ABOUT

Emma is a British choreographer and movement director based in London and the South coast of UK.

After a successful career as a dancer in the West End and abroad, Emma went on to build her reputation as a choreographer, movement director and collaborator working in Opera and Theatre.

Emma has worked for and alongside creatives including Adele Thomas, Paul Foster, Bartlett Sher, Alistair David, Laurence Cummings, Sir Antonio Pappano, Rachel Kavanagh, Chris Gattelli, John Wilson, Christian Curnyn, Sarah Travis, Anthony Van Laast and Steve Ridley amongst others.

Recent credits include Testament for INO, Redcliffe at Southwark Playhouse, Un Ballo in Maschera at Opernhaus Zurich, Il Trovatore at Royal Opera House and Rigoletto for WNOCC.

Emma’s upcoming projects include Movement Director for Oedipus Rex/double bill for WNOCC at Wales Millennium Centre and UK tour, directed by Joe Hill-Gibbins (2026). She will also direct the WNOCC Schools and Family Concert at Wales Millennium Centre and UK tour. This Christmas she will return to direct Jack and the Beanstalk at Newark Palace Theatre (2026).

In 2027, Emma will provide movement direction for Kurt Weill’s The Seven Deadly Sins and Puccini’s Gianni Schicchi for Volksoper Vienna, directed by Rachael Hewer. Her 2027/28 projects include movement direction for The Barber of Seville for Finnish National Opera in Helsinki and the Royal Ballet and Opera, Covent Garden.

‘Emma Woods’ movement-direction for Adele Thomas’s extravagantly physical production is witty while never upstaging the music’

THE INDEPENDENT

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‘If I sum up everything that Emma is brilliant at, you will have trouble believing me. Emma is a brilliant choreographer in purely dance terms in her own right, but really that's the tip of the iceberg. Where Emma truly excels is being the total synapsis of a production. She works intensively and with great sensitivity not just with dancers but all performers of all levels. In our time working together she has gotten virtuosic physical performances out of opera singers, children and even orchestral musicians. As a Movement Director she is a brilliant dramaturge, capable of conducting dramaturgical open heart surgery on any show and its production concept. In doing this, the story, the subtext, the thematic heart of the piece finds its way into every sinew and every second of every body on stage. She has a vast understanding of humanity and a huge range of artistic influences. Together we have created 1920s silent films, sex club influenced contemporary movement, 18th century farce, medieval surrealism, 19th century can can amongst others. There aren't many people in any discipline that could pick up those range of styles, let alone see realise them all with such physical brilliance. Her musical understanding is exemplary and she is a brilliant score reader. She is very funny and capable of creating fantastic farce and slapstick. She works brilliantly alongside fight directors and in capacity as an intimacy co-ordinator to create work that feels dangerous but is in fact incredibly safe and well supported. Emma is also the secret weapon of any show as she is a warm and extraordinary person who brings joy to everyone. Look, I told you you wouldn't believe me but that's absolutely fine. Because if you don't want to work with her, I absolutely will. ‘

ADELE THOMAS - Joint General Director and CEO of Welsh National Opera 

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Professional Testimonials

  • JOE AUSTIN - Stage Director

    ‘To adequately describe Emma's brilliance is difficult. First and foremost Emma's choreographic and movement craft is exceptional: inventive, quirky and viscerally powerful. Emma has the uncanny ability to bring her personality into the choreography and movement, but to also respond, with great dexterity, to the production and the vision of other creatives. But there's so much more. Her absolute dedication to any production, her attention to detail, and her unbounded energy encourages everyone around her to produce their very best work. She's a dramaturg, choreographer and associate director all in one.

  • KATE WATERS - Fight Director

    ‘Emma is one of my favourite collaborators.  We have worked on many productions together from musical theatre to opera. Not all choreographers know how to work collaboratively with a fight director, but Emma does – she understands physical storytelling and understands my process, the two skills come together and as a team we are able to get the very best out of our performers.  We, instinctively know how we to adapt to each other’s strength.  Emma, is also incredibly compassionate, humble and gracious – she holds a room beautifully and I would work with her time and time again – she also keeps me musically on track!!!’

  • PAUL FOSTER - Director

    ‘I’ve had the good fortune of working with Emma a number of times over the years. She makes such nuanced and human work - always leading with kindness and a fantastic eye for how movement can tell the truest story. I can recall so many moments where performers have blossomed as a result of her creativity. A proper collaborator.’

  • LAURENCE CUMMINGS - Conductor

    ‘Emma understands the physical challenges that singers face and guides them through their roles, supporting and challenging them in equal measure. She is a great motivator and enthuser and it is a joy to share the rehearsal process with her.’

  • JOANNE BENJAMIN- Producer

    ‘I have worked with Emma over a few years and she is a talented and dedicated choreographer. Working with her as a member of my creative team is a pleasure, as she is organised, a great team member and manages all aspects of looking after and working with a large company admirably. She is never phased by any problem, large or small, and makes life easier and more pleasurable for all those she works with.’

  • BEN GODDARD - Composer/Musical Supervisor

    ‘Working with Emma is a dream. As a Composer and Musical Supervisor, it’s always a massive bonus when the choreographer understands music. And she really understands music. Emma effortlessly translates sounds into movement, not only capturing the feel and emotions in the score, but also landing the storytelling with total clarity. A real skill. A serious talent. And she’s able to do this no matter what movement skills the cast have. Whether it’s dancers, actors, or actor musos, she’s able to work magic.’