ff 2010 lon

Flamenco
Festival

London

13 – 27 February 2010

IFC

Welcome to
Flamenco Festival, London

Photo: H. Glendinning.

Welcome to this, the seventh edition of our annual Flamenco
Festival at Sadler’s Wells. As in previous years, we welcome the
very best of Flamenco choreographers and dancers who are
presenting this ancient art form in a way which is still relevant for
our times. That includes firmly established artists such as María
Pagés, Eva Yerbabuena, Rojas and Rodriguez and Rafaela
Carrasco, who are all bringing their latest productions to this year’s
festival.
Our Gala this year is a showcase for exciting, newer performers in
the world of flamenco including Rocío Molina, who was such a hit
at last year’s festival.
As you can see from the line up, 2010’s Flamenco Festival
promises to be a treat for aficionados and newcomers alike, so
I hope you will leave well and truly rewarded by the joys of flamenco!

Alistair Spalding
Artistic Director and Chief Executive

Front cover image: Javier Suarez

Meet the Artists at the
Instituto Cervantes

Friday 12 February 6.30 pm Friday 19 February 6.30pm

Rojas & Rodríguez will talk about Rafaela Carrasco will talk about

the show Cambio de Tercio the show Vamos Al Tiroteo

Cambio de Tercio, the new show by Rojas and Award-winning dancer Rafaela Carrasco is one of the
Rodriguez is a mixture of styles based on classical most important modern flamenco choreographers of
Spanish and flamenco dance, such as cantiñas, the younger generation. At Sadler’s Wells she presents
sevillanas, fandangos, rumbas, bamberas, bulerías, the UK premiere of her latest work which explores new
tanguillos and seguidillas (danced with four concepts in dance while maintaining the essence and
spectacular tail dressing gowns and Spanish gowns). integrity of flamenco.

102 Eaton Square Organised by the Instituto Cervantes in
London SW1W 9AN collaboration with Flamenco Festival
020 7201 0761

www.londres.cervantes.es

SADLER’S WELLS PRESENTS

Flamenco
Festival

London

Saturday 13 – Monday 15 February Monday 22 – Thursday 25 February

Nuevo Ballet Español Compañía María Pagés

Cambio de Tercio Autorretrato

Wednesday 17 – Friday 19 February Friday 26 & Saturday 27 February

Ballet Flamenco Gala Flamenca
Eva Yerbabuena
Todo Cambia
Lluvia Pastora Galván, Manuel Liñán,
Belén López, Rocío Molina

Saturday 20 & Sunday 21 February

Compañía
Rafaela Carrasco

Vamos Al Tiroteo

SPONSORED BY

21st Century Flamenco:

The Woman’s Touch

by Jan Fairley

Flamenco’s ability to constantly renew together by different artists in sublime Photo: Luis Tabuena
itself while staying true to its roots combinations called palos, in which
defines its character. As the last six they express the gamut of emotions
Sadler’s Wells Flamenco Festivals have from grief to anger, passion to anguish,
shown, in the hands of a new suffering to joy. The moves used for
generation of male and female artists, these palos form a language to which
21st century flamenco is exploring new each generation takes the risk of
and imaginative pathways in thrilling adding new vocabulary, in order to
style. express themselves and their times. In
this way they embed the past in the
As an art form whose genetic make-up present, the contemporary within the
comes from numerous sources dating traditional.
back centuries, flamenco has always
absorbed new ideas. Flamenco’s key As Cambio de Tercio, the title of this
elements, song (cante), dance (baile) year’s opening show by Nuevo Ballet
and guitar rhythms (toque) are brought Español tells us, there are exciting

Photo: Jesús Vallinas

Photo: Ruben Martin Photo: Luis Castilla

Photo: Courtesy of Compania Maria Pages Photo: Bernardo Doral

Photo: Jesús Vallinas Women have always been at the heart
of flamenco, but their public presence
has sometimes been limited by the
constraints of the times in which they
lived. We know women were singing, as
well as dancing flamenco from very early
in the nineteenth century and were
certainly more than window dressing.
Therefore, what has affected the
participation of women in flamenco over
time has not been their ability or
passion for the art form, but rather
changing attitudes to accepted social
behaviour and to marriage.

shifts to witness, new ‘changes of choreographers, Eva Yerbabuena, María This sheds light on the two evolutionary
direction’. Much of this has to do with Pagés and Rafaela Carrasco, who have pathways that converge in modern
re-thinking the relationships between made groundbreaking contributions in flamenco. The traditional pathway is
men and women and reflecting, often recent years. Men of course are regarded as one of core flamenco DNA,
wittily, on the complex ways masculinity, absolutely integral to their work: passed down in the collective life of
femininity and sexuality are constantly flamenco companies are as ever full of close-knit gypsy families from
re-defined in the process of living men and women working on equal terms, generation to generation. Gypsies have
everyday life. As we see in Rafaela side by side as musicians and dancers. always been flamenco’s main
Carrasco’s show Vamos al Tiroteo, men What is significant is that the stories they torchbearers and in their midst the
can wear the traditional frilly bata de are bringing to life in their work are told complexities of flamenco are learnt over
cola skirts, albeit it slinky easy-to-lift from a woman’s standpoint, filtered time, through watching and taking part
ones, and still be men. through a woman’s perspective. in informal gatherings. Any professional
performance has usually been
In 2009 one of the crucibles of flamenco, This carving out of a stronger position established through larger, extended
the annual Jerez Festival, was dedicated for women within the flamenco scene is family networks.
to women in flamenco. Nine out of part of a greater Spanish picture which
twelve major shows were by female-led has seen women move more In this intimate flamenco world, women
companies celebrating women’s historic prominently into public life in the last would perform as singers and dancers
role in flamenco’s past and present. As decade. And the two are linked: it is no for family and friends. It would be less
Jerez director Isamay Benvente says: accident that Cádiz born Bibiana Aido usual for them to join their men in the
“There’s a revolution going on in Almagro, Equality Minister in the bars and taverns where they would
flamenco at the moment and women are Zapatero government was previously perform flamenco for themselves and
at the vanguard. They are innovating, by head of the Andalus Flamenco others. Traditionally, for a woman,
using flamenco in different ways to tell Development Agency which has actively especially a married woman, to perform
their own inner stories.” encouraged a new generation of women would have lead to questions
as well as men like Israel Galván, Javier concerning respectability and morality.
This year’s festival includes the work of Barón, Andrés Marín and others to lead The second flamenco pathway embraces
three of these leading female dancer- their own companies. another strand of artists who might not
have a family background in flamenco.

Their passion for flamenco developed including what were regarded as ‘male’ Photo: Luis Castilla
independently, perhaps learning at one steps in her dancing, notably the
of the many flamenco schools or grass zapateo, the creation of rhythms by the Portrait) to Sadlers’ Wells, says,
roots peña clubs. Many such artists are drumming of different parts of the foot “Flamenco is living an impressive
formally trained as classical dancers in on the ground. Amaya even danced moment of innovation. It is being
the Spanish school, which itself wearing trousers. At the outbreak of the enriched by individual contributions,
absorbed choreographic influences from Spanish Civil War in 1936, Amaya left for with women telling stories as they have
popular dance and 19th century Argentina to develop a successful never done before. As a result, flamenco
travellers romanticised descriptions of international career which took her from is a vital expression of humanity today.”
‘gypsy dance’. By the early 20th century South to North America, where she
women from both the family and the acted in Hollywood films. Dr Jan Fairley is an Ethnomusicologist
professional pathway were found in the and writer with a speciality in flamenco.
café cantantes and later the tablaos During the dark years of the Franco She contributes to Songlines, The
where dances using the abanico (fan), dictatorship (1936-75) conservative Rough Guides, fRoots, The Scotsman
mantel (shawl) and bata de cola (dress family and sexual values were projected and national newspapers and has
with frilled train) were further by both Church and State, leading to compiled flamenco discs for World
developed. fewer women working in the public Music Network and Nascente. She
arena. This strict code of morality was dances flamenco.
There are a number of women in the not effectively challenged until the
history of flamenco who serve as role 1970s; in 1975 the death of Franco
models and inspire today’s artists; heralded a new era of political reform
women who either sang or danced or and democracy. Interestingly, 1975 was
did both. Seville’s Pastora Pavón ‘La also the year one of the last restraints
Niña de los Peines’ (The Girl of the on women’s rights to emancipation was
Combs), born in 1890 was performing in eradicated; the Woman’s Right to Work
Madrid by 1903. She toured Spain with Law, a law which stated that a woman
flamenco opera companies and became must have her husband’s written
known as the Queen of Flamenco Song. permission to take up employment, was
The Granadian poet Federico García repealed. In the world of flamenco,
Lorca lavishly praised Pavón’s voice. choreographer dancer Antonio Gadés
teamed up with flamenco bailora
In 1931 Lorca played the piano for a key Cristina Hoyos to re-visit classic Spanish
set of recordings of Spanish song he stories like Carmen, Bodas de Sangre
made with Encarnación López Julvez and El amor Brujo, which were
known as La Argentinita. This year at immortalised on film by Carlos Saura.
Sadler’s Wells in Vamos al Tiroteo, Hoyos went on to form her own
Rafaela Carrasco, known in Spain for her company in the 1980s and became one
avant-garde approach to flamenco, pays of the world’s leading choreographers.
tribute to both La Argentinita and Lorca,
re-thinking their work for a present day Today’s flamenco artists embrace ideas
public. from choreographers such as Martha
Graham, Pina Bausch and others, as
Carmen Amaya who triumphed in Madrid they do from traditional styles. As Maria
at an early age, was famous for Pagés, who brings Autorretrato (Self-

Photo: Carlos Belén

NUEVO BALLET Photo:Jesus Vallinas
ESPAÑOL
Photo:Jesus Vallinas
Cambio de
Tercio

Choreography, Artistic Direction and
Original Idea Rojas & Rodríguez

The expression “Cambio de Tercio” comes from the world of
bullfighting and refers to a change between the three
distinct phases of a toreador´s fight with the bull. Generally
the term refers also to a change of direction. Cambio de
Tercio is the new show created by dancers and
choreographers Rojas and Rodríguez. The change it
represents for these two young co-founders of the Nuevo
Ballet Español is a dramatic departure from their
testosterone-dominated creative collaborations of the past.

Photo: Jose Luis Tabueña

Photo: Jose Luis Tabueña
Photo:Jesus Vallinas

Nuevo Ballet Español is sponsored by DANCE

Ángel Rojas
Carlos Rodríguez

María López, Pilar González, Cristina de Vega,
Raquel Tamarit

MUSIC

Daniel Jurado guitar
Gaspar Rodríguez guitar
Thomas Potiron violin
Enrique Terrón percussion
Davinia Jaén vocals
Sandra Carrasco vocals
Iván Martin & Verónica López palmas

TECHNICAL & STAFF

Rojas & Rodríguez artistic direction
Alicia Cordero production director
David Pérez lighting
Victor Tomé sound
Vicente Soler & Carlos Rodríguez dress design
Dalmira & Pepón Zurita wardrobe tailoring
Gallardo shoes
Maria Ángeles Carrera wardrobe
Paco Llori props
Marc Bartoló technical coordinator and stage manager
José Luis Tabueña studio photographer
Jesús Vallinas stage photographer
Pentacion Sl national distribution
Nina Gómez International Booking Rojas Y Rodríguez Compañía
NBE production
Alicia Cordero management NBE

ÁNGEL ROJAS Photo: Jose Luis Tabueña
Photo:Jesus Vallinas
Ángel was born in Madrid in 1974 and started working as a
professional dancer at the age of 16 with Luisillo and Rafael Photo:Jesus Vallinas
Aguilar’s Ballet Teatro Español. Soon recognised as a true
dance prodigy, Ángel was chosen to work in a new
production of Hamlet staged by the Madrid Spanish Ballet
and directed by José Granero. Two years later he was chosen
by Antonio Alonso and Laura del Sol to perform in Expo ’92 in
Seville. He joined Antonio Canales Flamenco Ballet that same
year, receiving international acclaim for his work as El Toro in
the company’s production of Torero.

In 1993 he worked with Cuban Ballet’s Rosario Suárez,
performed in the Greco Romanic Spectacle of Italic Festival
and was invited to dance in the Montreal Star Festival. Then
in 1994, in Spain’s Dance and Flamenco Annual Choreography
Awards, Ángel won first place for Best Dancer, an award he
shared with Carlos Rodríguez as the deadlocked jury decided
to honour both young dancers.

Ángel and Carlos went on to form their Madrid-based
Company, Nuevo Ballet Español, in which their mission has
been to exalt flamenco by blending it with classical dance
technique and other modern musical idioms. In 2000, they
were awarded the Premio UP for the best dance company of
Spanish dance and flamenco and in 2005 they were the
named best dance performers at Pilar Villa de Madrid.

Their Company has produced and performed ten shows:
Infinito (1995), Canela y Fuego (1996), Sangre Flamenca
(1997), Flamenco Directo (1998), Gallo De Pelea (1999),
NBEX5 (2000), Furia (2000), Fury (2001), Romeo y Julieta
(2003) and Tierra (2004), some of which are still on tour.
Besides touring with Nuevo Ballet Español, Ángel continues
to teach dance and to choreograph for other companies,
including the Jose Antonio Spanish Ballet Company.

Photo:Jesus Vallinas

Photo: Jose Luis Tabueña CARLOS RODRÍGUEZ

Photo:Jesus Vallinas Carlos Rodríguez was born in Madrid in 1975, and he was
only 13 when he reached the Spanish National Ballet’s final
auditions. His professional dancing career began with the
Ballet Teatro Español under the direction of Rafael Aguilar. As
a youth he also performed with Ballet Teatro Español under
the direction of Luisillo, with Ballet Español de Madrid under
the direction of José Granero, and with the Zambra Ballet.

In Expo ‘92 in Seville, he worked on La Petenera, directed by
Emilio Hernández, and he was selected by the Teatro de la
Zarzuela to take part in the play Chorizos y polacos with
choreography by Alberto Lorca. Carlos was a guest Soloist
with the Real Conservatorio Profesional de Danza in 1992. At
the OTI (Organización de Televisión Iberoamericana) festivals
in 1992 and 1993, he was choreographed by Goyo Montero,
and he subsequently joined José Antonio and the Spanish
Ballet as a Soloist dancer. Then in 1994, he won the award for
the most outstanding dancer at the Certámen Nacional de
Coreografía de Danza Española together with Ángel Rojas,
and he worked for the Teatro de la Zarzuela, under the
direction of Emilio Sagi.

Carlos has admitted that although he has performed and
knows pure flamenco well, it does not appeal to him, and he
understands that the flamenco of his parents does not speak
to most people his age. Partly born of his drive to innovate
within flamenco, in 1995 he co-created the Nuevo Ballet
Español with Ángel Rojas, and their company’s performances
have been responsible for attracting a whole new audience to
flamenco. In addition to touring with the Nuevo Ballet
Español, Carlos has choreographed and danced for the José
Antonio Spanish Ballet, and he teaches privately and has
designed some of the costumes used in Furia.

EVA YERBABUENA

Lluvia (Rain)

Choreography & Original Idea Eva Yerbabuena
Musical Direction Paco Jarana

Eva Yerbabuena says that Lluvia (Rain) is “born on a
grey day of pure melancholy” and in it she has
endeavored to explore her beginnings. She believes she
was born out of love, but within total solitude. Not that
she doesn’t believe in another type of love, more
wonderful and effusive, but the love she is tapping into
and expressing in Lluvia is the type that forces you to
get to know part of your essence you didn’t know
existed.

To the extent it reflects who she really is, her essence,
she predicts that some people who believe they know
her will feel a little uncomfortable. This work is “a
tribute to melancholy and coldness, to being alive, to
the endlessness of life”.

PROGRAMME

El Sin Fin De La Vida (tremolo)
Peldaño (transición)
Barro (taranta)
Soledades (milonga)
Palabras Rotas (frecuencias)
La Querendona (tanguillos)
La Querendona is dedicated to my
grandparents, Concha Ríos & José Garrido:
Lluvia de Sal (alegrías)
Llanto (solea)

Poem “El Silencio hace daño cuando es puro”
written for this show by Horacio García

Ballet Flamenco Eva Yerbabuena is sponsored by

All photos: Ruben Martin

DANCE

Eva Yerbabuena

Mercedes de Córdoba
Lorena Franco
Eduardo Guerrero
Fernando Jiménez

MUSIC

Paco Jarana guitar
Manuel de la Luz guitar
Enrique El Extremeño singer
Pepe de Pura vocals
Jeromo Segura vocals
José Valencia vocals
Manuel José Muñoz “Pájaro” percussion
Raúl Domínguez percussion

TECHNICAL & STAFF

Vicente Palacion stage design
Manu Meñaca & Kike Seco sound
Florencio Ortiz lighting
Daniel Estrada stage manager
López de Santos costume design
José Tirado López sign language teacher
Rubén Martí photographer
Eva Hierbabuena S.L. Marta Román,
Cristóbal Ortega distribution & production

All photos: Ruben Martin EVA YERBABUENA

Eva Yerbabuena was awarded Spain’s National Dance Prize in
2001, in recognition of her place among the great figures of
flamenco. A favourite with audiences and critics alike, she has
been honoured with many other awards, including the 2007
Gold Medal of Andalusia for her contribution to the arts.

Spain’s El Pais newspaper has declared her “an exceptional
and singular dancer… …one of the great ones who evokes
eras and figures of the past, and who, like any great dancer,
unites the vernacular with the new.”

As a child growing up in Granada, Eva Yerbabuena studied
with some of the great teachers of the city, traveling to Seville
to take classes in dramatic arts as a teenager, and later to
Havana to study choreography with Johannes García. In 1985,
she began dancing professionally with Rafael Aguilar and
then joined Paco Moyano in a Spanish-Cuban production.
Over the next few years, she collaborated with other
flamenco artists, including Javier Latorre, Manolete, and
Merche Esmerelda.

In 1997, she appeared in Flamenco Women, a documentary
by filmmaker Mike Figgis, and was later cast in Figgis’ Hotel
(2001) with John Malkovich. She choreographed her first full-
length work La Garra y el Angél (The Claw and the Angel)
in 1997. A year later, the choreographer Pina Bausch
asked her to dance at her company’s 25th
anniversary celebrations in Germany, where she
appeared with Mikhail Baryshnikov.

Her show Eva had its premiere at the flamenco
biennial in Seville in 1998, and was performed in
theatres around the world. She followed with 5
Mujeres 5 (5 Women 5) in 2001. La Voz del
Silencio (The Voice of Silence) (2002), A 4 Voces
(2004), A Cal y Canto (Of Lime and Song) (2005),
El Huso de la Memoria (Spindle of Memory)
(2006), Santo y Señas (Signs and Wonders)
(2007), and Lluvia (Rain) (2009).



COMPAÑÍA RAFAELA
CARRASCO

Vamos Al Tiroteo, versiones
de un tiempo pasado

Choreography & Direction Rafaela Carrasco
Original Music Jesús Torres, Juan Antonio Suárez “Canito”,
Pablo Suárez, José Luis López

Flamenco is still deeply rooted in its PROGRAMME DANCE
own past. Which is not to say that the
artists of today can, or even want, to Zorongo Gitano Rafaela Carrasco
live in the past, far from it. But in the Anda Jaleo
past, says Rafaela Carrasco, are “the Sevillanas del Siglo XVII Ricardo López
roots of who we are and what we do.” In Los Cuatro Muleros José Maldonado
Vamos al Tiroteo, versiones de un Nana de Sevilla Pedro Córdoba
tiempo pasado, Carrasco’s company has Romance Pascual de los Peregrinos David Coria
looked back to the legendary album En el Café de Chinitas
Canciones populares españolas and Las Morillas de Jaén MUSIC
adapted the songs for today. Romance de Los Mozos de Monleón
Las Tres Hojas Pablo Maldonado piano
“It’s time for the shoot-out!” This is the Sones de Asturias José Luis López cello
chorus of one of Federico Garcia Lorca’s Aires de Castilla Jesús Torres guitar
famous flamenco songs, first recorded Juan Antonio Suárez “Canito” guitar
by the poet and La Argentinita in 1931. Antonio Campos vocals
In this staged tribute to these songs of Gema Caballero vocals
protest and hardship that have inspired
and influenced so many flamenco TECHNICAL & STAFF
artists, Rafaela Carrasco and Company
bring new life and energy to the music Gloria Montesinos (AAI) lighting
that inspired so many artists. “All my Elisa Sanz set and costume design
generation grew up listening to these Jorge Díaz “Roy” sound
popular songs”, says Carrasco. “They’re José Rubini props
the starting point from which I find Pepa Carrasco wardrobe
myself today and a possible road to Alejandro Salade executive producer  
what will come tomorrow.”



RAFAELA CARRASCO

Rafaela Carrasco’s approach to flamenco dance can be summed
up by the title of her 2004 piece Fuera de los límites (Beyond the
Limits), created with dancer Belén Maya. Carrasco, born in 1972,
is one of the most important flamenco dancers of the younger
generation, and a revolutionary creator of cutting edge flamenco
choreography. She is a dancer who boundlessly explores new
concepts while maintaining the essence and integrity of true
flamenco.

Carrasco began dancing sevillanas when she was six years old
and soon began studying classical Spanish dance at Seville’s
renowned Maltilde Coral academy. After graduating from the
school at age 17, she joined the Mario Maya flamenco dance
company. At 23, she trained as a Soloist in Madrid and
performed as a lead dancer in performances by various
choreographers.

In 2002, Carrasco formed her own company, and that same year
she year won prizes for Best Choreography, Best Composition,
and Outstanding Dancer at Madrid’s Spanish Dance and
Flamenco Choreography Competition.

The Rafaela Carrasco Company has mounted five productions.
Her first full-length work, La Musica del Cuerpo (The Music of the
Body), had its debut at the 2003 Jerez Festival to great acclaim.
The Washington Post deemed her work Una Mirada al Flamenco
(A Look at Flamenco) “A bravura display…coherent and true to
its roots.” In 2007 she premiered Del Amor y Otras cosas at the
Jerez Festival. And the company’s latest work—Vamos al Tiroteo
— premiered at the 15th Flamenco Biennial of Seville, winning
both the Giraldillo and the Press Award for Best Choreography.

COMPAÑÍA MARÍA PAGÉS

Autorretrato

Choreography and Direction María Pagés
Choreography in “Farruca” / Zapateado (footwork) and
Assistant Choreography José Barrios
Lyrics & Music José Saramago, Antonio Machado, Miguel
Hernández, Federico García Lorca, Ben Sahl, Alberto Cortéz,
José A. Carrillo, Isaac Muñoz, María Pagés, Traditional folk
authors
Arrangements & Original Music Score Rubén Lebaniegos
Lighting Pau Fullana
Set & Wardrobe Design María Pagés
Fabric Dyeing & Printing María Calderón’s workshop
Fabric Painting Mónica Calderón
Costumers Luis F. dos Santos / González
Shoes Gallardo
Awards for Autorretrato: The Specialized Media Award for the
Best Flamenco Show, Giraldillo 2008 Award for Best Show
(15th Flamenco Biennial, Seville 2008), the Audience Prize for
Best Show (13th Jerez Festival, 2009)
Photos: Juan Aldabaldetrecu
Photos: Victoria Hidalgo

PROGRAMME

THE DANCE, the studio THE COMPANY, the dressing
rooms, work, daily chores and
The mirror I most look in. sufferings (in the best sense)
Soleá del espejo
Lyrics Traditional Folk and inspired by El trajín de María
Antonio Machado Little tangos
Music Rubén Lebaniegos & Maria Pagés Lyrics & Music Rubén Lebaniegos &
Maria Pagés. Traditional Folk
Estudio de Farruca
Music Isaac Muñoz LIBERTY, the Stage.
My own space
Alter ego
Music Maria Pagés & Batio Hangongy Zapateado para ocho
Music Isaac Muñoz
POETRY, my home
Toco y Tiento
Retrato de familia Tientos & tangos
Music Adaptation of Yumeshi’s theme Lyrics Traditional , Ben Salh, Federico
Shigeru Umabayashi by Rubén García Lorca
Lebaniegos & Batio Hangongy Music Isaac Muñoz & Traditional Folk

Mi refugio Entre el vivir y el soñar Photos: Maria Lunares
Poem and Voice José Saramago Alegrías & Cantiñas
Lyrics Antonio Machado & Traditional
Cuatro Folk
Martinete & Debla Music José Carrillo, Isaac Muñoz &
Lyrics Callejón, Torres, Casado Traditional Folk

Las palabras y el silencio
Words of Love
Poem José Saramago
Music Rubén Lebaniegos
Voice Maria Pagés

Tu sangre, mi sangre Image courtesy of María Pagés Company
Onion Lullabies
Lyrics Miguel Hernández
Music Alberto Cortez, adapted by José
Carrillo & Isaac Muñoz

“The dances change… They are like life
itself, becoming meaningful as they
evolve and in the way that they evolve.
This is why today’s “Lullabies” are not the
same as those created four years ago and
they shall always, always be for you,
Pancho, my son.” Maria Pagés.

DANCE MUSIC TECHNICAL COMPAÑÍA
& STAFF MARÍA PAGÉS
María Pagés Ana Ramón singer
Ismael de La Rosa singer Jordi Buxó technical director María Pagés direction
María Morales José Carrillo “Fyty” guitar Pau Fullana lights Jordi Buxó technical direction
Sonia Fernández Isaac Muñoz guitar Beatriz Anievas sound Ana Martínez administration
Isabel Rodríguez Chema Uriarte percussion Sonia Blanco stage manager Daniel Mejias communication
Mª de Mar Jurado David Moñiz violin Clara Castro road manager Clara Castro management
José Antonio Jurado and booking
Alberto Ruiz
José Barrios Torrelodones Resident
Paco Berbel Company

Image courtesy of María Pagés Company

María Pagés on creating Photo: Muriel Mairet

Autorretrato

When Mikhail Baryshnikov invited me to dance in the
Baryshnikov Art Centre (BAC), he asked me for a very
personal performance that would show me as a person as
well as a dancer or a creator. I interpreted his wish as if it
were my self-portrait that he was looking for and although
what I then presented was limited by a small and intimate
space, the idea of developing my self-portrait onstage
encouraged me to create this performance.

I felt the need to learn to know myself; the need to stop and
get closer to the mirror, to be able to see clearly, to observe
myself and to analyse myself thoroughly. Then I translated all
of this into a movement, an atmosphere and a stage setting.
What I tried to do was to follow the process that painters
follow when they draw or paint their self-portrait.

The truth of the matter is that dance is the only medium that I
have found to get to know myself, let us say that dance has
been a part of me forever, that we have not abandoned each
other, that we are one; in short, dancing is what best shows
what I am.

I have learnt from this experience to look at myself in the
mirror as if it were a game, never forgetting the words of
wisdom found in La Soleá.

“The mirror at which you look will tell you what you are, but
will never tell you the thoughts that you have” María Pagés

MARÍA PAGÉS

Awards include: National Dance Award for Creation (2002),
National Choreography Award ADE (1996), four Giraldillos
awards, Biennale of Arte Flamenco for Best Company, Best
Creation, Best Direction and Critics’ Award, Leonid Massine
Award in Italy (2004), Best Artist and Best Creator at the sixth
edition of the Flamenco Awards in 2005, the Cultura Viva
Award (2006), the Madrid Community Culture Award (2008),
the Special Media Prize and Giraldillo Award for best show
(Autorretrato) at the 15th Biennale of Flamenco Art and the
Audience Award for Best Show (Autorretrato) at the 13th Jerez
Festival.

María Pagés holds a privileged place in the dance world. The
so-called “dancer with endless arms” is enjoying a high point
in her career. She has conquered stages around the world and
is internationally renowned for her creative contribution to the
modern development of flamenco. As a solo artist, she is
known for her sinuous arm movements, vigorous stamping
rhythms and sensational interpretations of flamenco dance. As
a choreographer, she is acknowledged as one of the leading
innovators of modern flamenco, her work feeding on the roots
of classic flamenco to reach out to all other forms of art and
opening up new paths to the future development of the genre.

Using the fundamental codes of flamenco style and
researching within and beyond, María Pagés crosses cultural
boundaries with a strong personal conviction that all cultural
exchanges provide a better understanding of human beings.

She started her professional career as a member of the Image courtesy of María Pagés Company
Antonio Gades Company and has gone on to find great
success with her own company, Compañía María Pagés, which
was formed in 1990. Since then, her career has been marked
by numerous accomplishments and public recognition for the
Company.

In October 2005, the Compañía María Pagés was invited to performance at the Teatro Real in Madrid, which marked the
perform at the Ibero-American Summit celebrated in first time a flamenco dance company had performed at the
Salamanca. For the opening ceremony, she offered various opera house.
creations as well as the premiere of the choreographic
representation of the poem by José Saramago Ergo uma rosa, Her movie collaborations included Carmen, El Amor Brujo and
which was received with great enthusiasm. Flamenco by Carlos Saura.

Since October 2007, the María Pagés Dance Company has María Pagés is an active member of the Board of the Cultural
sold out the Teatro de la Zarzuela in Madrid and the Gran Council of Madrid and is currently collaborating with
Teatre del Liceu in Barcelona for two weeks, with her show choreographer Sidi Larbi Cherkaoui on a new production,
Seville. They have performed internationally at dozens of Dunas.
celebrated venues including the Baryshnikov Arts Centre in
New York; the Théâtre National de Chaillot, Paris; the National In 2010, the Maria Pages Company will celebrate its 20th
Centre for the Performing Arts in Beijing; Singapore Esplanade anniversary with an extensive world tour featuring
Theatre in Singapore; the Parco della Musica in Rome; the performances of three of the Company’s most successful
Mohamed VI Theatre in Casablanca and the Palais de Beaux- creations; Flamenco Rebublic, Sevilla and Autorretrato.
Arts in Brussels among many others.
Compañía María Pagés is sponsored by
In May 2008, tonight’s piece, Autorretrato (Self-Portrait) was
presented at the Tokyo International Forum. When it debuted
in Spain, Pagés was awarded the Special Media Prize and the
Giraldillo Award for the Best Show in the Seville Biennale, as
well as the Audience Prize for Best Show at the 13th Jerez
Festival. Then in 2009, Autorretrato was presented in Madrid
at a series of sold-out performances, garnering rave reviews
and standing ovations. Another highlight of 2009 was Pagés

GALA FLAMENCA:
TODO CAMBIA

Pastora Galván, Manuel Liñán,
Belén López, Rocío Molina

Choreography Manuel Liñán, Rocío Molina, Pastora Galván, Belén López
Artistic Direction Manuel Liñán & Rocío Molina
Costumes Vicente Soler

Pastora Galván – Photo: Luis Castilla
Manuel Liñán – Photo: Carlos Belén
Belén López – Photo: Bernardo Doral
Rocio Molina – Photo:

Manuel Liñán – Photo: Carlos Belén
Belén López – Photo:

PROGRAMME Fandangos DANCE
Manuel Liñán, Pastora Galván
De Romero. Taranto Belén López dance Pastora Galván
Rocío Molina choreography and dance Manuel Liñán choreography Manuel Liñán
Paco Cruz music Manuel Cazás music Rocío Molina
Belén López
Tonás (Oro Viejo´s Piece) Musical Interlude David Coria
Rocío Molina choreography Eduardo Guerrero
David Coria, Eduardo Guerrero dance Soleá por Bulería & Romance
Paco Cruz music Manuel Liñán choreography and dance MUSIC
Paco Cruz, Manuel Cazás music
La Zocata (Zapateado) Paco Cruz guitar
Rocío Molina choreography La Cachucha Manuel Cazás guitar
Rocio Molina, David Coria, Eduardo David Coria, Eduardo Guerrero dance Jesús Corbacho singer
Guerrero d Manuel Liñán choreography Juan José Amador singer
Curro Albaicín lyrics Rosario Guerrero “La Tremendita”,
Milonga Manuel Cazás music guest singer
Rosario Guerrero “La Tremendita” singer Sergio Martínez percussion
Paco Cruz music Seguirilla Popi & Vanesa Coloma palmas
Pastora Galván choreography and
Mirabrás & Cantiñas Paco Cruz, Manuel Cazás music TECHNICAL & STAFF
Rocío Molina choreography
Rocio Molina, David Coria, Tanguillos Ana Carrasco executive producer
Eduardo Guerrero dance The Company dance Nicolás Fischtel lighting
Manuel Liñán choreography Kike Cabañas, Miguel Arbó sound
Alegrías Manuel Cazás music Lola Ortiz stage manager
Belén López dance Ana Carrasco tour manager
Belén López choreography
Paco Cruz, Manuel Cazás music Aknowledgements for Mirto for the
costumes
Gala Flamenca: Todo Cambia has been
possible thanks to the support of:

Pastora Galván – Photo: Luis Castilla
Rocio Molina – Photo:

PASTORA GALVÁN

The daughter of José Galván and the sister of Israel Galván,
Pastora Galván could only have grown up dancing. At age 15
Pastora performed professionally for the first time with the
Company of Flamenco Theatre of San Francisco. The following
year, she danced with her brother’s company in France and by
2001 she had established a formidable reputation as a
premier dancer and won the Matilde Coral prize at the
Cordoba National Contest of Flamenco Art.

Pastora has danced in every major flamenco festival, in the
most important Spanish theatres and tablaos, and in many
cities in Europe, Japan, the USA, the Middle East and Cuba.
She has participated in the Flamenco Biennial of Seville since
1998, when she took part in Israel Galván’s show Mira/Los
zapatos rojos. She has also collaborated with her brother in
La Metamorfosis (2000), Galvánicas (2002), and Dos
Hermanos (‘Brother and Sister’, 2004).
Pastora Galván – Photo: Luis Castilla
Manuel Liñán – Photo: Carlos Belén2006 marked a watershed in her career as she performed aMANUEL LIÑÁN
total of five different pieces choreographed especially for her
by Israel Galván at the Flamenco Biennial of Seville, all with Manuel Liñán was born in Granada in 1980 and began his
Pedro G. Romero as artistic director. Pastora also premiered dance studies at the hand of such maestros as Manolete and
La Francesa at the 2006 Biennial. Mario Maya.

In 2008, again at the Flamenco Biennial of Seville, she and In 1998 he joined the Carmen Cortés Company and performed
Israel danced together in Pedro Sierra’s Tres movimientos. in Salomé. The following year, he was a Soloist in Campanas
Later that year she performed Cuatro Esquinas, together with Flamencas and in 2000, a guest artist with Paco Romero´s
Carmen Linares, Miguel Poveda and guitar player Juan Carlos Company in Cinco Grandes de la Danza. The same year, he
Romero. She concluded 2008 by bringing her Cuadro was invited to be a lead dancer for Merche Esmeralda´s
Flamenco to Cairo and Beirut. Company and he premiered La casa de Bernarda Alba, which
he not only performed in but also helped to direct and coach
the other performers.

In 2002 he joined the Rafaela Carrasco Company and
performed in Música en el cuerpo and performed as a Soloist
at the Festival Los Tarantos in Homenaje a Camarón. Together
with Daniel Doña and Marco Flores he created the company
ESS3 Movimiento in 2003 and they premiered its first show
Un Millón de Emociones the same year. In 2004 he performed
together with Belén Maya and Rafaela Carrasco in Los
Caminos de Lorca. He was a Soloist in 2006 at the Flamenco
Biennial of Seville and again in 2007 at the Nîmes Flamenco
Festival and the Union Festival.

In 2008 he collaborated with the Teresa Nieto Company in
their production of De Cabeza and was invited by Jose
Antonio, director of the Ballet Nacional de España, to teach
flamenco courses at the ballet. In the latter half of the year,
he toured Hong Kong, China and Australia with the Gala
Flamenca, premiering it at the Sydney Opera House.

Manuel has choreographed extensively for other artists,
including Paco Romero, Belén Maya, Rafaela Carrasco, Mario
Maya, Teresa Nieto and the Nuevo Ballet Español. His other
accomplishments include being awarded the Hugo Boss
Young Talent grant in 2002 and winning prizes for Solo
Choreography and Most Outstanding Dancer for his piece,
Madame Soledad, at the 13th Madrid Spanish Dance and
Flamenco Choreography Contest.

BELÉN LÓPEZ

Born in 1986, Belén López was a child prodigy who first
performed in public at age five dancing in a show paying
homage to the famous Carmen Amaya, a legend to whom
Lopez has since been compared. At seven she won the TV
contest Bravo Bravissimo and danced with Angel Corella at
the Teatro de Madrid.

She is the recipient of numerous awards, including Mario
Maya’s National Flamenco Revelation Artist award. She has
been the prima ballerina at the Arena di Verona for four years
and the lead dancer at the companies Il Camborio, Corral de
la Moreria and Coral Pacheca. She has danced before Queen
Sofía of Spain at the Zarzuela Theatre in Madrid, at the Jerez
Festival, the Biennale Danza Italia, Madrid’s Spanish Theatre,
Madrid’s Círculo de Bellas Artes, the Suma Flamenca Festival,
Munich’s Gasteig Theater, Caja Madrid Festival, and Malaga’s
Bienal.

Belén formed her own troupe at 20 and she directed,
choreographed and wrote the lyrics for its first big
production, Cuando Amanece (When Day Breaks). Her
troupe´s 2009 production A mi manera (My Way), partly
inspired by the Sinatra hit, is pure flamenco, pure passion.
Belén López – Photo: Bernardo Doral
Rocio Molina – Photo: Luis CastillaROCÍO MOLINA

At just 26, Rocío Molina already has a number of awards and
accolades to her name; including the award for Most
Outstanding Dancer at the XI Certamen de Coreografía y
Danza de Madrid in 2002; Best Flamenco Dancer at the El
Madroño and the Venencia Flamenca el Mistela awards in
2006; The Critics’ Award for Best Dancer 2006 and 2007 at
Flamenco de Hoy, the award for Best Dance Show for
Turquesa como el Limón from Canal Sur Radio in 2007, the
Press Award for Best Dancer and the Giraldillo for Best
Choreography at the Flamenco Biennial of Seville, 2008.

Molina started dancing at the age of three, and by the time
she was 11 she was winning prizes in national dance
contests. She began her studies at the Malaga’s Dance
Conservatory, and finished her degree with honours. In 2001
Molina joined the María Pagés Company as a dancer and
choreographer, touring Italy, Japan, Canada and the US, and
taking part in the Gala de Andalucía in New York. In 2003 she
took part in Flamenco Festival USA as a Soloist and
performed a duet with Israel Galván.

She premiered her first show, Entre Paredes, in 2005. At the
first ever Festival Málaga en Flamenco in 2005, she premiered
El Eterno Retorno, based on the work of Nietzsche. In 2006
she premiered Turquesa como el Limón and Dorantes, this
was followed in 2007 by the premiere of Almario. Then, later
that year she premiered Por el decir de la Gente,
commissioned by José Luis Ortiz Nuevo, at the Málaga Bienal.
She began 2008 by participating as a Soloist in Mujeres
together with Merche Esmeralda and Belén Maya. Also in
2008, she premiered Pasos Contados directed by Pepa
Gamboa and featuring Diego Carrasco, danced in Goyesca
with Carmen Linares, Miguel Poveda and Carmen Cortés and
premiered her own show Oro Viejo.

Most recently, Molina premiered Cuando las Piedras Vuelen,
her latest work.

Flamenco Festival UK Team

Miguel Marín artistic director & producer

María Fernández London artist service
Belén Seoane promotion and edition
Belén Castres technical coordinator

Ana Carrasco production
Rubén Martín production

Mirto costumes
Barfutura book design
Javier Suárez photographer
José Ortega Unoynueve web master
Jeff Barnett translator
Annita Rodriguez poster model
Juanjo Martinez video

londondance.com is the essential
online guide to what’s happening
in dance in London – produced at
Sadler’s Wells.

Visit us for: • Jobs in dance
• Noticeboard
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Coming soon to Sadler’s Wells 0844 412 4300
www.sadlerswells.com

Sidi Larbi Cherkaoui & Antony Gormley Danza Contemporanea de Cuba
with monks from the Shaolin Temple
Mixed programme
Sutra

Winner of the prestigious Ballettanz Production of the Year award, Sidi Larbi Cuba today produces some of the world’s finest contemporary and ballet
Cherkaoui’s remarkable collaboration with Antony Gormley and monks from the dancers. Leading the field is the unique and exciting Danza Contemporanea
Shaolin Temple makes a triumphant return to Sadler’s Wells. de Cuba, which this year celebrates an outstanding 50 years with its first ever
major UK tour.

£10 - £35 save live Frisave 19 & Sat 20 Marchlive save save £10 - £25 save live save
Sat 13 – Wed 17 March & Mon 22 – Fri 26 March 20% music 20% 20% 20% 20% music 20%
music save live save
20% music 20%

Pictures from an Exhibition Akram Khan Multi award-winner Akram Khan is one of the most
exciting choreographers/dancers of his generation.
Sadler’s Wells and the Gnosis
Young Vic are delighted Inspired by the Mahabharata story of Queen
Ghandari, who blindfolds herself for life to follow her
to offer London
audiences a second blind husband, Gnosis explores the notion of inner
knowledge and clouded vision, of ‘seeing darkness
chance to see this
remarkable dance yet being blind to light’.
theatre collaboration
inspired by, and set to, Photo: Richard Haughton
Modest Mussorgsky’s
classic piano suite
Pictures from an

Exhibition.

Fri 23 & Sat 24 April £10 - £25 save Momnliuvse2ic 6 & Tuesave 2s27a0v%eApril save live save £10 - £35 save
20% 20% 20% music 20% 20%
save live save live
20% music 20% music

Compagnie Marie Chouinard The Merchants of Bollywood

bODY_rEMIX/gOLDBERG_vARIATIONS

Montreal-based Compagnie Marie Chouinard is a firm fixture on the international A theatrical dance spectacular, The Merchants of Bollywood charts the history of
dance scene. In this hypnotic work the company’s 14 dancers explore themes of the world’s largest and most prolific film industry, and the dynasty of stars that have lit
beauty and freedom. Chouinard uses different devices – crutches, rope, horizontal its way over generations.
bars. This use of accessories gives rise to playful explorations of body shape and
paints a startling metaphor for the human condition. Featuring a cast of 40 performers, this turbo-charged, joyfully uplifting show is a riot
of swirling colours, high-energy music and sensational dance scenes choreographed
by one of Bollywood’s top young choreographers, Vaibhavi Merchant.

Fri 7 – Sat 8 May £10 - £25 save Tue 1mliu8vseicMay - Sat 5save save June save live save £10 - £40 save
20% 20% 20% 20% music 20% 20%
save live save live
20% music 20% music

Save 20% on your tickets! Buy tickets for two or more participating shows or programmes (indicated by or ) at the same time and receive 20% discount.
See www.sadlerswells.com/save for full details. not available online. Adult groups of 8+: 20% off stalls seats. Terms and conditions apply.

“A showcase of all that thrills and excites about tango”

VARIETY

The international
tango hit comes

to London!

TaPnoFgEsSRvoatmehESoCerEl-hdydleaoaryTswstuoicnseklyeet s:

Tuesday 3 –
Sunday 22 August

flamenco prog ad:Layout 1 4/2/10 13:32 Page 1

“A concussive orgy of music and
dance that threatens to blow the
roof off the auditorium”DAILY EXPRESS

Flamenco sin Fronteras

####
“Dance and music-making
this good are rare”

THE TIMES

Tuesday 29 June -
Saturday 3 July

flamenco prog ad espana:Layout 1 4/2/10 13:47 Page 1

Askonas Holt, Raymond Gubbay and Sadler’s Wells present

FLAMENCO AT ITS FINEST!

Director: José Antonio

“Spain's pre-eminent
dance company”

DAILY TELEGRAPH

Special guest appearances by

Tamara Rojo

on 27 April & 1, 2 May

DUALIA & LA LEYENDA

Tue 27 April -
Sun 2 May 2010

SPRING DANCE AT LONDON COLISEUM 0871 911 0200 www.eno.org
THE
calls cost 10p per minute from a BT landline, other networks may vary Reduced transaction fee online

Taking the waters

Sadler’s Wells the twentieth century by Al Senter

At the beginning of the twentieth century, Britten’s Peter Grimes, which opened at “We had more House Full notices (and
the Sadler’s Wells Theatre seemed to have Sadler’s Wells on June 7th, 1945 - sold more front stalls) than the theatre had
reached the nadir of its fortunes. In scarcely a month after VE Day. In the seen for years”, recalled Douglas Craig,
January 1914, S.R. Littlewood, theatre company was dancer Barbara Fewster. “I Director of Sadler’s Wells from 1970 to
critic of The Daily Chronicle sadly declared played an urchin in Peter Grimes. We’d 1980. Also gracing the stage during this
that the once glorious Sadler’s Wells was a often have tea with Britten at a nearby period were Merce Cunningham, Marcel
“Poor, wounded old playhouse.” Yet a cafe that was run by a traditional Marceau, the Kabuki Theatre, the Dance
saviour was to come galloping to the Victorian spinster. We were young and life Theatre of Harlem and the Kodo
rescue. When the redoubtable Lilian was exciting, especially when we had to Drummers from Japan.
Baylis, who had devoted so much of her hide underneath the stage to avoid the
energies to establishing The Old Vic buzz bombs.” After 50 years Sadler’s Wells closed in its
Theatre, was first asked to work the same 1931 guise on June 30th, 1996. It
magic on the ailing Sadler’s Wells, she had During the subsequent decades, Sadler’s emerged in its new, exciting contemporary
given a typically forthright answer. “A Wells built a high reputation for opera and incarnation on October 10th, 1998,
madman’s dream. It’s ridiculous to think of dance but when the Opera Company complete with flexible auditorium, a vastly
adopting another child when one can’t moved to the Coliseum in 1968 and enlarged sprung stage, advanced
provide for one’s own.” transformed itself into ENO, it was felt computer stage and lighting technology
that the theatre should be playing a and spectacular multi-media displays on
Nevertheless, by 1925, she clearly felt pivotal role as a receiving house - both the facade.
that the Old Vic had survived into a for foreign companies and those within
healthy adolescence and she could the U.K. who were looking for a On a more humble level, a strange
therefore turn her attention to Sadler’s metropolitan shop-window. Sadler’s mixture of objects was buried in a time
Wells. She set up a charitable Foundation Wells, strategically positioned at some capsule under the centre stalls during
to finance the building of a new theatre. remove from the West End hothouse, construction in February 1997.
Designed by FGM Chancellor, it opened was seen as the ideal launching-pad for
on January 6th, 1931 with a timely artists at the outset of their careers. Future archaeologists will surely
production of Twelfth Night and with a puzzle over a motley collection that
cast headed by Richardson as Sir Toby Accordingly the theatre played host includes a piece of the wooden floor from
Belch and Gielgud as Malvolio. throughout the 1970s and 80s to a rich the de Valois Room and a No.19 bus
diversity of attractions and Sadler’s Wells ticket.
Originally it was intended that Sadler’s recaptured something of its traditional
Wells should mirror the Old Vic in offering a eclecticism. On Rosebery Avenue one Since the new theatre opened, a new
programme that alternated between drama could see everything from Händel Opera generation of pleasure-seekers have
and opera and for a time productions to the Black Theatre of Prague and flocked to Rosebery Avenue to sample
trundled between Rosebery Avenue and Netherlands Dance Theatre with its the latest artistic waters. And let’s hope
the Waterloo Road every two weeks. But controversial if highly commercial nudity. that their thirst can never be quenched.
by the 1935/36 season, Sadler’s Wells had
become the exclusive preserve of opera
and dance. Sadler’s Wells Ballet, with
principal dancers Alicia Markova and Anton
Dolin under the inspired leadership of
Dame Ninette de Valois, became the first
truly British ballet company.

It is about this time that Wendy Toye
makes her first appearance in the story of
Sadler’s Wells. Later to become a
distinguished stage, film and opera
director, Miss Toye was then an
overawed teenager in the corps de ballet.
“A First Night at Sadler’s Wells could be
very glamorous,” says Miss Toye. “But
you never felt that people came simply to
be seen. There was real knowledge about
and real enthusiasm for the work - opera
or dance.”

Wendy Toye has affectionate memories
of the world premiere of Benjamin

Sadler’s Wells Supporters

We would like to thank all those who generously support the theatre’s activities

Corporate Dominic Palfreyman David Reynolds Performance Members
Robin Pauley Ross Roberts Anonymous
Corporate Partners Ellen Plantevin Jill and Paul Ruddock Severine Balick
American Express Robert and Felicity Waley-Cohen Elizabeth Scott Ian and Judy Barlow
Bloomberg John Ward Alastair Sharp Carol Brigstocke
Man Group plc Richard Wilson OBE Henrietta Shields Jennifer Brophy
Rolex Melanie and Keith Young Lesley Shoebridge Ms Annunziata Celantano
Claire Sohn Caroline Duggan
Corporate Sponsors Creative Circle Tanya Steyn Paola Ferretti-Johnson
Alfa-Bank Lauren and Michael Clancy Paula and David Swift Peter and Judith Foy
Bennetts Associates The Robert Gavron Charitable Trust Torsten Thiele Robert Glick
Clifford Chance Jack and Linda Keenan Wenke Thoman Sterns Sarah Griffin
DLA Piper E. G. Tomsett Sue Hammerson
Madrid Tourism Board Stage Circle Bonnie J Ward Michael Holter
Spindrift Al Swaidi Charles and Kathryn Wickham Sandrine Jensen
Corporate Supporters Peter and Sally Cadbury Anne Kauder
Bolt Burdon Celeste Fenichel Circle Patrons Nida Khayrallah
Criterion Ices Limited Juliette Gafsen Anonymous Eugene Leahy and Helmert Robbertsen
La Porchetta Frank and Helen Neale Jane Attias Gerald Lidstone
Wildbore & Gibbons Jan and Michael Topham Helga Baitenmann Eric Longstaff
William Norris & Company Richard Wilson OBE Nancy and Richard Balaban Dr Patrick Maher
The Zetter Hotel and Restaurant R. Borzello and the Camden Trust Ms Elizabeth McPhillips
Studio Circle Jenny Brend Henderson Murray
Individuals Mr and Mrs Sekhar Bahadur Sue Butcher Sally Pasmore
G. P. and J. M. Batchelar Denise Cohen Charitable Trust Geraldine Ravet
Major Supporters David W. Bernstein Geoffrey Collens Tonnvane Wiswell
David and Primrose Bell Kristina Borsy and Nick Turdean John Crisp David Wyld
The Deborah Loeb Brice Foundation Mrs Pamela Brand-Field Andrew and Deborah Cullen
Marco Compagnoni José and Meg Breña Amanda Cupples Trusts and Foundations
Focus on Forsythe Benefactors Michael Buckingham Ian and Morny Davison
Barbara and Karsten Moller Jules and Cheryl Burns Domonic Green 29th of May 1961 Charitable Trust
The London Morphoses Syndicate Nica Burns Neil Griffiths-Lambeth Calouste Gulbenkian Foundation
Simon and Virginia Robertson Dorothy Marie Burwell John E Haines Charles P. Russell II Foundation
Ann and Martin Smith Sarah and Philippe Chappatte Lady Harlech City Bridge Trust
Lady Solti Toni Cupal and Michelangelo Volpi Stephen and Jennifer Harper City Parochial Foundation
David and Hannele Tilles Peter and Genevieve Davies Garth Kimber The Clore Duffield Foundation
The Ulrich Family Sylvia and Gary Eaborn Marina Kleinwort Dame Hilda Bracket Trust
Sarah and Louis Elson Lady Lever The Deborah Loeb Brice Foundation
Artistic Director’s Circle Libby Engstrom Mr and Mrs George Loudon The D’Oyly Carte Foundation
Angela Bernstein CBE Piers Fallowfield-Cooper Stuart Lucas Dr. Scholl Foundation
The Deborah Loeb Brice Foundation Juliana Farha and Kit Malthouse Harry and Fiona MacAuslan The Edwin Fox Foundation
Lloyd and Sarah Dorfman Charles Glanville Jane Miller The Foyle Foundation
Marina Hobson The Richard Grand Foundation Georgia Oetker The Garfield Weston Foundation
Barbara and Karsten Moller Jan Grandison Maria Osten-Sacken Helen Hamlyn Foundation
Tony Oakley Janine Griffis and Peter Kohl Midge and Simon Palley Jack Petchey Foundation
Sir Christopher Ondaatje Kate Groes Robin Pauley Jerwood Charitable Foundation
Ann and Martin Smith Gary Halkyard Mrs Madeleine Plaut The John Ellerman Foundation
The Ulrich Family Abel Halpern and Helen Chung-Halpern Dave Plummer and Lesley Whitby The Kobler Trust
Amanda Haynes-Dale Peter B Rea The Leche Trust
Supporters Sarah Havens and Gregg Sando Nigel Roberts The Mercers’ Company
American Friends of Sadler’s Wells Rick and Janeen Haythornthwaite Chantal Defay Sheridan Millichope Foundation
Robert Ashley-Jones Vicky Hughes and John Smith David and Dee Dee Simpson The Mirisch and Lebenheim Charitable
Rab Bennetts Joyce Kan Constance Slaughter
Charles and Leonie Booth-Clibborn Rosemary Lancaster - Brian D Smith Foundation
Robert Borzello and the Camden Trust Alistair Spalding The Monument Trust
Lauren and Michael Clancy Woolacombe Bay Hotel Stuart and Louise Spence The National Deaf Children’s Society
Joachim Fleury John and Susan Lazar Stuart Stanley The Paul Hamlyn Foundation
Robert Gavron Charitable Trust Alison LeMaire Christopher and Fiona Steane Peter Moores Foundation
Charles Glanville David Lloyd Laura Stevenson Quercus Trust
Christophe Gollut Lindy Mason Allen Thomas and Jane Simpson The Rayne Foundation
Joseph and Jill Karaviotis Arela Natas Anna Valentine and Jonathan Berger The Rayne Trust
Harriet and Michael Maunsell Anthony and Alison Nathan John Voss The Robert Gavron Charitable Trust
Sara Naudi Mr and Mrs C Norton Graham Watts OBE
Friends of New Adventures Dr Elizabeth Parker Gerry and Ruth Weiss
Harald Orneberg The Porter Foundation
Kerri Ratcliffe and Doug Henderson

Sadler’s Wells Foundation and Trust

Sadler’s Wells Foundation Governors Ian Jentle Honorary Clerk Directors
Cllr George Allan Gerald Lidstone Kathy Honeywood Rab Bennetts OBE
President Jennette Arnold Harry McAuslan Marco Compagnoni
Lady Solti Monique Bahadur Barbara Kahn Moller Clerk to the Foundation Joachim Fleury
Rab Bennetts Annie Norton Alistair Spalding Harry MacAuslan
Hon. Vice President Kristina Borsy Lady Panufnik Robin Pauley
Ian Albery José Breňa Dr Maggie Semple OBE Arlene Phillips
Nica Burns Cllr Barbara Smith Tony Sarin
Chairman Celeste Fenichel David Tilles Lady Solti
Sir David Bell Joachim Fleury Richard Wilson OBE Sandi Ulrich

If you would like to know more about supporting Sadler’s Wells, please contact the Development Office on 020 7863 8134 or [email protected]

Sadler’s Wells Staff

Chief Executive/Artistic Director Press Officers Finance Assistant IT Manager
Alistair Spalding Alice Evans, Jenny Lee, Ciaran McKenna, Sheena Patel Alec Cuffy
General Manager Sally Partridge IT Systems Engineer
Laura Stevenson Press Office Co-ordinator STAGE Raymond Neequaye
Finance Director Eugénie Dunster Chief Technicans IT Technician
Mark Rhodes Web Manager Liam Fahey, Andrew Gorman Chris Massamba
Director of Marketing & Mark Doerfel IT Assistant
Communications Multimedia Officer Technical Manager Lilian Baylis Ray Wei Long Ho
Kingsley Jayasekera Andrew O’Regan Studio Housekeeper
Director of Programming Web Editor (LondonDance.com) Roman Bezdyk Muriel Vaughan-Williams
Suzanne Walker Carmel Smith Deputy Housekeeper
Director of Operations Web Assistant (LondonDance.com) Technicians Alberto De Antoni
Steve Hyde Sarah Golding Tom Hares, Paul Howard, Dave Judd, Ali Housekeeping
Director of Technical & Production Low, Neil McGovern, Michael Rodgers, Fabian Arias, Jeffrey Balighot, Fortunato
Emma Wilson DEVELOPMENT Sam McLeod, Christian Wallace, Laura Carian, Kelly Dago, Jesiel Da Silva, Irene
Director of Creative Learning Development Consultant Wareham, Tony White Hall, Akissi Kouassi, Abe Lambert, Jose
Fiona Ross Janet Reeve Lary Legario, Louis Ricafort, Oumar-
Jane Hackett (Maternity Cover) Consultant – Trusts and Foundations OPERATIONS Florent Sam, Mercan Sahin, Celestin Trah,
Director of Development Jane Lenton Engineering Manager Amani Yoboue
Georgina Shields Manager, Individual Giving and Trusts Ashley Hard
Executive Assistant Tamzin Robertson Facilities Manager - The Place TICKET OFFICE
Nadine Pain Manager, Corporate Fundraising Roy Adkins Ticket Sales Manager
Svetlana Semenchuk Maintenance Technician - The Place Zahir Jaffer
PROGRAMMING Development Co-ordinator, Individual Barry Daley Ticket Office Systems Manager
Producer Giving and Trusts Maintenance Technician – Peacock Brian Kearney
Emma Gladstone Lauren Burles Theatre Ticket Office Supervisors
Programming Manager Development Co-ordinator, Corporate Daniel Knapton Barbara Birch, Mark Hammond, Abigail
Mai Komoriya Fundraising Senior Building Services Technician Parker
Programming Manager - Peacock Martha Heiland-Allen Ilia Constantinides Memberships and Ticketing
Theatre Building Services Technicians Services Administrator
Emma Dowden CATERING & EVENTS Richard Emmett, Wayne Lawrence, Ghion Ritchie Dach
Programming Co-ordinator Head of Catering and Events Mekonnen, Win Tun Ticket Office Clerks
Lisa Marie Bowler Judith Blinkhorn Chief Security Officer Ramzan Ali, Robert Allen, Clare Bracewell,
Projects Manager Events Manager Roger Owen Hugh Brady, Marguerite Bullard, Felicity
Charlotte Geeves Misha Agzarian Security Officers Coupland, Richard Cross, Sara Gilbert,
Sutra Tour Manager Events Co-ordinator David Grant, Emmanuel Yaokumah, Kim Graham, Jake Harders, Elspeth
Dawn Prentice Alessio Romani Beverley Dixon Harrison, Tim Hudson, Paula Jones, Rosa
Opera Advisor Events Assistant Operations Manager Maugher, Cinzia Moretti, Ros Moore,
Nicholas Payne Nu Tran Lynda Nichol Paula Patritti, Matt Phillips, Alpesh Rajani,
Programming Interns Catering Manager Operations Administrator Jemma Robinson, Nicola Salt, Mark
Sandra Castell-Garcia Jenny Hunt Rachel Meikle Saxton, Pauline Scullion, Cameron Slater,
Molly Sanders Events Ops Manager Jabena Butt (Maternity Cover) Ben Stanley, Sandra Wellstead,
Oliver Hamilton House Managers
Breakin’ Convention Office Manager Marguerite Bullard, Hannah Sless Sadler’s Wells Associate Artists
Artistic Director Janet Sutton Deputy House Managers Balletboyz
Jonzi D Head Chef Dara Brooks, Larry Harrison, Janine Matthew Bourne
General Manager Wayne Reffell Kaufman, Marcella Santese Sidi Larbi Cherkaoui
Emma Dowden Bars Manager Front of House Sales Administrator Jonzi D
Projects Manager Elizabeth John Chris Harmer Javier De Frutos
Kate Scanlan Peacock Theatre Bar Manager Performance Cashiers Sylvie Guillem
Administrator David Neild Robert Churchill, Larry Harrison Akram Khan
Michelle Norton Events/Restaurant Manager Front of House Sales Assistants Russell Maliphant
Ana Matesco Lisa Beck, Anna Booth, Roisin Butters, Hofesh Shechter
CONNECT Duty Supervisor Sandra Castell, Hanna Cevik, Adina Jasmin Vardimon
Creative Learning Manager Loretano Cerro, Jane Noonan Chereqi, Gisela Creus, Nansi Davies, Christopher Wheeldon
Rachel Evans Bars Supervisor Federico Di Pace, Renee Driessen, Polly
Creative Learning Projects Manager Michelle Houston Frame, Gigi Giannella, Amera Haider, Anna Resident Companies
Sarah Baker Events Supervisor Harrison, Vera Hochkofler, Amy Hyde, Wayne McGregor I Random Dance
Access Officer Nicholas Clarke, Ruben Sarralde-Garcia Katsura Isobe, Luke Kearney, Ian Lambert, New Adventures
Sarah Howard Café Supervisor Ljiljana Lemajic, Wing Li, Vivien Loh, Sarah Guest Resident Company
Youth Dance Strategy Manager Elizabeth Giles Loader, Claire Marty, On Yee Loh, Takeshi Morphoses/The Wheeldon Company
Melanie Precious General Assistants Matsumoto, Tim Mays, Robert Mennear,
Connect & London Youth Dance Co- Afiya Allison, Faye Blackman-Davor, Manuela Mocanu, Rhiannon Montagu- Sadler’s Wells is a non-smoking theatre. Mobile phones
ordinator Rosaria Dell’uomo D’arme, Luther Dyer, Harrison, Thomas Montagu-Harrison, must be switched off before entering the auditorium.
Hannah Dye Nicholas Rainsford Frouke Mooij, Albukhari Muda, Lizzie Ogle, Photography and the use of audio or visual recording
Youth Zone Co-ordinator Anna Walton Agata Paradnia, Elizabeth Peck, equipment are prohibited in the theatre.
Sarah Smith Aleksandra Podsiadlik, Thomas Reid,
PERSONNEL Anna Riessner, Miriam Ruoff, Molly
MARKETING Personnel Manager Sanders, Alessandro Santese, Marcella
Marketing Campaigns Manager Clair Kelly Santese, Dorit Schwartz, Bishwo Shahi,
Sammie Squire Personnel Officer Neeraj Singh, Prabin Tamang, Noreen
Marketing Officer Sirena Wilson Townsend, Alexandra Ursache, Calvert
Lucy White Administrator Watson, Kat Wieszczek, Magda
Marketing Assistant Hannah Nicholson Wieszczek, Jairo Zaldua, Berta Zalewska
Sarah Barnett Receptionist
Audience Development FINANCE Joann Peek
Bid Mosaku Financial Controller Stage Door Keepers
Publications Editor Paul Warren Marie-Claire Adriaenessens, Brandon
George Acock Show Accountant Force, Nicholas Garwolinski, Lee Knight,
Publications Assistant Lorne Cuthbert Tina Ramdeen, Jemma Robinson,
Sally Harper Ludmila Rusiecka, Neeraj Singh,
Press Manager Finance Officer Rosannah Smith
Abigail Desch Monisola Samuel

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Find out the difference between At night, enjoy the real flamenco
alegría and bulería rhythms, or exprerience in classic bars where
the soléa and sevillana flamenco
styles. Songlines Music Travellers locals dance and sing
will benefit from our leaders’
inside knowledge and receive
information sheets about the
local music and culture

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