Genevieve O’Keefe graduated from the West Australian Academy of Performing Arts. She danced with the West Australian Ballet for two years before heading to Europe. In Switzerland, O’Keefe danced with Theatre St Gallen and MiR Dance Company in Germany before joining for Nederlands Dans Theater (NDT) in 2022. Most recently, O’Keefe worked for over four years on Figures in Extinction, a trilogy created in collaboration with Simon McBurney, and NDT associate choreographer Crystal Pite. Here, Dance Informa catches up with O’Keefe about working with such creative collaborators and her extraordinary trajectory so far.
What was the collaboration with Simon McBurney like for you?
“The process of Figures was for me an opportunity to consider theatre through a broader lens and connect to my humanity as a performer. As an artist and audience member, I am drawn to theatre that feels honest and true, performance that is able to distill an idea or feeling on stage, generously and curiously. Simon brought to our group such a sense of community and play, where research and exploration were a high priority. We trusted that our reservoir of ideas would lead to clarity, and that whatever may be retained and dismissed was a good use of our collective efforts. It was so clear to me what a privilege it is to have so many brilliant people in one room and that we are lucky to be part of companies willing to take risks.”
How did it differ from working with another choreographer?
“At NDT, we are exposed to many different choreographers, some using similar influences or frameworks but all highly individual in their approach. What made this process unique was the collaboration of two creatives Crystal Pite, whose physical language we know very well, and Simon McBurney, a theatre director bringing a culture and approach very new to us.
The negotiation of these two voices resulted in a process that was non-linear and at times challenging to balance. Each idea was experimented with from many angles, and a lot of problem solving was done in real time as the two found their mutual points of interest.
While complicated, this process brought us to unexpected places where the choices were intentional and understood. The juice was well worth the squeeze as the works slowly took shape and we could see how interesting this cross over of perspectives would be in performance.”
What types of figures/characters/energies are you playing in the trilogy?
“Through the arc of this trilogy, I embody many characters and ideas. The first piece, for example, The list, explores the topic of extinction, where I dance many animals in their specific forms but also embody the grief and overwhelm of humanity witnessing this loss of life on earth.
In many moments, I feel like a version of myself on stage, simply responding in the moment or considering my place in a group. There are even moments where I am explicitly Genevieve, my voice and thoughts articulated.
Through the trilogy, I am also required to step out of my own experience. For example, there is a scene of the third piece, Requiem, where I play the role of a daughter experiencing the death of her elderly mother. It’s challenging to shift imagination quickly and clearly to differentiate these experiences, but I’ve really enjoyed the challenge.”
Your trajectory has been pretty extraordinary. What led you to Europe?
“Growing up in Tasmanian, my contact with dance was really one of community and good fun. As a young adult, pursuing a career in dance didn’t feel inevitable. I was aware of how unlikely it may be to succeed and knew I could be happy in other careers and yet was determined to know for sure where my limits may be. Following my first job with West Australian Ballet, I came to Europe, very curious to understand the scope of dance outside of my bubble. I felt somewhat out of place and craved to explore the grey areas of performance between genres.
Each job I have had has been a stepping stone and incubator to learn and understand myself as a dancer. I have worked very hard but have also felt strongly compelled to continue, to throw myself out there and be somewhat reinvented by the experience. I have truly surprised myself many many times over. It’s one of my favorite feelings.”
What advice do you have for Australian dancers working in Europe? What do you miss about Australia and the art made there?
“I would advise to experience as many perspectives as you can and be open to let that inform how you grow. While succeeding in dance requires significant commitment in showing up, maintaining our health and skill sets, I feel understanding and trusting our perspective and choices is just as important.
I have tried not to control my trajectory with too much expectation, but also not deny what could be possible. I really enjoy what I do, and that has been such a motivation to continually reinvest in what is a very demanding industry.
I think it’s important to acknowledge that living far from home and loved ones is also a very difficult choice and certainly not for everyone. I am often checking in to make sure this distance makes sense for me. Having lived in Europe for so long, I do miss feeling connected to home and Australian arts culture. I want to be able to see every show and meet every creative, be in the mix of the industry that first exposed me to art and performance. Maybe one day I still will.”
Genevieve O’Keefe can be seen in Nederlands Dans Theater’s Figures in Extinction in Paris and London in October and November 2025, and in Manchester, Luxembourg and Berlin in February 2026. For more information, visit www.ndt.nl.
By Tamara Searle of Dance Informa.
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