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Melanie Lane
Melanie Lane

Melanie Lane

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Slow Haunt
Slow Haunt

Photo: Bradbury Photography

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Melanie Lane, photo Pedro Grieg
Melanie Lane, photo Pedro Grieg

Melanie Lane, photo Pedro Grieg

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Melanie Lane
Melanie Lane

Melanie Lane

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The Press

'The much-awarded and sought-after choreographer Melanie Lane’s 25-minute Slow Haunt was a triumph. Superbly balanced, effectively constructed and marked by first-rate choreography, this work unfolded in the “acts of sensuality, desire resistance and rage,” that she had sought.'

Ruth Clarke, Limelight,  June 2021

'Lane’s Slow Haunt is a methodological and deeply important work that spans the breadth of classical and contemporary technique as it disrupts and unites its dancers and audience, in equal measure.' Courtney Allen, Dance Life, June 2021

'Melanie Lane’s Slow Haunt was the second new work featured, and again it was all class in its use of slinky tattoo-like body suits (Akira Isogawa), dramatic lighting (Damien Cooper) and Christopher Clark’s ghostly techno sound track that invaded the scene as vividly as the otherworld wraiths that surged forward in antagonistic poses.'

Victoria Laurie, The Australian, June 2021

'...a thrilling dance work flush with wit and invention....Lane’s choreography is masterfully artful and yet deep dream touching in its humanity. On their toes now, small stepping, the dancers emerge united in hilarious arse sashaying detail... Woof is wonderful.'

Martin Portus, Daily Review, Sydney, March 2019

 "Melanie Lane’s startling and inspired Woof is an outstanding piece of contemporary dance and an artistic triumph; inventive, bold and memorable... it dazzles and delights – a joyous foreshadowing of the potential of Sydney Dance Company’s next half century - ArtsHub


"To a hypnotic electronic score by UK musician Clark, Melanie Lane's Woof imagines a futuristic, apocalyptic fantasy with masterful choreography “like nothing… seen in dance before”

Audrey Journal


"an exhilaratingly unusual movement, brilliantly executed. Melanie Lane's Woof is a delight."

The Age


"The evening concludes in spectacular fashion with Melanie Lane’s Woof. It is quirky, energising and the clear crowd-favourite on opening night. The choreography is brilliant, high energy and completely engaging."

Fjord Review


"Watching choreographer Melanie Lane’s Woof is like seeing God at her humblest and most seductive. This is pure nectar: delectable bliss."

Sydney Arts Guide


"Melanie Lane’s Woof sweeps all before it. Who knows what the title means? Who cares? Now a touch longer, Woof ends well before you want it to, testament to its appeal." The Australian

you feel it has ended all too soon."


‘The dance, in which Cook laconically strikes a series of provocative poses while four dancers gyrate round her, is genuinely chilling’ - Salome, English National Opera

Tim Ashley - The Guardian UK, Sept 2018

‘Lane, in her Night Dance, not only presents a multitude of possibilities through the interweaving of people, space, and longing, she also brings out a physiological intimacy that can be internalised, and self-contemplated by her audience. And, as an artist whose practice revolves around this relationship – between body and objects- she manages to offer a mesmerising and daring experience, complete and satisfying.’

Grace Feng Fang Juan,, 29 August, 2017


‘Nightdance is the most rhythmically breathtaking performance I’ve seen this year, and potentially of all time. It’s uniquely its own thing, and you simply cannot tear your eyes away from it.
….those like myself who love to be immersed in the experience of club land will find it totally exhilarating. Lane and her team have successfully produced something hyper-modern and totally memorable.’

Leeor Adar, Theatre Press, 6 September, 2017

'Nightdance is filled with secret dramas and impenetrable mysteries the way that any dancefloor is, and it’s stitched together with the tight but invisible logic of a dream. And like a dream, when you’re in it you don’t question why this carefully but inexplicably costumed character appears at one point, because there’s an emotional sense to it that’s beyond waking thought. That Melanie Lane successfully puts her audience in that state is a rare triumph, and one that won’t be forgotten.'

John Bailey, Real Time Magazine, 2017


''Wonderwomen creates something extraordinary, even if the very ordinary phrase has to be used here now: the staging succeeds in breaking open habits of perception'...'in several respects, this is a rare and powerful performance.’

Steffen Georgi, Leipziger Volkszeitung


'Lane’s more graceful and sombre Remake takes the classical grammar of ballet and strips it of its usual trappings. Indeed, former Australian Ballet dancer Juliet Burnett appears remarkably vulnerable when viewed in isolation — the fragile epitome of a doomed, suicidal princess whirling gorgeously to a predetermined fate. Her lithe, sinewy ballet language is slowly nudged by successive interventions from Lane — her shoes replaced by boots, the royal boudoir now home to bedroom amp rock posturing.' Paul Ransom, Dance Informa, 2016


'High calibre, truly flawless in their surrender to this nihilistic entourage, boasting strong technique and anchored presence. Bolstered by the electrifying music of Chris Clark and held in its ominous temperament by the exciting lighting of Matthew Adey, Merge is a work that is both abstract and accessible in a truly mesmerizing fashion.
A world worth seeing.'

Nithya Iyer, Melbourne. Arts. Fashion


'Choreographer Melanie Lane has created a tightly-wound, meticulous work featuring four dancers…Within this framework, notions of order and chaos, and individuality and community, come to the fore, represented in the form of physical items that the dancers manipulate and arrange but also in the manipulation and arrangement of the movement. Merge is grounded in a powerful rhythmic structure that complements thoughtful choreographic choices.' Jordan Beth Vincent, The Age, 2012


'Unheimlich und bedrohlich wirkt die Szenerie. Geschickt kommen Lichteffekte zum Einsatz, die die Handlungen der beiden Akteure auf der Bühne begleiten. Ob die beiden Personen diese Schatten erzeugen oder im Gegenteil von diesen geschoben, gezogen, gedrängt werden, bleibt offen. [...] Melanie Lane und Florian Bücking zeigen eine faszinierende Darbietung körperlicher Möglichkeiten.'

Christina Mergel,, 2014


'… in her own Tilted Fawn she delivers an experience quite unlike the various threads that have been woven through Australian choreography of the last decade.
There’s a mythic quality to the work which reveals itself coyly, and it’s as cool and inhuman as true myths always end up being … The referents are never made explicit but it’s hard not to fashion your own interpretation of each configuration presented, and the cold, closed nature of these depictions subtly shifts its audience into a position of meditative spectatorship that allows us to forget our own corporeality.'

John Baily, Real Time Magazine


'Perth truly is honored by the presence of an artist as such as Lane, who in collaboration with a celebrated musician, has created a piece that is not only physically innovative but also an emotive sensory journey for the audience.'

Sarah Dunstan, PerthNow


'Tilted Fawn is an effective piece within Lane’s growing oeuvre forming a choreographic relationship between objects, sound and visual design. This collaborative effort with Clark, is visually engaging, cerebrally challenging and aurally intricate.'

Astrid Francis, Artshub


'Melanie Lane and Chris Clark’s Tilted Fawn from Berlin carries its light and shade with sophistication….Dance lineage seems to situate this intervention, illustrating layers of recall which involve intertextuality as well as intimacy.'

Maggie Phillips, Real Time Magazine



Melanie Lane


Melanie's video reel is here.


Melanie is a choreographer and performer based between the UK and Melbourne.


As a performer she has worked with various companies and artists such as Kobalt Works | Arco Renz (B), Club Guy and Roni (N), Tino Seghal (G), Antony Hamilton (AUS), Lucy Guerin (AUS) and Chunky Move (AUS), performing around the globe.


From 2007-2016, Melanie was artistic collaborator to Belgian dance company Kobalt Works | Arco Renz, collaborating on projects in Norway, Germany, Belgium and Indonesia.


As a choreographer, Melanie has established a repertory of independent works performing in international festivals and theatres, including Tanz im August, Uzes Danse Festival, Arts House Melbourne, Sydney Opera House, Indonesian Dance Festival, O Espaco do Tempo, Festival Antigel, Dance Massive, Carriageworks, Chunky Move and HAU Hebbel am Ufer Berlin among others. She has been artist in residence at Dock 11 Berlin, Tanzwerkstatt Berlin, Lucy Guerin Studios, Arts House Melbourne and Schauspielhaus Leipzig.


In 2012 she was invited to direct and choreograph the performance Zeitsprung for Stadttheater Bielefeld – a community dance project for fifty-two non-dancers between the ages 12-75.


Melanie choreographed the 2014/15 and 2017 live shows for UK electronic musician Clark (Warp records), performing internationally including – Field Day London, Moma PS1 New York, Villette Sonique Paris, Funkhaus Berlin and Sonar Festivals in Barcelona/Istanbul.


Her collaborative work extends to artists such as musician CLARK, film maker Amos Gebhardt and visual artists Martin Boettger, Ash Keating and Bridie Lunney. In Australia, Melanie joined Antony Hamilton for his projects – Drift (2011), Black Project 1(2012), Ruth (2015), Number of the Machine (2017) and NGV Accumulation (2018).


In 2015, Melanie was appointed resident director at Lucy Guerin Inc. in Melbourne and performed in Lucy Guerin’s Split for which she was nominated ‘Outstanding female dancer’ for both Australia's Helpmann and Green Room Awards. In 2016 Melanie was commissioned by Chunky Move to create a new work Re-make, and in 2017 she was commissioned by Sydney Dance Company to create Woof, which will tour throughout 2019.


Her work Personal Effigies was the recipient of the prestigious 2018 Keir Choreographic Award, and her Wonderwomen received the 2017 Leipziger Bewegungskunstpreis.


Melanie was choreographer for the English National Opera's 2018 production of Salome, directed by Adena Jacobs.  She and Jacobs worked together again in 2022 on a production of The Trojan Women for Vienna's Berg Theater.


Since 2018, Melanie has been developing a new research and development in collaboration with local performing artists in Indonesia supported by the Australian Arts Council and Asialink Arts. Melanie continues to develop her independent works, presenting at major festivals, as well as offering professional training and workshops locally and abroad. She has been a guest teacher for companies such as Carte Blanche Norway, Sasha Waltz and Guests, Chunky Move and Skanes Dansteater.

In September, 2020, Melanie premiered Crushd, a live work transformed to into a video experience and her digital response to Covid19 for Norway's contemporary national dance company, Nagelhus Schia Productions.


In May and June 2021, Melanie premiered two new works, Alterum for Australasian Dance Collective in Brisbane and Slow Haunt for West Australian Ballet in Perth both to critical acclaim.  In 2023, Melanie has been commissioned to create a new work for Tanz Theater Heidelberg in Germany.


Assis Carreiro

 Artist Management 
International Arts & Cultural Projects

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