FF London 2016

Flamenco
Festival
London

Tuesday 16 - Sunday 28 February 2016

Welcome

Photo: Hugo Glendinning

Welcome to our 13th edition of Flamenco genre and its possibilities. The fortnight-long
Festival London, Sadler’s Wells’ survey of showcase concludes with renowned singer
the best flamenco dance and music Esperanza Fernández performing a selection
performed today. of traditional flamenco songs, accompanied by
dancer Ana Morales and singer Marina Heredia.
We open with a new production by dancer Sara
Baras, a vibrant tribute to flamenco performed It is a great opportunity to experience virtuoso
with her characteristic intensity, precision performances by some of the leading artists
and sophistication. Composer and guitarist in contemporary flamenco, as well as to delve
Vicente Amigo plays works from his latest into the many influences, interpretations and
album Tierra, while brothers Farruquito and facets that shape the genre.
Farruco’s performances bring to the stage the
rich cultural heritage of flamenco puro – the I would like to thank the Spanish Embassy for
dance in its traditional state – that their style their support of the event.
has come to embody. Farruquito also joins
other artists who received awards at the Bienal I hope you enjoy it.
de Flamenco de Sevilla for the festival’s Gala,
including acclaimed musician ‘El Lebrijano’ and
Ballet Flamenco de Andalucía.

Dancer and choreographer Olga Pericet Alistair Spalding CBE
channels her fierce energy and refined Artistic Director and Chief Executive
technique in a work that looks at her journey
and celebrates life, while her performance
with Marco Flores gives us a chance to see
where the latest generation of artists is taking
flamenco through their exploration of the

Front cover: Ana Morales/Ballet Flamenco de Andalucía.
Photo by Luis Castilla. Design by Barfutura.

Flamenco
Festival
London
2016

Ballet Flamenco Sara Baras 8-10 Staff

Voces, Suite Flamenca Director Miguel Marín 
Technical Production Belén Castres
Tue 16 - Sat 20 Feb at 7.30pm Production Isabel Aranda, Beatriz Hoyos
Sat Mat at 2.30pm Press and Communication
Mercedes L. Caballero
Vicente Amigo 11 Production Assistant Irene Miranda

In Concert Beyond Flamenco
Sun 21 Feb at 7.30pm
Pina Bausch Room
Farruquito & Farruco 12
The 2014 film, Beyond Flamenco, will be shown
Buen Arate in the Pina Bausch Room 90 minutes before
Tue 23 & Wed 24 Feb at 7.30pm each Flamenco Festival performance (excluding
performances on 22, 24 and 25 February).
Gala Bienal de Sevilla 13-14
The film is a journey across the geographic
Thu 25 Feb at 7.30pm and artistic boundaries of flamenco to find
how contemporary the art form can be.
Compañía Olga Pericet Recorded during Flamenco Festival London’s
10th Anniversary at Sadler’s Wells, the frontiers
Pisadas, A Woman’s End and Beginning 15-17 between tradition and avant-garde are diluted
Fri 26 Feb at 7.30pm and disciplinary barriers are overcome.

Marco Flores & Olga Pericet 18-19 Flamenco dancers Eva Yerbabuena, Israel Galván,
Rocío Molina, Olga Pericet, Juan Carlos Lérida
Paso a Dos work alongside contemporary Swiss pianist, Sylvie
Sat 27 Feb at 4pm & 7.30pm Courvoisier; hip hop dancers Sébastien Ramirez
(France) and Honji Wang (Germany), costume
Esperanza Fernández with guest artists designer Holly Waddington, UK choreographer
Marina Heredia and Ana Morales Akram Khan, violinist Vladimir Dimitrenko and
De lo Jondo y Verdadero Miguel Marín, director of Flamenco Festival
20-21 to form the story of flamenco today.

Sun 28 at 7.30pm Produced by Producciones Cibeles,
Javier Vila Film Productions
Lilian Baylis Studio & Flamenco Festival
Co-produced by
Belén Maya, Patricio Hidalgo & Guests Canal Sur Andalucía
Director Javier Vila
Medusa 22-23
Ana Morales / Ballet Flamenco de Andalucía.
Sat 27 Feb at 4.30pm Photo by Luis Castilla. Design by Barfutura.

Niño de Elche 24

Voces del Extremo
Sat 27 Feb at 8pm

Daniel Casares and Adam Ben Ezra 25

Loco Strings
Sun 28 Feb at 6pm

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3

From the
Heart

Gerald Dowler

Photo: Santana de Yepes
4

Photo: Paco Villalta

It was the death of which acts as the catalyst undergoes a
the Spanish virtuoso change by being vocalised in song and
guitarist, composer and exclamation, played on the guitar and
producer Paco de Lucía danced, “el Cante, el Toque y el Baile:
in February 2014 which Santísima Trinidad” the ‘Holy Trinity’ of
became the impetus for flamenco and the three main forms in
new and exciting work. which it exists.

Lucía was one of those artists who And so with Baras’ show. On hearing
had moved his art form on, exploring of Lucía’s death in 2014, the dancer
new influences and so Sara Baras’ states that she was “unable to lift a heel
new show Voces, Suite Flamenca was because I couldn’t listen to the sound
born out of her desire to pay homage of a guitar.” But the pain of the loss of
not only to Lucía but to others in the such a great artist, just as with personal
pantheon of flamenco greats: dancers grief at the loss of someone close,
such as Carmen Amaya and Antonio started to change, because flamenco,
Gades, the singers Enrique Morente and the singing, dancing and playing
and Camarón de la Isla, and, in addition that form it becomes the direct and
to Lucía himself, guitarist Moraíto. It is truthful expression of painful emotion.
a celebration of what they all brought From that point of departure, Baras
to the art form and itself encapsulates and her collaborators considered all
the process that makes flamenco what that the great exponents of their art
it is because flamenco starts with pain, form have given them and will continue
loss and grief. The soul or ‘duende’ to give successive generations, and
that lies at the heart of all flamenco is slowly, what started as painful emotion,
a profound emotion and one which is metamorphosed into a celebration of
not born out of happiness. The earliest them and their contributions. Baras
days of flamenco which saw the visceral herself exemplifies the Cádiz school
outpourings of emotion from groups of flamenco dancing and is known for
of marginalised and impoverished her furious ‘zapateado’ or percussive
people still lives on even in today’s footwork and her replacement of the
dizzying variety of flamenco styles and frills of the traditional gowns with a more
even in the most up-beat of shows. modern, streamlined look.
This is because the hurt and the pain
All the performers in Flamenco
Festival 2016 carry within them
elements and influences of past great

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Photo: Ana Palma
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performers, none more clearly than in Casares, who appears in the Lilian Photo: Juliette Valtiendas
the flamenco puro of Farruquito and Baylis Studio with Israeli double-
Farruco, who appear this year in their bassist Adam Ben Ezra and who down their knowledge and artistry to
show Buen Arate (Good Blood), which has no flamenco tradition in his own subsequent generations, but there are
is born out of the artistry of their family, pays tribute to his teachers and also less obvious connections which
grandfather El Farruco, who is still guides, not least the great guitarist are always the same in each generation
considered by many to be unrivalled José Antonio, known as El Chaparro de of performers and without which the
in terms of the purity of his art, and Málaga, thankfully still with us. integrity of the whole art of flamenco
their mother La Farruca. While ‘puro’ evaporates. It has nothing to do with
has the meaning of pure in Spanish, it In Baras’ Voces, Suite Flamenca, large the particular ‘strain’ of flamenco in
means more in Caló, the language of images of flamenco performers from which each artist performs, be it pure,
the Spanish gypsies, conveying ‘old’, the past look back and out at the cross-over, fusion or experimental
‘antique’ and hence traditional. audience, and there are moments when because flamenco long broke the
their own voices are heard as they constraint of existing in only one
However, many of the artists in the speak about what flamenco meant form. In Baras’ words, “the masters
Festival embody ‘new’ flamenco which to them. A very clear link is thereby of flamenco have shown that what
started in the 1950s and 60s, initially established between what Baras matters above all is honesty and
bringing in influences of rock and and her fellow performers are doing integrity in performing one hundred per
roll and then, over the years, a whole on stage and what has gone before cent from the heart”. That every artist
diversity of musical styles from jazz, them. But such links exist at every at the Festival performs from the heart
rumba, bossa nova, Gypsy and Latin to performance of Flamenco Festival means that the achievements and
Middle Eastern, Cuban swing, tango and 2016 because every time there is artistry of those who have gone before
salsa. It was during the 1980s that ‘new’ singing and dancing and playing, live on in their work.
flamenco became mainstream and the the ties between the past and the
names of the gypsy kings and Paco de present and thereby the future reveal Gerald Dowler reviews and writes
Lucía became widely known. themselves to be many and strong. extensively on dance for the
There are those identifiable links Financial Times, Dancing Times and
At the more experimental end of the between the greats who have passed classicalsource.com. He also teaches
art form today Vicente Amigo comes at the City of London School.
to the Flamenco Festival 2016 to
perform works from his album Tierra
(Earth) which daringly fuses southern
Spanish sounds with Celtic melodies.
However, he has always been a great
admirer of the late Paco de Lucía and
played backing guitar to many great
singers including the extraordinary
Camarón de la Isla. Olga Pericet is well
known to Sadler’s Wells audiences
for her fearlessly innovative and often
feminist approach to flamenco, but her
own roots lie in her training with several
flamenco greats including Cristóbal
Reyes, himself a great innovator during
the 1970s and 80s. In addition to
Pisadas, A Woman´s End and Beginning
with her own company which is
unashamedly theatrical in presentation,
she also appears in Paso a Dos with
one of the brightest young talents in the
world of flamenco, Marco Flores whose
own influences include Sara Baras. De
lo Jondo y Verdadero brings together
two of the most exciting flamenco
voices of today, both of whom are richly
influenced by past artists. Esperanza
Fernández has a fluid approach,
moving across traditional flamenco,
experimental musical crossover and
classical styles, yet indebted to her
early work with de Lucía, Camarón
and Morente. She is joined by Marina
Heredia who, in the words of Luis López
Ruiz possesses “ecos legendarios en
su espléndida voz” (legendary echoes
in her splendid voice) and continues
the singing traditions not only of her
own family – her father is Jaime Heredia
“El Parrón” and her grandmother La
Rochina – but also of such legendary
singers as Arcángel, Miguel Poveda and
Estrella Morente. Even the young Daniel

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Ballet
Flamenco
Sara Baras

Voces, Suite Flamenca

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Sara Baras, the versatile Artistic Team
artist from Cádiz, directs and
choreographs Voces, Suite Artistic Direction &
Flamenca. In this exhilarating Choreography Sara Baras
new show Baras pays tribute Musical Composition
to artists like Paco de Lucía, Keko Baldomero
Camarón de la Isla, Antonio Guest Artist José Serrano
Gades, Enrique Morente, Moraíto Lighting Design
and Carmen Amaya, who have Oscar Gómez de los Reyes
had great influence on her. Costume Design Torres-Cosano
Special Musical Collaboration
J. Jiménez Chaboli and Sergio Monroy

Dancers Sara Baras, José Serrano
(choreographer of his pieces), María
Jesús García, Charo Pedraja, Cristina
Aldón, Daniel Saltares, David Martín
and Alejandro Rodríguez
Guitarists Keko Baldomero,
Andrés Martínez
Singers Rubio de Pruna,
Miguel Rosendo, Israel Fernández
Percussion Antonio Suárez,
Manuel Muñoz ‘Pájaro’

Duration 90 mins (no interval)

World Premiere Theatre des Champs -
Elysees, Paris, France, 2014

This programme is supported by

Technical & Staff

Technical Director Sergio Sarmiento
Stage Manager Sergio Olivero
Light Technician Oscar Gómez De
Los Reyes, Sergio Sarmiento
FOH Sound Andrés Prieto
PA Sound Adolfo Martínez
Tailor María José García
Rehearsal Repeater Gallardo
Shoes Webea Estudio
Image Department
Patricia Pereyra Baras
Assistant to Director
José Reyes Garrido
Road Manager
Ricardo Ladrón de Guevara
Press José Luis Pereyra Baras
Coordination & Management
Saba Danza S.l., production

Photos: Santana de Yepes

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Programme Sara Baras

La Llama Las Cármenes Dancer, director and
Choreography Sara Baras choreographer Sara
Music Canción de Amor, Music Keko Baldomero Baras is one of the
Paco de Lucía Dancers Corps de Ballet most prestigious and
internationally
Bulería de Chabo Romance del Negro recognised ambassadors of the
del Puerto Spanish art scene. She has run her
Choreography Sara Baras Voice Rubio de Pruna own company, Ballet Flamenco Sara
Music J. Jiménez Chaboli Baras, since 1997 and has
Dancers Sara Baras, Corps de Ballet Farruca released 13 shows staged more
Choreography Sara Baras than 3,000 times worldwide. She
“You have to master the technique in Music Keko Baldomero has performed on some of the
such a way that you must forget about Dancer Sara Baras most iconic stages in the world
your fingers so that what you’re feeling such as the Royal Albert Hall in
flows directly outwards without even “Of course, the artist really has to live London; the Sydney Opera House;
noticing the medium through which it’s in their surroundings, in the world in New York’s Carnegie Hall; Gran
flowing - the instrument - and it is then, which they live.... I don’t think that art Teatre del Liceu in Barcelona;
all of a sudden, that you experience should have restrictions; art must have Paris’s Theater of Champs
inspiration; you grab hold of the guitar freedom, everything is possible, and Elysées; the Shanghai Grand
and a beautiful line of music escapes what matters is the result...” Theatre; Tokyo Theatre Orb;
from within you.” Paco de Lucía Enrique Morente Singarpore’s Esplanade; The State
Kremlin Palace, Moscow; Palacio
Seguirilla Tientos de Bellas Artes, Mexico and the
Choreography Sara Baras Teatro Real, Madrid, among others.
Choreography Sara Baras Music Keko Baldomero
Music Keko Baldomero Lyrics Keko Baldomero The numerous awards and honours
Lyrics Rubio de Pruna Dancers Corps de ballet that she has received include:
Dancers Sara Baras, José Serrano Gold Medal of Andalusia, Médaille
Soleá du Vermeil of Villa du París,
“Flamenco is flamenco, it is always Choreography José Serrano National Dance Award 2003, Gold
sorrowful, you understand? And even Music Keko Baldomero Medal of John Fitzgerald Kennedy
love, love is sorrowful in essence too, Lyrics Rubio de Pruna, Keko Baldomero Foundation of Performing Arts
and everything is a sorrow and a joy, Dancer José Serrano and Galileo Award 2000 awarded
you know? I think it depends on how by the city of Florence.
the person takes and administers it, “Sometimes this pain also pleases your
you know? It’s like everything; you soul; its spirit pleases you because Despite her very busy agenda she
must be born with that feeling, with that sometimes pain is also necessary has never given up on her
knowledge, or rather with that wisdom in for your soul. Not everyone has to be charitable responsibilities,
order to understand and to see things in happy; pain is also strengthening and collaborating with the Vicente
a certain way and the difference is that as Anica la Piriñaca used to say “my Ferrer Foundation, Aldea
you have to be an artist to go out and mouth tastes of blood when I sing” Infantiles NGO, Down Syndrome
sing on a stage because you have to ... Perhaps it’s also the gypsy people Foundation and Rett Princesses
have, I don’t know, a kind of respect with all the suffering they carry on their Foundation, where she is actively
for the public” Camarón De La Isla backs, a suffering that they relieve involved in the research and
themselves of through flamenco treatment of Rett disease.
Taranta singing; they express their feelings
through flamenco, and get rid of all
Choreography Sara Baras their anger and feelings accumulated
Music Keko Baldomero over so many years.” Moraíto
Lyrics Rubio de Pruna, Keko Baldomero
Dancer Sara Baras Soleá por Bulería
Choreography Sara Baras
“ I’m never going to give up in front Music Keko Baldomero
of my colleagues: when I demand Lyrics Rubio de Pruna, Keko Baldomero
something of them it’s because they Dancer Sara Baras
can give it, I don’t ask more of them
than they can give, I’m even demanding Bulería
of myself and furthermore, I think that Choreography Sara Baras
man, that human beings have to have Music Keko Baldomero
the dignity to take full advantage of Lyrics Rubio de Pruna, Keko Baldomero
themselves. This is not the profession Dance Sara Baras, José Serrano,
to make you rich, or to make you better Corps de Ballet
looking or for you to be praised in, it is
a profession in which you represent a Photos: Santana de Yepes
culture and you represent a very fine
work, and whether it’s art or not you’ll
see later... and why people dance is
being forgotten; people used to dance
through a state of emotion; because
they were sad, because they were
happy, because they wanted to fight.
For that they danced...” Antonio Gades

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Vicente Amigo Photo: Juan José Romero Vicente Amigo

In Concert Vicente Amigo is
recognised as one of the
Vicente Amigo’s new album Programme* greatest flamenco guitar
Tierra (Earth), is one of the most players ever. He has won
innovative and international of Solo many awards including:
his career. The great flamenco Mensaje Latin Grammy for Best Flamenco
guitar player has opened his Tangos Album (2001); Best Guitar Player by
music’s window to the fresh Autoretrato the Guitar Player Magazine (1993);
air of the British producer Guy Intro First Prize at the Flamenco Guitar
Fletcher. His flamenco music Estación Primavera International Contest (1988); First
blends naturally with other Tierra Prize at the Cante de las Minas de la
music styles, opening new paths Bolero a los padres Unión National Contest (1998); Ramon
without losing depth, holding Campos de San Gregorio Montoya Guitar Prize at the XII
tightly to the inspirational Río de la Seda National Flamenco Art Contest (1989);
Southern Spanish sounds but Azules y Corintos Ondas Prize (2002); the Critics Prize
wrapped in Celtic melodies, Roma (2009), and the Patriarca del Flamenco
linking light and mist, hovering Award (2010), amongst many others.
over different styles to create *The programme could change as
something completely new. a result of the inspiration and improvisation Vicente has performed in over 500
of the artist in the moment of concert. live shows and sold over 600,000
Artistic Team albums worldwide. His albums
include: De mi Corazón al Aire (1991);
Guitar & Music Composition Vivencias Imaginadas (1995); Poeta
Vicente Amigo (1997); Ciudad de las Ideas (2000);
Second guitar Añil Fernández Un momento en el Sonido (2005) and
Percussion Paquito González Paseo de Gracia (2009), all of which
Bass Ewen Vernal have been critically acclaimed.
Vocal Rafael de Utrera
Dance Antonio Molina ‘El Choro’ He has also collaborated with great
artists like José Mercé, Camarón,
Technical & Staff Sting, Alejandro Sanz, Rosario,
Carmen Linares, Manolo Sanlúcar,
Sound Rafael Pipio Khaled and Miguel Bosé, and also
Management: Chris Ortiz boasts performances on stage with
John McLaughlin, Al Di Meola and
Milton Nascimento, amongst others.
Vicente Amigo is considered one of
the most creative flamenco guitar
players and his career’s steady
evolution is now reflected in Tierra.

Photo: Lorenzo Duaso Polo
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Farruquito Photo: Sophie Mühlenburg Juan Manuel
& Farruco Fernández Montoya
‘Farruquito’
Buen Arate
Juan Manuel Fernández
There comes a moment in Artistic Team Photo: anaiturbidephoto Montoya ‘Farruquito’ is the
which behind the conscious grandson of the legendary
and organised structure Direction and Choreography gypsy dancer El Farruco, one
of a flamenco show, we Juan Manuel Fernández of the most celebrated
as spectators seek the Montoya ‘Farruquito’ figures in flamenco dance. Since
connection between the Dancer Juan Manuel Fernández Farruco’s death in 1997, Farruquito has
performer, his pasts and Montoya ‘Farruquito’ been hailed as the true heir of his
how he deals with his Guest Dancer Antonio grandfather, with all of his fire,
present. In the narrative Fernández Montoya ‘Farruco’ flamboyance, and skill. After he danced
that Buen Arate* proposes, Vocals Antonio Zúñiga, in New York in 2000, The New York Times
Farruquito runs to meet his Encarna Anillo, Mari Vizarraga, called his performance one of the best
people, those who existed Pepe de Pura of the year. Farruquito made his
before him and those who Toque, guitar Román Vicenti, Broadway stage debut at the age of five,
he decides to learn from José Gálvez starred in Carlos Saura’s film Flamenco
again and again. His brother, Percussion El Polito at 12, and was directing his own shows
Farruco, accompanies him Lighting Luis Cascón by 15. Since then he has devoted his
and both of them guide the Sound Gaspar Leal entirety to the preservation and
audience along the path Road Manager Daliris Gutiérrez innovation of his beloved art form,
of Jondo*. Tour Manager Juan Castro receiving in 2004 the prestigious award
APDE for the dignified repository of the
Programme inheritance of gypsy dance.

Seguirilla Antonio Fernández
Solo Guitarras Montoya
Alegrías ‘Farruco’
Jaleos
Taranto Dancer, choreographer,
Tangos actor, composer and
Solo Román musician, Antonio Fernández
Soleá Montoya ‘Farruco’ (also
Fin de Fiesta known as Farru) was born in
Seville in 1988. He is a part of one of the
Photo: Sophie Mühlenburg most important flamenco dynasties:
grandson of the great ‘Farruco’ (from
whom he takes his artistic name), son of
‘Farruca’ and brother of ‘Farruquito’. As
is the case with all the members of this
family, his life revolves around flamenco.
He has been familiar with dancing even
before his birth. His mother, Rosario
Montoya (‘Farruca’) danced for as long
as she could during all her pregnancies.
He was born with flamenco in his blood
and has lived in the most traditional
environment of this art.

*Buen Arate literally means ‘good blood’ in Caló, the
ethnolect spoken by Roma –Gitanos in Spain, but its
referred more the mood, a kind of aura or karma.

*Jondo: literally deep in andalosian dialect. Referred
to that more serious flamenco style connected with
the personal expressions of the artist.

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Gala Bienal Photo: Creamart
de Sevilla
Artistic Team
Every other year, Seville holds the most important
and famous event in the flamenco world, La Bienal de Flamenco Dancing
Flamenco de Sevilla. It comprises of 80 shows over four Ballet Flamenco de Andalucía
weeks. At the end of the festival, the most successful Guitar Player Manuel Valencia
artists are awarded with a prize called a Giraldillo. Flamenco Singing Juan Peña
Those awarded artists are gathered here today, ‘El Lebrijano’
and they are taking part in the show you are about Guitar Player Pedro María Peña
to witness. They are: El Ballet Flamenco de Andalucia Flamenco Singing Antonio Reyes
(Giraldillo for Best Show), Manuel Valencia (Giraldillo for Guitar Player Antonio Higuero
Best New Artist), Juan Peña ‘El Lebrijano’ (Giraldillo for Flamenco Dancer Juan Manuel
Renowned Artist), Antonio Reyes (Giraldillo for Flamenco Fernández Montoya ‘Farruquito’
Singing), and last but not least Juan Manuel Fernández
Montoya ‘Farruquito’ (Giraldillo for Flamenco Dancing). Technical Team

Sound Manuel Miñaca, Sergio Sarmiento
Lighting Luis Gascon
Producer José Ramón Martínez

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Manuel Valencia National Choreography Prize for El fire, flamboyance, and skill. After he danced
Perro Andaluz directed by María Pagés in New York in 2000, The New York Times
Born in Jerez de la Frontera and the Max Prize for Best Female called his performance one of the best of
in 1984, Manuel Valencia Dance Performance for Cristina Hoyos the year. Farruquito made his Broadway
grew up with a guitar under in Yerma. stage debut at the age of five, starred in
his arm. He studied with his Carlos Saura’s film Flamenco at 12, and
uncle, Fernando Terremoto, Juan Peña was directing his own shows by 15. Since
before being recruited by Gerardo ‘El Lebrijano’ then he has devoted his entirety to the
Núñez to join his ensemble, with whom preservation and innovation of his beloved
he has toured internationally. A great Juan Peña ‘El Lebrijano’ (real art form, receiving in 2004 the prestigious
song accompanist, Manuel has name is Juan Peña award APDE for the dignified repository
underpinned the voices of Vicente Soto Fernández) was born in of the inheritance of gypsy dance.
‘Sordera’, Manuel Agujetas, José Mercé, Lebrija, Seville in 1941, into
Pansequito, Aurora Vargas, Tomasa ‘La a family with a long Antonio Reyes
Macanita’ Juana del Pipa, Fernando flamenco tradition. He began his career
Terremoto, as well as newer voices like in the flamenco clubs in Seville, before Flamenco singer Antonio
Felipa Moreno, Jesús Méndez and David joining Antonio Gades’ company. He Reyes (Chiclana, 1975) has
Carpio. As a concert soloist he made his has made over 30 albums, including De mastered the classical
debut in 2010 at the Festival of Jerez, Sevilla a Cádiz (1967), where he was repertoire of the great
which paved the way for subsequent able to bring together Niño Ricardo and flamenco maestros, while at
appearances at the Seville Biennial, the Paco de Lucía; Persecución (1976), an the same time gracing the cante
Festival de la Mistela, Mont de Marsan album on gypsy history with texts by (flamenco song) with his unique spirit. His
and Suma Flamenca. In 2014 he won the the poet and flamencologist Félix voice is renowned for its melodious echo,
Revelation Giraldillo of the Bienal de Grande; and Encuentros (1988), its whispering lament and its pure timbre.
Sevilla “for his original contributions accompanied by the Andalusí The grit in his voice reaches deep into the
to traditional toque.” His first solo album Orchestra of Tangiers, in which he soul. Reyes has been singing ‘for as long
is shortly due for release. combined flamenco and Moroccan as he can remember.’ In 2014 the Spanish
music, a discovery which went on to audience and press ‘discovered’ him out
Ballet Flamenco become a constant feature of his work. of the blue. After this he was showered
de Andalucía with awards, among which was La Bienal
Juan Manuel de Flamenco de Sevilla Giraldillo for Best
Ballet Flamenco de Andalucía Fernández Montoya Singer (2014).
(Andalusian Flamenco Ballet) has ‘Farruquito’
played, for the last two decades, the
role of ambassador of flamenco. It Photo: Sophie Mühlenburg Juan Manuel Fernández
is a regular in the programmes of Montoya ‘Farruquito’ is the
major international events like the grandson of the legendary
Aichi Exhibition in Japan and has gypsy dancer El Farruco, one
participated in flamenco festivals in of the most celebrated figures
New York and London. With a history in flamenco dance. Since Farruco’s death
of almost 20 years the Ballet has in 1997, Farruquito has been hailed as the
received notable recognition, not only true heir of his grandfather, with all of his
from audiences and critics but also
from performing arts specialists. It
has received many awards including:

Photo: Luis Castilla

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Compañía Artistic Team
Olga Pericet
Artistic Direction Olga Pericet
Pisadas, A Woman’s End Stage Assistants Soledad Gallardo,
and Beginning Gloria Montesinos and David Montero
Music Direction Olga Pericet
Pisadas, A Woman’s End and Beginning, is a show where and Company
Olga Pericet breaks away from the pre-established Music Composition Paco Iglesias,
codes, creating a feminine universe with a visual and Víctor Márquez ‘El Tomate’
choreographic language that asserts the personal journey Choreography and Dance
of this versatile artist. The show is approached from a Olga Pericet
female perspective, where women are the protagonists Choreography (Alborea) Marco Flores
of their own path. Pericet presents the cycles of life, Guest Dancer / Choreography
claiming for the human need to embrace it throughout time: (Garrotín) Juan Carlos Lérida
reconnecting with one’s origins, with mortality and with Choreographic Assistance
life rituals. These life rituals or ceremonies as experienced (Epílogo) Paco Villalta
by women are at the core of Pisadas. The story Special Singer Collaboration
leads to a celebration of the present Herminia Borja
where women are the threads that Singers Miguel Lavi and Miguel Ortega
hold the show together. Guitars Paco Iglesias,
Víctor Márquez ‘El Tomate’
Palmas and Dance Special
Collaboration Tacha González
Off Music Composition
Pablo Martín Jhones
Lighting Design
Gloria Montesinos
Sound Space Creation
Jordi Collet Silas
Sound Design Kike Seco
Costume Design Yaiza Pinillos
Costume Workshop Gabriel Besa
Shoes Gallardo
Props (Garrotín) Jabí Machano,
Antonio Godoy
Stage Element Holly Waddington,
thanks to the residence granted at
Sadler’s Wells Theatre in Flamenco
Festival London 2013
Production Olga Pericet
Artistic Creation Residence
Graner-Mercat de les Flors
Production Assistance Fundación
Teatro Villamarta and Festival de Jerez
Photography
Paco Villalta y Natasha Shakhnes
Graphic Design Loredana Pellecchia
Executive Production Ana Carrasco
Booking
www.peinetaproducciones.com

Photo: Paco Villalta

15

Programme

Romerillo que naces
Flamenco Style: Malagueña y abandolaos
Llevo el pañuelo conmigo
Flamenco Style: Bulerias de Tacha
Dime el hombre por qué muere
Flamenco Style: Tarantas, taranto y tangos.
La fiera en el monte
Flamenco Style: Garrotín de Lérida y dúo.
Quién es esa
Flamenco Style: Alabanza de Erminia
Como si en el cuerpo estará
Flamenco Style: Romance, Alboreá
Epilogo

Photos: Paco Villalta
16

Photo: Paco Villalta Olga Pericet In 2004 she choreographed and Juan Carlos Lérida
performed in the shows Bolero, carta
Olga Pericet is a highly de amor y desamor, and a year later Guest Dancer
qualified dancer. She she created Cámara Negra with Manuel
graduated in Spanish Dance Liñán. That same year she formed Juan Carlos Lérida started taking
and Flamenco performance an ensemble with Marco Flores and flamenco lessons in Seville at the age
from the Conservatory of Daniel Doña Chanta la Mui, creating a of three. In 1997 he moved to Barcelona
Córdoba and is now one of the most show by the same name. Other works to investigate flamenco’s relationship
avant-garde artists in flamenco. She as a choreographer include: Complot, with other artistic areas. He majored
has been a guest artist in great dance as part of Chanta la Mui; En sus 13 in choreography and performing
companies such as: Rafaela Carrasco, performed at XV La Bienal de Flamenco techniques. He received the 2007 Intitut
Nuevo Ballet Español, Arrieritos, Miguel de Sevilla, De cabeza (2009) as part del Teatre de Barcelona special award.
Ángel Berna, Teresa Nieto, Belén Maya of Teresa Nieto’s company and Bailes His choreography, dancing and teaching
and Ballet Nacional de España and has alegres para personas tristes, created has made him one of today’s avant-
shared the stage with highly acclaimed with Belén Maya, for which she received garde flamenco figures. He worked as
artists such as Ana Laguna, Lola Greco, the Artista Revelación award. choreography director and performer in:
Nacho Duato, Enrique Morente, Isabel De amor y de Odio with Joaquín Cortés;
Bayon, Joaquín Grilo, Merche Rosa Metal Ceniza (2011) was her first Souvenir with Belén Maya and Alejandría
Esmeralda, Carmen Cortes and solo creation for which she received La Mirada oblícua for the XVI Bienal
virtuoso violinist Ara Malikian. a nomination for Best Female Dance de Flamenco de Sevilla. He was stage
Performer MAX award of the Performing and choreographic director in: Bailes
Arts. In 2014 Pericet premiered Pisadas, alegres para personas tristes with Belén
A Woman´s End and Beginning at the Maya and Laberíntica with Marco Flores.
Festival de Jerez and in 2015 Flamenco His own stage works include: El arte
Untitled at Repertorio Español in New York. de la guerra (2006), Al toque (2010),
El aprendizaje (2011) and Acercamientos
She has performed at different festivals, al cante (2013).
galas and important venues all over
the world including: Boston’s Emerson Tacha Gonzáles
Majestic Theater, New York City Center,
Miami Arsht Center, Sydney Opera Palmas and Dance
House, Maison de la Dance, Flamenco Special Collaboration
Bienal Challiot de Paris, Días de
Flamenco en Tel Aviv, Flamenco Viene This highly qualified flamenco dancer
del Sur, Festival Danssa Valencia, Bienal developed her career while performing
de Holanda, Festival de Nimes, Festival in companies such as: Carmen Cortés,
Música y Danza de Granada and Gala Manolete, Güito, Rafael Amargo, Belen
Flamenco Festival. Maya, Joaquín Grilo, Contratiempo,
Antonio Canales, Manuel Liñán, Marco
Olga has received awards such as Pilar Flores and Olga Pericet. She currently
López National Flamenco award (2007); directs her own tablao Las Carboneras,
Artista Revelación award in Festival de one of Madrid’s most prestigious
Jerez (2010); Ojo Crítico de Danza Award, flamenco venues. She is also one of
2014; MAX award for the Best Female the founders of the dance company
Dancer for Pisadas, A Woman´s End and Arrieritos where she works as a director,
Beginning (2015) and Special award ACE choreographer and performer.
2016 New York, among others.

Erminia Borja

Special Singer Collaboration

Erminia was born in Seville, where she
started at a very early age, singing at
family gatherings and private parties. She
then began to sing at important tablaos
in Seville, such as Los Gallos, El Arenal,
La Bulería, among others. She has sung
for Manuela Carrasco, Antonio Canales,
Rocío Jurado, Paco de Lucía – who took
her on his last tour. She has also recorded
collaborations with singers such as: Niña
Pastori, Marina Heredia, ‘La Tana’ and
‘El Pele’. Erminia is a very valued singer
wherever she goes, she is appreciated
for her talent and a cheerful personality in
the flamenco world.

17

Marco Flores &
Olga Pericet

Paso a Dos

Paso a Dos originated from an
idea by poet and flamencologist
José María Velázquez-Gaztélu.
Along with Olga Pericet
and Marco Flores he held a
conference in Bilbao about
duo dancing, in which his
words alternated with Olga and
Marco’s dance. This conference
was very well received by the
audience and it was repeated
at the XIX Festival de Jerez.
As a result of this, Marco and
Olga developed Paso a Dos,
turning it into a dance show.
Marco and Olga have shared
a long artistic journey and
they keep working together
to create a personal, intimate
and unique language. Their
distinctive dance duo, a mirror
of their fluent communication
on stage, is the singular imprint
of this show, but not the only
ingredient. Both of them are
artists recognised by audiences
and critics and with successful
solo careers, continue their
relentless journeys.
Today they share the stage to
keep exploring their artistic
development. A step forward
together which turns into a pas
de deux.

Photo: Paco Villalta
18

Photo: Paco VillaltaMarco Flores Olga Pericet
Photo: Paco Villalta
Marco Flores (National Olga Pericet is a highly
Production Team Flamenco Award winner) was qualified dancer. She
born in 1981 in Arcos de la graduated in Spanish Dance
Artistic Direction and Frontera, Cádiz, where he and Flamenco performance
Choreography Marco Flores developed a deep bond with from the Conservatory of
& Olga Pericet flamenco that led him to take an interest Córdoba and is now one of the most
Dancers Olga Pericet & in dance in his teenage years. At first he avant-garde artists in flamenco. She has
Marco Flores taught himself, but soon after he began been a guest artist in great dance
Guitarists Antonia Jiménez, his academic training participating in companies such as: Rafaela Carrasco,
Víctor ‘El Tomate’ intensive workshops with Antonio Nuevo Ballet Español, Arrieritos, Miguel
Singers Mercedes Cortés, Canales and Javier Latorre. Ángel Berna, Teresa Nieto, Belén Maya
Inma Rivero, Ismael El Bola, and Ballet Nacional de España and has
Miguel Lavi At age 18 he began working in tablaos, shared the stage with highly acclaimed
Costume Design Olga Pericet which consolidated his training. From artists such as Ana Laguna, Lola Greco,
Lighting Design that point on he joined Sara Baras and Nacho Duato, Enrique Morente, Isabel
Gloria Montesinos (A.A.I.) Rafaela Carrasco’s dance companies, as Bayon, Joaquín Grilo, Merche
Sound Technician well as being guest artist in Mercedes Esmeralda, Carmen Cortes and virtuoso
Beatriz Anievas Ruiz and Miguel Ángel Berna’s dance violinist Ara Malikian.
Photography Paco Villalta companies. As of 2004 he began his
Graphic Design journey as director and co-producer of In 2004 she choreographed and
Loredanna Pellecchia his own shows Dos en Compañía with: performed in the shows Bolero, carta
Production Marco Flores Manuel Liñán; En sus 13, En clave, with de amor y desamor, and a year later
Distribution Cía. Marco Flores Olga Pericet and Chanta la muí, Complot she created Cámara Negra with Manuel
Executive Producer and Recital with Olga and Daniel Doña. Liñán. That same year she formed an
Miquel Santín For more than six years they toured their ensemble with Marco Flores and Daniel
projects around the world being present Doña Chanta la Mui, creating a show
Programme in many reputable dance and flamenco by the same name. Other works as a
festivals. In 2010 he started his solo choreographer include: Complot, as part
Caña career and found his own company, Cía of Chanta la Mui; En sus 13 performed
Marco Flores. The company premiered at XV La Bienal de Flamenco de Sevilla,
Tonás & Siguiriyas its first show DeFlamencas at Gran De cabeza (2009) as part of Teresa
Teatro de Córdoba. In 2012 they were Nieto’s company and Bailes alegres para
Malagueña given the Crítica Especializada del personas tristes, created with Belén
Festivalde Jerez Award. That same year Maya, for which she received the Artista
Abandolaos he presented his second production Revelación award.
Tránsito at Teatros del Canal in Madrid
Soleá as part of the Suma Flamenca Festival. Rosa Metal Ceniza (2011) was her
He toured Tránsito around Europe. first solo creation for which she
Cantiñas His last big production, Laberíntica, received a nomination for Best Female
premiered at Teatro Cervantes as part Dance Performer MAX award of the
Caracoles of Bienal de Arte Flamenco de Málaga. Performing Arts. In 2014 Pericet
Marco and his dance company currently premiered Pisadas, A Woman’s End
go on tour around the world with his and Beginning at the Festival de Jerez
three shows. and in 2015 Flamenco Untitled at
Repertorio Español in New York.
Marco continues creating
choreographies and collaborating She has performed at different festivals,
with different artists and companies galas and important venues all over
such as Ballet Nacional de España the world including: Boston’s Emerson
(Alento y Zaguán). Marco has won Majestic Theater, New York City Center,
many awards including: Carmen Miami Arsht Center, Sydney Opera
Amaya Award Concurso Nacional de House, Maison de la Dance, Flamenco
Arte Flamenco de Córdoba; Antonio Bienal Challiot de Paris, Días de
Gades Award Concurso Nacional de Flamenco en Tel Aviv, Flamenco Viene
Arte Flamenco de Córdoba; Mario del Sur, Festival Danssa Valencia, Bienal
Maya Award Concurso Nacional de de Holanda, Festival de Nimes, Festival
Arte Flamenco de Córdoba; Premio Música y Danza de Granada and Gala
Especial del Baile Concurso Nacional Flamenco Festival.
de Arte Flamenco de Córdoba; Best
Dancer Award Deflamenco Magazine; Olga has received awards such as
Best Dancer Award de Flamenco Hoy, Pilar López National Flamenco award
Crítica Especializada; Best Show Award (2007); Artista Revelación award in
DeFlamencas de la Crítica del Festival Festival de Jerez (2010); Ojo Crítico
de Jerez and Gold Medal del Festival de Danza Award, 2014; MAX award for
Flamenco de la Virgen de las Nieves. the Best Female Dancer for Pisadas,
A Woman’s End and Beginning (2015)
and Special award ACE 2016 New
York, among others.

19

Esperanza Fernández

with guest artists
Marina Heredia and Ana Morales

De lo Jondo y Verdadero

De lo jondo y verdadero (The profound and truthful), was presented at the
last Flamenco Biennial of Seville, and more recently, at the Festival of Jerez.
It is the result of a search and compilation of some cantes (songs) that have
fallen into disuse. Esperanza Fernández vindicates the repertoire of the
great historic cantaores (singers), key figures of this form of art, such as
Tomás Pavón, La Perla de Cádiz, La Paquera de Jerez and Antonio Chacón,
among others. In the programme she also collaborates with two outstanding
artists: the cantaora Marina Heredia and the bailaora (dancer) Ana Morales,
under the musical direction of Miguel Ángel Cortés.

Artistic Team

Voice Esperanza Fernández
Guest Artist (singer) Marina Heredia
Guitar Miguel Ángel Cortés
Guest Artist (dancer) Ana Morales
Percussion Jorge Pérez ‘El cubano’ and José Fernández
Clapping and Chorus Dani Bonilla
Manager Marta Tenorio

Programme

Las Calles de Judea
Flamenco Style: Petenera
De Las Cosas Más Ocultas
Flamenco Style: Soleá de Triana and caña
Al Vaciaero
Flamenco Style: Murciana and cartagenera
A La Perla
Flamenco Style: Alegrías and bulerías de Cádiz
Aljibe de Madera
Guitar Solo
En El 57
Flamenco Style: Milonga and guajira
De Mayo y Abril
Flamenco Style: Mariana and tangos
de Granada
Una Partía
Flamenco Style: Martinete,
seguiriya and serrana
A La Paquera
Flamenco Style: Bulerías

Photo: Adam Newby

20

Photo: Luis CastillaEsperanza Fernández Flamenco at the Teatro de la Maestranza Marina Heredia
Photo: Bernardo Doralof Seville. Since then, she has made
Born in Seville, Esperanza many works such as: her collaboration Born in Granada, Marina
Fernández is one of the with the Orchesta Joven de Andalucía Heredia has been singing
main voices of flamenco El Amor Brujo by Manuel de Falla; her since childhood. At 13 years
singing (‘cante’). She has first solo discographic work; Esperanza old she made her first
displayed her extraordinary Fernández (2001) and her participation recording Malgré la nuit, a
abilities in countless concerts showing in El café de chinitas, at Ballet Nacional flamenco CD for children. She could be
her versatility performing a broad de España, among others. In 2009, heard singing in Granada tablaos
spectrum of musical styles and Esperanza received the awards Al accompanying dancers and guitarists,
cultural expressions. Andaluz and XI Gitano Andaluz. In until she replaced Carmen Linares in a
2011, Esperanza sang El Amor Brujo María Pagés show at the Festival of Music
She was born into a gypsy family, in around the world including in Dresden and Dance in Granada. Marina collaborates
the Triana neighborhood of Seville and Potsdam with the Orchestra with renowned flamencos such as Arcángel
and received the flamenco heritage Staatskapelle Dresden; in Washington and Eva Yerbabuena, as well as on other
from important singers (‘cantaores’), DC, with Post Classical Essemble projects, such as the opera De amore,
guitarists and dancers (‘bailores’). and in Barcelona with the Moldova with composer Mauricio Sotelo which
She carries the flamenco in her blood Philharmonic Orchestra (Liceo). In 2013, opened in the Carl Orff Hall at Gasteig
and has a promising continuation her third discographic work came to Auditorium in Munich and Theatre de la
of her outstanding musical career. light under the direction of David Peña Zarzuela in Madrid. Marina’s talent has
From a young age, Esperanza initiated Dorantes, Mi voz en tu palabra (My voice taken her to the main stages at the Teatro
the search of her own place in the in your word), with poems by the Nobel de la Maestranza in Seville, the Theatre
flamenco art scene. At 16, she made Prize winer José Saramago. In that Albéniz in Madrid, the Gran Teatro de
her debut as first singer in Mario same year, Esperanza participated in Córdoba, Palau de la Música in Valencia,
Maya’s Amargo, and since then has the recording of the film-documentary Palacio de la Musica in Strasbourg, and
had an ascending career sharing the Playing Lecuona, a tribute to Maestro the Crystal Palace Porto.
stage with highly regarded artists such Lecuona, along with important
as Paco de Lucía, Camarón de la Isla, musicians such as Omara Portuondo, She has performed in the most prestigious
Rafael Riqueni and Enrique Morente. Ana Belén, Raimundo Amador, festivals of Spain including: Grec of
Chucho Valdés, Michel Camilo and Barcelona, Bienal de Flamenco of Seville,
Esperanza’s artistic consolidation Gonzalo Rubalcaba. Madrid Autumn Festival, the Jerez and
occurred in 1994 performing alongside Ronda Festivals, and the Festival of Music
Enrique Morente in the production In 2014, her most recent production De and Dance in Granada. Marina has sung
A Oscuras, constituting one of the lo Jondo y verdadero directed by her for such diverse audiences as Espárrago
greatest success of the VII Biennial of current guitarist Miguel Ángel Cortés, Rock, Munich Biennale, and classical
premiered during the XVIII Flamenco opera, collaborating with artists such as
Biennial of Seville and achieved one of Howie B and Nacho Cano. She is one of
the greatest successes in the Biennial. the most requested international artists to
Currently, Esperanza is immersed in perform El Amor Brujo by Manuel de Falla.
several different projects.

Photo: Luis Castilla Ana Morales

Having started her dance
training in Barcelona, at the
age of sixteen, Ana Morales
(1982) moved to Seville to
study flamenco dance. After
three years with Compañía Andaluza de
Danza, she performed with leading
dancers like Javier la Torre, Andrés Marín,
Javier Barón, and Eva Yerbabuena. She
danced in Carlos Saura’s film Iberia, and
in 2009 received the famous dance award
at the Festival Internacional de La Unión.
She premiered her first work as soloist,
De sandalia a tacón, at the Jerez Festival
in 2010. After this first work with her own
company, she has presented other works
such as Reciclarte (2012), in which she
danced in clothes made from recycled
materials like burlap and paper; El Callejón
del agua (2014) and Los pasos pérdidos
(2015). She is currently dividing her time
between her own performances and her
role as soloist in the Ballet Flamenco de
Andalucía, led by Rafaela Carrasco.

21

Lilian Baylis Studio

Belén Maya,
Patricio
Hidalgo
& Guests

Medusa

Medusa is the result of an artistic residence.
Belén Maya, known for her powerful stage
presence, and Patricio Hidalgo known as the
“flamenco action painter”, have created pieces in
which dance, video projections and live painting
will unite in just one image. The choreography and
the narrative of the performance are the result
of movements, rhythms and symbols. Patricio’s
brushes will enter into an expressive dialogue
with Belén’s sensual and innovative dance.
They will share the results of a week of
research where painting and flamenco serve
as mutual inspirations.
Cast

Belén Maya
Patricio Hidalgo
Frank Moon
Co-produced by Embassy of Spain
in the United Kingdom and
Flamenco Festival

22

Lilian Baylis Studio

Belén Maya Patricio Hidalgo

Photo: Prisca B From the beginning, Belén Action-painter, Patricio, performs his
Maya has pursued her career live painting often in interaction with
out of the continuous need and in response to another art with
to explore and study in depth which he has a deep affinity. He has
all the active elements of art: performed at poetry recitals, flamenco
music, theatre, narration, performance, shows and multidisciplinary concerts
drama, language, etc., up to the last and like Gesto y Compass (from the
principal key of that creative thinking Flamenco Vive Company).
and communication building stone: the
human who’s building it. Herself. Belén, His art has been exhibited in galleries and
addicted to literature and a militant of museums in Madrid, Barcelona, Seville,
yoga, meditation, organic culture, Malaga, Bilbao, El Salvador, Menorca, Ibiza,
Eastern mysticism and the harmony Mexico, Dublin, St. Petersburg, Berlin and
between her essences: between her the Netherlands. His awards include 1st
body, her mind and her spirit. Her prize Philatelic Forum (Sevilla 2001) and
concept of flamenco feeds on the 2nd prize Focus Abengoa (Sevilla 2003) as
mixture of all of this. well as various awards for poster design,
speed painting and drawing.
Belén has possibly been the first artist
to have propelled the flamenco dance Patricio is co-director, alongside Miguel
codes at the turn of the century, not Angel Rivero, of Mordisco -
by adding new rules but by liberating a literary and artistic magazine founded
the limits, by enabling the co-existence in 2006. He has also co-directed two
of flamenco with other languages documentaries: Francisco Moreno Galván
and, ultimately, by opening wide the La Fuente de lo Jondo, directed with Fidel
floodgates of lexical, syntactic and Meneses and Jose Maria Moreno Galvan
semantic freedom within the dance documentary La autocrítica del arte,
and on stage. Her interest to delve into directed with Xabier Mailan.
the creative process not only feeds her
internal movement but also generates Frank Moon
a centrifugal dimension from the
moment she expresses and shares her Raised in Cornwall, Frank
thoughts with other artists. Hence her trained at Birmingham
interest in generating and accepting Conservatoire, graduating
collaborations, in inviting other artists with several composition
to her performances, in adding items to awards and prizes, and went
her own system. on to hold a lecturing post at Coventry
University before becoming a freelance
An added result of this need to draw performer and composer. Frank’s skills as
and share conclusions are the tutorials a guitar and oud (Arabic lute) player are
and lectures, with which she enriches much in demand, and his passion for
her academic activities, as well as the music of all cultures has led him to work
meetings with the audience that she in a multitude of genres. He is a founder
holds after her performances. The member of the Urban Folk Quartet, with
objective is always the same: creation, whom he has released four albums and
which is ultimately the essence and toured extensively throughout the world,
justification of the artwork. in addition to touring with many other
artists including Cerys Matthews, The
Belén’s work in progress includes: Destroyers, Mediaeval Baebes, Trio
Flamenco (Carlos Saura, 1995); The Manouche and Bev Lee Harling. Frank’s
goddess in us/La diosa en nosotras work as a composer includes several
(1996); Mayte + Belén (1997) / Chamber collaborations with choreographer Arthur
Flamenco/Flamenco de Cámara (2003); Pita - Utopia (International Dance Festival
Out of bounds/ Fuera de los límites Birmingham, 2010), the multi award winning
(2004); Drawings/Dibujos (2005); The Metamorphosis (Royal Opera House
Souvenir (2007); The Master’s Voice/La 2011, 2013, Joyce Theater New York,
Voz de su Amo (2007); Cheerful Dances 2013), and The Little Match Girl (Jerwood
for Sad People/Bailes Alegres para DanceHouse DanceEast, 2013). He has
Personas Tristes (2010); Thr3e/ Tr3s also composed scores for many plays
(2011); Rooms/Habitaciones (2011); including I Was A Rat, (Birmingham Rep’s
Trasmín (2013 ); Guests/Los Invitados centenary production, 2013), and the
(2014); YA! (Ensayos) (2014) and Wrong Crowd’s production Hag (Edinburgh
Romnia (2015). Fringe, Soho Theatre, UK tour 2013).

Photo: Prisca Briquet

23

Lilian Baylis Studio Photo: Celia Macia Programme

Niño de Elche Canción del levantado /
Notifiaciones (Enrique Falcón)
Voces del Extremo
Estrategias de distracción
New Flamenco describes a music style that is rooted (Begoña Abad)
in flamenco music but at the same time departs from
tradition and is fused with other genres. Niño de Elche fits Mercados (Bernardo Santos)
perfectly with this trend, considering that his particular
music style liberates flamenco music from clichés and El comunista (Francisco Fenoy)
stereotypes. Voces del Extremo includes texts of Spanish
contemporary poets such as Antonio Orihuela, Inma Luna, Canción de corro del niño palestino
Bernardo Santos and Begoña Abad who are part of the (Conrado Santamaría)
so-called poetry of consciousness. In line with his previous
projects, Niño de Elche is influenced not only by flamenco Informe para Costa Rica
but other musical genres such as kraut rock to ambient, all (Antidio Cabal)
mixed with new wave from the late 70s and early 80s.
Nadie (Inma Luna)
Cast
Miénteme (Antonio Orihuela)
Vocals Niño de Elche
Bass & Synths Darío del Moral Que os follen (José Luis Checa)
Guitar Raúl Cantizano
Co-produced by AIE, Instituto Cervantes Londres Niño De Elche
and Flamenco Festival.
Niño de Elche is an unusual
Photo: Julio Albarrán ‘cantaor’ (flamenco singer). He is
24 a multi-disciplinary artist who
combines the flamenco singing
and toque with performances,
poetry, improvisation, minimalism, singer-
songwriting, rock or electronics. He has
published very diverse albums, like Mis
primeros llantos (2007), Sí, a Miguel Hernández
(2013) and Las malditas órdenes del coronel
(2013), which was produced along with
Seidagasa, a music band focused on
improvisation. In 2011 he created a show
based on the paintings of Francis Bacon
called Vaconbacon, Cantar las fuerzas,
together with the collective Bulos y Tanguerías.

He alternates his personal works with
collaborations with unclassifiable art
creators like philosopher and art curator
Pedro G. Romero and poet Antonio Orihuela.
He has worked with choreographer and
dancer Juan Carlos Lérida on Al cante (a
dance show about a flamenco dancer and
an astronaut in the emptiness of a found
planet); he is currently presenting a show
with Israel Galván La Edad de Oro and he is
also preparing a new performance with
French dancer Fani Fuster. He collaborates
with rock, pop and experimental Spanish
bands like Pony Bravo, José Cicuta and Kiko
Veneno. Recently, he has participated on
Rocío Marquez´s last project, El Niño,
reciting some of the most intense pieces
from the part of the album produced by Raül
Fernández ‘Refree’.

Following the path set by his previous
works Niño De Elche’s new album, Voces
del Extremo, is not a flamenco record in the
classic sense, with its compositions based
on traditional palos (musical forms) but a
record with songs sometimes closer to
other genres such as kraut rock, ambient or
the 70s and 80s new wave.

Lilian Baylis Studio

Daniel Photo: Paolo Galleta Adam Ben Ezra subscribers. With a strong
Casares following on all social media
& Adam Double bass Photo: Niccolo Guasti platforms and notable
Ben Ezra phenomenon and performances all over the globe,
YouTube sensation Adam has accomplished
Loco Strings Adam Ben Ezra, is plenty as a solo performer.
on a mission to Now with his trio, Adam’s debut
Guitarist Daniel Casares and double bassist bring his instrument from its album Can’t Stop Running – is
Adam Ben Ezra have come together for an status as a background note to a dynamic global fusion of
evening of music, combining a selection of the dominant front-presence it influences and sounds.
their already established and well known deserves. Along the way Adam
songs with some that have been specially has been pushing his craft in Adam’s unique talent, superb
written for this performance. new, exciting directions and musicianship and great
Originally from Tel Aviv, Adam Ben Ezra carving out a unique spot for personality makes him the
has accumulated over 10 million views on himself in today’s international ideal candidate to take an
YouTube and is regularly invited to perform musical landscape. Whether instrument that has been
around the world, notably supporting the he is playing original material around for centuries and push
likes of fusion legends such as Richard or his wonderfully crafted it into the 21st century.
Bona, Mike Stern and Victor Wooten. cover arrangements, Adam is
Composer and Spanish guitarist Daniel a creative force who can Daniel Casares
Casares has performed across the globe, transform a room full of
including five consecutive tours in the USA strangers into lifelong fans The composer and
and has worked with prestigious artists such in a moment. Regardless if guitarist Daniel
as mezzo-soprano Cecilia Bartoli, Portuguese he’s performing solo or with Casares was born
fado singer Dulce Pontes, Spanish pop his trio, no two shows are in Malaga in 1980.
star Alejandro Sanz and Miguel Poveda. alike as he expertly moves He performs his
This world premiere marks from one instrument to the flamenco guitar concerts
their first project together. next, sometimes within the worldwide receiving great public
same song, without ever acclaim. The most prestigious
Cast missing a beat. Using a smart theatres in Spain, USA, Japan,
combination of effects and China, Brazil, Morocco and
Double bass, Vocals, pedals, Adam regularly loops Europe have praised his art,
Clarinet Adam Ben Ezra his notes in order to deliver an feeling and technique. He
Guitar Daniel Casares authentic wall of sound. accompanied opera soprano,
Co-produced by Cecilia Bartoli, on her European
Instituto Cervantes Londres By simple means of technology, tour which paid tribute to the
and Flamenco Festival Adam’s music videos launched diva Maria Malibran. Daniel has
him from on screen internet to also collaborated with renowned
worldwide live performances. artists such as Dulce Pontes,
To-date his YouTube videos Toquinho, Chucho Valdes, Miguel
have clocked millions of views Poveda and Alejandro Sanz.
and tens of thousands of

In November 2015 he released
his sixth studio album
Picassares which featured
collaborations with Dulce Pontes,
Miguel Poveda, Adam Ben Ezra
and Lulo Pérez.

Photo: Javier Esteban
25

The intoxicating new tango show from BUENOS AIRES

GERMAN CORNEJO’S

ETERNAL PASSION

1 - 19 MARCH

020 7863 8222 peacocktheatre.com Holborn

Four horses perform live on stage

Golgota

Bartabas
Andrés Marín

14 - 21 March

“Breathtaking” Le Monde Photo: Nabil Boutros

Sadler’s Wells Theatre
sadlerswells.com
020 7863 8000

Angel

Peña Flamenca de Londres

classes magazine events
monthly flamenco show second Sunday of the month
Holy Apostles Hall Cumberland St Pimlico SW1V 4LY

www.flamenco-london.org.uk

Paco Peña
Flamenco
Dance Company

Patrias

Inspired by the genius
and tragedy of
Federico García Lorca

12 - 16 July

Sadler’s Wells Theatre
sadlerswells.com
020 7863 8000

Angel

Photo: Andy Phillipson

A Brief History of Sadler’s Wells

Sarah Crompton’s book New beginnings sometimes happen quietly and and give the Vic-Wells Ballet a permanent base.
‘Sadler’s Wells Dance House’ sometimes they are announced. On Monday, The new season opened on 27th September
is available in the foyer and at 7th March 2005 the new director of Sadler’s 1935 to great acclaim with one critic noting
sadlerswells.com/shop/book Wells, Alistair Spalding, decided the time had “the splendid dancing of the young newcomer
come to make a splash. “You’ve got the National Miss Margot Fonteyn, who has a compelling
Theatre for drama, English National Opera for personality and exceptional gifts, though
opera and I want Sadler’s Wells to perform the only just 16.”
same function for contemporary dance.” With
those words, he inaugurated a new chapter Whilst opera continued to be important (Peter
in the history of London’s second oldest Grimes premiered at the Wells in 1945), it was
theatre: its transformation into a contemporary in this period that Sadler’s Wells became most
dance house. strongly associated with dance. It was where
De Valois founded British ballet here and built
Sadler’s Wells was not born of an artistic both a company of dancers and a repertory
impulse but the discovery of a mineral that included her own works and those of
spring in 1683. Richard Sadler built a music Frederick Ashton and Robert Helpmann.
house around the spring to rival the already She also founded a school which remained
fashionable Tunbridge and Epsom wells. By throughout World War II, when the theatre was
the beginning of the 18th century, visitors to itself acting as a refuge for the homeless.
Sadler’s Wells could see entertainments that
included jugglers, tumblers, ropedancers, At the end of the war, De Valois took her
ballad singers, wrestlers, fighters, dancing dogs fledging ballet company to Covent Garden to
and even a singing duck. become the Royal Ballet. However, her touring
ballet company, known first as the Sadler’s
In 1765 Thomas Rosoman had the theatre Wells Theatre Ballet, then the Sadler’s Wells
rebuilt for the first time so that it could mount Royal Ballet, remained until 1955 and returned
high-calibre opera productions. However, it from 1970 to 1990 before moving permanently
wasn’t long before the beer brewed from the to Birmingham to become the Birmingham
spring waters became the primary attraction. Royal Ballet.
By 1801, although a young actor called
Edmund Kean and the great clown, Grimaldi, By the 1970s Sadler’s Wells’ dance programme
had both appeared on its stage, Sadler’s had diversified considerably. Alongside
Wells had become more famous for incidents, Rambert Dance and London Contemporary
both devised (spectacular sea battles) and Dance, who briefly held residencies here,
accidental (a terrible stampede in which 18 a great variety of touring and commercial
people died) than for work of merit. In the work was also presented. However audiences
1830s Dickens wrote: “The theatre was in the began to drift away.
condition of being entirely delivered over to as
ruffianly an audience as London could shake When Ian Albery took over as chief executive in
together…Fights took place anywhere, at every 1994 it was clear that redefinition was needed.
period of the performance.” He led the campaign to transform Sadler’s
Wells into a purpose-built dance theatre. During
Matters improved in 1843 with the passing of the two-year rebuild, Sadler’s Wells decamped
a parliamentary act which enabled the actor- to Holborn’s Peacock Theatre which it has
manager, Samuel Phelps, to present a famous continued to programme ever since.
run of Shakespeare. But after he left in 1862,
the theatre once more sank into the doldrums, The rebuilt theatre opened in October 1998
suffering conversion into a skating rink and with a design that still incorporates the skeleton
then a cinema. In 1914 the Daily Chronicle’s of Frank Matcham’s 1931 theatre, which in turn
theatre critic, S.R. Littlewood, described it as contained bricks from the Victorian playhouse.
“a poor, wounded old playhouse” and in 1915, It has an expanded 15m² sprung stage, a
it closed its doors. welcoming 1,500 seat auditorium, and a
glass-fronted foyer that captures Lilian Baylis’
It took another decade for the most significant belief that theatre should embrace everyone.
figure in the modern history of Sadler’s Wells Here no-one enters the “gods” through a
to enter the picture. Since 1898, Lilian Baylis separate entrance. There are also three
had been presenting drama and opera at rehearsal studios and the smaller 200-seat
the Old Vic at popular prices. Motivated by a Lilian Baylis studio theatre for the development
profound belief that great art should belong and presentation of small-scale work.
to everybody, in 1925 she began fundraising
to rebuild Sadler’s Wells so that the people But even with the new facilities, it took some
of north London could enjoy the same time to establish the theatre as a force for
opportunities as those in the south. dance. After a thrilling opening season, which
included performances by Pina Bausch’s
Then Baylis met Ninette de Valois, a striking Tanztheater Wuppertal, William Forsythe’s
young Irish woman who deeply impressed ground-breaking Ballet Frankfurt, and Rambert
her. After their interview, Baylis’s secretary, Dance, it once again struggled to find its voice
recorded her saying: “Miss de Valois is going and its audience.
to run her school with the Vic and when we
have Sadler’s Wells she’ll run a wholetime Alistair Spalding took up the challenge to
ballet company for us.” The fact that it all turn things around in 2004. He decided that
came to pass says much about the abilities Sadler’s Wells had been at its best when it had
of both women. had resident companies and new works being
created within its walls. This vision paved the
De Valois was formally hired in 1928 and the way for an increasing number of Associate
fifth Sadler’s Wells, designed by the prolific Artists and for companies producing work
theatre architect Frank Matcham, opened on in the building. Today Sadler’s Wells not only
6th January 1931 with John Gielgud and Ralph promotes but also commissions and produces
Richardson in Twelfth Night. For four years, outstanding dance. It reflects the best of its
drama productions, opera and ballet shuttled history while looking defiantly and brightly
between the Old Vic and Sadler’s Wells until towards the future.
Baylis decided to dedicate Sadler’s Wells to
opera and ballet for eight months of the year Sarah Crompton

Sadler’s Wells Support
Trust and
Foundation Sadler’s Wells would like to thank all those who generously support
the theatre and our programme of work on and off stage
Sadler’s Wells Trust
Individuals Commissioning Patrons Elodie Gruit Trusts and Foundations
Chairman Anonymous Jonas Havnes
Sir David Bell Avant-Guardians Francois and Anais Aguerre Steve Hendry Major Supporters
Anonymous Guardians Jane Attias Gary Hocking and Partners
Directors David and Primrose Bell G.P. and J.M. Batchelar Bee Hopkins Anonymous
Jules Burns Angela Bernstein CBE Paola Bergamaschi Broyd Dominic Houlder & The Andrew Lloyd Webber
Sue Butcher Sue Butcher
Marco Compagnoni Marco Compagnoni and Richard Broyd Lukas Kroulik Foundation
Kathleen Crook Robin Saunders Justin Bickle Mike and Caroline Howes The Baring Foundation
Robert Glick Ann and Martin Smith Kristina Borsy and Rita Hughes BBC Children in Need
Carol Lake The Ulrich Family Mr Sajid F. Hussein Cockayne - Grants
Harry MacAuslan Nick Turdean Esther Isaacs
Tim Marlow Major Project Support Jennifer Brophy Michael Johnson for the Arts
Robin Saunders David and Torunn Banks Nica Burns OBE Linda Kahan Dame Hilda Bracket Trust
Sandi Ulrich The Deborah Loeb Brice David Davenport-Firth Akiko Kikuchi The Edwin Fox Foundation in
Sanoke Viswanathan Cas Donald Brendan and Katarzyna
Foundation Juliana Farha and memory of Michele Fox
Sadler’s Wells Foundation Aud Jebsen Koszut Walsh Esmée Fairbairn Foundation
Barbara Kahn Moller and Kit Malthouse Sybil and Herbert Garfield Weston Foundation
President Stephanie and J Paul Getty Jr
Lady Solti Karsten Moller Kretzmer OBE
Jacques Gabillon Maxine Lange Charitable Trust
Honorary Vice President Artistic Director’s Circle The Richard Grand Foundation Kim Lavely Jerwood Charitable
Ian Albery Anonymous Neil Griffiths-Lambeth Derek Lee
Ian Hay Davison CBE David and Torunn Banks Lettie Hart Fiona Leishman Foundation
William and Judith Bollinger Mrs Joyce Kan Andrew Lerpiniere The Leverhulme Trust
Chairman Jules and Cheryl Burns Anne Kauder Gwen Lewis and The Linbury Trust
Sir David Bell Lloyd and Sarah Dorfman Faizal Khan The London Community
Fameed Khalique Latifa Kosta Jonathan Holliday
Directors Karim and Julie Saddi Alison LeMaire Chantelle MacKay Foundation
Rab Bennetts OBE Harry and Fiona MacAuslan Alessandra Masoero The Mirisch and Lebenheim
Celeste Fenichel Season Patrons Lindy Mason David Mathew
Kathryn Firth Celeste Fenichel Nancy Miller and Glen Ireland Erdem Moralioglu Charitable Foundation
Lesley MacDonagh Jack and Linda Keenan Frances Murphy and Koji Moriya The Monument Trust
Celia Rodrigues Robin Pauley Patricia Morris Quercus Trust
Paul Williams Jonathan and Lucy Wood Andrew Arends Jennifer Noe-Nordberg The Sackler Trust
Majella Murphy Altschuler Dave Plummer and Sir Siegmund Warburg’s
Honorary Members Sylvie Guillem Farewell John Nicoll and
Valerie Colgan Supporters Circle Lesley Whitby Voluntary Settlement
Robert Kahn David and Torunn Banks Laurence Colchester Frances Prenn Tony Oakley Estate
Martin Klute Celeste Fenichel Mr A Norton and Mrs C Norton Meilee Rafe Weston Jerwood Creative
Michael and Claire Francies Georgia Oetker Michele Ragazzi
Honorary Clerk Jacques & Stephanie Gabillon Dr Elizabeth Parker Peter B Rea Bursary Scheme
Joachim Fleury Abel Halpern and Joan Ritchie Heather Richards The Wolfson Foundation
Ross Roberts Marc Roberts
Clerk to the Foundation Helen Chung-Halpern Kristina Rogge Anoush Sarkissian-Katz Supporters and Partners
Alistair Spalding CBE Rick and Janeen His Excellency Alyssa Simon Andor Charitable Trust
Brian Smith Children & the Arts
Haythornthwaite Ghassan I Shaker Alistair Spalding CBE CHK Charities Limited
Jack and Linda Keenan Kaveh and Cora Sheibani James Stevenson The D’Oyly Carte
Stéphane Lapiquonne Georgie Shields and Anna Valentine and
Hugues and Emmanuelle Lepic Charitable Trust
Jan and Michael Topham Trevor Francis Jonathan Berger The Grocers’ Charity
Vanni and Angela Treves Wendy Sigle Linda and Stephen The Ironmongers‘ Company
Plev Spine John Thaw Foundation
New Production Patrons Christopher and Fiona Steane Waterhouse The Rayne Foundation
Maria Adonyeva Allen Thomas and Kate Wormald - The Royal Victoria Hall
Lauren and Michael Clancy
John Drewitt Jane Simpson OESA Partners Foundation
Alexandra Joffe Eric Tomsett Jenifer Young
Carol Lake Geoff Westmore and Corporate
The Medici Terzaghi Family The American Friends
Frank and Helen Neale Paula Clemett David and Melissa Bernstein Corporate Partners
Simon and Midge Palley Matthew and Elissa Bernstein American Express
The Porter Foundation Opening Night Patrons Colin and Deirdre McKechnie Bloomberg
Anonymous
Switzerland Diana Allgaier (Deputy President) Corporate Sponsors
Helmut Schuster Severine Balick Celia Rodrigues (President) Bennetts Associates
Jan & Michael Topham David Bernstein Clifford Chance
Meng Zhou Pamela Bertschinger and Mark Rodrigues Criterion Ices Limited
Joanne Black Monica Voldstad ERMAK Group
Project Supporters William Boyce Radisson Blu Edwardian
Aspect Charitable Trust Jenny Brend Performance Members Weil, Gotshal & Manges
Jennifer Brophy Peter and Isabel Bristowe Andrew Barnett
Mrs Joyce Kan Alison Brodie Jemma Cowley Local Business Members
Carol Lake Helen and Martin Buck Major Dafydd Edwards Frederick’s
John and Susan Lazar Maria Bukhtoyarova Sandrine Jensen Green & Fortune
The Mactaggart Third Fund Ossi and Paul Burger Eugene Leahy and Moro
Seat Appeal Supporters Jim Caroll Ottelenghi
Geoffrey Collens Helmert Robbertsen
Legacy Circle Sean Cross Gerald Lidstone Embassies / Government
Klara Bloch Amanda Cupples Juliette Morris Agencies
David and Deborah Botten Mindy Davidowski Helen Mundy Embassy of Spain
Mike & Caroline Howes Angela Docherty Anthony and Alison Nathan Institute Français du
Tony Oakley Estate Simon and Jane Duncan Sally Pasmore
Ross Roberts Maryam Eisler Geraldine Ravet Royaume-Uni
Sarah and Louis Elson Isla Smith Québec Government Office
Mina Gerowin Herrman and Alison Smyth
David Taylor
Jeffrey Herrman
Karine Giannamore
Lawrence Gough

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 Sadler’s Wells Staff
Artists and
Companies Artistic Director and Chief Executive Publications, Digital and Human Resources Front of House
Alistair Spalding Social Media Co-ordinator Head of HR Senior House Manager
Associate Artists Chief Operating Officer Rita Chowdhury Clair Kelly Marguerite Bullard
BalletBoyz® Britannia Morton Marketing Assistant HR Manager House Manager
Matthew Bourne Director of External Affairs Kirsty McGuinness Lesley Owusu Haroula Lountzi
Sidi Larbi Cherkaoui Magdalen Fisher HR Assistant Deputy House Managers
Jonzi D Director of Artistic Programme Digital Braham Lyons Dara Brooks, Larry Harrison-Mateeba,
Sylvie Guillem Katy Arnander Digital Manager Human Resources Apprentice Janine Kaufman
Michael Hulls Finance Director Mark Doerfel Vacancy Duty House Manager
Michael Keegan-Dolan Mark Rhodes Digital Media Officer Sophie Taylor
Akram Khan Executive Producer Robin Clark Stage Front of House Sales Administrator
Russell Maliphant Suzanne Walker Web Editor (LondonDance.com) Director of Technical & Production Chris Harmer
Wayne McGregor Director of Technical & Production Carmel Smith Emma Wilson Performance Cashiers
Crystal Pite Emma Wilson Digital Information Assistant Dara Brooks, Robert Churchill,
Kate Prince Director of Development Denise Drake Sadler’s Wells Theatre Chris Harmer, Larry Harrison-Mateeba,
Nitin Sawhney Emma Collings Marketing and Digital Intern Technical Manager Alex Wood
Hofesh Shechter Director of Marketing & Sales Vacancy Christian Wallace Front of House Assistants
Jasmin Vardimon Sebastian Cheswright Technical Co-ordinator Marie-Claire Adriaenessens, Josiane
Christopher Wheeldon Artistic Programmer and Producer, Ticket Office Tom Hares Adriaenessens-Gardes, Makiko Aoyama,
Creative Learning Ticket Sales & Services Manager Senior Technicians Corinna Barker, Marta Barszcz, Lisa
Resident Companies Jane Hackett Zahir Jaffer Graham Cutting, Sam McLeod, Beck, Amy Bentley, Dominic Berry, Harry
Company Wayne McGregor Ticketing Services Support Specialist Colin Wilson Blain, Lachlan Bond, Lucinda Borrell,
New Adventures Executive Assistant Bruce Moore Technicians Claire Boyd, Emma Bracewell, Jack Bull,
ZooNation Dance Company Amanda Joy Ticket Office Supervisors Mark Noble, Craig Tye, Ben Walker Lorea Burge, Becky Byers, Jane Chan,
Executive Assistant (Maternity Cover) Barbara Birch, Mark Hammond, Wardrobe Supervisor Vicky Chapman, Joel Cottrell, Helen
Associate Company Rosalind Glass Abigail Parker Miwa Mitsuhashi Doyle, Francesca Ellis, Barney
English National Ballet Memberships & Ticketing Technical Theatre Apprentice Evans-Doran, Hannah Forrester, Lindsey
Programming & Creative Learning Services Administrator Ben Rolls Fraser, Sarah Galbraith, Gigi Giannella,
International Ritchie Dach Lucy Glover, Luca Guarnieri, Sally
Associate Companies Director of Artistic Programme Ticket Sales Assistants Peacock Theatre Hacking, Jacob Hall, Anna Harrison,
Rosas Katy Arnander Virginia Aparicio, , Naomi Bowen, Clare Technical Manager, Peacock Geber Sandoval Heredia, Jasmine
Tanztheater Wuppertal Artistic Programmer & Bracewell, Stephanie Brotchie, Melissa Theatre & Special Events Kambi, Elisabeth Kersey, Max Kiefel,
Artist Development Collier, Kitty Dalton, Lisa Diveney, Ryan Chris Booth Alice Kilkenny, Ewa Lamond, Liesbet
Pina Bausch Eva Martinez Epps, Brandon Force, Ben Francis, Technicians Lefebure, Ljiljana Lemajic, Thomas
Head of Programme James Hameed, Elspeth Harrison, Tim James Kazwini, Tom Pritchard Lloyd, Vivien Loh, On Yee Lo, Eleanor
Anneliese Graham Chen-Hudson, Paula Jones, Wesley Mackinder, Sasha Mandel, Eleanor
Projects Manager Jones, Isabelle Mason, Amie McBye, Lilian Baylis Studio Martin, Claire Marty, Katy Mason, James
Robyn Cabaret Lee McDonnell, Sheila Motani, Grace Technical Manager McAndrew, Robert McDonnell Bond,
Programming Co-ordinator Nyandoro, Paula Patritti, Matt Phillips, Roman Bezdyk Ioana McGuire, Rhiannon Montagu-
Richard Cross Rosalind Reeder, Samuel Ricketts, Technician Harrison, Thomas Montagu-Harrison,
Programming Assistant Nicola Salt, Caitriona Shoobridge, John Fraser Thompson-Noble Kate Neville-Towle, Joel O’Donoghue,
Elaine Foley Sinclair, Cameron Slater, John Stivey, Technician, LBS Amelia O’Hara, Andreas Papadopoulos,
Programming Intern Tom Walczak Pete Maxey Paula Patritti, Thomas Peacock,
Vacancy Dominique Perrett, Cassandra Piroutz,
Press Estates Magdalena Radlowska, Emmanouil
Breakin’ Convention Head of Press Building Services Manager Rammos, Georgia Redgrave, Thomas
Artistic Director, Breakin’ Convention Abigail Desch Russell Lynch Reid, Rowan Roberts, Inka Romani
Jonzi D Interim Senior Press Manager Projects Facilitator Escriva, Alessandro Santese, Dorit
General Manager, Breakin’ Convention Caroline Ansdell Charlotte Meyer Schwartz, Tristan Schumacher, Sarah
Peter Maniam Press Officers Project Co-ordinator Stanley, Shorai Shoniwa-Forchin,
Programme Manager, Jolene Dyke, Georgia McKay, Agnish Roger Spence Duncan Steer, Caroline Topley, Lily Tran,
Breakin’ Convention Ray Building Services Technicians Nu Tran, Calvert Watson, Emma Wells,
Michelle Norton Press Office Co-ordinator Yassine Chenaf, Richard Emmett, Mark Kat Wieszczek, Magda Wieszczek,
Tour Manager, Breakin’ Convention Eugénie Dunster Hobson, Wayne Lawrence, Ghion Robert Wilkes, Jairo Zaldua
Emma Ponsford Mekonnen, Darren Spencer
Digital Communications Officer, Corporate Communications Maintenance Technician – Stage Door
Breakin’ Convention Corporate Communications Manager Peacock Theatre Receptionist
Dave Barros Giulia Ascoli Daniel Knapton Joann Peek
Education Officer, Breakin’ Convention Stage Door Keepers
Shay Rafati Development Catering & Events Claudia Adamson, Marie-Claire
Director of Development Head of Catering & Events Adriaenessens, Phil Bartlett, Mark Duff,
Creative Learning Emma Collings Zuzana Galikova Rebecca Lam, Tina Ramdeen, Rosannah
Artistic Programmer and Producer, Development Manager, Development Head Chef Smith, Laura Wyatt O’Keeffe
Creative Learning Trusts & Foundations Kenny Warren
Jane Hackett Terrie McCann Sous Chef Housekeeping & Security
NYDC Company Manager Development Manager, Adrian Smith Support Services Manager
Hannah Kirkpatrick Corporate Partnerships Senior Chef de Partie Howard Clark
Assistant Producer, Creative Learning David Milsom Krisztian Kvala Cleaning & Housekeeping Supervisors
Zara Rush Development Manager, Chef de Partie Fabian Arias, Ken Debidin
Projects Manager, Creative Learning Individual Giving Anna Smirnova Cleaning Supervisor, Peacock Theatre
Lucy Clarke Anna Clark Kitchen Assistant Katarzyna Rogulska
NYDC and Creative Learning Development Co-ordinator, Luminita Sfesnic Cleaners
Co-ordinator Trusts & Development Kitchen Porter Joshua Aqui, Jeffrey Balighot, Marino
Kevin Wratten Toni Leung Vicky Sousa Bathan, Fortunato Carian, Kelly Dago,
Development Co-ordinator, Catering Operations Manager Jesiel Da Silva, Akissi Kouassi,
Community and Engagement Manager Individual Giving Justin Rogers Jose Lary Legario, Anthony Osagiede,
Natasha Anderson Samuel Doyle Catering Administrator Oumar-Florent Sam, Mercan Sahin,
Access Officer Development Co-ordinator, Janet Elliott Thayaparan Eliyathamby Sinnathamby,
Sarah Howard Capital Campaigns and Bars Supervisors Ziegfredo Tanilon, Celestin Trah, Antonio
Youth and Community Co-ordinator Corporate Partnerships Alessio Colandrea, Jolanta Petrauskaite Villanueva, Amani Yoboue
Vacancy Vacancy Catering Team Leaders
Development Assistant, Laura Roberts, Nick Swanson Security
Producing & Touring Individual Giving Security Officers
Verity Casey General Catering Assistants Hamed Aminaee, Tariq Aziz, Mohammed
Executive Producer Zahra Aboobaker, Sheneez Amara, Mulla, Katie Torbett, Abdul Khan, Barney
Suzanne Walker Finance & IT Karolina Baublyte, Natalie Beale, Netherwood, Armend Retkoceri,
Head of Touring Deborah Boateng, Conor Brooks, Sean Nii Lartey, Darryl Nelson
Dawn Prentice Finance Director Brooks, Naomi Buck, Cristina Castro
Producer Mark Rhodes Maia, Daisy Cauty, Fatima Conde Technical Lighting Supplier
Ghislaine Granger Portero, Sonya Crème, Alexander De
Bia Oliveira Finance Caires, Sarah Covington, Paige With thanks to our colleagues
Russell Maliphant Company Producer Financial Controller Dehaarte-Wiseman, Colin Devaney, at the London School of Economics:
Ellie Hartwell Paul Warren Emily Downs, Laura Ellis, Eva Escribano Head of Conference & Events
Technical Production Manager Management Accountant Olma, Amandine Faugere, Josh Gill, Rachel Ward
Adam Carrée Ben Dart Paulo Guilhenme, Matthew Hall, Rhea LSE Theatre Manager
Production Accountant Show Accountant Heath, Rosalind James, Egija Kavecka, Sam Gaid
Nanette Daniels Lorne Cuthbert Laura Kerin, Beulah Lambert, Margarida
Assistant Producer Finance Officer Macieira, Claudia Marciano, Kirstie The information in this programme was
Sandra Castell-Garcia Monisola Samuel Marshall, James McAndrew, Fiona correct at the time of going to print and
Producing & Touring Co-ordinator Finance Assistant Mischel, Callum Mooney, Maria Victoria may be subject to change.
Isabelle Drummond Sheena Shah Moragas Auladell, Jodie Ann Nicholson,
Producing & Touring Assistant Veronica Olsson, Eva Parets Merino,
Georgia Kersh IT Misha Patel, Alexandra Plaige, Louis
Head of IT Prier Tisdall, Lucy Raffo, Sabela Ramos
Marketing, Sales, Press Matt Kirby Candedo, Natalie Richter, Manuela
& Development CRM Database Manager Sarcone, Raffaella Scotto Di Clemente,
Dmitrij Zeile Miranda Sheehy, Waddah Sinada,
Director of External Affairs IT Systems & Network Manager Natalie Sloth-Richter, Tyriquee Solomon,
Magdalen Fisher Raymond Neequaye Nestor Soto, Sonia Teape, Sophie
IT Systems Administrator Thompson, Fanney Vala Arnorsdottir,
Marketing & Sales Ray Wei Long Ho Tal Weinstein
Director of Marketing & Sales IT Assistant
Sebastian Cheswright Ryan Chhangur Events Manager
Senior Marketing Manager
Sammie Squire Visitor Services & Operations Georgie Smith
Marketing Manager (Touring) Interim Events Manager
Lucy White Chief Operating Officer
Marketing Officers Britannia Morton Alessio Romani
Sally Daniels, Ben Stanley Events Executive, Corporate
Marketing Publications Officer
Joseph Burnham Kelly McGibney
Interim Events Executive (Arts)

Pascha Rix
Events Assistant

Kate Hunter