant ways CAT shaped my journey was by allowing me to explore my interests beyond performing. There was a point in my career where I knew I didn’t want to pursue life as a dancer, but I never saw that as a failure. On the contrary, I felt empowered by the skills and confidence CAT had given me. The training and knowledge I gained through the scheme enabled me to pivot towards producing with certainty and enthusiasm, knowing that I was still contributing meaningfully to the sector.

In fact, I’d go so far as to say that the experiences I had during CAT were so fulfilling that I never felt I was missing out by not continuing as a performer. The opportunities to perform on incredible stages, collaborate with talented peers, and experiment with creating work as a teenager felt, in many ways, like a mini-career in itself. By the time I was 21 and made the decision to focus on producing, I felt I had already achieved so much as a dancer and was ready to take on new challenges.

Looking back, I think one of the greatest gifts of CAT was how it demonstrated the diversity of careers within the dance sector. It taught me that being a performer or choreographer isn’t the only way to “make it” and that there are many roles—producers, educators, facilitators, administrators—that are equally vital to sustaining the dance ecology. This understanding has been key to my own career and something I now try to pass on to others.

Finally, CAT also gave me the privilege of performing on professional stages as a young person—places like The Riley and the West Yorkshire Playhouse (now Leeds Playhouse)—which was an incredible experience. Returning to those spaces as a producer and remembering what it felt like to perform there has been deeply rewarding. It’s a testament to the richness of the opportunities CAT offers, and I feel incredibly fortunate to have been part of a scheme that prepared me not just for a career, but for a lifetime in dance.

What are any of your future aspirations, where do you see yourself in the next 5 years?

In the next five years, I see myself continuing to grow within leadership roles, taking on spaces or organisations that actively drive change within the dance sector. At the moment, I’m incredibly happy with where I am at Chisenhale Dance Space. Running an organisation with such a rich legacy over the past 40 years is an honour, and the work we’re doing now—reimagining and transforming it into a future-facing space—feels incredibly impactful. A particular focus of mine is supporting marginalised, early-career artists, which is one of my favourite aspects of the job. It allows me to explore how we can reshape systems and ways of working to become more inclusive and better suited to nurturing young talent.

I feel strongly about creating spaces that support emerging artists who may not have access to the institutional frameworks and networks many of us rely on. Every year, there’s a new wave of 18-to-21-year-olds entering the sector, and I see it as my responsibility to ensure there are accessible, supportive pathways for them, especially for those from underrepresented or disadvantaged backgrounds.

Personally, I aspire to continue leading initiatives centred on artist development, which is where much of my current practice lies. My work involves shaping meaningful experiences for artists, much like the CAT scheme does for young people—only my focus is on early-career professionals rather than students. I’m passionate about creating opportunities for artists to thrive in their careers while also making the dance sector more equitable and accessible.

Dance is where my heart lies, but my practice has become increasingly interdisciplinary, drawing from theatre, visual arts, and more. This stems from the diverse and enriching experiences I had early on in my journey. However, my ultimate goal remains within dance—leading organisations that rethink who gets to be on stage, who has access to creative opportunities, and who defines what it means to be an artist.

Leadership excites me because it offers a chance to challenge outdated practices and envision a more inclusive and dynamic sector. I want to create spaces where artists, audiences, participants, and even casual consumers feel empowered and valued. Whether I’m running a large institution or a smaller organisation, my focus will always be on transforming the dance sector for the better.

I’ve been incredibly fortunate in my career—not just in the opportunities I’ve had, but in the support I’ve received. CAT was instrumental in this. It gave me a strong foundation and the confidence to navigate spaces like LCDS and to explore producing as a career path. Starting my training at a younger age through CAT gave me a head start, allowing me to develop the language and understanding needed to progress faster than I might have otherwise.

Inclusivity is central to my work, particularly supporting global majority artists, neurodivergent / disabled artists, and those from working-class backgrounds like mine. I often reflect on how much the financial support I received through CAT shaped my journey. It allowed me to embrace opportunities without the constant worry of where the money would come from, which is a privilege I don’t take for granted.

As a working-class professional, I know how rare it is for someone with my background to be in leadership roles like this at this stage of their career. That’s why I’m so passionate about making the industry as accessible as possible. I’ve also been lucky to have incredible mentors along the way who have provided me with the skills, insight, and courage to take on these responsibilities.

At the end of the day, this work is transformational—not just for the artists we support but for the sector as a whole. And while my mum still doesn’t entirely understand what my job is (a cultural barrier I may never overcome!), I know the impact we’re making is real and lasting.

You received financial support to study on CAT how did this help you?

The financial support I received to study on CAT was transformative. It allowed me to fully embrace the experience without the constant worry about money or where it was coming from. This made a huge difference, not just practically but emotionally—it freed me to focus entirely on developing my skills and making the most of the opportunity.

The environment at CAT was particularly special because financial backgrounds weren’t something that defined or divided us. Once we were in the studio, it wasn’t about who could afford what; it was simply about the work and the shared journey we were all on. That equality was empowering. It allowed me to feel like I belonged, to focus on the experience itself rather than any external factors.

Interestingly, I only really noticed the contrast when I moved into higher education. It was quite a shock to realize how few of us came from working-class backgrounds—myself and one other person, both boys who had been supported through programmes like CAT. In those spaces, the differences in financial and cultural backgrounds felt much more apparent. But at CAT, I didn’t feel “othered” or out of place, and that was crucial to my confidence and growth.

Having that financial support not only gave me access but also allowed me to fully commit. It felt prestigious to be part of CAT, not in a way that made me feel indebted, but in a way that motivated me to soak up every bit of knowledge and make the most of the experience. This foundation has had a lasting impact on my career and confidence—it’s no exaggeration to say that it was a turning point, providing me with the tools and belief to eventually take on leadership roles in the dance world.

What advice would you give to a young person who is interested in CAT?

If you’re a young person interested in CAT, my advice is simple: go for it! It’s a commitment, absolutely, but one that’s completely worth making. CAT is a truly unique programme, designed to provide young dancers with opportunities that are incredibly rare. It challenges you, expands your horizons, and equips you with skills that can shape your future—not just in dance, but in life.

I’d say the most important thing is to be a sponge. Soak up every bit of knowledge, experience, and feedback you can. Go in with an open mind and take every opportunity to learn. Even things that might not seem useful in the moment could end up being vital later on in your journey. It’s also important to stay open to being challenged. Be prepared to step out of your comfort zone. For me, coming from a ballroom and Latin background, CAT pushed me to unlearn, adapt, and grow. It can be uncomfortable at times, but those challenges help you develop a practice and style that’s truly your own.

When starting, go in without preconceptions about what it will be like. The experience is unique for everyone, and the more open you are, the more you’ll get out of it. Another key thing is to make the most of the community. You might not know anyone when you start, but you’ll make friends who could stay with you for life. Some of my closest friendships started at CAT, and those connections are priceless.

Lastly, don’t let fear hold you back. It’s natural to feel nervous about starting something new, especially if you don’t know anyone. But CAT is designed to be welcoming, supportive, and inspiring. The experience will shape you in ways you can’t imagine, so dive in with confidence.

As a male in dance, what advice would you give to other aspiring young male dancers?

My advice to other aspiring young male dancers would be to hold onto your passion and don’t let the opinions of others deter you. Growing up, I faced a lot of bullying for dancing. It was especially difficult in primary school, and it didn’t get much easier when I moved to secondary school. The teasing was often accompanied by stereotypes and assumptions about my sexuality, which is a tough burden for any young man to bear.

What made a real difference for me was finding a space where I felt seen and understood. Being part of CAT and having other boys around me—like Sam Baxter, who I developed a strong bond with, and Kaya Moore, who had a hip hop background—was incredibly important. Even if there was just one other boy in the group, that connection meant the world. It reminded me that I wasn’t alone, even when I was back at school, surrounded by people who didn’t really understand why I danced or what it meant to me. Those moments in the studio, surrounded by others who shared my love for movement, helped me build resilience and confidence.

My biggest piece of advice is to believe in yourself and your passion for dance, even when others might not understand or support it. It’s easy to fall into the trap of thinking that you should be playing football or pursuing something more traditionally ‘masculine,’ but if dance is what you love, then go for it. It can be daunting to be different, but know that there are countless other boys out there who have had similar experiences. Just meeting two or three of them and connecting over shared experiences can be powerful.

As I progressed, even at LCDS, there were still not many boys in my year, and few had the same life experiences I did. However, the confidence I gained through CAT, and the exposure to strong male role models, helped shape me into the man I am today. Seeing powerful, confident men in the dance world, who embodied various aspects of masculinity, was vital. They proved that you could be both masculine and vulnerable, strong, and sensitive, all while embracing dance as your art form. The dance world provided me with the role models and environment I needed to grow into my identity as a male dancer and artist, and I want other young male dancers to know that they can find that, too.

We are celebrating 20 years of CAT – what difference do you think the scheme has made to the UK dance landscape?

Celebrating 20 years of CAT (Centre for Advanced Training), it’s clear that this scheme has made a profound impact on the UK dance landscape. For me, and many others, CAT has been more than just a training programme; it’s been a lifeline and a launchpad. It’s provided opportunities that helped me push past challenges and develop the resilience needed to build a career in dance. The scheme’s influence goes beyond training to create a supportive, inclusive environment where young dancers can connect, learn, and grow.

One of the most powerful aspects of CAT is that it offers a space where young people can find their tribe. For male dancers, especially, it’s crucial to see others who share the same passion and face similar struggles. Growing up, I faced bullying for dancing, and the negative stereotypes around male dancers and their sexuality made it even more difficult. CAT played a significant role in giving me the confidence to continue. Meeting others who understood and valued dance as much as I did, and who were experiencing similar challenges, helped me feel less alone. Those relationships and connections were vital and have lasted well beyond the programme itself.

As more CAT graduates move into prominent roles within the dance industry, the influence of the programme is becoming even more evident. While I am not about to suggest that CAT graduates are inherently better artists, it would be interesting to see if there is a correlation between CAT training and continued success within the sector. It’s clear that programmes like CAT are integral in creating a diverse and well-rounded dance community, one where more people see themselves represented and supported. This helps make the field more inclusive and reflective of the broader society.

I believe CAT’s lasting effect is seen in the opportunities it provides and the confidence it builds. It allows dancers to grow up knowing that there is a place for them in this world, that they can pursue their passion without compromise, and that their path, however unconventional, can lead to a successful career. For me, being part of CAT accelerated my journey, gave me a clearer vision of my potential, and equipped me with the tools to make meaningful contributions to the arts.

Is there anything else you would like to tell us about CAT or yourself?

Reflecting on my journey, CAT was the initial catalyst that set me on my path. It provided a nurturing environment that not only supported my growth as a dancer but also sparked my interest in leadership roles within the arts. The structured training and support at CAT laid the foundation for the confidence and skills needed to move beyond being just a performer. It taught me that success is about taking ownership of your trajectory and seeking opportunities aligned with your long-term goals.

After CAT, I attended London Contemporary Dance School (LCDS), where I developed a deeper understanding of dance and professional practices. However, it was during this time that I realised my passion extended beyond dance; I was drawn to leadership and strategic roles in the arts. This shift wasn’t only about career longevity but also stemmed from my desire for autonomy and the drive to shape my own career. The more I was directed in my actions, the clearer it became that I wanted to be in control, and that realisation was pivotal for me.

Moving into producer roles was a natural progression. My first position as Assistant Producer at The Place gave me hands-on experience in event management, curation, and artist support. Freelancing after that allowed me to expand my skills further, running my own company and collaborating with different organisations. This journey led me to my current role at Chisenhale Dance Space, where I now apply my experiences to support artists and contribute to the dance community locally and nationally.

A significant aspect of my growth has been continuous professional development. CAT introduced me to the idea that investing in oneself and one’s practice can lead to substantial personal and professional transformation. It taught me that true growth comes not only from structured education but also from dedicated self-investment. This mindset has driven me to pursue additional courses and leadership training throughout my career, fostering a proactive approach to my work and career path.

I believe in the value of self-investment and active career shaping, whether as an artist, a leader in the cultural sector, or in any other profession, taking ownership of one’s practice builds resilience and confidence. The autonomy gained through programmes like CAT is essential not just for thriving as an artist but for sustaining a fulfilling career.

I hope CAT students understand that, whether they continue in dance or take another path, the foundation they build through this programme equips them to take control of their futures and face challenges with confidence. My experience with CAT was transformative, giving me a sense of belonging, support, and the belief that I could navigate and succeed in new environments. It was more than training—it was a community that nurtured my growth and instilled in me the self-belief to face challenges and seize opportunities.