About

I am Billy Maxwell Taylor, an interdisciplinary theatremaker from the United Kingdom, creating spaces that strive to offer ‘stillness in the busyness’, a core mantra of my work. This ranges from audiovisual installations such as Our Branch That Stopped Singing (2023) to stage productions such as Rain Pours Like Coffee Drops (2022). I draw from site-inspired dance research, particularly within butoh, and continually explore a harmony between vitality and tranquility.

After being part of National Youth Theatre and Frantic Assembly’s Ignition programme as a teen, I went on the study BA European Theatre Arts at Rose Bruford College where I received a first class degree. After this, I spent 3 years in Wales, creating the Arts Council funded work Rain Pours Like Coffee Drops which was supported by Richard Chappell Dance, Volcano, NDC Wales, Torch Theatre, SPAN Arts and Dance Blast. Alongside this, I led workshops in movement meditation and wellbeing as well as accessible tutoring of movement for Hijinx Theatre. I also partook in a movement exchange with Wonderground Dance Company in Barcelona, supported by Wales Arts International.

In late 2023, I researched In the Silence of Blossom in Pembrokeshire, a new project that explores the seasonality of life which was Arts Council Wales funded and resulted in a sharing at The Dance House in Cardiff.

Following this, I found a desire to research dance even deeper. What was this word for me? Why was my dance relevant to people? This started my MA research at London Contemporary Dance School on their Expanded Dance Practice course. Through this course, I developed the initial seeds of an ambient dance philosophy (see the dedicated page). It resulted in the show Streams of Gentle Yesterday and was followed by my most recent work, Golden Leaves, which is part of The Place’s Resolution Festival in January 2025.

In 2025, I have been developing Gentle Streams, a work that holds close the beauty of each fleeting moment we get to share with each other. It asks “how do we share moments?”. And it is taking so many new directions. With the dire lack of funding available in the UK, I am often finding my dance in gardening and baking. In making tea or coffee. Then, for a moment, it manifests itself on the stage or in front of the camera. This is what I find beautiful and is a research I am digging into further – the glimmer of performance supported by the dance of everyday life.