Jules Beckman, is an American interdisciplinary performing artist and teacher living in France since 2002. He has been making work collaboratively, teaching, and touring steadily in contemporary dance, performance and new circus since 1987. Currently (2014) collaborations include : Jan Lauwers/Needcompany, Dégadézo, Passaros, and his solo Pleasure Test with libertivore. Beckman co-created Autochtone, with Collectif AOC/Karin Vyncke (2009 – 13) ; co-founded, libertivore with Fanny Soriano (2005); joined I.D.A./Mark Tompkins (2005 – 08) ; collaborated intensively with Cahin-caha, cirque bâtard (1998 - 2005); Lhasa De Sela (1999 - 2000), Core (1995-98) and Contraband/Sara Shelton Mann (1987-95), Keith Hennessy (1987 - 2009). Beckman worked for Anna Halprin several times in both performance and pedagogical contexts (1990 – 96), as well as Zaccho/Joanna Haigood (1996-98) and as Meg Stuart's musician for teaching (2012). In 1995, Beckman was offered roles in both Stomp and Blue Man Group and joined the collective Core, with Jess Curtis, Keith Hennessy, Stanya Kahn and Stephanie Maher. As of autumn 2012, Beckman’s collaborations include twenty full-evening original works and several shorter pieces.

Jules Beckman has taught throughout the USA, in Europe, Russia, Mexico and Japan in studios and schools including, Centre National des Art du Cirque (France), DOCH, University of Dance and Circus (Stockholm, Sweden), Canaldanse (Paris), MADE in France (a Washington University Performing Arts Department summer study program), Connecticut College, Prescott College (AZ), New College of California (San Francisco), and several Contact Improvisation Festivals including Grenoble, Barcelona, Moab, Budapest, Freiburg, Ibiza.

Beckman’s first collaboration with Needcompany takes place in fall 2014 during Just for Bozen | Bolzano in Transart14 and All Tomorrow’s Parties, the opening of Steirischer Herbst (Graz). In 2015 he’ll be replacing Emmanuel Schwartz in Jan Lauwers’ Marketplace 76. Beckman is also part of the cast of The Blind Poet (2015). In 2019 and 2020 you'll see him on stage in All the good by Jan Lauwers and in Probabilities of Independent Events by Grace Ellen Barkey. <

From 1982 to 1986 the Dutch Anna Sophia Bonnema studied at the theatre school in Amsterdam. She staged several plays and also wrote a great many, including De bomen het bos, staged with the Nieuw West theatre company, and Tegenmaat. Since 1995 she has worked with Hans Petter Dahl in the L & O Amsterdam performance group. They have created several pieces including the love show Tantra & Western(1995), What have you done with my poem? - Sing-Dance #1 (1996), Made in Heaven – Sing-Dance #2 (1997), Attention - Sing-Dance #3 (1998) and the multidisciplinary performance Post coïtum omne animal triste est (1999), with a different improvising dancer every night. For these projects they worked with people from several disciplines such as Liza May Post (visual artist), Oyvind Berg (writer), Tom Jansen (actor) and improvising dancers including David Zambrano, Laurie Booth, Eva Maria Keller and Michael Schumacher. In 1997 they did a coproduction with Bak-Truppen called Good Good Very Good. As a duo they created the performances Nieuw Werk (2001) and Shoes and Bags (2003). The latter was made on the occasion of the opening of their virtual house for fashion, art and concepts, MaisonDahlBonnema. In 2005, they made their thoughtful piece Not The Real Thingtogether with Robert Steijn (as performing dramaturg). Their latest pieces, The Ballad of Ricky and Ronny – a pop opera (2007), Ricky and Ronny and Hundred Stars - a Sado Country Opera(2010), Analysis - the Whole Song (2011), Rhythm Conference Feat. Inner Splits (2014), The Moon (2016) and Yoga for Theatres (2019) receive production support from Needcompany.

In No Comment (2003) she replaced Carlotta Sagna. She has written several texts, including pieces for All Tomorrow’s Parties, Needlapb and The Liar’s Monologue for Isabella’s room (2004).

Needcompany’s King Lear (2000) was Anna Sophia Bonnema’s first production with Jan Lauwers. Since then she has also appeared in Images of Affection (2002), Goldfish Game (2002), The Lobster Shop (2006), The Deer House (2008), Caligula (2012), Marketplace 76 (2012), Needlapb, The House of Our Fathers, Just for Bozen | Bolzano, All Tomorrow’s Parties, for the opening of Steirischer Herbst (Graz) and The blind poet (2015).<

From 1987 to 1995, Hans Petter Dahl worked with the Norwegian company Bak-Truppen. In 1995, together with Anna Sophia Bonnema, he founded the L & O Amsterdam performance group. They have created several pieces including the love show Tantra & Western, What have you done with my poem? - Sing-Dance #1 (1996), Made in Heaven – Sing-Dance #2 (1997), Attention - Sing-Dance #3(1998) and the multidisciplinary performance Post coïtum omne animal triste est(1999), with a different improvising dancer every night. For these projects they worked with people from several disciplines such as Liza May Post (artist), Oyvind Berg (writer), Tom Jansen (actor) and improvising dancers including David Zambrano, Laurie Booth, Eva Maria Keller and Michael Schumacher. In 1997 they did a coproduction with Bak-Truppen called Good Good Very Good. As a duo they created the performances Nieuw Werk (2001) and Shoes and Bags (2003). The latter was made on the occasion of the opening of their virtual house for fashion, art and concepts, MaisonDahlBonnema. In 2005, they made their thoughtful pieceNot The Real Thing together with Robert Steijn (as performing dramaturg). Their latest pieces, The Ballad of Ricky and Ronny – a pop opera (2007), Ricky and Ronny and Hundred Stars - A Sado-Country Opera (2010), Analysis - the Whole Song (2011), Rhythm Conference Feat. Inner Splits (2014), The Moon (2016) and Yoga for Theatres (2019) receive production support from Needcompany.

In No Comment (2003) he was one of the six composers. He also composes music for Needlapb, for Isabella’s room, The Lobster Shop, The Deer House and Market place 76.

It was in Needcompany’s King Lear (2000) that he first worked with Jan Lauwers. Since then he has also appeared in Images of Affection (2002), Goldfish Game (2002), Isabella’s room (2004), The Lobster Shop (2006), The Deer House(2008), Caligula (2012), Marketplace 76 (2012), Needlapb, The House of Our Fathers, Just for Bozen | Bolzano, All Tomorrow’s Parties, for the opening of Steirischer Herbst (Graz) and The blind poet (2015).<

Misha Downey was born in Leicester in England. He trained at the London Contemporary Dance School from 1989 to 1992. Afterwards he co-founded the Bedlam Dance Company, which was led by the choreographer Yael Flexer. He worked with the Adventures in Motion Pictures (AMP) dance company on The Nutcracker and danced for the Harlemations Dance Company led by the choreographer Bunty Mathias. In January 1994 he joined Anne Teresa De Keersmaeker’s Rosas dance company, where he took part in the creation of Kinok and Amor constante más allá de la muerte, as well as being involved in the revival of Toccata. Before he joined Needcompany, he also danced Swan Lake (1996) for the choreographer Matthew Bourne. In 2000 Downey co-founded the Belgian company Amgod for which he created and performed in What Do You Want? (2001), Second Album (2003) and As Simple As That (2005). In 2005 he danced in Flesh and Blood by Lea Anderson’s Cholmondeleys in the UK. He also worked in Switzerland for the Gisela Rocha Company.

The first Needcompany production Misha Downey danced in was Grace Ellen Barkey’s Rood Red Rouge (1998), later he also appeared in Few Things (2000),The Porcelain Project (2007) and This door is too small (for a bear) (2010). His collaboration with Jan Lauwers started when he acted in the rerun of Caligula (1998). Later he appeared as an actor and dancer in Morning Song (1999), Needcompany’s King Lear (2000), Goldfish Game (2002), Images of Affection (2002), The Deer House (2008) and The art of entertainment (2011). In Isabella’s room Misha Downey replaces Ludde Hagberg.<

Julien Faure, born in France, studied performing arts at INSAS in Brussels from 1995 till 1998. After his studies he worked with Pierre Droulers on Multim in Parvo (1998) a creation for the KunstenFESTIVALdesArts. As from 1998 he worked with Karin Vyncke, Julie Bougard, Jean-François Duroure and Cie Osmosis. In 2001 he created his first choreography Stamata #1-Et si demain voit le jour.

(AND) (2002), by Grace Ellen Barkey, was his first production with Needcompany. He replaced Timothy Couchman in Images of Affection (2002). In addition to this he also appeared in Isabella’s room (2004), The Lobster Shop (2006), The Deer House (2008), The art of entertainment (2011), Marketplace 76 (2012),Needlapb, The House of Our Fathers and Just for Bozen | Bolzano by Jan Lauwers and Chunking (2005), The Porcelain Project (2007), This door is too small (for a bear) (2010), MUSH-ROOM (2013) by Grace Ellen Barkey.

In fall 2014 he took part in Just for Bozen | Bolzano in Transart14 and All Tomorrow’s Parties, for the opening of Steirischer Herbst (Graz).<

Born in London Hounslow in 1975, Nicolas Field arrives in Switzerland at age 6 and grows up between Basel and Geneva. He starts playing the drums at 12 and starts discovering over the years the massive potential of the instrument. Aged 20, he moves to The Netherlands to study drums and percussion at the Amsterdam Conservatorium (1996-2002) and sonology at The Hague Conservatorium. He has among others Joel Ryan as a teacher and starts experimenting, during those years, multiple musical techniques with a permanent urge to create new soundscapes and sound masses with drums and or electronics.

Since early 2000, he starts travelling through Europe as a drummer with different bands (improvised music, contemporary music and jazz). Over time and tours, Nicolas Field collaborates with musicians such as Tetuzi Akyama (guitar), Anders Hana (guitar), Akira Sakata (saxophone), John Hegre (guitar), Otomo Yoshihide (guitar), Keiji Haino (guitar), the band Cactus Truck, Didi Bruckmayr (vocals), Jacques Demierre (piano), Fritz Welch (drums/vocals) as well as the Rova Saxophone 4tet. His musical projects include or have included “Buttercup Metal Polish” with drummer percussionist Alexandre Babel, “Le Doigt de Gallilée” with Jaime Fennelly, “Phô” with Bjørnar Habbestad and Morten J. Olsen, “Cask Strength” with electronicist Jeff Carey, “Aethenor”, “The Same Girl” with Gilles Aubry, a duo with saxophonist Keir Neuringer and his own solo project “Dovetailed”… He also is a founding member of the “n-collective”.

In parallel, since 2008, Nicolas Field started building his first visual art works, taking the shape of sound installations.

Finally, since 2006, Nicolas Field has been working for dance and theater. In 2014, he works on a new production with Needcompany and Maison DahlBonnema “Rhythm conference feat. InnerSplits”. He has received multiple awards and was artist in residence at the Swiss Institute in Rome in 2010-11, AirAntwerpen 2011 and Johannesburg South-Africa 2015.

In 2016 he is part of O, or The Challenge Of This Particular Show Was To Have Words Ending In O, a performance by Maarten Seghers in confrontation with Fritz Welch, Simon Lenski and Mohamed Toukabri. In 2018 created Concert by a Band Facing the Wrong Way together with Maarten Seghers and Rombout Willems.<

Yumiko Funaya was born in Japan and studied dance at the Japan Woman’s College of Physical Education in Tokyo (2002-2004). In 2004 she entered P.A.R.T.S. contemporary dance school.

She started working with Jan Lauwers & Needcompany for the creation of The Deer House (2008) and is a member of the cast of The art of entertainment (2011), Marketplace 76 (2012) and The House of Our Fathers. In Isabella’s roomshe replaces Louise Peterhoff. In The Porcelain Project by Grace Ellen Barkey, she replaced Taka Shamoto. She also appears in Barkey's MUSH-ROOM (2013).<

Benoît Gob studied painting at the academy of art in Liège and then continued studying at INSAS in Brussels. In 1998 he joined Wim Vandekeybus’ dance company Ultima Vez and danced in several productions including The day of heaven and hell, In spite of wishing and wanting and Inasmuch as life is borrowed.

He collaborated for the first time with Needcompany in (AND) (2002) by Grace Ellen Barkey. He replaced Dick Crane in Images of Affection (2002). In addition to this he also appeared in Isabella’s room (2004), The Lobster Shop (2006), The Deer House (2008), The art of entertainment (2011), Marketplace 76 (2012), The Blind Poet (2015) and The House of Our Fathers (2016) by Jan Lauwers and Chunking (2005), The Porcelain Project (2007), This door is too small (for a bear) (2010), MUSH-ROOM (2013) and Odd? But True! (2013) by Grace Ellen Barkey.

In fall 2014 he took part in Just for Bozen | Bolzano and All Tomorrow’s Parties, the opening of Steirischer Herbst (Graz).

In War and Turpentine (2017) Benoît Gob plays the role of Sergeant Major Urbain Joseph Emile Martien. And in 2019 he is Jan Lauwers' alter ego in the performance All the good. <

Ludde Haberg, born in Sweden, studied dance at the Swedish Ballet School. He worked for several years with The Royal Swedish Ballet (1991-1995) and afterwards with Carte Blanche (1995-1999) in Norway. As a freelancer, he collaborated in several projects by Jens Östberg, including Billy’s dream (1999), Playhouse (2000) and The Musical (2000). He worked with Zero Visibility Corp (Confession time, 2001) and composed the music for Swing for a lifetime (2001) by Louise Peterhoff and Lisa Östberg. Lately his interest has moved more to theatre. He performed in Andromaque (2002) by Mats Ek and in Seven Imperatives (2003) by Ingun Björnsgard. As a dancer and music composer he has been touring in Blind me (2003) with K. Kvarnström co.

In Isabella’s room (2004), Ludde Hagberg works together with Jan Lauwers for the first time. He replaced Kosi Hidema in (AND) (2002) by Grace Ellen Barkey.<

Sung-Im Her is born in South Korea. She studied contemporary dance at Han-Sung University in Seoul and then worked with JI-Gu dance theater for 6 years. She came to Belgium in 2004 for choreography studies (3rd and 4th year) at P.A.R.T.S. contemporary dance school.

In 2006 and 2008 she worked with Jan Fabre (Troubleyn). She performed the solo piece Quando l’uomo principale e une donna and Je suis sang. In 2007 she went to Geneva to work with the company Alias. In parallel, she started to develop personal work as well. She joined Les Ballets C de la B (Koen Augustijnen) in 2008, collaborating and performing in Ashes.

She started working with Grace Ellen Barkey & Needcompany for the creation of This door is too small (for a bear) (2010), MUSH-ROOM (2013) and Odd? But True! (2013). Sung-Im replaces Tijen Lawton in Isabella’s room and performs inMarketplace 76 (2012), The House of Our Fathers and Begin the Beguine (2014) by Jan Lauwers.

In fall 2014 she takes part in Just for Bozen | Bolzano in Transart14 and All Tomorrow’s Parties, for the opening of Steirischer Herbst (Graz). In 2019 she's Grace Ellen Barkey's choreographic assistant for Probabilities of Independent Events. In this performance she is also on stage.

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After her Plastic Arts studies, Muriel Hérault – born in France – took dance courses in the Faculté de Danse, at the University Paris IV Sorbonne from 1983 to 1986. Then she followed classes at the Centre National de Danse Contemporaine d'Angers from 1986 to 1988. Since 1988 she has performed in several productions by Ultima Vez under the choreographer Wim Vandekeybus. She danced in What the body does not remember (1988), Les porteuses de mauvaises nouvelles (1989), The weight of a hand (1990) and in the film Roseland (1990). Between 1990 and 1992 she worked with Rosas, Anne Teresa De Keersmaeker’s dance company, on the creation of Erts and Mozart / Concert Arias “Un Moto di Gioia” and she was involved in the revival of Achterland and Rosas danst Rosas. She worked with Amgod as artistic assistant on the creation of Second Album (2003). In 2004 she worked as artistic assistant and was later responsible for the artistic aspects of the revival of Les porteuses de mauvaises nouvelles together with Wim Vandekeybus and Eduardo Torroja, produced by Ultima Vez in collaboration with Companhia Instável.

In 1993 she started working for Needcompany and appeared in Jan Lauwers' Orfeo (1993), Snakesong/Le Voyeur (1994) and Needcompany’s King Lear (2000). Later she started working with Grace Ellen Barkey. She performed in Tres (1995), Stories (Histoires/ Verhalen) (1996), Rood Red Rouge (1998) and Few Things (2000). In Isabella’s room, by Jan Lauwers & Needcompany, she is temporarily standing in for Louise Peterhoff.<

Romy Louise Lauwers studied dance at secondary arts school in Brussels. She has already worked with Inne Goris on Naar Medea (2008), with Peter Seynaeve onmondays (2010) and betty & morris (2011) and with Abattoir Fermé onApocalypso (2012). She has also acted in Patrick Toye’s feature film Little Black Spiders (2012).

Romy Lauwers is a founding member of the art collective Kuiperskaai: De Schepping (2013), The Goldberg Chronicles (2014), The Winter's Tale (2016), 1095 (2017), Hamlet (2018) et Breugel (2019).

Marketplace 76 (2012) is her first production with Jan Lauwers. She takes also part in his installation The House of Our Fathers. She replaces Yumiko Funaya in Grace Ellen Barkey's MUSH-ROOM. In fall 2014 she takes part in Just for Bozen | Bolzano in Transart14 and All Tomorrow’s Parties, for the opening of Steirischer Herbst (Graz).

In 2018 Romy Lauwers replaces Mélissa Guérin in War and Turpentine and in 2019 she's on stage with the whole Lauwers-Barkey family in All the good. <

Lot Lemm has worked at Needcompany since 1993. She initially started as costume designer on various productions including Le Voyeur (1994), Le Pouvoir (1995), Needcompany’s Macbeth (1996), Le Désir (1996), Caligula (1997), The Snakesong Trilogy (1998), Morning Song (1999), Needcompany’s King Lear (2000), Images of Affection (2002), Goldfish Game (langspeelfilm, 2002), No Comment, Isabella’s Room (2004) and The Lobster Shop (2006), The Deer House (2008), The art of entertainment (2011), Marketplace 76 (2012), Begin the Beguine (2014) The blind poet (2015), War and turpentine (2017) and All the good (2019) all by Jan Lauwers, and All is Vanity (2006) with Viviane De Muynck.

When it comes to Grace Ellen Barkey’s productions, her involvement increases with each one. She started as a costume designer on Tres (1995), Stories (1997), Rood Red Rouge (1998) and (AND) (2002). On the productions Few Things(2000), Chunking (2005), The Porcelain Project (2007), This door is too small (for a bear) (2010) and MUSH-ROOM (2013), Odd? But True! (2013) and Forever (2016) she also defines the stage setting. In 2004, as a result of their close artistic collaboration, Grace Ellen Barkey & Lot Lemm set up the Lemm&Barkey label.<

Simon Lenski studied the cello at the Conservatoire in Antwerp. He is a cofounder of Die Anarchistische Abendunterhaltung (DAAU). In 1994 DAAU issued its first album. They have now brought out six albums and have toured the world, performing as the supporting act for Björk, Tortoise, Sixteen Horsepower and others. In addition, Simon Lenski has collaborated with andcompany&Co, EISBÄR, Wunderbaum, Meg Stuart/Damaged Goods and Wim Vandekeybus, and is much in demand as a guest musician. He has composed music for three feature films, including Pieter Van Hees’ ‘Waste Land’ (2014).

Simon Lenski started the collaboration with Needcompany with the performance O or The Challenge Of This Particular Show Was To Have Words Ending In O (2016) by Maarten Seghers & Needcompany. Later, he joined the cast of War and Turpentine (2017) and All the good (2019) by Jan Lauwers & Needcompany.<

Elik Niv is a dancer, performer and choreographer. He was born in Israel and studied dance at the Sadana Performing Arts School in Kibbutz Ga’aton. After his studies, he worked with the choreographers Susanne Linke, Josef Tamim and Rami Levi, as well as with the Moza and Vertigo companies in Israel.

In 2005, Elik Niv moved to Germany where he worked at the Oldenburg Staatstheater, Komische Oper Berlin and Nir De Volff. From 2009 until 2015, he was a member of and rehearsal manager at Constanza Macras/Dorkypark. From 2013 until 2017, he was a guest performer with Sasha Waltz & Guests. In 2017 he worked as a rehearsal manager for the French theatre director Pascal Rambert in a social theatre project in Jaffa.

In parallel, Elik Niv developed his work as choreographer (on his own creations and joint projects) in Berlin (Dock 11 and the Deutsche Oper Berlin, in collaboration with the director Deville Cohen), in Paris (Theatre de Vanves) and in Israel (Arab Jewish Theater), as well as teaching at the Nissan Nativ Acting Studio and professional dance companies in Europe and Israel.

In 2017, Elik Niv joined Jan Lauwers & Needcompany for ‘War and Turpentine’. As from 2019 he is also on stage in All the good. <

Louise Peterhoff, born in Sweden, studied dance at The Royal Swedish Ballet School and theater at Stockholm Academy of Dramatic Arts. She started working with The Royal Swedish Ballet in contemporary and classical repertory (1997-1998). For several years she worked with a variety of directors and choreographers including Jens Östberg (Billy’s dream, 1999 Play House, 2000), Irene Hultman (Cascade, 2000), Philippe Blanchard (Airbag, 2000 Noodles, 2003),Jan Fabre and Troubleyn (Je suis sang 2003), Gunilla Heilborn (The Potatocountry and the film Alaska 2008). She has made several appearances in Swedish TV such as award winning series SPUNG.

Isabella’s room (2004) was the first production in which Louise Peterhoff worked together with Jan Lauwers & Needcompany. Chunking (2005) was her first venture together with Grace Ellen Barkey & Needcompany. In 2007 she was the lead singer in the band ‘The Ideal Husband’. In 2010 she performs for the first time in a MaisonDahlBonnema production, Ricky and Ronny and Hundred Stars – a sado country opera (working title).<

The actor, writer, director and musician Emmanuel Schwartz creates his own work for the theatre and has already collaborated with several directors: Serge Denoncourt, Jean Baudin, Claude Poissant, Geoffrey Gaquère, Dave St. Peter, Marc Beaupre, Alice Ronfard, Choynière Olivier, Denis Villeneuve, Todd Haynes, Eric John and Wajdi Mouawad. He has also composed soundtracks for several plays, dance performances and short films.

Marketplace 76 (2012) is his first production with Jan Lauwers & Needcompany.<

Taka Shamoto was born in Sendai, Japan. At the age of three, she started to dance at the Sendai City Ballet School. At sixteen, she entered the Balletschule der Hamburgischen Staatsoper John Neumeier in Germany. In 1995 she entered the P.A.R.T.S. contemporary dance school.

In August 1997 Taka Shamoto joined Rosas, dancing in the revivals of Woud and Achterland and contributing to the creation of Just Before, Drumming, I said I, In Real Time, Rain, April me, Bitches Brew / Tacoma Narrows, Kassandra, D'un soir un jour, Bartók / Beethoven / Schönberg Repertory Evening, and the revival of Mozart / Concert Arias.

In The Porcelain Project (2007) she is working with Grace Ellen Barkey & Needcompany for the first time. She replaces Louise Peterhoff in Isabella’s room by Jan Lauwers.<

Born in Tunis, Mohamed Toukabri began dancing at age 13, starting with break dance. Later he joined the Sybel Ballet Theatre led by Syhéme Belkhodja. At age 16, Mohamed trained in Paris at the International Academy of Dance. In 2007 he returned to Tunisia to study at the Mediterranean Centre for Contemporary Dance. In 2008 he joined P.A.R.T.S. and in 2010 he took part in Babel by Eastmen.

Mohamed Toukabri’s collaboration with Needcompany started in Grace Ellen Barkey’s production MUSH-ROOM (2013). Apart from this he also took part in Raar? Maar Waar! (2013) and FOREVER (2016) by Lemm&Barkey, the durational performance The House of Our Fathers, the one-off projects Just for…, All Tomorrow’s Parties and The time between two mistakes by Grace Ellen Barkey and Jan Lauwers, and the productions The blind poet (2015) and War and Turpentine (2017) by Jan Lauwers. He worked together with Maarten Seghers on the production ‘O or The Challenge Of This Particular Show Was To Have Words Ending In O’ (2016).

Mohamed Toukabri's first self-devised work The Upside Down Man premiered in May 2018. With the support of Needcompany he is currently preparing a new production The Power (of) The Fragile (a duet with his mother) set to premiere in 2020.<

Catherine Travelletti graduated at the Haute Ecole de Théâtre de Suisse Romande in 2008. She has worked with Eric Vigner, Ingrid Von Wantoch Rekowsky, Mathieu Bertholet and Claudia Bosse among others. She has acted in various short films and feature films in Switzerland and England. In 2011 she won the Prix Culturel 2011 awarded by the town of Sion.

Marketplace 76 (2012) is her first production with Jan Lauwers. Besides she participated in his installation The House of Our Fathers. She started working with Grace Ellen Barkey for the creation of MUSH-ROOM (2013) and Odd? But True! (2013).

In fall 2014 she was taking part in Just for Bozen | Bolzano.

Rhythm Conference Feat. Inner Splits is her first creation with MaisonDahlBonnema (2014).<

Inge Van Bruystegem studied dance at the London Contemporary Dance School (1996-99), followed by various workshops in Antwerp, Vienna, Luxemburg, London and elsewhere. She worked as a photographic model for several years, but in the meantime participated in several projects: performances including wolv goes international (2002) with Veronika Zott in Vienna, drindrunkmehr (2003) for the Tanzqwartier Wien, Pasavoir (L’Aeronef/Victoria, 2001), Aarschot-Mechelen (Gand Cru, 2004) and a guest performance in Project 1 (Poni, 2004). She has also appeared in short films by Hans Brysssinck, Hans Van Nuffel and Ingrid Vanderhoeven, among others.

Jan Lauwers’ The Lobster Shop (2006) is her first play and her first venture with Needcompany. She replaced in addition temporarily Louise Peterhoff in Grace Ellen Barkey’s play Chunking (2005) and Eléonore Valère in The art of entertainment (2011) by Jan Lauwers. She is a member of the cast of Jan Lauwers’ play The Deer House (2008), The House of Our Fathers and Begin the Beguine (2014).

In 2019 she replaces Sarah Lutz in All the good by Jan Lauwers & Needcompany. <

Rombout Willems is a musician and composer. He lives and works in Haarlem. He has composed music for several Needcompany productions by Grace Ellen Barkey & Jan Lauwers. He also teaches at the Gerrit Rietveld Academy and in the Modern Dance Department at the Amsterdam College of Arts.

Rombout Willems writes the music for War and Turpentine (2017) by Jan Lauwers & Needcompany. In 2018 he creates Concert by a Band Facing the Wrong Way together with Maarten Seghers and Nicolas Field. The arrangements and musical direction of Probabilities of Independent Events (2019) by Grace Ellen Barkey & Needcompany are also in the composer's hands. <