2017 Programme Flamenco Festival London

Welcome

Photo: Hugo Glendinning

Welcome to our 14th edition of Flamenco Festival Manuel Liñán with Reversible; inspired by his
London, Sadler’s Wells’ annual showcase of the childhood memories, the production asks
best contemporary flamenco artists. us to return to the unfiltered emotions and
playfulness of our early years.
Innovative choreographer and dancer Israel
Galván opens this year’s festival with his The festival exists to offer our audiences the
FLA.CO.MEN, a flamboyant examination of the opportunity to enjoy the best flamenco dance
genre’s tradition and motifs. Internationally and music, and to witness firsthand how the
acclaimed performer Eva Yerbabuena enlists talented artists leading the art form today are
the help of four dancers and live musicians celebrating and transforming flamenco by
to strip flamenco to its roots and invite us to breathing new life and ideas into it.
feel it rather than understand it in Aparencias.
Renowned company Mercedes Ruiz presents I hope you enjoy it.
Déjame que te baile (Let me dance for you),
a love letter to the art form and the audience. Alistair Spalding CBE
Our Gala Flamenca sees subtle artist Juana Artistic Director and Chief Executive
Amaya take her intricate footwork to our
stage alongside virtuoso performer Jesús
Carmona, refined dancer and choreographer
Olga Pericet, contemporary innovator Patricia
Guerrero and extraordinary flamenco singer
Rocío Márquez. Finally, we welcome back

Front cover photo: Javier Suárez

Flamenco
Festival
London
2017

Israel Galván 8-9 Staff
10-11
FLA.CO.MEN 12-13 Director Miguel Marín
Wed 15 & Thu 16 Feb at 7.30pm Technical Production Belén Castres
14-17 Festival Coordinator Isabel Aranda
Cía Eva Yerbabuena 18-19 Production Coordinator Beatriz Hoyos

Apariencias Sponsored by
Fri 17 - Sun 19 at 7.30pm
Sat 18 Feb at 3.30pm Supported by

Cía Mercedes Ruiz Photo: Javier Suárez

Déjame que te baile
Tue 21 at 7.30pm

Gala Flamenca 2017

Juana Amaya, Olga Pericet,
Jesús Carmona, Rocío Márquez,
Patricia Guerrero
Thu 23 - Sat 25 Feb at 7.30pm
Sat 25 Feb at 3.30pm

Cía Manuel Liñán

Reversible
Sun 26 Feb at 7.30pm

Lilian Baylis Studio 20-21
22-23
Guitarrísimo: Santiago Lara

Flamenco Tribute to Pat Metheny
Wed 22 Feb at 8pm

Rocío Márquez

Recital
Sun 26 Feb at 6pm

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Finding
the
Artist

Gerald Dowler

Flamenco is perhaps the most raw artistic magpie, bringing in a dizzying questioning. Her dancing remains
of artistic forms, an exploration of array of influences in his deconstruction at the very centre of her being and
the soul which others are invited of flamenco and its subsequent none more so than in the ‘soleá’, the
to watch. Such is the internalised refashioning to create something most ‘flamenco’ of flamenco forms,
nature of performance that the music, intensely personal, his own synthesis of characterised by sorrowful, bittersweet
the song and the dance often seem to them all. In parallel to the dance, this musical lamentation, which sees her
well up from deep within the interpreters show’s music is unorthodox, an engage with the very essence of who
and are expressed, not for the benefit of unconstrained soundscape more akin she is in dancing of extraordinary
the audience, but in some form of to free jazz than the more traditional intensity. Yerbabuena’s musical
cathartic process which involves, flamenco structures. Galván presents colleagues are second to none, and
demands even, the release of powerful a more playful side in this current show, range from such ‘traditional’ flamenco
emotion, from hurt and pain to joy and and is not above taking a slightly artists as Paco Jarana and Antonio
ecstasy. For us, the audience, the sheer mocking tone, even of himself, but Coronel to the melodious voice of
intensity of the experience of hearing what FLA.CO.MEN represents above African singer Alana Sinkëy.
and seeing flamenco is striking, as we all, is another step in his own personal
witness artists laying themselves bare. It artistic journey. Mercedes Ruiz has also been on
is this intensely personal relationship in her own journey – from her very first
flamenco between the art form and its Flamenco Festival favourite Eva exposure to flamenco as a young girl in
interpreters which runs through this Yerbabuena is also on a journey, one her native Jerez to today. It was some
year’s Sadler’s Wells Flamenco Festival – which has seen her explore many years ago that she began to feel the
each of the artists has undertaken/is aspects of herself and her art form, need to delve more deeply into herself,
undertaking a personal journey, and which she has combined with multiple to explore her artistry and what it
what we will see on stage is its result. outside influences. She has stated meant to her to dance. She has sought
that her current show, Aparencias how to resolve the conflict between not
Israel Galván has long been at the (Appearances) represents the closing turning her back on the past, with its
cutting edge of flamenco, a dancer of one chapter and the opening of great interpreters and traditions, while
acknowledged to be at the very summit another and, indeed, she has often successfully finding her own voice as
of his artistry who is unafraid of pushing seemed a troubled spirit, anxious to a twenty-first century woman. Inspired
against the perceived limits of the form, explore something undefined within by the birth of her child, she focussed
and of being deliberately provocative. her by means of experimentation and on light and life in Perspectivas (2011),
Previously, he has explored the darker insistent contemporaneity in shows and then explored darker thoughts of
aspects of himself and human existence which sometimes have pushed to guilt and fear in Ella (2015), and Déjame
in shows of serious intensity, such as Lo extremes the concept of flamenco. In que te baile (Let me dance for you) is
Real, inspired by the plight of the Roma Aparencias, Yerbabuena seems to have another step in Ruiz’s self-analysis,
and Sinti peoples in fascist Spain during achieved a level of, if not peace, then in which she now focusses on her
the 1930s and 40s, so FLA.CO.MEN quietude, delivering what has been relationship with her audience, the title
surprises with its distinctly lighter tone described as a “poemario humanista” of the show a simple request; it is born
while never losing its element of or humanist verse anthology, a less out of the absolute need she feels to
challenge. Galván is something of an frenzied exploration of her existential reinterpret her dancing in the light of

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Photo: Olga Pericet © Paco Villalta

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her current artistic sensibilities, literally experimentation and outside influences,
to ‘reboot’ herself for today. This show which she expresses succinctly with
is, therefore, dance for dance’s sake, the words “it is always good to learn”.
in which any underlying concepts Jesús Carmona was born in Barcelona,
are notable by their absence, and her far from the Andalucían heartlands of
relationship with a superb group of flamenco, and trained in classical dance
musicians, including the legendary and bolero as well as in flamenco. He
guitarist Paco Cepero, absolute. has achieved status as one of the most
exciting of the new generation artists
For Manuel Liñan, his latest show, who is characterised by a striking and
Reversible (Reversible) is a journey into stylish stage presence as a dancer
his childhood which reveals how he and notable creativity as a
has become the man and the artist that choreographer. Rocío Márquez
he is today. From games and skipping is another young flamenco
ropes to dressing-up, he explores the artist, a singer of great
memories of his early years to inform a expressiveness and intensity
work which sees him look honestly at who, in contrast to the
himself as a boy, with all the conflicting tradition of vocal roughness,
feelings and thoughts that are evoked brings considerable
in the man. It is a provocative show, sweetness and purity
a serious attempt to face down the to her music.
constraints of social convention,
personal fears and the prejudices Flamenco as an art form is
and stereotypes of others through an undertaking its own journey
exploration of his own past and present, as the technologies of travel,
an exposition of both his masculine recording and broadcast
and feminine sides, of both the Manuel bring ever more and varied
and Manuela within him. A performer outside influences to bear
of considerable personal charm, Liñan upon it. However, as this year’s
has placed himself at the vanguard Sadler’s Wells Flamenco
of ‘nuevo’ or modern flamenco and Festival shows, today’s
remains a fearless explorer of other interpreters are asking
dance forms and traditions which he themselves questions not
incorporates into his own movement. about what flamenco should
be in any abstract sense, but
Gala Flamenca 2017 brings together rather what sort of artists
some of the most notable and exciting they are in their changing
artists in flamenco today. Olga Pericet, medium. It is their quest to
a Flamenco Festival favourite, is a find who they are which we
fearless experimenter who possesses witness every time we see
a magnetic stage presence and them perform.
personality; she has developed a very
personal visual and choreographic Gerald Dowler reviews
language which, nevertheless, remains and writes extensively on
flamenco to its core. The superb Gypsy dance for the Financial
dancer Juana Amaya also appears. Born Times, Dancing Times and
into a family of great flamenco artists, classicalsource.com.
Amaya represents a link to the very He also teaches at the
heart of the traditions of the art form, City of London School.
even if she has always been open to

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Photo: Israel Galván © Hugo Gumiel

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Israel
Galván

FLA.CO.MEN

with David Lagos,
Tomás de Perrate,
Eloísa Cantón, Caracafé
and Proyecto Lorca
(Juan Jiménez Alba
and Antonio Moreno)

It’s all about the music. The music
that has sounded throughout
Israel Galván’s shows and now
appears free of plots, scripts or
theatre. Los zapatos rojos, La
Metamorfosis, Galvánicas, Arena,
El final de este estado de cosas,
Lo Real-Le Réel-The Real… sound
without a story line, leading the
body’s stillness and rhythm.
Israel Galván uses his body like an
instrument, not just percussion
but also wind, brass and strings.
He makes the body sing with the
volume of an orchestra.
The order of syllables may have
been changed, but it is still utterly
flamenco.

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Cast and Creative Team Israel Galván de In 1994, he joined the Compañía
los Reyes Andaluza de Danza, directed by Mario
Direction, choreography Maya, and this was the beginning of an
and dance Israel Galván Awarded with the National unstoppable career that would bring him
Musicians David Lagos, Dance Prize 2005, the most important awards in flamenco
Tomás de Perrate, Eloísa Cantón, Creation section, by the (and) dance.
Caracafé, Proyecto Lorca, Juan Culture Department of the
Jiménez Alba, Antonio Moreno Spanish Government, for Israel Galván has worked on projects
Artistic direction and “his capacity to generate a new of very different nature with artists
choreography of Sevillanas creation in an art such as flamenco as diverse as their flamenco masters
Pedro G. Romero without forgetting the real roots that Enrique Morente and Manuel Soler,
Stage direction and have sustained it to the present day dancers Akram Khan and Sol Pico,
choreography of Alegrías and then make of it a universal genre”. and musicians Sylvie Courvoisier, Pat
Patricia Caballero Since then he has received other Metheny, Vicente Amigo, Lagartija Nick,
Lighting design important awards, such as the 2012 and many others.
Rubén Camacho New York Bessie Performance Award
Sound Pedro León for an Outstanding Production (“of a In 1998 Israel premiered ¡Mira! / Los
Technical Direction Pablo Pujol work that stretches the boundaries of a Zapatos Rojos, his first creation. Praised
Coordinating rehearsals culturally specific form”), the 2012 Fine by all the critics as a stroke of genius, it
Stage manager Balbi Parra Arts Medal awarded by the Council of was effectively a revolution in the entire
Costumes Concha Rodríguez Ministers of Spanish Government, the conception of flamenco shows.
Production A Negro 2015 National Dance Award for
Producciones (Cisco Casado, Exceptional Artistry Given by the Since then he has presented
Chema Blanco & Critics’ Circle (United Kingdom), the productions such as La Metamorfosis,
Amapola López) 2016 Medal Of Andalusia given by the Galvánicas, Arena, La Edad de Oro,
Tour manager Presidency of Andalusian Autonomic Tábula Rasa, Solo, El Final de este
Amparo Hernández Government (Spain) and the 2016 rank Estado de Cosas - Redux, Israel vs Los
of Officier Dans L’ordre Des Arts Et Des 3000, La Curva and Lo Real/Le Réel/
Duration 90 mins (no interval) Lettres given by the Ministry of Culture The Real. His two latest creations, both
and Communication (France). premiered in 2014, are TOROBAKA
Co-production (sharing the stage with Akram Khan)
Théâtre de la Ville de Paris Son of sevillian bailaores Jose and FLA.CO.MEN. He has also created
Théâtre de Nîmes – Galván and Eugenia de Los Reyes, La Francesa and Pastora for his sister
Scène conventionée pour he naturally grew up within the Pastora Galván and Dju-Dju for his
la danse contemporaine atmosphere of tablaos, fiestas and childhood friend Isabel Bayón.
With the support of flamenco dance academies, where he
Instituto Andaluz del Flamenco used to accompany his father. But it Galván is an Associate Artist of Théâtre
Consejería de Educación, was only in 1990 that he really felt like de la Ville de Paris and Mercat de les
Cultura y Deporte de la becoming a dancer. Flors de Barcelona.
Junta de Andalucía
Fondo Europeo de Desarrollo
Regional (FEDER)

Acknowledgements to
Teatro Central de Sevilla

Photos: © Hugo Gumiel

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Cía Eva
Yerbabuena

Apariencias

Apariencias is a melting pot of impressionist inspiration,
the result of deep reflection where nothing is what it
seems. Influenced by the most orthodox, pure and classical
flamenco, Eva starts a journey that goes from the complex to
the most simple and passionate landscapes. A journey where
the dance, music, voice, lights and words help the artist to
divest herself of everything that ties her up.
Just as the way we might read a poem, this is not about
understanding everything, but about feeling. Eva Yerbabuena
believes that there is no dance form more contemporary
than flamenco. The ties that bind us are needed so that we
don’t lose ourselves in so much freedom.

Programme

Hábito* Intro
With all of you... Malagueña
Appearances Petenera
Recurrent lies Máscaras
Shall we argue? Pregón
Too much loneliness... Soleá

Photo: Fernando Russo
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Cast and Photo: Ruben Martin Eva Yerbabuena Over the past 20 years that she has been
Creative Team working, Eva Yerbabuena has created
To name Eva Yerbabuena many shows: as Eva, 5 Mujeres 5, La voz
Direction, original idea and is to speak of one of the del silencio, A cuatro voces, A cal y canto,
choreography Eva Yerbabuena. summits that flamenco Memory, Santo y seña, Lluvia,
Musical direction Paco Jarana dance has reached in the Yerbabuena, When I was, Federico
and Antonio Coronel past few decades. Her according to Lorca, AY!, Las Santas de
(Introduction ‘Solos... dance has widened the choreographic Zurbarán and Apariencias. A key partner
aparentemente’). and expressive possibilities of in her process is the composer and
Dancers Christian Lozano, flamenco, creating a style that uses guitarist Paco Jarana, who is in charge of
David Coria, Fernando Jiménez, soleá as the basis of her choreography. the musical direction of all her
Ángel Fariña, and Maise Pérez productions and responsible for creating
Vocals José Valencia (guest She has been hailed as a “visionary and a sound universe that has grown
artist) and Alfredo Tejada. masterful dancer” (The Guardian), alongside Eva Yerbabuena’s dancing.
Special collaboration “touched by greatness” (The Times),
Alana Sinkëy “the type of artist that appears once in Her career, in which she has explored
Guitar Paco Jarana a generation” (The Independent). She is other artistic disciplines such as film and
Percussion Antonio Coronel an artist committed to work, both photography, has been recognised by
meticulous and constant, and her the National Dance Award in 2001, Time
Technical and productions prove it. Out as Best Female Performer of Dance
Artistic Staff and several MAX Awards of the
With her company, created in 1998, performing arts. She was also nominated
Artistic direction she has a way of expressing her as Best Dance Female Performer in
Eva Yerbabuena worries, desires, fears and feelings. National Dance Awards in 2013.
Lyrics Horacio García / Popular She seeks to develop and grow as both
Voices Off Paco Moyano, an artist and a person. Ernesto Novales
Manuel Pérez y Manuel Pedraz
Lighting design and lights
Fernando Martín
Dress design López de Santos.
Custom fabric María Calderón
Masks Barbatos FX –
Sandra Díaz
Gauze design Elvira Moyano
Technical coordinator
Manu Meñaca
Stage manager Daniel Estrada
Tailor Gabriel Portillo
Repeater Ángel Fariña
Make up Mamen Peinado.
Kaykeito – Pk2 Producciones
Video José Sánchez Montes
Photography Alberto
Rojas Maza
Production and management
María Molina
Booking Eva Yerbabuena
Company

Duration 90 mins (no interval)

In collaboration with Bienal de
Flamenco de Sevilla, Festival
de Música y Danza de Granada,
Festival de Jerez, Agencia
Andaluza de Instituciones
Culturales and Instituto
Nacional de las Artes Escénicas
y de la Música, Ministerio de
Educación Cultura y Deporte,
Gobierno de España

Photo: Fernando Ruso

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Cía
Mercedes
Ruiz

Déjame que
te baile

Mercedes Ruiz asks for your permission to
dance. Or rather, she humbly demands your
attention: she wants you to see her and to feel
her dance.

Mercedes has spent nearly all her life dancing
on stage. Mercedes not only breathes
flamenco, she also feels through flamenco.
And feel is the word she uses to explain the
experience of creating a new show, she either
feels it, or she doesn’t. The whole world
manages to squeeze itself into her feelings.
She has the feelings of a sensitive and hidden
soul that has made dance her particular form
of expression.

Perhaps it is because of this feeling that Mercedes
began an introspective journey a few years ago,
a journey of reflective self-awareness of her dance.
It is a process that has helped her to unite technical
development with an emotional and sentimental
language. And although Déjame que te baile is a step
further in this direction, it is a different type of offering
from her previous two big shows: for if Perspectivas
was a hymn to light and to life (after she became a
mother) and Ella a response to personal anxieties and
black omens, Déjame que te baile focuses on the need
Mercedes feels to reinterpret her dance and to once
again create flamenco styles. In flamenco, this it is not
only possible, but necessary.

Photos: Paco Lobato
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Programme Mercedes Ruiz her personality, a personality that
was already appreciated by the jury
Milonga-Garrotín Mercedes Ruiz is her of the XVI National Contest of
Dancer Mercedes Ruiz generation’s reference Córdoba, who gave her the Antonio
Singer David Lagos point when it comes to Gades Award.
Guitarist Santiago Lara her commitment to the
Llamada a la Siguirya evolution within the In 2002 Mercedes Ruiz began her
Guitarist Santiago Lara classic flamenco dance style. She career as a soloist. In her first
Martinete essentially taught herself, going to productions, Mercedes Ruiz very
Dancer Mercedes Ruiz the most important masters and, clearly demonstrated her aesthetics,
Singer David Carpio above all, learning from them on which are strongly committed to an
Percussionist Perico Navarro stage. Within just seven years, she updated tradition and evolving
Pregón has worked in the company of both classicism. Mercedes Ruiz has also
Singer David Lagos Manuel Morao and Gitanos de Jerez. been investigating the expressive
Alegrías Later, as a trained flamenco dancer, possibilities of camera productions
Dancer Mercedes Ruiz Mercedes Ruiz joined the companies or small format, where the
Singer David Lagos of Antonio El Pipa, Eva Yerbabuena relationship between flamenco
Guitarist Santiago Lara and Adrian Galia, three different singing, guitar and dance intensifies.
Ronda de Fandangos artists who helped Mercedes forge
Singer David Lagos, David Carpio
Guitarist Santiago Lara
Soleá
Singer David Carpio
Guitarist Santiago Lara
Fiesta Flamenca
Dancer Mercedes Ruiz
Singer David Carpio, David Lagos
Guitarist Santiago Lara
Clapping Javier Peña,
Rafael Ramos

Creative Team

Artistic Direction and
Choreography Mercedes Ruiz
Musical Direction and
composition Santiago Lara
Script, stage direction and
lighting design Paco López
Dress design Fátima Canca
Figurines Fernando Ligero
Dancer Mercedes Ruiz
Guitar Santiago Lara
Percussion and clapping Perico Navarro
Clapping Javier Peña and Rafael Ramos
Special collaborations (singers)
David Lagos and David Carpio
Sound José Amosa
Lighting Pedro Serrano
Press Manuel Moraga
Distribution Pablo Leira
Production assistant José Navarro
Production manager Guiomar
Fernández Troncoso
Production Mercedes Ruiz
Distribution Endirecto F.T.

Duration 90 mins (no interval)

Company supported by
Instituto Nacional de las Artes
Escénicas y de la Música, Ministerio
de Educación Cultura y Deporte,
Gobierno de España

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Gala
Flamenca
2017

Juana Amaya,
Olga Pericet,
Jesús Carmona,
Rocío Márquez,
Patricia Guerrero

Directed by Manuel Liñán, this year’s Gala
represents a showcase of flamenco in all
its flavours led by legendary gypsy dancer
Juana Amaya, who is celebrated for her
mesmerising performances of flamenco puro.
Joining her will be the magnetic dancer and
fearless experimenter Olga Pericet “whose
dances are displays, flowers tossed to the public
rather than inward trajectories” (The New Yorker);
Jesús Carmona who has both the subtle, fluid
articulation of a world-class contemporary dancer
and the dramatic, explosive authority that flamenco
requires; 26 year-old Patricia Guerrero, the
shooting star of her generation, just awarded with
two Giraldillos (the highest recognition in Bienal
de Flamenco de Sevilla) and the shining voice of
singer-songwriter Rocío Márquez.

This meeting of different styles is the core of this
gala, where Manuel is inspired by Cafés Cantantes,
a type of musical establishment associated with
the belle époque in Spain (mid 19th century up to
the 1920s) where flamenco first became a public
performing art. Different textures and colours
merge into one single message: ¡Todo es de color!
(everything is colour!).

Full of virtuosity, theatricality, and passion,
Gala Flamenca has been a Festival highlight
since its 2004 debut.

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Photo: Ana Palma

Creative Team Programme

Artistic director Manuel Liñán On
Dancers Folklore-Jaleos
Juana Amaya Performers Whole Company
Olga Pericet
Jesús Carmona Romance a Córdoba
Patricia Guerrero Vocal Rocío Márquez
Guest singer Rocío Marquez Guitar Daniel Jurado
Guitars Daniel Jurado and
Víctor “El Tomate” Cantiñas
Singers Herminia Borja, Miguel
Lavi, Jonathan Reyes Dancer Patricia Guerrero
Percussion Paco Vega Singers Miguel Lavis and Jonatan Reyes
Guitars Dani Jurado and Víctor Márquez
Choreography and Dance “El Tomate”
Juana Amaya, Olga Pericet, Percussion Paco Vega
Jesus Carmona, Patricia Guerrero,
Manuel Liñán Fandangos
Music Popular, Daniel Jurado, Víctor Paso a dos Olga Pericet and Rocío Márquez
Márquez “El Tomate”, Rocío Márquez Dancer Olga Pericet
Lighting design Gloria Montesinos Singer Rocío Márquez
Sound design Beatriz Anievas Guitar Víctor Márquez “El Tomate”
Costume design Yaiza Pinillos
Caña
Technical Team Dancer Jesús Carmona
Singers Miguel Lavis and Jonatan Reyes
Lighting Gloria Montesinos Guitars Dani Jurado and Víctor Márquez
Sound Beatriz Anievas “El Tomate”
Stage Manager Juan Castro Percussion Paco Vega
Road Manager Beatriz Hoyos
Tientos-tangos
Produced and distributed by Singers Herminia Borja and
Rocío Márquez
Duration 90 mins (no interval) Dancers Juana Amaya and
Patricia Guerrero
Guitars Dani Jurado and Víctor Márquez
“El Tomate”

Guajira-Martinete
Dancer Olga Pericet
Singers Miguel Lavis and Jonatan Reyes
Guitars Dani Jurado and Víctor Márquez
“El Tomate”
Percussion Paco Vega

Soleá
Dancer Juana Amaya
Singers Miguel Lavis, Jonatan Reyes
and Herminia Borja
Guitars Dani Jurado and Víctor Márquez
“El Tomate”
Percussion Paco Vega

Off
Corraleras-Sevillanas
Performers Whole Company

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Photo: Ana Palma
Photo: Paco Villalta
Photo: Marcos G Punto

Juana Amaya Olga Pericet Jesús Carmona

Juana Amaya comes from the Gastor Born in Córdoba in 1975, the highly Born in Barcelona in 1985, Jesús Carmona
clan of flamenco Gypsies of Moron de la qualified dancer Olga Pericet graduated began his dance training at the age of seven.
Frontera. A disciple of dancer Pepe Rios, in Spanish Dance and Flamenco from He graduated with a degree in Spanish
she started dancing with her cousin the Conservatory of Córdoba and Dance and Flamenco from the Institute of
Ramon Barrull (Jairo’s father) before studied with maestros such as Matilde Theatre and Dance of Barcelona in 2004.
going on to join Mario Maya’s company Coral, Manolo Marín and José Granero.
as a lead dancer in Ay Jondo and El Carmona made his professional debut
Amargo. With Mario Maya, she She was a soloist and guest artist at the Teatro Zorrilla in Barcelona at age
performed in some of the most in many companies including those 16. Since then, he has worked with a
prestigious theatres around the world of Rafael Amargo, Rafaela Carrasco, diverse range of companies including the
including the Carnegie Hall in New York Nuevo Ballet Español, Arrieritos, Ballet Nacional de España as first dancer,
and the Carré Sylvia Monfort in Paris. Teresa Nieto and Miguel Ángel Berna. Nuevo Ballet Español, Carmen Cortes,
In 2004 Pericet made her debut as a El Guito, and Antonio Canale. Carmona’s
Internationally acclaimed, she has choreographer and soloist with the technique, style and art have been well
toured throughout Europe and Asia with show Bolero, carta de amor y desamor received by the critics.
Paco Peña, Joaquín Cortés and Antonio and a year later, along with Manuel
Canales and in 1996 she played the role Liñan, created Camara Negra (Black Carmona won the prestigious First Dance
of Carmen in Salvador Távora’s show Chamber). That same year she created Award at the 52nd Festival de cante de
Carmen: Ópera andaluza de cornetas y the montage, Chanta la Mui, co- las Minas de la Union 2012, the First
tambores. In 2003 she and Farruquito directed with Daniel Doña and Marco Outstanding Dancer in the XX Flamenco
toured the US presenting their show Por Flores. Other works as a choreographer and Spanish dance Contest 2011, and
Derecho, at venues including the New include: Complot, En sus 13 and the 3rd prize for choreography in the
York City Center and the UC Berkeley’s Bailes alegres para personas tristes, competition Nou Barris in 2001.
Zellerbach Hall. created with Belén Maya.
Carmona’s desire to showcase his personal
She later returned with her own Rosa Metal Ceniza (2011) was her side and pave his way into the arts led him
company to festivals in Irvine and first solo creation acclaimed as “the to leave the National Ballet of Spain and
Albuquerque in the United States. A show that culminates this artist as a embark on a new adventure in Black and
featured performer at Sevilla’s Bienal figure of first level in flamenco”. After White Crib. The show was a critical and
de Flamenco, Juana Amaya continues it, she has presented three successful audience success at the Bienal de Sevilla
to represent an up-to-date take on the productions De una pieza, Pisadas and 2012, Madrid en Danza 2012 and Festival de
baile of Moron de la Frontera on stages Flamenco Untitled. Jerez 2013. In 2014 he presented 7
around the world. Balcones, the second production with his
During her career she has performed own company. In the same year he
in the most prestigious venues around participated in a tribute to Carmen Amaya
the world, from Sadler’s Wells, New La Capitana presented at the National
York City Center, Théâtre National de Theatre of Catalonia alongside Rocío Molina,
Chaillot (Paris) to Sydney Opera House. Mayte Martín and Ramón Oller. He was
She has received awards such as Pilar principal dancer alongside Antonio Canales,
López National Flamenco award (2007), Karime Amaya and Carlos Rodríguez at
Artista Revelación award in Festival the Flamenco Festival Gala Flamenca,
de Jerez (2010), Ojo Crítico de Danza touring around the world and obtaining
Award (2014), MAX award for the best great reviews from both the press and the
female dancer for Pisadas (2015), audience. The Miami Nuevo Herald said
Special award ACE 2016 New York, “2014 will be in our memories as the year
and many more. that Jesús Carmona visited Miami”.

In 2015 he premiered his third production,
Impetus’s (“bursting with energy”). An
excerpt of it was presented successfully
in the Fall for Dance Festival at New York
City Center. It will be part of the Miami
Flamenco Festival in March 2017.

Photo: © Curro Cassillas
Photo: © Juan Conca

Rocío Márquez Patricia Guerrero

Rocío Márquez was born in Huelva in Patricia Guerrero began her training
1985. She started singing very early in with three years at her mother’s
life and in 2009 she released her first academy. Her first performance was
album, Aquí y ahora (El séptimo sello) at eight, and at 15 she toured with
followed by Claridad (Universal Music Mario Maya with the show Diálogo
Spain, 2012) with the great guitar player del Amargo. At only 17 years old she
Alfredo Lagos, both of which have been won the prestigious Desplante
mainly composed by her. She received award at the International Festival of
some very important awards with this Cante de las Minas (La Unión).
last album, including the Coups de
Coeur de l’Académie de Charles Cros A year later she presented her first
(France 2013). show, Desde el Alabayzín (From the
Albayzín), touring several European
Márquez has also recorded with the cities with it. She was also requested by
Spanish National Orchestra with Carlos Saura to perform as a soloist in
Maestro Josep Pons (Falla’s La Vida the show Flamenco Today, with which
Breve) for Deutsche Grammophon, and she toured the world. The prestigious
has also collaborated with the tenor filmmaker counted on her collaboration
José Manuel Zapata under the direction again for the shooting of his film
of the great Joan Albert Amargós. Flamenco, Flamenco.

Her latest album, El Niño, was released In 2011 Patricia Guerrero became a
in September 2014, with Universal prima ballerina of the Ballet Flamenco
Music Spain, an ambitious homage de Andalucía under the direction of
to the controversial flamenco legend Rubén Olmo, while still in demand as a
Pepe Marchena, and it has been guest artist for Arcángel’s shows Olor a
considered as a new contemporary tierra (Smell of earth) and Las idas y las
classic in many reviews. vueltas (Comings and goings), a fusion
of flamenco and Baroque music for
Rocío Márquez toured with great which Patricia Guerrero was awarded
success in France (January 2015) as the Giraldillo for Best New Artist at the
a soloist for Manuel de Falla’s El Amor Biennial of Seville 2012.
Brujo, with l’Orchestre National d’Île-
de-France directed by Maestro Enrique In 2013 Patricia Guerrero premiered
Mazzola. Performances included the her second show Latidos del
main hall at the Paris Philharmonie. agua (Heartbeats of water) at the
Alhambra Theatre in Granada. The
Márquez is working on her new record, same year she also presented
once again with the production of Raül Touché, a new production together
Fernández Refree (one of the most with the violinist and composer
in demand Spanish producers and Bruno Axel. She became part of
musicians), and the internationally Los Invitados, a show with Belen
recognised multi-skilled artist Pedro G. Maya company.
Romero. For the recording of the album
Márquez will count on the participation Catedral is the latest production
of the ensemble Proyecto Lorca. The with her own company, which
translation to the live performance will premiered at the Biennial of
include, as well as Rocío’s voice, sax and Seville in 2016 and for which
clarinet, piano and classic percussion. Patricia was awarded the
Giraldillo for Best Show.

Photo: Marcos G Punto

Cía Manuel
Liñán

Reversible

Roles are reversed in Reversible. Dancing in a bata de cola,
the traditional dress with a long trail, and a mantón, the broad
shawl, Liñán challenges traditional gender roles in flamenco.
Liñán ‘rules’ the bata as if it is part of himself. He lets the
woman inside him dance, uninhibited and without complexes.
With dancers José Maldonado and ‘La Piñona’,
he investigates the field of tension between
traditional and contemporary flamenco in
a series shimmering duets choreographed
around the Nietzsche quote
“Man’s maturity: to have regained
the seriousness that he had as
a child at play”. In Reversible,
Manuel Liñán makes an
“emotional journey that
evokes the first
memories, instincts
and impulses”.

18

Programme Creative Team Photo: Marcos G Punto Manuel Liñán

Buleria Direction Manuel Liñán Manuel Liñán has
Choreography and dance Scenery and assistant to performed as a solo artist
Manuel Liñan director Jose Maldonado Merche Esmeralda, Teresa
Music Francisco Vinuesa, Dance and Choreography Nieto and the New Spanish
Pino Losada and Popular Lucia Álvarez “La Piñona”, Jose Ballet, performing with
Lyrics Manuela David Carpio Maldonado and Manuel Liñán artists like Belen Maya and Rafaela
Guest Artists Lucia Álvarez Carrasco. He directed Camara Negra
Romance “La Piñona” and Jose Maldonado with Olga Pericet and Dos en Compañia
Music Francisco Vinuesa Special collaboration “El with Marco Flores.
and Pino Losada Torombo”
Lyrics Popular Singers Miguel Ortega and Manuel Liñán is not only a dancer, but a
David Carpio choreographer and director. He has
Folklore Guitars Francisco Vinuesa and been invited on many occasions to
Choreography and dance Pino Losada choreograph for the Spanish National
Manuel Liñan and Percussion Miguel “El Cheyenne” Ballet, Rafaela Carrasco, Teresa Nieto
Jose Maldonado Music Francisco Vinuesa, Pino and the Spanish New Ballet. Drawing
Music Popular Losada, Miguel “El Cheyenne”, from these experiences he appeared
Miguel Ortega, David Carpio and in REW with Daniel Doña in a project
Tremolo Popular which allowed him to develop as a
Music Pino Losada Dress design and paintings choreographer and co-director.
José Maldonado
Tientos-Tangos Dress production Pili Cordero, In 2008 he began his solo career in
Choreography and dance Eva Pedraza, Lola Jabonero and Tauro, before continuing with Mundo
Manuel Liñan Gabriel Besa aparte and Sinergia, where he had
Music Francisco Vinuesa, Manila Shawl Artesanía Textil the opportunity to travel to numerous
Pino Losada and Popular (Sevilla) prestigious festivals like the Jerez
Sound Kike Cabañas Festival which bestowed on him the
Granaina Sound space Víctor Guadiana best newcomer dancer prize. A year
Music Francisco Vinuesa Lighting design David Perez later he was awarded the Max de las
Graphic design and photography Artes Escenicas prize as the best male
Cantiñas marcosGpunto performer and the first critic’s prize from
Dance Lucía Álvarez Tour manager Eva Marcelo Flamenco Hoy.
“La Piñona”, “El Torombo” Executive production and
and Manuel Liñán management Ana Carrasco In 2014 he presented Nómada in the
Choreography Cantiñas Distribution www. Jerez Festival, an important festival
Manuel Liñán and peinetaproducciones.com for flamenco, where he once again
Lucía Álvarez “La Piñona” displayed his talent both as a
Choreography Alegrías Duration 90 mins (no interval) choreographer and a dancer. In 2015
“El Torombo” he presented Nómada in the Flamenco
Music Francisco Vinuesa, Company supported by Festival London and in 2016 in the
Pino Losada and Popular Instituto Nacional de las Artes Flamenco Festival USA. In 2016 he
Escénicas y de la Música, premiered Reversible at the XX Edition
Romance Ministerio de Educación Cultura y of the Festival Flamenco de Jerez,
Music Francisco Vinuesa Deporte, Gobierno de España and obtaining the Critic’s Choice Award for
and Pino Losada Comunidad de Madrid Best Show.
Lyrics Popular

Guajira
Choreography Manuel Liñán
Dance Lucía Álvarez
“La Piñona”
and Jose Maldonado
Music Francisco Vinuesa

Solea
Choreography and dance
Manuel Liñán
Music Francisco Vinuesa,
Pino Losada and Popular
Lyrics Manuela David Carpio

Photos: Marcos G Punto

19

Lilian Baylis Studio

Guitarrísimo:
Santiago Lara

Flamenco Tribute to
Pat Metheny

One of this generation’s leading flamenco guitarists explores the greatest
hits from the genius of jazz, Pat Metheny. With the participation of the star
of dance, Mercedes Ruíz as guest artist this trio brings together some of
the best Spanish jazz musicians with flamenco.
With the permission of the artist Pat Metheny, who said: “I love it…
and I am so honoured for you to take this music to such an
incredible place, and I send you all my best”.

Photo: Paco Lobato
20

Programme Creative Team Santiago Lara

Antonia Guitar Santiago Lara Santiago Lara was born in
Question and Answer Percussion Pedro Navarro 1984 in Seville, but he’s
Minuano Keyboard Miguel Ángel spent his entire life in Jerez
Letter From Home López “Lenon” de la Frontera. At a young
La Plata (rumba) Dancer Mercedes Ruiz age he acted as second
Find Me in Your Deams guitar to Manolo Sanlúcar. In 2004 he
(with Mercedes Ruiz) Sound engineer José Amosa started his collaboration with the
The Heat of the Day Booking flamenco dancer Mercedes Ruiz, working
The Search www.santiagolara.com on the creative process of her shows and
James taking part in several of her world tours.
Duration 70 mins (no interval) In 2006 he released his first album:
El sendero de lo imposible. With it, he
This concert is part of achieved great recognition from both
Instituto Cervantes’ and the critics and the audience, obtaining
ILAMS’ Guitarrísimo series, the best premier disc award by
co-produced by the Flamenco deflamenco.com in 2007.
Festival London.
In 2011 he performed in the Festival de
Jerez: Amalgama. In 2012, he presented
his new solo album Sentimientos
nuevos. In 2013, he won second place
at Flamenco Art National Conquest
Córdoba. In 2016 he presented his
flamenco tribute to Pat Metheny, with
Estrella Morente, Jorge Pardo and
Antonio Serrano as guest artists, among
others. This CD is edited by Warner Music
and distributed all around the world, but in
independent editions for Spain, Germany,
Italy, France and United Kingdom.

Photo: Jose Lara

21

Lilian Baylis Studio

Rocío
Márquez

Recital

The young flamenco singer Rocío Márquez has
been praised by the press and audiences for
her sensitive interpretations of the classical
flamenco repertoire. However, she is equally
happy to use her melodious and clear voice to
cut through the genres and draw flamenco, as
she puts it, “out of the museum”. Her second
solo album El Niño is a provocative tribute to
singer Pepe Marchena, who is now considered
a classic but was a revolutionary in his day. The
old songs sit comfortably in the new world of
rock, electronic music and improvisations
of the ‘anarchic’ flamenco singer
and songwriter Niño de Elche.
From this emerges exciting 21st
century flamenco interpretations
of marvellous depth. Márquez
is a singer who carves out her
own direction, digging through
tradition and showing that
classicism and avant-garde are
complementary. With artists like
Roció Márquez flamenco has a
golden future.

Photo: © Martin Guerrero
22

Programme Photo: © Curro Cassillas Rocío Márquez As well as her 3 albums, Márquez has
recorded with the Spanish National
Milonga Rocío Márquez has Orchestra with Maestro Josep Pons
Tangos everything she needs to (Falla’s La Vida Breve) for Deutsche
Romance be a success. A voice Gramophone.
Petenera on the verge of prodigy,
Guajira a career built step by Her latest album, El Niño, was released
Levante step in the flamenco scene, and a in September 2014, with Universal
Bulería solid education that in 2008 granted Music Spain, an ambitious homage to
Cantiñas her one of the biggest prizes in the controversial flamenco legend
Seguiriya flamenco, the Lámpara Minera. Pepe Marchena, and it has been
Márquez has also played on some of considered as a new contemporary
Creative Team the most emblematic international classic in many reviews.
stages: Madrid’s Teatro Real,
Voice Rocío Márquez Barcelona’s Palau de la Música, Right now she is working on her new
Guitar Miguel Ángel Cortés Seville’s Bienal de Flamenco, New record, once again with the production
York’s Joe’s Pub, London’s of Raül Fernández Refree (one of the
Duration 75 mins (no interval) Shakespeare’s Globe or one of the most in demand Spanish producers
most important independent festivals and musician), and the internationally
This concert is co-presented in Europe, Primavera Sound. She has recognised plastic artist Pedro G.
by Instituto Cervantes and also won important awards, including Romero. For the recording of the album
Flamenco Festival London the Coups de Coeur de l’Académie de Márquez will work with the Proyecto
Charles Cros (France 2013). Lorca ensemble.

23

Coming Soon

Mother Africa Photo: Ravi Deepres
Khayelitsha - My Home
Company Wayne McGregor / Paris Opera Ballet
Tree of Codes

Tuesday 21 February - Saturday 11 March Saturday 4 - Saturday 11 March
£15 - £38* £12 - £45*

The Peacock Sadler’s Wells

Two million people call the Khayelitsha (the Xhosa word for ‘new Sadler’s Wells Associate Artist Wayne McGregor’s much anticipated
home’) in South Africa home. The Township is plagued by endless Tree of Codes finally comes to London following huge critical
power cuts, but nothing can get in the way of the rhythm and energy. acclaim at Manchester International Festival in 2015. Taking
inspiration from Jonathan Safran Foer’s book of the same name,
In Mother Africa, dozens of acrobats, dancers and musicians from which was physically carved out of the pages of another novel,
seven African nations blend spectacular circus feats, shimmering Wayne McGregor and collaborator, award-winning musician and
costumes and jaw-dropping dance, to bring the pulse of daily life in producer Jamie xx weave a tapestry of deconstructed form.
Khayelitsha to the West End.
“Extraordinary. Sometimes, five stars is not enough” The Independent

Photo: Hiroshi Seo Motionhouse
Scattered
Yamato
Chousensha - The Challengers

Tuesday 14 - Saturday 25 March Wednesday 26 - Saturday 29 April
£15 - £38* £15 - £29*

The Peacock The Peacock

The unmistakable sound of the traditional Taiko drum, used in Shinto Motionhouse make a splash as they return to The Peacock with their
rituals, is challenged by the Yamato drummers of Japan. Drums trademark highly-physical style of dance and acrobatics, combined
weighing up to half a tonne are hit with ferocious skill, as each beat with lavish imagery projected on a groundbreaking curved set.
sends out a heart-thumping torrent of vibrations.
Using ingenious choreography to interact with their digital
In this high-energy, exhilarating performance, the drummers push environment, seven performers tumble down waterfalls, dive through
their own limits in a staggering display of physical strength as they waves and freeze on glaciers in a thrilling blend of film and live
use their entire bodies to produce their thunderous music. performance which explores our relationship with water.

“The performance is practically jet-propelled” The Times

Save 20% on your tickets when you book two or more shows at the same time.
Terms and conditions apply: sadlerswells.com/save

Photo: Wendy D Photography Photo: Mark Morreau

Crystal Pite & Jonathon Young Stufish
Betroffenheit SOHO

Tuesday 31 May – Wednesday 1 June Saturday 6 - Saturday 20 May
£12 - £27* £25 - £35*
Sadler’s Wells
The Peacock
Tragedy is laid bare on the stage in the critically acclaimed Betroffenheit –
a word which describes the overwhelming feeling of shock and torment in Crazy, voyeuristic, unexpected and fast paced, SOHO is a thrill ride
the wake of disaster. of circus, street and theatre in a diverse trip around the streets where
glamour and sleaze rub shoulders.
Sadler’s Wells Associate Artist Crystal Pite and actor-playwright Jonathon
Young join forces to examine the aftermath of Young’s personal tragedy, With the Burlesque of the 50s, punk of the 70s and raves of the 90s,
exploring what happens to a person after experiencing the all-too SOHO is an upbeat celebration of London’s world famous district,
imaginable, and creating an “inspiring dance theatre hybrid” (The Observer) following the journeys of the energetic and colourful characters who
stark with unflinching honesty. inhabit it. It’s not just a place, it’s a state of mind.

★★★★★ “Raw and riveting” The Guardian

Photo: Richard Haughton Photo: Manuel Navarro

Akram Khan Company Tanguera
DESH

Wednesday 31 May - Saturday 3 June Wednesday 19 July - Sunday 6 August
£25 - £45* £12 - £52*

The Peacock Sadler’s Wells

In a much anticipated return, Akram Khan performs in his hugely popular tale of A Sadler’s Wells favourite returns, in this classic tango production.
home and heritage, which first opened in 2011 to unanimous praise from the critics.
With a cast of over 30 dancers and singers, Tanguera tells a story of
Inspired by his parents’ birthplace, DESH (Bengali for ‘homeland’) weaves together stories unrequited love in early 20th century Buenos Aires. When Giselle, a
that span both Britain and Bangladesh to create a surreal world of myth and memory. young French woman, arrives in Argentina as one of the first waves
of European immigrants, she meets Lorenzo, a port worker who falls
To create this very personal solo piece, Khan brought together a team of in love with her at first sight. But as Giselle falls deeper into Buenos
collaborators of extraordinary proportions, joining forces with Oscar-winning visual Aires’ seedy underworld, Lorenzo must fight to win her love.
artist Tim Yip, Sadler’s Wells Associate Artist and award-winning lighting designer
Michael Hulls, Olivier Award-winning composer Jocelyn Pook, writer and poet
Karthika Naïr, and slam poet PolarBear.

★★★★★ “His best show yet: poignant, thrilling, magical, moving and
utterly transfixing” The Daily Telegraph

For full season listings: sadlerswells.com Ticket Office: 020 7863 8000

*Transaction fee applies: £3 for telephone bookings. £1.95 for online and concessionary bookings. No charge in person at ticket office.

Escuela de Baile Easter flamenco Course
Friday April 14th - 18th April

Courses for New Beginners to Professional Level.

This year, we are delighted to bring Special Guest Teachers
Maria Juncal and Beatriz Morales to teach Choreography,

Technique, Rhythm, Bulerias and Bata de Cola.

Escuela de Baile has just opened one of the largest flamenco dance centres
in the UK. We have beautiful studios in Angel,

just one minutes walk from Sadlers Wells Theatre. We have invited some of
the best flamenco schools to joins us in creating a new Centre of Excellence

for Flamenco.
New classes opening all the time. Beginners to Professional levels welcome.

Childrens Saturday School from 4 years old. Professional full time day
school opening soon.

 07795 166590 1 to 7 Amwell Street, London EC1
 www.ledb.co.uk

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Tanguera ad
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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 only
opera and I want Sadler’s Wells to perform the 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 fledging ballet company to Covent Garden to
dogs 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, a
accidental (a terrible stampede in which 18 great variety of touring and commercial work
people died) than for work of merit. In the was also presented. However audiences began
1830s Dickens wrote: “The theatre was in the 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,
it closed its doors. a 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
to enter the picture. Since 1898, Lilian Baylis a 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 Paola Bergamaschi-Broyd Eleanor Heine Trusts and Foundations
Chairman and Richard Broyd Steve Hendry
Nigel Higgins Avant-Guardians Gary Hocking and Sandra Quinn Major Supporters and Partners
Anonymous Guardians Kristina Borsy and Bee Hopkins Anonymous
Directors David and Primrose Bell Nick Turdean Dominic Houlder & BBC Children in Need
Jules Burns Angela Bernstein CBE Cockayne – Grants for the Arts
Sue Butcher Sue Butcher Jennifer Brophy Lukas Kroulik Dame Hilda Bracket Trust
Marco Compagnoni Sanya Polescuk and Nica Burns OBE Mike and Caroline Howes Esmée Fairbairn Foundation
Kathleen Crook Juliana Farha and Kit Malthouse Rita Hughes Garfield Weston Foundation
Robert Glick Nigel Higgins The Richard Grand Foundation Mr Sajid F. Hussein J Paul Getty Jr Charitable Trust
Carol Lake Robin Saunders Neil Griffiths-Lambeth Esther Isaacs Jerwood Charitable
Tim Marlow Ann and Martin Smith Lettie Hart Colin Izzard
Robin Saunders The Ulrich Family Laoise Hayes Claire Johnston Foundation
Sanoke Viswanathan Mrs Joyce Kan Colin Keil Quercus Trust
Major Project Support Anne Kauder Louise and Philip Keller Sir Siegmund Warburg’s
Honorary Member David and Torunn Banks Faizal Khan Sybil and Herbert Stavros Niarchos Foundation
Sandi Ulrich The Blavatnik Family Latifa Kosta The Andrew Lloyd Webber
Dominique and Laurent Laffy Kretzmer OBE
Trustee placements Foundation John and Susan Lazar Maxine Lange Foundation
Sharla Duncan The Deborah Loeb Brice Alison and Dominique LeMaire Vicki Lant The Baring Foundation
Jo Wolfe Harry and Fiona MacAuslan Kim Lavely The Edwin Fox Foundation in
Foundation Lindy Mason Derek Lee
Sadler’s Wells Foundation Stephanie and Jacques Gabillon Nancy Miller and Glen Ireland Fiona Leishman memory of Michele Fox
Aud Jebsen John Nicoll and Andrew Lerpiniere The Leverhulme Trust
President Barbara Kahn Moller Gwen Lewis and The Linbury Trust
Lady Solti Laurence Colchester The London Community
and Karsten Moller Mr C and Mrs A Norton Jonathan Holliday
Honorary Vice President Georgia Oetker Andrew Lowther Foundation
Ian Albery Artistic Director’s Circle Dr Elizabeth Parker Chantelle MacKay The Mirisch and Lebenheim
Ian Hay Davison CBE Anonymous Joan Ritchie Tim Marlow
Humphrey and Ginny Battcock Ross Roberts Alessandra Masoero Charitable Foundation
Chairman William and Judith Bollinger His Excellency Ghassan I Shaker David Mathew The Monument Trust
Sir David Bell Jules and Cheryl Burns Kaveh and Cora Sheibani Terrie McCann The Pure Land Foundation
Marco Compagnoni Georgie Shields and Alison Miller The Sackler Trust
Directors Kathleen Crook and Erdem Moralioglu The Wolfson Foundation
Rab Bennetts OBE Trevor Francis Koji Moriya Voluntary Settlement
Celeste Fenichel James Penturn Wendy Sigle The Mucha Family Weston Jerwood Creative
Kathryn Firth Lloyd and Sarah Dorfman Christopher and Fiona Steane Nahla Murad
Nigel Higgins Fameed Khalique Max Steinkopf Susan Noble Bursary Scheme
Harry MacAuslan Sophie Lecoq and Gabrielle Tana Dave Plummer and
Lesley MacDonagh Allen Thomas and Jane Simpson Supporters and Partners
Celia Rodrigues Fawzi Kyriakos-Saad Eric Tomsett Lesley Whitby Andor Charitable Trust
Roger Spence Simon and Lesley MacDonagh Geoff Westmore and Frances Prenn Children & the Arts
Paul Williams Karim and Julie Saddi Peter B Rea CHK Charities Limited
Paula Clemett Marc Roberts Harold Hyam Wingate
Honorary Members Season Patrons Meng Zhou Susanna Rodriguez
Valerie Colgan Celeste Fenichel Angel Rodriguez Issa Foundation
Robert Kahn Charles Glanville The American Friends Zerin Safa The D’Oyly Carte Charitable Trust
Martin Klute Laoise Hayes David and Melissa Bernstein Alyssa Simon The Grocers’ Charity
Jack and Linda Keenan Matthew and Elissa Bernstein Brian Smith The Ironmongers’ Company
Honorary Clerk Stéphane Lapiquonne Colin and Deirdre McKechnie Alistair Spalding CBE The John Thaw Foundation
Joachim Fleury Craig Mullan Helen Stevens The Leche Trust
Robin Pauley (Deputy President) Juliet Strang The Mercers’ Company
Clerk to the Foundation Kristina Rogge Celia Rodrigues (President) and Sue Swallows The Rayne Foundation
Alistair Spalding CBE ERMAK Group/Shafranik Family Lloyd Tamlyn and Birgitta Meyer The Three Monkies Trust
Paul Williams Mark Rodrigues Ebba Thott
Monica Voldstad Lan Tu Corporate
New Production Patrons Nigel Turner
Maria Adonyeva Opening Night Patrons Anna Valentine and Corporate Partners
Lauren and Michael Clancy Anonymous American Express
John Drewitt Tobe and Nicholas Jonathan Berger Bloomberg
Claire Griffiths Kevin Walker
Alexandra Joffe Aleksander Linda and Stephen Waterhouse Corporate Sponsors
Carol Lake Carolyn Amhurst Sarah Jane Watson Angel Central
Majella Murphy-Altschuler Hannah Azizollah Simeon Williams Bennetts Associates
Frank and Helen Neale Severine Balick Holmes Wood Clifford Chance
Simon and Midge Palley Pamela Bertschinger Josh Wood Criterion Ices
The Porter Foundation Joanne Black David and Vivienne Woolf ERMAK Group
William Boyce Kate Wormald – OESA Partners Hermès
Switzerland Jenny Brend Van Cleef & Arpels
Alison Brodie Performance Members
Project Supporters Maria Bukhtoyarova Andrew Barnett Local Business Members
Aspect Charitable Trust Ossi and Paul Burger Jemma Cowley Frederick’s
The Mactaggart Third Fund Jim Caroll Major Dafydd Edwards Green & Fortune
Michel and Ellen Plantevin Guy Chapman Sandrine Jensen Moro
Seat Appeal Supporters Geoffrey Collens Eugene Leahy and Ottelenghi
Victoria Conran
Legacy Circle Philippa Crane Helmert Robbertsen Embassies / Government
David and Deborah Botten Sean Cross Gerald Lidstone Agencies
Mike and Caroline Howes Andrew Cullen Juliette Morris Embassy of Spain
Ross Roberts Amanda Cupples Helen Mundy Embassy of the Kingdom of the
Angela Docherty Sally Pasmore
Commissioning Patrons Simon and Jane Duncan Geraldine Ravet Netherlands
Anonymous Sarah and Louis Elson Isla Smith Institut Français du
Francois and Anais Aguerre Mina Gerowin Herrman and Alison Smyth
Andrew Arends David Taylor Royaume-Uni
Jane Attias Jeffrey Herrman Québec Government Office
Geoff and Judith Batchelar Karine Giannamore Taipei Representative Office
Justin Bickle Clare Haden
Erin Hale in the UK
Jonas Havnes

If you would like to know more about supporting Sadler’s Wells, please contact the
Development Office on 020 7863 8134 or development@sadlerswells.com

Sadler’s Wells Sadler’s Wells Staff
Artists and
Companies Artistic Director and Chief Executive Publications Officer Human Resources Events Executive (Arts)
Alistair Spalding Maxine Smiles Pascha Rix
Associate Artists Chief Operating Officer Content Officer Head of HR
BalletBoyz® Britannia Morton Rita Chowdhury Clair Kelly Visitor Experience
Matthew Bourne Executive Director Marketing Coordinator HR Manager
Sidi Larbi Cherkaoui Magdalen Fisher Kirsty McGuinness Lesley Owusu Head of Visitor Experience
Jonzi D Marketing Assistant HR Coordinator Howard Clark
Michael Hulls Director of Artistic Programme Dominique Perrett Braham Lyons
Michael Keegan-Dolan Katy Arnander Digital and Marketing Apprentice Administrative Apprentice, HR Front of House
Akram Khan Finance Director Billy Chandler Tiegan Hummerston Senior House Manager
Russell Maliphant Mark Rhodes Marguerite Bullard
Wayne McGregor Executive Producer Digital Capital Projects House Manager
Crystal Pite Suzanne Walker Digital Manager Haroula Lountzi
Kate Prince Director of Technical & Production Mark Doerfel Projects Facilitator Deputy House Managers
Nitin Sawhney Emma Wilson Digital Officer Charlotte Meyer Dara Brooks, Larry Harrison-Mateeba,
Hofesh Shechter Director of Development Sarah Vaughan-Jones Janine Kaufman
Jasmin Vardimon Emma Collings Content and Community Assistant Technical & Building Services Front of House Sales Administrator
Christopher Wheeldon Director of Marketing & Sales Jobeda Khanum Louise Cooper
Sebastian Cater Director of Technical & Production Performance Cashiers
Associate Artist Emeritus Executive Assistant Ticket Office Emma Wilson Dara Brooks, Robert Churchill,
Sylvie Guillem Rosalind Glass Ticket Sales & Services Manager Chris Harmer, Larry Harrison-Mateeba,
Zahir Jaffer Sadler’s Wells Theatre Alex Wood
Resident Companies Programming, Learning & Ticket Office Systems Manager Technical Manager Front of House Assistants
Company Engagement Bruce Moore Christian Wallace Marie-Claire Adriaenessens, Josiane
Ticket Office Supervisors Technical Coordinator Adriaenessens-Gardes, Keziah Allen,
Wayne McGregor Director of Artistic Programme Barbara Birch, Mark Hammond, Tom Hares Makiko Aoyama, Corinna Barker,
New Adventures Katy Arnander Abigail Parker Head of Stage and Flys Alex Barnes, Marta Barszcz, Lisa Beck,
ZooNation Dance Memberships & Ticketing Colin Wilson Amy Bentley, Dominic Berry, Harry
Programming Services Administrator Head of Lighting and Sound Blain, Lorea Burge, Becky Byers, Jane
Company Artistic Programmer & Ritchie Dach Sam McLeod Chan, Vicky Chapman, Helen Doyle,
Artist Development Ticket Sales Assistants Senior Technician Barney Evans-Doran, Shorai Shoniwa-
Associate Company Eva Martinez Virginia Aparicio, Matthew Barrington, Graham Cutting Forchin, Lindsey Fraser, Gigi Giannella,
English National Ballet Head of Programme Naomi Bowen, Clare Bracewell, Technicians Lucy Glover, Sally Hacking, Jacob Hall,
Anneliese Graham Stephanie Brotchie, Tim Chen-Hudson, Kirsty Campbell, Kirstin Harrison, Anna Harrison, Kylie Hawryliw, Geber
International Ninon Jerome (Maternity Cover) Melissa Collier, Katherine Dalton, Lisa Aran Morrison, Mark Noble, Ben Walker Sandoval Heredia, Kornelia Jaroc,
Associate Companies Projects Manager Diveney, Ryan Epps, Brandon Force, Wardrobe Supervisor Jasmine Kambi, Ioana McGuire, Ewa
Acosta Danza Robyn Cabaret Ben Francis, Simon Godfrey, James Miwa Mitsuhashi Lamond, Lisa Laville, Ljiljana Lemajic,
Rosas Senior Programming Coordinator Hameed, Elspeth Harrison, Paula Vivien Loh, Eleanor Martin, Claire Marty,
Tanztheater Wuppertal Richard Cross Jones, Wesley Jones, Asher Levitas, The Peacock Katy Mason, James McAndrew, Carole
Programming Coordinator Steph Lodge, Amie McBye, Lee Technical Manager, Peacock Mitchell, Rhiannon Montagu-Harrison,
Pina Bausch Elaine Foley McDonnell, Sheila Motani, Grace Theatre & Special Events Thomas Montagu-Harrison, Kate
Programming Assistant Nyandoro, Richard Owen, Paula Patritti, Chris Booth Neville-Towle, Joel O’Donoghue, Amelia
Sarah Lacombe Matthew Phillips, Aine Pullan, Rosalind Technicians O’Hara, Raisa Pankalainen, Andreas
Reeder, Samuel Ricketts, Kyleigh Sophie Brown, James Kazwini, Papadopoulos, Hannah Parsons, Paula
Breakin’ Convention Roberts, Nicola Salt, Caitriona Tom Pritchard Patritti, Dominique Perrett, Magdalena
Artistic Director, Breakin’ Convention Shoobridge, John Sinclair, Lois Tucker Radlowska, Georgia Redgrave, Inka
Jonzi D Lilian Baylis Studio Romani Escriva, Rowan Roberts, Kate
Programme Manager, Press Technical Manager Ryan, Chiara Sarra, Dorit Schwartz,
Breakin’ Convention Roman Bezdyk Jamie Sheehan, Shorai Shoniwa-
Michelle Norton Head of Media Relations Senior Technician Forchin, Duncan Steer, Caroline Topley,
Tour Manager, Breakin’ Convention Abigail Desch Fraser Thompson-Noble Lily Tran, Nu Tran, Calvert Watson,
Emma Ponsford Senior Press Manager Technician Emma Wells, Robert Wilkes, Stephanie
Digital Communications Officer, Caroline Ansdell Pete Maxey Wong, Andrew Wyatt, Jairo Zaldua
Breakin’ Convention Press Officers
Dave Barros Jolene Dyke, Eugénie Dunster, Building Services Stage Door
Education Coordinator, Dan Macarthur Building Services Manager Receptionist
Breakin’ Convention Press Office Assistant Russell Lynch Joann Peek
Shay Rafati Vacancy Senior Building Services Technician Stage Door Keepers
Projects Assistant, Breakin’ Wayne Lawrence Marie-Claire Adriaenessens, Phil
Convention Apprentice Corporate Communications Building Services Technicians Bartlett, Alec Kensit, Rebecca Lam,
Maya Williams Yassine Chenaf, Richard Emmett, Vivien Loh, Magdalena Radlowska,
Corporate Communications Manager Mark Hobson, Ghion Mekonnen, Rosannah Smith
Learning & Engagement Giulia Ascoli Darren Spencer
Director of Learning & Engagement Maintenance Technician – Housekeeping
Joce Giles Development Peacock Theatre Cleaning & Housekeeping
NYDC Company Manager Daniel Knapton Supervisors
Hannah Kirkpatrick Director of Development Administrative Assistant, Fabian Arias, Ken Debidin
Assistant Producer, Creative Learning Emma Collings Building Services Cleaning Supervisor,
Lucy Clarke-Bishop Development Manager, Elsa Stevens Peacock Theatre
Projects Manager, Learning & Trusts & Foundations Katarzyna Rogulska
Engagement Sophie Brooke-Smith Catering & Events Cleaners
Jennifer Riley Development Manager, Joshua Aqui, Jeffrey Balighot,
NYDC and Creative Learning Individual Giving Head of Catering & Events Fortunato Carian, Kelly Dago, Jesiel Da
Coordinator Anna Clark Zuzana Galikova Silva, Akissi Kouassi, Jose Lary Legario,
Rosalind Hewett Development Officer, Development Head Chef Anthony Osagiede, Oumar-Florent Sam,
Community and Engagement Members & Patrons Kenny Warren Mercan Sahin, Thayaparan Eliyathamby
Manager Rebecca Fogg Senior Chef De Partie Sinnathamby, Ziegfredo Tanilon,
Natasha Anderson Development Coordinator, Paul Mileham Cyrille Tchaho Wandji, Celestin Trah,
Community and Engagement Intern Trusts & Foundations Kitchen Assistant Antonio Villanueva, Amani Yoboue
Jade Leatham Aymeric Lavin Luminita Sfesnic
Access Officer Development Coordinator, Catering Operations Security
Vacancy Individual Giving Manager Security Officers
Bobette Kenge Justin Rogers Hamed Aminaee, Tariq Aziz, Gabriele
Producing & Touring Development Coordinator, Catering Administrator Chioccioni, Canberk Gurel, Nii Lartey,
Corporate Partnerships & Events Janet Elliott Mohammed Mulla, Katie Torbett,
Executive Producer Poppy Reindorp Bars Supervisors Kemoh Sesay
Suzanne Walker Development Assistant, Alessio Colandrea, Jolanta Petrauskaite Technical Lighting Supplier
Head of Touring Members & Patrons Catering Team Leaders
Dawn Prentice Sarah Wingfield Christopher Haddow, Marcus Romaneli, With thanks to our colleagues
Senior Producers Maurice Rowan Bishop, Nicole Saker at the London School of Economics:
Ghislaine Granger Finance & IT General Catering Assistants
Bia Oliveira Sheneez Amara, Fanney Vala Head of Conference & Events
Russell Maliphant Company Producer Finance Director Arnorsdottir, Camille Baptiste, Karolina Rachel Ward
Ellie Hartwell Mark Rhodes Baublyte, Natalie Beale, Francesca LSE Theatre Manager
Technical Production Manager Beard, Deborah Boateng, Rosaleen Sam Gaid
Adam Carrée Finance Brooks, Sean Brooks, Cristina Castro
Production Accountant Financial Controller Maia, Fatima Conde Portero, Sarah The information in this programme was
Ricci Pleszkan Paul Warren Covington, Sonya Crème, Alexander De correct at the time of going to print and
Producer Management Accountant Caires, Paige Dehaarte-Wiseman, Colin may be subject to change.
Sandra Castell-Garcia Ben Dart Devaney, Laura Ellis, Eva Escribano
Producing & Touring Coordinator Production Accountant Olmo, Amandine Faugere, Josh Gill,
Isabelle Drummond Ricci Pleszkan Paulo Guilhenme, Matthew Hall,
Producing & Touring Assistant Show Accountant Madeleine Jonsson, Egija Kavecka,
Georgia Kersh Lorne Cuthbert Laura Kerin, Beulah Lambert, Judit
Producing & Touring Intern Finance Officer Lopez Berga, Claudia Marciano, Kirstie
Emi Del Bene Monisola Samuel Marshall, Katie McGregor, Maria
Finance Assistant Victoria Moragas Auladell, Jodie
Marketing & Sales Sheena Shah Ann Nicholson, Eva Parets Merino,
Misha Patel, Bethany Pratt, Alexandra
Director of Marketing & Sales IT Plaige, Louis Prier Tisdall, Lucy Raffo,
Head of IT Sabela Ramos Candedo, Raffaella
Sebastian Cater Scotto Di Clemente, Miranda Sheehy,
Senior Marketing Manager Matt Kirby Waddah Sinada, Nestor Soto, Sophie
CRM Database Manager Thompson, Tyriquee Solomon,
Sammie Squire Sonia Teape
Marketing Manager (Touring) Dmitrij Zeile Events Manager
IT Systems & Network Manager Alessio Romani
Lucy White Events Executive, Corporate
Marketing Campaigns Officer Raymond Neequaye Kelly McGibney
IT Support Analysts
Martha Quigley
Marketing Insight Officer Stephen Amissah, Jake Hummerston

Ian Briggs