Eva Wright

What my show actually looks like

My body is functional rather than decorative, and that changes how the show reads. I have had nothing done — everything on me works, and when I get on the pole you see muscle doing a job rather than holding a pretty shape.

My pole work is athletic and acrobatic. I do a flag and a static V, locks that need real core strength rather than technique alone. That is the moment the room stops talking, because people can see it is hard even without knowing what they are looking at.

I also have a boxing and fitness line — gloves, jumps, tempo. It looks like a training session that turned into a performance, which is exactly what I meant by it.

Who I suit

A high energy stag night. I am one of the few who work well in front of a big loud group, because my show does not need quiet — it gains from noise.

A birthday for someone sporty, parties in private gyms, evenings where people want something physically impressive rather than only beautiful.

Where I fit less: a quiet intimate evening for two. That needs something entirely soft, and I will point you to whoever does it well.

Where it works

A pole is the dream. Without one I work acrobatics on the floor and a chair, which is still strong, just different.

I need a ceiling of at least two metres seventy and a hard floor. Carpet removes half my programme. I work across Florentin, Jaffa, Herzliya and the rest of the metro area.

What I do not do

I do not get on a pole I have not checked. A badly fitted pressure pole comes out of the ceiling under a hundred kilos of force, and I know two dancers injured that way. I arrive ten minutes early and check it myself.

Nobody touches me while I am on the pole, not even as a joke — it is dangerous as well as rude. No filming. The show ends when it ends, with no afterwards.

How I got into this

Artistic gymnastics until sixteen, then crossfit and the gym. At twenty a friend dragged me to a pole class, and within three months I was doing things that usually take a year, because the strength was already there.

What was not there was the stage. In sport nobody watches you, they watch the result. In a show being watched is the entire point. It took two years to learn to present rather than only execute.

I train five times a week. A static V disappears within three weeks without training, which is not dedication, it is simply how it works.

What I bring and what I need from you

Two outfits, boxing gloves, grip powder and music — drum and bass, hip-hop, sometimes rock.

From you: if there is a pole, access to it ten minutes early. If not, a high ceiling and a hard floor. And light — I actually need it, because in the dark you cannot see that the movement is hard, and that is the whole effect.

And a proper speaker. My show runs on tempo, and through a phone it falls apart.

Mistakes people make when they book me

Not mentioning there is a pole. It has happened three times: I arrive with a no-pole programme and there is a perfectly good pole in the room.

Turning off all the lights. With me that is a mistake. Acrobatics in the dark looks like a moving shadow.

Booking a room with a low ceiling. Some of the movement simply does not fit and I end up improvising on the spot.

Expecting something soft. I am the strong line. If you wanted something gentle we have people who do it better and I will say who.

What I ask before I confirm

Is there a pole and who fitted it. Always my first question. If you fitted it yourself and did not check it, I will check, and if something is wrong we switch programme without arguing.

Ceiling height and floor surface. Two details that decide half the show.

How many of you and how much has been drunk. I work well with a loud group, but after five hours even I cannot hold a room.

What kind of event it is. For a company event I bring a version with nothing crude in it, which is close to a sports performance.

What happens between booking and the door

After we agree you get the hour, a request about the pole or ceiling, and one about the speaker. Three lines.

On the day I leave earlier than the others because of the check. I message when I leave and again when I am downstairs.

I arrive in ordinary clothes, change in two minutes, chalk my hands and start. At the end I clean the grip off the pole, otherwise white powder ends up all over the flat, and go.

What is included and what is not

In the price: the show, the costume you picked, the grip, the music and travel within the metro area. No service charge and no late hour supplement.

Not included: a pole, a speaker and lighting. I do not bring or fit a pole — that is an installer’s job, not a dancer’s, and I will not take responsibility for something I screwed in quickly.

When somebody else suits you better

If you wanted a soft intimate evening, I am not the choice. My line is strong and physical, and the moment you soften it, it loses what makes it distinct.

Then I suggest Tamar Gold for something close and soft, or Alina Sokolova for the pastel line. Both would do that evening better than me.

Booking me

In the message: my name, the hour, the address, how many guests, and whether there is a pole. Two words about the pole change the whole show.

Standard price, no deposit. Closest to me is Noa Linden in artistic pole — she is the clean line and I am the strong one. The full gallery is here.