Performance booking · Corporate, festival and private dates
Each act is priced per performance with its cast and its length, the lead time is stated as policy, and the stage requirements are published before a date is held.
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What we perform
Every act is a fixed piece with a stated cast and a stated running time. A programme is built from these acts, and the running order goes to you in writing before the date — a piece that runs forty seconds long costs the client the rest of their agenda.
| Act | Cast | Length |
|---|---|---|
| Solo | 1 dancer | 3–5 minutes |
| Duo | 2 dancers | 4–6 minutes |
| Group piece | 3–6 dancers | 5–8 minutes |
| Stage set | 6–12 dancers, two or three pieces | 10–20 minutes, with a two-minute reset if the venue wants one |
| Festival showcase | 14–20 dancers, mixed programme | 30–45 minutes across two sets |
| Walkabout or flash mob | 4–20 dancers, unamplified | 3–5 minutes, repeated up to four times |
What we will not do: an act shorter than three minutes, a performance on a wet or polished outdoor surface, or a set that has not been rehearsed in the space it will be danced in. A programme that needs a shorter act needs a piece written for it, which is a rehearsal week rather than a cut to the running order.
By audience size
Cast size follows from how far the last row is from the floor, not from the budget. These are the bands we quote from, and a floor plan or a site check confirms which one your venue actually is.
| Audience | Cast | Programme |
|---|---|---|
| Up to 100 guests | 4–6 dancers | Two pieces, 10–12 minutes in total |
| 100–200 guests | 6–10 dancers | A 15–20 minute stage set |
| 200–500 guests | 8–12 dancers | Three pieces with one costume change |
| 500+ or a festival stage | 14–20 dancers | Two sets of 20 minutes, or a 30–45 minute showcase |
| Walkabout, no stage | 4–6 dancers | Repeated three-minute pieces through the reception |
More dancers do not automatically read better from the back of a ballroom. What reads is spacing, contrast and a piece written for the number of people in it — so if your room is smaller than the band suggests, we will say so rather than sell the larger cast.
What a booking is
The acts are the same. What changes is the room, the audience, and how much of the programme you buy.
A stage set inside a programme you already run, timed to your run-sheet, with a technical check in the venue on the day.
Ask about a corporate date ↗Per setA 20-minute set or a 30–45 minute showcase, with the larger cast and the full costume inventory.
Ask about a festival slot ↗Per showA shorter programme for a reception or a dinner: usually two pieces and a walkabout between courses.
Ask about a private date ↗| Inside every fee | What it means |
|---|---|
| The dancers | The cast named for your date, with a standby dancer who has rehearsed the same piece |
| Choreography and rehearsal | Rehearsals happen before the date; a rehearsal in your venue is a line on the quote if you want one |
| Costumes and music | Costume, spare costume and the edited track, supplied as a file that fits your run-sheet |
| Travel within the zone | Both ways inside the city zone stated on the quote, with the cast arriving before the get-in time |
| The technical check | Load-in, sound check and a marking of the programme in the space before the audience is in |
| Images for your programme | Two stills and the cast list for your own screens or printed programme, sent three weeks ahead |
What moves the figure is named rather than implied: the cast size, a second set on the same day, an extended get-in, travel beyond the zone, weekend and December dates, and anything the venue requires beyond the rider. Each one is a line on the quote, and the floor the quote starts from is the single-act figure in the pricing table below.
Will it work in your venue
This is the list we send with every quote. A venue that cannot meet it is a venue we will not perform in, and it is far better to establish that now than on the afternoon of the show.
A flat, level area at least 6 m wide by 4 m deep, clear of furniture, cabling and glassware, with a non-slip surface. On a stage, the same 4 m of depth, with the front line of the area visible from the back row.
Level access or a lift to the performance level, doors at least 1.2 m wide, and a loading point or parking bay within 30 m for the fifteen minutes at the start of the get-in.
60 minutes before doors for a stage set and 90 minutes for a showcase, with the technical check inside that window rather than added to it, plus 30 minutes to clear afterwards.
One balanced stereo line from our player into your desk, one monitor facing the cast, and two 13-amp power points within 5 m of the performance area. Everything we bring is tested; everything we plug into is yours.
No rig and no specials. We ask for the performance area to be lit evenly from the front, and for the house lights not to drop below working level while dancers are on the floor.
We do not perform in rain, on a wet or polished surface, or in wind strong enough to move a costume. An outdoor date needs a covered alternative ready at the same time, or a decision point two hours before the show.
One room with power, seating and water for the cast, close enough that a costume change fits inside the interval. If there is no room, tell us and the programme is built around a change made in the wings.
Who is on stage
The cast list goes out with the confirmation: who dances, who is on standby, and who leads the rehearsal. A dancer injured in the final week is replaced by a standby who has rehearsed the same piece, never by someone learning it on the day.
Illustrative concept policy. The troupe shown is fictional.A booking travels with a production lead who runs the get-in, cues your desk and calls the programme, plus a wardrobe hand once the cast is over eight. Between them they hold the run-sheet, the music and the spare costume.
Illustrative concept structure.Ask for three documents before you confirm: the certificate of insurance covering your date, the checks that apply to performers working with children if your event involves them, and a risk assessment for the act. We state which of those apply to your booking and which we do not carry, instead of listing an accreditation that cannot be produced on request.
Illustrative concept policy. Nothing on this page is a certification claim.Per show, per act
Priced by the act rather than by the hour, because the cost is the cast, the costumes and the rehearsal time. The second table names the conditions that move the first one.
| Act | Cast | From |
|---|---|---|
| Solo one dancer, one piece | 1 | S$900 |
| Duo | 2 | S$1,400 |
| Group piece | 3–6 | S$2,200 |
| Stage set 10–20 minutes, two or three pieces | 6–12 | S$3,800 |
| Festival showcase 30–45 minutes, two sets | 14–20 | S$6,500 |
| Walkabout or flash mob repeated three-minute pieces | 4–6 | S$1,800 |
| Condition | How it changes the fee |
|---|---|
| Travel beyond the city zone | A stated charge per vehicle each way, quoted with the distance before you confirm the date |
| A second set on the same date | The act price again, at a lower rate because the cast is already on site |
| A longer get-in or a venue rehearsal | Charged per hour beyond the rider window, for the cast and crew on site |
| Extra dancers | A per-dancer rate for the act, when the audience or the stage asks for more people than the act was written for |
| Weekend, public holiday or December | A date premium stated as a percentage of the act price on the quote |
| Anything the venue requires beyond the rider | Quoted as its own line: risers, a stage manager, security, a rehearsal day, a broadcast feed |
The floor is the solo line above: no date is quoted below it, because that is what it costs to put one dancer and the crew in front of a paying audience and get them home again. Costumes, music, the spare costume, the standby dancer and the quote itself are not charged. A date held without a deposit is held for seven days.
Format one
A twelve-minute programme inside a corporate run-sheet: a group piece at the top of the evening, a solo during the awards, and the cast off the floor before the closing speech. The work is in the timing rather than the dancing, and the timing is agreed line by line with whoever runs the run-sheet.
Illustrative brief: 300 guests, a hotel ballroom, a 6 m stage, a 60-minute get-in at 4pm, house sound and one monitor. Two pieces, one costume change, cast of eight. This is a booking format, not a record of any client or completed engagement.
Format two
A thirty-minute showcase on a public stage: a twenty-minute set, a ten-minute reset, then a second set with the full cast. Outdoors needs the wet-weather decision point written into the schedule, and the get-out has to be finished inside the venue’s curfew rather than argued about after it.
Illustrative brief: a festival stage, a 20-minute set plus a second set, cast of 16, 90-minute get-in, mixed programme with one costume change. This is a booking format, not a record of any festival or client.
One class in the right age group, with no kit to buy.
Monthly, with plain notice terms for stopping.
When the coach says you are ready — and you can decline.
Competition, a higher grade, or training for its own sake.
Lead time, then the process
Lead time is the first question an organiser has, so it is answered first. A single act on a weekday needs four weeks. A stage set needs six to eight. A festival showcase, a December date or anything outdoors needs ten to twelve, because the cast, the costumes and a rehearsal room have to be held at the same time. An enquiry is answered within two working days, and a date that we say is free is held for seven days while you decide.
You send the date, the venue, the audience size and the occasion. Output: a reply within two working days saying whether the date is free and which acts suit the room.
Start with the dateThe act, the cast and the running order, priced with the multipliers named. Output: a written quote with the inclusions, the exclusions and the lead time your date allows.
The stage, power, access and backstage room checked against the rider. Output: a rider signed off in writing, or a named list of what the venue must provide.
The date is held for seven days at no charge. Output: a confirmation listing the cast by name, the programme, the get-in time and the deposit terms.
Rehearsals happen off site; the rehearsal in your venue is the technical check inside the rider window. Output: the edited music file, the running order and the costume list, sent three weeks before the date.
Get-in, technical check, performance and get-out. Output: two stills, the cast list and a short description written for your own programme, screens or post-event report. Approving that copy is your decision, not ours.
An organiser’s view
“They sent the rider before we asked for it, told us the stage was 40 cm too shallow for the larger cast, and quoted the smaller programme instead.”
Corporate launch night · sample story
Sample story. Not a real customer review.Before you book
Check the rider: a flat area at least 6 m by 4 m, level access or a lift, 60 of 90 minutes for the get-in depending on the act, one stereo line into your desk, one monitor, and a room for the cast to change in. If any of those is missing, say so early and we will either adjust the programme or tell you the date cannot work. Neither of those answers should arrive in the week of the show.
Four weeks for a single act on a weekday, six to eight for a full stage set, and ten to twelve for a festival showcase, a December date or anything outdoors. The constraint is not the dancers, it is holding the same cast, the costumes and a rehearsal room at the same time. A date inside four weeks is worth asking about anyway: cancellations happen, and if we cannot take it we will say so on the same day.
The fee covers the named cast, the choreography and the off-site rehearsals, costumes and the spare costume, the edited music, travel inside the zone, and the technical check before doors. What can be added is a second set, a longer get-in, extra dancers, travel beyond the zone, a weekend or December date premium, and anything the venue wants beyond the rider. Each of those is a line on the quote, not a surprise on the invoice.
The standbys named on the confirmation have rehearsed the same piece, so the programme runs as agreed. If an act genuinely cannot be performed, you hear it as soon as we know it and the fee for that act is removed rather than replaced with something you did not buy. We do not send a substitute who will learn the piece on the day.
Only on a dry, non-slip surface, and only with a covered alternative agreed in advance or a decision point two hours before the show. Wind that moves a costume changes the act, and rain ends it. If the venue cannot offer either the cover or the decision point, plan the programme indoors.
The production lead on duty answers, in the order the dates fall, so a date inside four weeks is answered first with a yes or a no. The reply time is two working days, the quote names the cast and the multipliers, and a free date is held for seven days without a deposit while you take it to whoever approves the budget.
Start with a date
Enquiries reach the production lead on duty and are answered in the order the dates fall, so a date inside four weeks is answered first with a yes or a no, and a date further out gets a suggested programme with the quote. Include the stage size and whether it is indoors: those two facts decide which acts are worth quoting.
Concept only. Nothing is sent or booked.