BIOGRAPHY
Bill Deamer is one of Britains leading Choreographers and Directors.
He started his career when employed as lead dancer in a West End production of Cabaret choreographed by his mentor and life long friend Dame Gillian Lynne OBE. He was offered the chance to choreograph his own version of Cabaret at Salisbury Playhouse. From there he never looked back. He was reunited with Gillian Lynne when he was invited by Sir Andrew Lloyd Webber and Sir Trevor Nunn to create the new Tap Choreography for the critically acclaimed revival of CATS at The London Palladium in 2014.(which subsequently is still running world wide)
Other notable productions include Hello Dolly (The London Palladium) 2024. 42nd Street ( Sadlers Wells Theatre & International tour) 2023/24. The Corn Is Green ( National Theatre). The Osmonds-A New Musical (Uk Tour).The BoyFriend (Menier Chocolate factory). Top Hat - For which Bill won The Olivier Award for best Choreographer, The Carl Allan Award for Best Choreographer, The Broadway World Award for Best Choreography. (The Aldwych Theatre). Sondhiem on Sondhiem (The Royal Festival Hall). The 50th Anniversary UK tour of The Sound of Music. Evita (The Dominion Theatre & European tour). Saturday Night Fever (UK & European revival). The acclaimed FOLLIES - Directed by Dominic Cooke (The National Theatre) which won The Olivier Award for Best Musical Revival and Bill was nominated for his third Olivier Award.
Up and coming projects include A new production of HOLIDAY INN at the prestigious Orb Theatre in Tokyo.
Bill Is also a very successful choreographer for film and television. His keen eye for the camera has served him well, most notably -So You Think You Can Dance, ITV’s All Star Musicals and BBC’s Strictly Come Dancing, where he continues to create featured group pro - routines, show dances and Charlestons. For Sky TV - A Christmas Carole, Starring Suranne Jones.
Through out his career Bill has also become an expert on Fred Astaire, one of his dance idols. He Directed and Choreographed the first ever tribute to Fred at The London Palladium and has appeared in ITV’s perspective programme For The Love of Fred Astaire.
REVIEWS
HELLO DOLLY!
Wow! HELLO DOLLY!
In the week commencing Sept 9th @hellodollyLDN starring the extraordinary Imelda Staunton, directed by Dominic Cooke and choreographed by Bill Deamer, grossed £1,288,400,07 over 8 performances to become the highest grossing week for a musical in London Palladium history. Great Company - Great Show!
Baz Bamiboye
Deadline
42nd Street
Razzle, dazzle, sequins and song: '42nd Street' pitch perfect toe-tapping entertainment
Glenn Sumi
The Toronto Star
Top Hat
Top Hats Off to a highly engaging evening! The big dance numbers are skilfully choreographed by Bill Deamer, especially the climactic first-act closer, ʻTop Hat White Tie and Tailsʼ which has a couple of dozen hoofers, immaculately dressed as the title dictates and tapping their hearts out with terrific panache.
Charles Spencer
The Daily Telegraph
Top Hat
ʻStrictly Come For The Dancingʼ - Top Hat is pretty, sometimes witty and bright-but itʼs the tippity-tap fun thatʼs the draw. The dancing is superabundant, although of great technical accomplishment, choreographed by Bill Deamer. During Top Hat itself, we end up with more than twenty dancers on stage all tapping in perfect unison.
Christopher Hart
The Sunday Times
Top Hat
The often fantastic choreography is reminiscent of the original routines.
Julie Carpenter
The Daily Express
Top Hat
Itʼs hard to resist the retro romance of Irving Berlinʼs tunes, fabulous dance routines and charming stars. The tap dancing is pretty dazzling, choreographed by Bill Deamer. Itʼs legerdepied really: from the waist up, an air of nonchalant idling, while the feet are a blur of patent leather, rapping out punctilious beats. The chorus routines sound like a crescendoing war dance with sycopated machine guns
Kate Bassett
The Independent on Sunday
Top Hat
Likeability, beloved songs and breathtaking dance.
Libby Purves
The Times
Top Hat
Irving Berlin classics like ʻPuttin On The Ritzʼ and ʻIsnʼt This a Lovely Dayʼ make for a lovely night to be caught at The Aldwych, as both the show and itʼs spectators float effortlessly in the pleasures of Bill Deamerʼs lavishly staged production numbers.
Mark Shenton
The Sunday Express
Top Hat
One simply waits patiently for the next Irving Berlin number or elegant dance routine to come along. Bill Deamerʼs choreography is at itʼs inventive best in Berlinʼs catchy, cod-venetian number The Piccolino.
Michael Billington
The Guardian
Top Hat
Hordes of hoofers carry out Bill Deamerʼs coruscating tribute choreography which is both imaginative and authentic-looking.
Paul Levy
The Wall Street Journal
Top Hat
Enjoyably frivolous reworking of Fred Astaireʼs song and dance.
Bill Deamerʼs choreography is complex but well focused. A large cast perform with gusto.
Henry Hitchings
The Evening Standard
Top Hat
Bill Deamerʼs choreography is witty and disciplined.
Michael Coveney
Whats n Stage
Top Hat
Sublime Irving Berlin score... The music is gorgeous. Bill Deamerʼs choreography responds with twinkling delight.
Sam Marlowe
Time Out
Top Hat.
A Class Apart. If there has ever been a more sublimely performed, choreographed, orchestrated and costumed musical in the past twenty-five years, then I certainly haven't seen it. A musical like this comes round once in a lifetime.
Tim Walker
The Sunday Telegraph
Sound of Music
The hills are most definitely alive.
Emily Sheridan
Daily Mail
Sound of Music
Deamer’s choreography of the children is fluid and takes the marching of the Von Trapps and transforms it into the movement of fun-loving children.
Doug Mayo
British Theatre
Sound of Music
t’s difficult to contemplate a more beautiful or better sung production of this all-time classic – a real joy
Mark Shenton
The Stage