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Choreographer in Residence 2009 - 2015

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Music by Sergei Prokofiev

Original Lighting design Katherine Greyham

Lighting 2017 Zia Holly

UK and Irish tours in 2010, 2014, 2017



CHOREOGRAPHY Morgann Runacre-Temple

MUSIC Rodion Schedrin after George Bizet


SET Lorna Ritchie

COSTUME Sarah White



‘Runacre-Temple taps into a zeitgeist so many other ballet companies desperately want to access right now, making relevant what is often seen as an elitist art form while still honouring its roots.​......This sense of wanting to know the person behind the persona on stage is as common now as asking for a daughter’s hand in marriage was in Shakespeare’s time. Runacre- Temple gets it, and Ballet Ireland fortuitously has gotten a head start on discovering and nurturing her talent.’ IRISH TIMES


Music by Rodion Shchedrin after Bizet and John Walsh

Set Lorna Ritchie

Costume Sarah Mae White

Lighting Eamon Fox

Irish Tour and Lilian Baylis London

'..Runacre-Temple crafts ensemble work well, and she utilises the small cast to big effect. ....her trademark moves – feet turned in to a parallel position, squiggling arm gestures, abrupt change of body positions – that reveal her tendency toward contemporary dance, but now she deftly incorporates more classical ballet.' **** IRISH TIMES

'Choreographer Morgann Runacre-Temple has produced a technically innovative production juxtapositioning classical ballet moves with jarring and often angular motions to communicate the aggression of the military and gypsy world of Carmen. The result is refreshing and powerful, as the ballet explores an atypical world to the classical form' **** IRISH MAIL ON SUNDAY


Music by Delibes and Tom Lane

Libretto Stella Feehily

Set design Lorna Ritchie

Lighting Kevin Smith

"Unapologetically charming and unashamedly entertaining “Coppélia” is a joyous, delightful experience." **** IRISH MAIL ON SUNDAY

"During her 10 year affiliation with Ballet Ireland Runacre-Temple has shown an unabashed and welcome willingness to take risks. Her quirky sense of humour emerges best during the slightly macabre second act, when a headless mannequin pops out of a closet" IRISH TIMES

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