londres2019 folleto

Flamenco
Festival
London

Tuesday 2 - Sunday 14 July 2019 £5

Welcome

Photo: Cameron Slater

Welcome to the 16th edition of Flamenco The annual Gala Flamenca sees director
Festival London, our annual showcase of the Manuel Liñan summon an exceptional line-
best flamenco created today. up of performers. In the Lilian Baylis Studio,
we welcome new and established flamenco
Superstar Sara Baras opens this year’s festival talent: David Carmona, Kiki Morente, as well
with the UK premiere of Sombras, challenging as Lebanese choreographer Ali Chahrour and
tradition and gender norms by claiming the award-winning flautist and saxophonist Sergio
farruca, a dance usually performed by men, de Lope. Groundbreaking star Patricia Guerrero
for herself. Singer Miguel Poveda returns closes the festival exploring repression and
to our stage with his latest work Recital de liberation in her charged work Catedral.
Cante, where he performs a range of typical
flamenco styles, from the lighter to the most Celebrating the diversity and dynamism of
serious. Acclaimed Iraqi-American musician flamenco is the heartbeat of the festival. I hope
Amir ElSaffar brings together an ensemble of you experience the vitality of flamenco – its
flamenco artists in Luminiscencia, a cultural tradition, culture and heritage – and enjoy the
mélange of east and west, while Olivier Award- vision of the artists celebrating and reshaping it
winning choreographer Rocío Molina presents as an art form.
her latest show, Fallen From Heaven, exploring
gender, sex and the nature of flamenco itself.
Bold experimenter Olga Pericet takes us on an
evocative journey in The Thorn That Wanted
to be a Flower, or The Flower That Dreamed of
Being a Dancer.

We welcome three prominent musicians Alistair Spalding CBE
renowned for breaking barriers in music: pianist Artistic Director and Chief Executive
Dorantes, known as “the jewel of the flamenco
piano”; double bass phenomenon and multi-
instrumentalist Adam Ben Ezra and master of
tenor Tim Ries, who has toured with the Rolling
Stones. Former principal dancer with Nacional
de España and pioneer in flamenco’s evolution,
Jesús Carmona, completes the ensemble in
Flamenco meets Jazz.

Front cover: Javier Suárez

Flamenco
Festival
London
2019

Sadler’s Wells Theatre Flamenco Festival Staff

Ballet Flamenco Sara Baras Director Miguel Marín
Sombras Festival Coordinator Isabel Aranda
Tuesday 2 - Sunday 7 July Technical Production Belén Castres
Production Coordinator Beatriz Hoyos
Miguel Poveda Administration Beatriz Alcalá
Recital de Cante Press and Media Surnames Narradores Transmedia
Monday 8 July
Sponsored by
Rocío Molina
Fallen from Heaven With the support of
Tuesday 9 July
Londres
Dorantes, Tim Ries and
Adam Ben Ezra with guest artist
Jesús Carmona
Flamenco meets Jazz
Wednesday 10 July

Olga Pericet
The Thorn That Wanted to be
a Flower, or The Flower That
Dreamed of Being a Dancer
Thursday 11 July

Gala Flamenca
Mercedes Ruiz, Eduardo Guerrero
and María Moreno with guest
artist María Terremoto
Friday 12 & Saturday 13 July

Patricia Guerrero
Catedral
Sunday 14 July

Lilian Baylis Studio

Amir ElSaffar Ensemble
Luminiscencia
Saturday 6 July

In collaboration with Shubbak Festival

David Carmona
Un sueño de locura
Friday 12 July

Kiki Morente
Albayzín
Friday 12 July

Jesús Carmona
Residency Sharing
Saturday 13 July

Sergio de Lope
Ser de Luz
Saturday 13 July

Experimental

Gerald Dowler

Rocío Molina in Fallen from Heaven. Photo: Simone Fratini

We like to think we know what flamenco is –
it is, after all, instantly recognisable – the
elaborate bata de cola dress for women, the
tight black trousers for men, the heeled shoes
and then the sound of the guitar, the clapping
and raw, pained singing. It appears a timeless art
form, set in its forms and traditions. Yet nothing
could be further from the truth – its traditions are
based on innovation, on changes to where and
how it is performed, on shifts in emphasis and
on the absorption of outside influences.

traditionalism

It is sometimes difficult to see quite how The ’70s saw a rapid absorption of
innovative flamenco is with something outside influences from the rest
which is so rooted in its own geography, of Europe and the United States in
the so-called Andalusian ‘golden triangle’ particular and the resulting emergence
of the cities of Cádiz, Jerez and Seville of what became to be termed ‘fusion
and to its own gypsy roots (many of flamenco.’ An important figure in bringing
the greatest performers continue to the art form to a wider, international
be of gypsy origin). But ever since it audience was the singer Rocio Jurado
emerged as an identifiable art form in the who performed internationally in an
late 18th century, and in the mid-19th evening dress rather than traditional
moved from homes and the street into costume, while the singer Manuel
commercial café cantantes or tablaos, Agujetas, known as an exponent of
night time bars offering flamenco traditional cante jondo collaborated
entertainment, it has been in a state of with Smash, an Andalusian rock band.
development and progression. It is also
hard in today’s world of easy travel and Standing as one of the pioneers of
instant information and entertainment flamenco innovation was the great
to appreciate how late into the 20th guitarist Paco de Lucía who throughout
century national and regional traditions the ‘70s, ‘80s and ‘90s was at the
and cultures survived free from external vanguard of opening up the art form
influence. This was especially so in Spain and laying the foundations for the
with General Franco’s conservative, artists performing today. De Lucía
traditionalist regime lasting until his can be said to have made a definitive
death in 1975, after which, along with break with traditional flamenco with
the establishment of constitutional his album Fuente y Caudal (“Fountain
monarchy and parliamentary democracy, and Flow”) in 1973, which stands at the
there came a general cultural opening- very beginnings of what is now termed
up, a phenomenon which flamenco nuevo (“new”) flamenco. He was the
embraced as eagerly as any other part first artist to fuse flamenco with jazz (a
of Spanish cultural life although changes natural combination, with hindsight) and
had begun to happen in the few years he introduced a new instrument to the
before his death. flamenco sound world, the Afro-Peruvian

cajón, which he had seen on a visit to
Peru in the late ‘70s and which provided
the instrumental percussion he felt
was lacking. His collaboration with the
singer Camarón de la Isla, himself the
first flamenco singer to include electric
bass in his songs, was pivotal in pushing
forward the entire form and in influencing
successive generations including
important innovators in their own right
such as guitarist Enrique Morente and
singers Tomatito and El Lebrijano the
last of whom brought Arabic Al-Andalus
influences into his music.

Nuevo flamenco encompassed many
things, from the flamenco-blues of Pata
Negra to Medina Azahara’s flamenco-rock
while the influences of pop and Cuban
music were strong everywhere. De Lucía
and his collaborators had an interest in
the contemporary urban counter-cultural
phenomenon la movida madrileña (“the
Madrid movement” in Spanish) which
sought to liberalise post-Franco Spanish
society and which touched all areas of
the arts – film-maker Pedro Almódovar
was an early participant. An example
of the opening up of flamenco was the
rise in popularity of The Gypsy Kings
(formed in 1978), a French-based group
of Spanish heritage performing the pop-
influenced flamenca rumba (Catalan or
gypsy rumba) in Andalusian Spanish.

A pivotal change in the world of
innovative flamenco was, and continues
to be, the rise of the female artist,
assuming a central and, indeed in many
cases, managerial role in the art form.
From Paco de Lucía’s singer niece Malú,
today known for her flamenco, ballad
and pop fusion style and being a coach
on the Spanish version of The Voice, to
dancer Eva Yerbabuena who runs her own
ensemble and freely mixes traditional
flamenco with her own contemporary
taste, there is now a strong artistic
direction set by female artists. This year’s
Flamenco Festival features Sara Baras,

Patricia Guerrero in Catedral. Photo: Óscar Romero

celebrating 20 years of her eponymously- Baylis Studio. Jazz trumpeter and
named company with her own creation composer Amir ElSaffar and his
Sombras (“Shadows”) in which she instrumental ensemble appear in
performs her famous La Farruca, a Luminiscencia which explores the
dance from traditionally danced only by boundaries between flamenco, Arabic
men and which, in musical terms, brings and jazz music but which, in traditional
in influences from around the world. fashion, also features a singer and a
Rocío Molina’s Caída del Cielo (“Fallen dancer. Classically trained flamenco
from Heaven”) brings her own version guitarist David Carmona performs his
of modern flamenco which, drawing own compositions in Un Sueño de
inspiration from the musical innovators Locura (“A Mad Dream”) followed on the
of the past, adds a drum kit and electric same evening by Kiki Morente, the latest
guitar to the traditional guitar and member of the legendary flamenco
clapping, and newly-traditional cajón, and Morente clan in Albayzín (named after his
which explores womanhood, gender and home district in Granada). He represents
sexuality in dance through provocative a clear link between flamenco’s past and
and playful movement. The relentlessly its future – he listens to the great
innovative Olga Pericet, winner of the performers of yesteryear as well as
2018 Spanish National Dance Award, Brazilian music, Portuguese fado and
presents La espina que quiso ser flor o classical composer Manuel de Falla.
la flor que soñó con ser bailaora (“The Flamenco and jazz combine in Sergio de
Thorn That Wanted to be a Flower, or The Lope’s flute and saxophone playing
Flower That Dreamed of Being a Dancer”) alongside the dancing of rising star
an exciting and stimulating theatrical Cristina Aguilera while artist-in-
experience. While in a continuing cultural residence Jesús Carmona presents
reaction against the moral and societal the result of his week-long residency
constrictions of Spanish Catholicism, to explore the concept that masculine
dancer Patricia Guerrero’s Catedral and feminine energies are not based
fuses numerous artistic influences in an in gender, attempting to transcend
intensely felt performance. social conditioning and narrow
definitions of masculinity.
Musical innovation in flamenco
continues apace throughout the festival. The year’s Sadler’s Wells Flamenco
Fully in the experimental traditions of the Festival shows that, while flamenco
musicians of the ‘70s and ‘80s, Flamenco has a glorious past and is an art form
meets Jazz sees “master of rhythm steeped in its own traditions and
and stillness” dancer Jesús Carmona history, it is also a vibrant medium
joining avant-garde pianist David Peña for innovation, experimentation and
Dorantes, pioneer double bassist radicalism. As today’s generation
Adam Ben Ezra and Rolling Stones of flamenco musicians and dancers
saxophonist Time Ries in an evening explore and question themselves
of real experimentation. In his Recital and what they do, they do so as the
de Cante, Miguel Poveda explores his latest in a line of such artists, of such
flamenco heritage and artistry through experimental traditionalists.
the prism of external influences and his
own spontaneous creativity. Gerald Dowler reviews and
writes extensively on dance for
At the cutting-edge of experimentation the Financial Times, Dancing Times
in flamenco, the festival presents an and classicalsource.com. He also
exciting series of evenings in the Lilian teaches at the City of London School

Ballet Flamenco Programme
Sara Baras
I. Sombras
Sombras
Dancers Sara Baras and corps de ballet
World Premiere 28 September 2017, Baluarte Pamplona, Navarre, Spain Guitar Keko Baldomero

Duration 1 hr 45 mins (no interval) II. Farruca
Due to the improvised nature of the performance,
running times are approximate Dancer Sara Baras
Guitar Keko Baldomero
Steeped in tradition but drawn in countless directions by the influences Percussion Antonio Suárez,
found across history, flamenco is a form as restless and irresistible as Manuel Muñoz “Pájaro”
the spirit of its homeland. Sombras (“Shadows” in Spanish) combines Singer Israel Fernández
Baras’ devotion to the dances of her native Spain with her unwavering
commitment to innovation. Performing alongside six dancers, Baras re- III. Romance/Martinete
examines and reinvigorates her trademark flamenco style, La Farruca –
a quick-footed, dramatic dance traditionally only performed by men. Dancers corps de ballet
Over the course of her career, La Farruca has been both a springboard Guitar Keko Baldomero, Andrés Martínez
to her most celebrated successes and a shadow dancing at her Percussion Antonio Suárez,
dazzlingly percussive heels. Manuel Muñoz “Pájaro”
Singers Israel Fernández, Rubio de Pruna
Cast & Creative Team
IV. Serrana
Direction and Choreography Sara Baras
Musical Direction and Composition Keko Baldomero Dancer Sara Baras
Musical Composition for Travesía Ara Malikian Guitar Keko Baldomero, Andrés Martínez
Voiceover Poetry Santana de Yepes Percussion Antonio Suárez,
Voiceover Vocals Sara Baras Manuel Muñoz “Pájaro”
Set Paintings Andrés Mérida Singers Israel Fernández, Rubio de Pruna
Costume Design Luis F. Dos Santos
Lighting Design Óscar Gómez de los Reyes “I will say that once I was a shadow,
wrapped up, hidden, big, small; shadow.
Dancers I will say that once I was a shadow,
Sara Baras trapped, concealed, dreamlike, real;
María Jesús García Oviedo, Charo Pedraja, Cristina Aldón, shadow. I will say that once there were
Sonia Franco, Daniel Saltares, José Franco shadows of the memory in me, shadows,
like flames, like water, like wind, like calm;
Musicians shadows. Shadows in me, shadows
Guitar Keko Baldomero, Andrés Martinez of me. They hold me, watch over me,
Vocals Rubio de Pruna, Israel Fernández seduce me, trip me, speed me up, lay me
Percussion Antonio Suárez, Manuel Muñoz “Pájaro” down, wake me up and gently rock me in
Saxophone, Harmonica and Flute Diego Villegas the sleep of shadows”

Sara Baras in Sombras. Photo: Santana de Yepes

V. Zapateado XI. Alegría Sara Baras

Dancers corps de ballet Dancer Sara Baras Sara Baras is one of the most well-known
Guitar Keko Baldomero, Andrés Martínez Guitar Keko Baldomero, dance artists in the world today. Dancer,
Percussion Antonio Suárez, Andrés Martínez director, and choreographer, she set up
Manuel Muñoz “Pájaro” Percussion Antonio Suárez, her own dance company, Ballet Flamenco
Saxophone Diego Villegas Manuel Muñoz “Pájaro” Sara Baras, 20 years ago. To date she has
Singers Israel Fernández, put on 13 shows, all created and
VI. Vals Rubio de Pruna choreographed by herself. She has
Lyrics Keko Baldomero, performed on stage at venues such as
Dancers Sara Baras and corps de ballet Rubio de Pruna and Israel Fernández the Royal Albert Hall in London; Sydney
All musicians Opera House; Teatro Real in Madrid;
Lyrics Federico García Lorca XII. Bulería Carnegie Hall and City Center in New
York; the Kennedy Center in Washington,
VII. Mariana Dancers Sara Baras and corps de ballet D.C.; Théâtre des Champs-Élysées in
All musicians Paris; Great Theatre of China; Tokyu
Dancers corps de ballet Lyrics Keko Baldomero Theatre Orb; Esplanade – Theatres on the
Singer Rubio de Pruna Bay, Singapore; Dubai Opera; State
Lyrics Popular XIII. Shadows Kremlin Palace in Moscow; Palacio de
Bellas Artes in Mexico City; and the Gran
VIII. Sombras Dancer Sara Baras Teatre del Liceu in Barcelona. Her artistic
career and her contribution to the
Dancers corps de ballet “La Farruca is my shadow, she saw internationalisation of Spanish culture
Guitar Keko Baldomero me being born when I’d already been have been honoured with some of the
Saxophone Diego Villegas born, she leads me by the hand most important Spanish and international
behind the stage curtains, when they awards including the Medaille de Vermeil
IX. Tangos (Instrumental) rise, when they fall, always her, deep, de la Ville de Paris; National Dance Award;
flamenca, she is the many-sided five Max Awards; Kennedy Center Gold
Composed and performed by reflection and the most intimate Medal in the Arts; and the Premio Galileo
all musicians solitude, I always come back to 2000 for “a life dedicated to dance” given
her, because I never left her, she by the City Council of Florence. Her tight
X. Travesía embraces me and in her I rest and work schedule has not prevented her
I explode. La Farruca is reason without from collaborating with charities and
Dancers corps de ballet understanding, and sanity within this good causes, using her art to help others
Musical Recording Ara Malikian immense madness of putting every less fortunate. She has worked with the
inch of your soul into every tap of Vicente Ferrer Foundation, Aldeas
“Nothing can be more evocative than your heel. She links my verses into Infantiles, and the Down Syndrome
that which renders rich and poor alike, unmistakable rhymes, she draws Foundation of Madrid. She is also
that which far from being a negation doodles that divine me, that talk about honorary patroness of Mi Princesa Rett
of light is the result of it projected on me, that talk about her, like a light, my with which she collaborates actively.
bodies, and this hypnotic magic is light, like a shadow, my shadow”
a constant whisper, now you see it,
now you don’t, it’s gone and it’s still XIV. Fin de Fiesta
here, it chases you like a thief to steal
the moment from you, it lies in wait All performers
at every corner to take your soul by Lyrics Israel Fernández
storm, you let it go and it comes back,
you catch it and it disappears, it cloaks
you until it makes you a giant and it
makes you shiver when, as you blow
on it, it disappears”

Miguel Poveda

Recital de Cante

Duration 1 hr 40 mins (no interval)
Due to the improvised nature of the performance,
running times are approximate
With his ground-shakingly powerful voice and
magnetic stage presence, Miguel Poveda is one of
flamenco’s most popular vocalists. For this special
one-off concert, he is joined on stage by a live band
and a dancer for an evening of music that mixes both
the traditional and the popular flamenco sounds.
Most of the repertoire is a reflection of the most
traditional cante, but with contributions added by
the artist, as he conserves their essence while
also shaping them through his own personal style.
Along the way, he journeys to different flamenco
places on the map, and visits the creations of
cantaores from previous generations. All of it, with
the utmost respect for tradition, but with a fresh,
personal air that makes it unique.

Cast, Creative &
Production Team

Vocals Miguel Poveda
Guitar Jesús Guerrero
Percussion Paquito González
Dance Choro
Palmas and Voice Carlos Grilo, Londro
Road Manager Loles López
Sound Technicians Marc Rigau, Juan Casanovas
Production Paz Bella and Andrés García

Miguel Poveda. Photo: Sergio Lardiez

Miguel Poveda

Miguel Poveda is one of the most
respected flamenco singers in Spain
and around the world.

He has been awarded numerous
prizes during his 30-year career: the
2007 National Music Prize, the chair of
flamenco studies of Jerez de la Frontera,
the Andalusia Medal in 2012, honorary
citizen of Seville, of La Unión in the
province of Murcia, and of Badalona.

At the age of 45, he has released ten
studio albums: Viento del Este (1995),
Suena Flamenco (1998), Zaguán (2001),
Poemas del exilio de Rafael Alberti
(2004), Desglaç (2005), Tierra de Calma
(2006), Cante i Orquestra (2009), Coplas
del Querer (2009), arteSano (2012),
Real (2012), Sonetos y poemas para
la libertad (2015), Enlorquecido and El
tiempo pasa volando (2018). His latest
work, Enlorquecido (“Mad About Lorca”),
is inspired by the poet Federico García
Lorca and reached number two in the
charts the second week after its release.

Rocío Molina

Fallen From Heaven

World Premiere 3 November 2016, Chaillot –
Théâtre National De La Danse, Paris, France

Duration 1 hr 20 m ins
Due to the improvised nature of the performance,
running times are approximate

Fallen From Heaven is a journey, a descent. A woman, guided by her dance,
which is intuition and substance, moves through light and shadow. What
can be palpable, and what it is normally hidden from view, materialises in
Rocío’s body. She dances and establishes a different relation to the earth.
Her dance is born from her womb and the soil she kicks, and thus her
dance becomes the celebration of being a woman.

Cast, Creative & A big thank you to Emilio Belmonte
Production Team for his passion and discretion and to
Rosario “La Tremendita” for her help
Artistic Co-direction, Choreography, and wise advice
Musical Direction & Performer
Rocío Molina Accompanied by Carmen Amaya,
Artistic Co-direction, Dramatic Arts, Camarón de la Isla, Enrique Morente
Stage Space & Lighting and Paco de Lucía
Carlos Marquerie
Composition of Original Music A production by Danza Molina S.L. /
Eduardo Trassierra Chaillot – Théâtre National De La
Participation in the Musical Danse (Paris)
Composition José Ángel Carmona,
José Manuel Ramos “Oruco”, In collaboration with Instituto Nacional
Pablo Martín Jones de las Artes Escénicas y de la Música,
Collaborator for Dance Elena Córdoba Ministerio de Cultura y Deporte,
Costumes Design Cecilia Molano Gobierno de España
Costumes Creation López de Santos,
Maty, Rafael Solís. Rocío Molina is an associated artist
Photography Pablo Guidali, of Chaillot – Théâtre National De
Simone Fratini La Danse (Paris)

Guitar Eduardo Trassierra
Vocals, Electric Bass
José Ángel Carmona
Hand-clapping and Beat
José Manuel Ramos “Oruco”
Drums, Percussion & Electronics
Pablo Martín Jones
Technical Director & Lighting
Antonio Serrano
Sound Javier Álvarez
Stage Manager María Agar Martínez
Production Assistant
Magdalena Escoriza
Executive Management Loïc Bastos

Rocío Molina in Fallen from Heaven. Photo: Simone Fratini

Rocío Molina

The iconoclastic choreographer and
dancer Rocío Molina has coined her own
artistic language based on a reinvented
traditional flamenco style which respects
its essence, but also embraces the
avant-garde. She was awarded the
Spanish National Award for Dance in
2010, the Max Award in 2017 (best
dancer; best choreography for Caída del
Cielo (“Fallen From Heaven” in Spanish),
and in 2015 the best choreography for
Bosque Ardora (“Ardora’s Forest”). She’s
been an associate of the Chaillot National
Theater in Paris since 2014. Her works
include Entre paredes (“Among the
Walls”), El eterno retorno (“The Eternal
Return”), Turquesa como el limón
(“Turquoise as a Lemon”), Almario, Por el
decir de la gente (“As People Say”), Oro
viejo (“Old Gold”), Cuando las piedras
vuelen (“When Stones Fly”), Vinática,
Danzaora y vinática, Afectos
(“Affections”), Bosque Ardora and Caída
del Cielo all have been performed in
major venues around the world (Chaillot
– Théâtre National De La Danse; Barbican
Centre; Bunkamura, Tokyo; City Center,
New York; Teatro Español, Madrid;
National Theater of Taiwan).

Dorantes, Tim Ries Cast, Creative &
and Adam Ben Ezra Production Team
with guest artist
Jesús Carmona Piano and Musical Director Dorantes
Music Dorantes, Tim Ries,
Flamenco meets Jazz Adam Ben Ezra and The Rolling Stones
Saxophone Tim Ries
World Premiere 22 March 2018, Jazz at Lincoln Center, New York, USA Double Bass Adam Ben Ezra
Duration 90 mins (no interval) Guest Dancer Jesús Carmona
Due to the improvised nature of the performance, Percussion Javi Ruibal
running times are approximate Sound Technicians Juan Antonio
Flamenco meets Jazz brings together three exceptional artists Cuevas y Ángel Olalla
who have been prominent in breaking barriers in music, using
elements of various genres in their innovative works. Distribution Flamenco Festival
and Flamenco Scultura.
Production Flamenco Festival with
the support of Agencia Andaluza de
Instituciones Culturales, Consejería
de Cultura y Patrimonio Histórico,
Junta de Andalucía

This performance is supported by
Prodetur, Diputación de Sevilla

Programme Dorantes Adam Ben Ezra

Danza De Las Sombras Flamenco pianist and composer Double bass phenomenon, multi-
Dorantes fuses his traditional roots with instrumentalist and online sensation
Music Dorantes an avant garde approach to create his Adam Ben Ezra is a man on a mission to
Piano Dorantes trailblazing music. Born in 1969 in Lebrija, bring the double bass from its status as a
Dance Jesús Carmona Seville, he is part of a prestigious background note to the dominant
Percussion Javi Ruibal flamenco family boasting a long line of front-presence it deserves. Adam has
legendary performers. In 1998, he performed all around the globe in major
Barejones became a celebrity with the release of international music festivals and shared
his first album, Orobroy, which took him stages with some of the world’s fusion
Music Dorantes on a world tour that lasted four years. giants – including Pat Metheny, Victor
Piano Dorantes Dorantes is the only artist to win four Wooten and Richard Bona. Adam began
Saxophone Tim Ries Giraldillos for a single show. Four more playing the violin at age five and picked
Percussion Javi Ruibal albums followed, mixing flamenco and up the guitar at nine. Over the years he
impressionist music with echoes of has added the piano, clarinet, oud, side
Can’t Stop Running Debussy and touches of jazz and that flute and beatbox to his arsenal. However,
melodic symphonism that has sometimes it was an introduction to the double bass
Music Adam Ben Ezra been described as new age. In 2018, at 16 that truly changed his life, when he
Double Bass Adam Ben Ezra Dorantes was granted the Gold Medal instantly fell in love with the instrument’s
Piano Dorantes of the Province, for his unique repertoire. rich sound. Both his Trio album (Can’t
Percussion Javi Ruibal He has performed in some of the most Stop Running, 2015) and latest Solo
prestigious theatres and festivals around album (Pin Drop, 2017) showcase not just
Caravana De Los Zicalis the globe, including Montreal Jazz a virtuoso performer but also a sensitive
Festival; Spoleto Festival, USA; composer with no musical boundaries,
Music Dorantes International London Jazz Festival; combining elements of jazz, rock and
Piano Dorantes Flamenco Festival New York; Red Sea world music to create a sweeping,
Saxophone Tim Ries Jazz Festival, Israel; Royal Albert Hall; La fascinating and versatile sound.
Double Bass Adam Ben Ezra Grande Halle de la Villette, Paris and Palau
Dance Jesús Carmona de la Música of Barcelona. Jesús Carmona
Percussion Javi Ruibal
Tim Ries Born in Barcelona in 1985, Jesús
Solo Adam Carmona began his dance training at age
Saxophonist, composer, arranger, seven. He graduated with a degree in
Music Adam Ben Ezra producer and educator Tim Ries received Spanish dance and flamenco from the
Double Bass Adam Ben Ezra degrees from both The University of Institute of Theatre and Dance of
North Texas and The University of Barcelona in 2004. Carmona made his
Solo Tim Ries Michigan. His performing and recording professional debut at the Teatro Zorrilla in
credits include a who’s who of jazz, rock, Barcelona at age 16. Since then, he has
Music Tim Ries pop and world music icons: The Rolling worked with diverse companies such as
Saxophone Tim Ries Stones from 1999 to the present; Stevie the Ballet Nacional de España as first
Wonder; Paul Simon; Donald Fagen; dancer, Nuevo Ballet Español, Carmen
Solo Dorantes: La Maquina Michael Jackson; Blood, Sweat and Tears; Cortes, El Guito and Antonio Canales.
Rod Stewart; Lyle Lovette; and jazz greats Carmona won the prestigious first dance
Music Dorantes Red Garland; Donald Byrd; Hank Jones; award at the 52nd Festival de cante de
Piano Dorantes Jack DeJohnette; Phil Woods; Tom las Minas de la Union 2012, the first
Harrell; Chico Hamilton; Michael Brecker; outstanding dancer in the XX Flamenco
Satisfaction Joe Henderson; Tony Bennett; Dave and Spanish Dance Contest 2011, and
Liebman; Al Foster; John Patitucci; Danilo the third prize for choreography in the
Music The Rolling Stones Perez; Bela Szakcsi Lakatos and Maria competition Nou Barris in 2001. He was
Piano Dorantes Schneider. Tim was a member of the principal dancer alongside Antonio
Saxophone Tim Ries Prism Saxophone Quartet from 1993 to Canales, Karime Amaya and Carlos
Double Bass Adam Ben Ezra 2003. He has released nine CDs as a Rodríguez at the Flamenco Festival Gala
Percussion Javi Ruibal leader. Two of the discs, The Rolling Flamenca, touring around the world and
Stones Project (Concord) and Stones obtaining great reviews from press and
Sin Muros World (Sunnyside), are his versions of audiences. Recently, he has been touring
Stones tunes arranged in jazz and world his own creations, all over the world.
Music Dorantes music genres. His latest collaborations
Piano Dorantes are performing with Sara Baras and with
Saxophone Tim Ries The East Gipsy Band from Budapest. Tim
Double Bass Adam Ben Ezra has taught saxophone and composition
Percussion Javi Ruibal at The New School, Rutgers University
and The University of Toronto.
Semblanzas De Un Rio

Music Dorantes
Piano Dorantes
Saxophone Tim Ries
Double Bass Adam Ben Ezra
Dance Jesús Carmona
Percussion Javi Ruibal

Front row, left - right: Tim Ries, Dorantes,
Adam Ben Ezra. Photo: Carmen Fernandez

Olga Pericet

The Thorn That Wanted to be
a Flower, or The Flower That
Dreamed of Being a Dancer

World Premiere 28 February 2017, Festival de Jerez, Spain
Duration 1 hr 40 mins (no interval)
Due to the improvised nature of the performance,
running times are approximate
Olga Pericet embarks upon a personal journey through
dance based on memories, injuries and embraces from her past.
She creates a universe in which the feminine and the masculine,
humour and the dramatic, appear in equal parts in a gallery of dramatic
games, where the woman remains in power throughout a series of
transformations: the beautiful and the ugly, happiness and the
bittersweet, restraint and the lewd, the hen and the horse,
youth and decay.

Olga Pericet in The Thorn That Wanted to be a Flower, or The Flower That Dreamed of Being a Dancer. Photo: Paco Villalta

Cast, Creative & Olga Pericet
Production Team
Olga Pericet, an international creator,
Stage Direction and Dramaturgy dancer and choreographer, shares her
Carlota Ferrer vibrant art at the world’s biggest festivals
Artistic, Choreographic and and theatres. In 2018, she received the
Dance Direction Olga Pericet National Dance Prize in the interpretation
Assistant to the Choreographic category for “her ability to bring together
Management and Consulting the different disciplines of Spanish dance,
Marco Flores updating them in an interpretive language
Musical Direction Olga Pericet with her own stamp” and for “her
and Marco Flores theatrical versatility and her meaningful
Musical Composition Antonia Jiménez capacity for communication.” Her most
and Pino Losada recent work, Un cuerpo infinito (“An
Sound Space Pablo Martín Jones Infinite Body”), which premiered in May
Singers Jeromo Segura and 2019, is a piece through which she
Miguel Lavi embarks on a journey of self-knowledge
Guitarists Antonia Jiménez and through the legendary figure of Carmen
Jose Almarcha Amaya. Other shows include: The Thorn
Special Collaboration in that Wanted to be a Flower, or the Flower
Dance and Accompanying That Dreamed of Being a Dancer (2017),
Jesús Fernández for which she was awarded the specialist
Illumination Design critic award and the chair of flamencology
Gloria Montesinos A.a.i. at the Jerez Festival; FLAMENCO
Sound Design Ángel Olalla (Untitled) (2015); Pisadas, fin y principio
Wardrobe Design Ana López Cobos de una mujer (“Footsteps, End and
Wardrobe Creation Gabi Besa Beginning of a Woman”) (2014), which
Scenography Silvia de Marta earned her the Max award for best female
Graphic Design La playa dancer; De una pieza (“One Piece”) (2012)
Photography Paco Villalta and Rosa, Metal Ceniza (“Rose, Metal,
Executive Production, Distribution Ashes”) (2011).
and Management Ana Carrasco
(Peineta Producciones) Carlota Ferrer
Production Olga Pericet
Carlota Ferrer is an actor, director,
Company supported by choreographer, musician and visual artist.
Instituto Nacional de las Artes She has worked both as an actor and a
Escénicas y de la Música, Ministerio director with the Teatro de la Abadía and
de Cultura y Deporte, Gobierno de RESAD, and assistant director with the
España and Comunidad de Madrid likes of as Krystian Lupa, Álex Rigola and
José Luís Gómez. She has worked in
consolidated theatrical spaces such as
the Teatro de La Abadía, El Teatro Español
as well as innovative ones such as the
Draft.Inn and the Venice Biennale. Her
works include: Cancro, Los cuerpos
perdidos, La melancolía de King Kong, Los
nadadores nocturnos, Fortune cookie, La
habitación luminosa, La Hora Oscura and
Esto no es La casa de Bernarda Alba. She
is the winner of the Critical Eye award for
the performing arts in 2015, and the Max
Award in 2015 for best new show for
Nadadores nocturnos. In 2019 she was
named as the new director of the Festival
de Otoño de Madrid.

Gala Flamenca Programme

Mercedes Ruiz, Alegria
Eduardo Guerrero,
María Moreno Maria Moreno
and guest singer
María Terremoto Pas de Deux

Duration 1 hr 30 mins (no interval) Mercedes Ruiz and Maria Terremoto
Due to the improvised nature of the performance,
running times are approximate Caña

This year’s gala joins together three of flamenco’s Eduardo Guerrero
leading dancers.
Fandango
The bailaora from Jerez Mercedes Ruiz, who speaks about
flamenco “with a commanding truth and virtuosity” (Financial María Terremoto
Times); Eduardo Guerrero, who displays a breath-taking array of
movement which pushes him to the perilous limits of human Pas de Deux
motion and María Moreno, whose astonishing dance pays
tribute to the traditional style of Cádiz, to which she adds her Eduardo Guerrero and Maria Moreno
own style full of expressivity, originality and passion.
Soleá
The three dancers are joined on stage by a cadre of musicians
and a special guest artist, rising star singer María Terremoto. Mercedes Ruiz

María Moreno. Photo: Juan Conca Mercedes Ruiz. Photo: Paco Lobato

Cast & Creative Team

Artistic Director Manuel Liñan
Musical Coordinator Santiago Lara
Choreography Manuel Liñán, Mercedes Ruiz,
Eduardo Guerrero and María Moreno
Lighting Design Gloria Montesinos
Dance Mercedes Ruiz, Eduardo Guerrero,
María Moreno
Guest Artists (Vocal) María Terremoto
Singers Emilio Florido and Ismael “el Bola”
Guitar Santiago Lara and Javier Ibáñez
Percussion Paco Vega
Sound Ángel Olalla and Pepe Carnacea
Director Assistant Beatriz Alcalá
Tour Manager Beatriz Hoyos
Production and Distribution Flamenco Festival

Eduardo Guerrero. Photo: Paco Lobato

Mercedes Ruiz (2017); Faro (2017) and Sombra Efímera child, Terremoto has taken part in
(2018). His numerous awards include the flamenco zambombas (flamenco carols
Mercedes Ruiz, born in Jerez in 1980, is first dance prize of the prestigious Las performed during Christmas) with her
essentially self-taught, learning from the Minas de la Unión Festival 2013, the family. At nine years old, she performed
masters on stage. Within only seven audience award of the Jerez Festival in on stage in the flamenco nightclub
years, she found herself working in the 2017 for Guerrero. Eduardo is currently (tablao) that bears her father’s name.
companies of Manuel Morao and Gitanos creating Underfoot, a piece directed by Unexpectedly, Fernando passed the
de Jerez. Later, as a trained flamenco Mateo Feijoo (Matadero Madrid) that will artistic torch to his daughter, in what
dancer, Ruiz joined the companies of be premiere in 2019. would be his final farewell to the stage.
Antonio El Pipa, Eva Yerbabuena and She was the youngest artist to ever be
Adrian Galia. In 2002 Ruiz began her María Moreno awarded the high-status Giraldillo
career as a soloist. Since 2003, Mercedes Revelación prize, which catapulted her to
has presented eight shows: Dibujos en el Moreno was born in Cádiz in 1986. She the vanguard of the flamenco scene. In
aire (2003); Gestos de mujer (2004); started in dance at the age of eight at the 2018 Terremoto released her first album,
Juncá (2006); Mi último secreto (2009); Professional Dance Conservatory of La huella de mi sentío (IR Music). The
Baile de palabra (2011); Perspectivas Cádiz. In 2004, she joined the Eva album was officially debuted at La Bienal
(2013); Déjame que te baile (2016) and Yerbabuena Company, before starting her de Flamenco de Sevilla.
Tauromagía (2018). Among her many solo career in 2006. She took part of the
international awards are: Movimientos XXXV International Flamenco Congress, Manuel Liñán
(Wolzburg, Alemania); Giraldillo Award and the premiere of the show Kalho Calo
Bienal de Flamenco de Sevilla (2002); at the Festival de Jerez. She collaborated Dancer, choreographer and director
Antonio Gades Award (Concurso Nacional as a guest artist with singers including Manuel Liñan was born in Granada and
de Arte Flamenco de Córdoba); best Arcángel, Miguel Poveda, José Mercé and studied with the legendary Manolete and
dancer flamenco Critics Choice Awards Marina Heredia. Along with dancer Rafael Mario Maya. He has been invited on
(2012); Audience Award Festival de Jerez Campallo, María premiered the shows numerous occasions to choreograph
(2015); Critics Choice Award Festival de Puente de Triana and Triana, the other shows by companies such as the National
Jerez (2013) and best dancer flamenco shore. Her first solo production, Alas de Ballet of Spain, Rafaela Carrasco, Teresa
Hoy National Awards (2015). Recuerdo, came in 2014, winning her the Nieto and the New Spanish Ballet. From
new artist award at the 2017 Festival this, the show REW with Daniel Doña
Eduardo Guerrero Flamenco de Jerez. In the Bienal de arose, developing a joint project of
Flamenco 2018, she presented her choreography and direction, a
Born in 1983, Eduardo Guerrero began second solo piece, De la concepción. collaboration between two great artists.
dancing when he was just six years old. María Moreno received the Giraldillo In 2008, Manuel began his solo career,
He studied Spanish dance in Cádiz at the Award for best new artist in the Bienal de premiering with Tauro. Later he continued
conservatory of music, and afterwards he Flamenco de Sevilla 2018. with Mundo y Aparte, Singergia and
extended his contemporary and classic Nómada. He is the winner of the 2012
dance knowledge with David Greenall and María Terremoto Revelation Prize for dance, the Max Award
Montserrat Marín. In 2011, he was for best male dance performer, the
awarded first prize by the Professional María Fernández Benítez, better known as Flamenco Hoy Critics Award for best
Conservatories for his choreography, María Terremoto, was born in Jerez de la dancer, the 2017 Premio Nacional de
Mayo. After that, Guerrero began a solo Frontera in 2000. She is part of a famous Danza. In 2016, Manuel presented
career, performing his own creations: family of flamenco artists; her Reversible, winning the Critics Prize in the
Suite Flamenca (2011); De Dolores grandfather was Fernando Fernández Festival of Jerez. In 2018, he presented
(2012); Las Minas (2013); Re-torno (2014); Monge “Terremoto de Jerez” and her Baile de Autor, an intimate performance.
El Callejón de los Pecados (2014); father is singer Fernando Fernández Both of these shows continue to tour.
Desplante (2015); A Solo Piece for a Pantoja “Terremoto.” Since she was a
Flamenco Dancer (2016); Guerrero

Patricia Guerrero

Catedral

World Premiere 30 September 2016, Bienal de Flamenco
de Sevilla, Lope de Vega Theatre, Seville, Spain

Duration 1 hr 40 mins (no interval)
Due to the improvised nature of the performance,
running times are approximate

“Catedral is my insight on freedom. Freedom that
leads, on every moment, to express what is told by
intuition. An intimate freedom. It is the moment to
let go of the dogmas that sometimes make us
forget who we are” Patricia Guerrero

In Catedral Patricia Guerrero transforms the stage
into a sacred, spiritually charged space. In this densely
atmospheric world of phantoms, light and shadow,
a woman battles her demons, raging against the
religious and social constraints that paralyse her.

Cast, Creative &
Production Team

Principal Dancer Patricia Guerrero
Dancers Maise Márquez – Ana Agraz –
Laura Santamaría
Tenor Diego Pérez
Counter-Tenor Daniel Pérez
Singing José Ángel Carmona
Guitar Juan Requena
Percussion Agustín Diassera
and David “Chupete”
Scenic Direction Juan Dolores Caballero
Choreography Patricia Guerrero
Musical Composition Juan Requena –
Agustín Diassera
Lighting Design Manuel Madueño
Graphic Design Álvaro Escriche (poster) /
Juan José Morales “Tate”
Wardrobe Realisation Laura Capote
Photography Monty / Óscar Romero
(Premiere, Archivo Bienal)
Technical Direction & Lighting
Sergio Collantes de Terán
Sound Rafael Pipió
Distribution and Booking
Pablo Leira Doce
Production Assistant
José Manuel Navarro
Production Director
Guiomar Fernández Troncoso
Produced by Compañía Patricia Guerrero
and Endirecto FT S.L.
Co-producers Bienal de Flamenco de
Sevilla, Festival de Jerez y Conseil
Départemental des Landes (Francia).
In collaboration with Festival de Cante
Jondo Antonio Mairena

This performance is supported by
Acción Cultural Española, AC/E

This company is supported by
Instituto Nacional de las Artes Escénicas
y de la Música, Ministerio de Cultura y
Deporte, Gobierno de España

Patricia Guerrero

Patricia Guerrero, born in Albayzín,
Granada in 1990, first became acquainted
with flamenco at home. She began
training at her mother’s academy,
assimilating classical and classical
Spanish dance as well as flamenco. Her
first public performance was at the Peña
La Platería, when she was only eight years
old. Shortly after, she already shared the
stage with Juana Amaya at the Flamenco
Festival in the Albayzín.

In 2010, she presented the first of her
shows, Desde el Alabayzín (“From the
Albayzín”), touring several European cities
with it. After performing as a soloist in
Carlos Saura’s show Flamenco today, she
collaborated with the film-maker on his
film Flamenco, Flamenco, where she
appears dancing guajira. In 2013
Guerrero premiered her second show,
Latidos del agua (“Heartbeats of water”)
at the Alhambra Theatre in Granada. The
same year she also presents Touché, a
new production together with the violinist
and composer Bruno Axel, with which she
tours major music and dance festivals. In
February 2016, at the 20th anniversary of
the Festival de Jerez, she presents
Pórtico, a piece that gave a preview of
Catedral, a show premiered at the XIX
Biennial of Seville at the Lope de Vega
theatre. Catedral was awarded the
Giraldillo for best show at the XIX Biennial
of Seville. In 2018, she presented Distopía
at the XX Bienal of Seville.

Patricia Guerrero. Photo: Óscar Romero

Amir ElSaffar Amir ElSaffar
Ensemble
Trumpeter, composer and santur
Luminiscencia player Amir ElSaffar brings flamenco
and Arabic maqam together in an
World Premiere 2 February 2019, ecstatic contemporary sound world
Flamenco Biënnale Nederland that includes electronics, strings,
and ElSaffar’s trumpet, combined
Duration 1 hr 10 mins (no interval) with the voice, dance rhythm,
Due to the improvised nature of the and duende of flamenco.
performance, running times are approximate
ElSaffar is a skilled trumpeter who
“I am interested in finding a universal sound has performed with jazz luminaries
that resonates deep within the well of human such as Cecil Taylor, Vijay Iyer, and
feeling, keeping the conduits of the heart Mark Dresser and leads several
open. I am seeking the sound that emanates projects combining jazz with maqam,
from an ancient, timeless past, yet is of this including his 17-piece Rivers of
present moment, where individual, personal Sound Orchestra, which has toured
experience parallels larger consciousness. It’s internationally. He is also composer-
not about merging languages and traditions, in-residence at the Royaumont
or cross-cultural collaboration. When we Foundation in France, which has
expand beyond song forms and allow partnered with the Flamenco Biennale
ourselves to spill over the established routes of the Netherlands in commissioning
of tradition, we can find something magical, this new work from ElSaffar.
eternal, yet ephemeral, an inherent state of
human connectedness. Amir ElSaffar. Photo: Michael Crommet

“In the frequencies and overtones of the Gema Caballero. Photo: Carmen Hache
flamenco voice, the subtle nuance, and the
melismas there is a feeling – as the lines
progress, different characters, emotions,
nuances, archetypes, epochs bubble to the
surface and recede, giving way to others,
flowing, each moment something new. It is
flamenco, but at the same time is connected to
a universal sound beyond all notions of form or
tradition, free of all forms of temperament.

“In the subtle microtones of Arabic maqam
and the modes and flamenco, in the turnings
of the compass, the deep duende and ecstatic
tarab (musical ecstasy), we have the possibility
to reach the state that is grounded, of the
corporeal, yet of a transcendent nature”

Amir ElSaffar

Cast, Creative &
Production Team

Voice Gema Caballero
Dance Vanesa Aibar
Percussion Pablo Martin Jones
Electronics Lorenzo Bianchi Hoesch
Violin, Viola, Iraqi Fiddle Dena ElSaffar
Trumpet, Santur, Voice Amir ElSaffar

A Fondation Royaumont and Flamenco
Biënnale Nederland production,
supported by The Abu Dhabi Festival and
presented in partnership with Flamenco
Festival London and Sadler’s Wells

Vanesa Aibar. Photo: Chokone

David David Carmona
Carmona
David Carmona Fernández, born in
Un sueño de Locura Granada, belongs to the dynasty of
the Fernández de Íllora, a family full of
Duration 1 hr 10 mins (no interval) illustrious flamenco artists. He studied
Due to the improvised nature of the at the Music School of Córdoba “Rafael
performance, running times are approximate Orozco,” where he obtained his degree
Un sueño de Locura (“A dream of madness”) in flamenco guitar, and where he now
is the result of years of professional experience teaches. David Carmona composed
and intense learning alongside Manolo Sanlúcar, the music for Suite Flamenca from the
gathering and assimilating concepts in all work Metáfora for the Ballet Andaluz de
aspects of flamenco, guitar and music in general, Flamenco de la Consejería de cultura,
building a series of themes embodied in this which premiered in 2012 in Jerez de la
work, which is characterised by the solidity of Frontera, had great critics from press,
the compositions – without ‘pleasant’ and was nominated for the Max Awards
concessions and lacking in meaning. that year, while also performing all over
Each piece has its own story, its own ‘madness’ Spain and Europe with the Ballet Andaluz
in itself. The concert presents a thoughtful, de Flamenco. Between 2013 and 2016
coherent and suggestive proposal to point out he showed his art in theatres around the
one of the paths of evolution of Andalusian world as the second guitarist to Manolo
music from its guitar tradition. Sanlúcar, in his performances as second
guitarist all over the world and in David’s
Programme own concerts in France, Turkey, Italy,
Mexico, Brasil or Portugal. At present he
Obsesión (Taranta) has various concerts around the world,
Rincón De La Soleá (Soleá) presenting his work Sueño de locura.
Bulerías Del Mixolidio (Bulería)
De Sanlucar Al Tesorillo (Alegrías)
Fandangos De Huelva
El Detalle (A Ritmo De Soleá)
Tientos
Desgranar (Tangos)

Cast, Creative &
Production Team

Guitar David Carmona
Singer Carmen Molina
Percussion Miguel “El Cheyenne”
Booking [email protected]
This concert is part of the series
Flamenco Eñe, co-organised with
Fundación SGAE

David Carmona. Photo: Javier Algarra

Kiki Morente

Albayzin

Duration 1 hr 15 mins (no interval)
Due to the improvised nature of the performance,
running times are approximate
The name Albayzín refers to the historic gypsy
neighbourhood of Granada, the Morente family’s
Andalusian hometown. With this concise, genuine
and deeply personal musical exploration, the young
Kiki Morente shows his work to be steeped in
classical tradition but also full of bold contemporary
innovation – much like the city of Granada itself.

Cast, Creative &
Production Team

Voice Kiki Morente
Guitar David Carmona
Percussion Pedro Popo Gabarre
Dance Irene Rueda
Management engira.net, [email protected]
This concert is part of the series Flamenco Eñe,
co-organised with Fundación SGAE

Programme

Corro
Caña
Como fue
Siguirilla
Taranto (baile)
Solo Cajon
Alegrías
Tangos
Aleluya
Buleria

Kiki Morente. Photo: Alex Rademakers

Jesús Carmona Jesús Carmona. Photo: Jesus Robisco

Residency Sharing

Duration 1 hr 10 mins (no interval)
Due to the improvised nature of the performance,
running times are approximate

This open studio sharing follows a two-week residency.
Through a journey of meditation, energy work, physical
and emotional digging, writing and experimenting the
group created 25 minutes of new material that will be
shared, followed by facilitated discussion.

By exploring the range of energy and emotion possible
in flamenco and in the embodiment of the masculine,
Jesus, Ferrán, Sabio, Ivan & José Ángel share their
findings, discoveries and road blocks.

Cast, Creative &
Production Team

Artistic Director Ferran Carvajal
Dancer Jesús Carmona
Singer José Ángel Carmona
Meditation Master Ivan Bavcevic
Multi-Instrumentalist Sabio Janiak
Producer Miguel Marín
Collaborators Chisato Shemesh
and Yasmin Mahmoud

This project is supported by
Acción Cultural Española AC/E

Jesús Carmona collaborations in Juli Cèsar (2003), Dels artists, choreographers and dance
Excorxadors (2006), Sta. Joana Dels companies in the UK and abroad. Some
Carmona’s desire to showcase his Excorxadors (2006), Goldberg (2008), of collaborations includes: Hagit Yakira
personal side and pave his way into Krum (2014), La Nostra Clase (2011) and Dance, Hofesh Shechter Company, The
the arts led him to leave the National Tragèdia (2011). He choreographed La Place, The Royal Ballet School, Royal
Ballet of Spain and embark on a new Traviata (2013) and Anna Bolena (2011) Academy of Dance, Richard Alston Dance
adventure in Black and White Cradle, and performed El Beso de la Muher Araña Company and New Adventures.
presented at the Bienal de Flamenco (2004) and Unes Polariods Explicites
de Sevilla 2012. In 2014, he presented (2001). He directed the short film Tornem- Ivan Bavcevic
7 Balcones, the second production hi! (2013), Tornem-hi! (2013), the first
with his own company. He was principal production of a 12-part series written by Ivan Bavcevic graduated in management
dancer alongside Antonio Canales, psycho-oncologists and titled Píndoles and specialised in personal development
Karime Amaya and Carlos Rodríguez at Isocràtiques. For five seasons Ferran at two American universities. As a
the Flamenco Festival Gala Flamenca, was part of the cast of El Cor de la Cuitat student, he met his spiritual teacher in
touring around the world and obtaining (2000-2007), the TV3 television series. India, who motivated him to combine
great reviews from press and audience. In management, psychology, spirituality
2015, he premiered his third production, Sabio Janiak and energy healing in his work. He is
called Ímpetus (“bursting with energy”). the founder of the School of Awareness
A piece of it was presented successfully Sabio Janiak has over 20 years of and Spiritual Mastery that operates in
in the 2015 Fall for Dance Festival at New experience as a composer and session Croatia, Spain, Slovenia and Serbia. His
York City Center. He also presented in multi-instrumentalist. His experience work focuses on expression and healing
Miami and Los Angeles in 2017. In 2018, of working together with world-famous of blocked emotions through body
after a successful tour in London and artists has developed his unique movement, breathing and energy flow,
the United States with Ímpetus, Jesús ability to be able to play more than entering into the silence to experience
Carmona presented Amator in April. 100 instruments. In 2012 he became a the true self, and mastering the mind
certified cellular resonance therapist. in order to use it as an instrument to
Ferran Carvajal His main focus is to work with sound on create a beautiful life. Ivan is the author
a micro-vibrational level, discovering of The Knowledge is Within You and
Ferran Carvajal is an actor, dancer, how it relates to the physical body on a is a guest lecturer and speaker at the
choreographer, producer and director cellular level and how it can affect the Granada University. He has done several
who has presented his work in live make-up and quality of even our blood. residency programmes with flamenco
theatre, opera, film and television. Ferran Since 2008 Sabio has been working artists, including with Belen Maya and
often works in a cross-disciplinary mainly as an accompanist, composer and Olga Pericet.
fashion, taking-on several roles in artistic performer collaborating with dancers,

Sergio de Lope Programme

Ser de Luz Madre Tierra (nana flamenca)

Duration 1 hr 15 mins (no interval) Desvelo (solea por bulerías)
Due to the improvised nature of the performance,
running times are approximate Ser de Luz (Garrotín)
Music is the memory of the world, and flamenco serves as
memory for the Andalusian people. Sergio de Lope brings Tangos del buenro (tangos)
to life the force of flamenco on people that experience it.
Ser de luz is an exploration of musical remembrance, of the Alegrías
good vibes music, and the grandmasters of flamenco, from
whom we have learned so much and who have continued Recuerdo a Enrique (seguiriya)
the legacy of so many human lives.
Churretillo (fandangos de Huelva)
Sergio de Lope. Photo: Ruiz Jimenez
Canastera (bulerías)

Cast, Creative &
Production Team

Flute & Saxophone Sergio de Lope
Dancer Cristina Aguilera
Vocals Matias López ”El Mati“
Guitar David Caro
Bass JuanFe Pérez
Percussion Javier Rabadán

This concert is supported by
Accion Cultural Española AC/E

Sergio de Lope

Flamenco-jazz flutist and saxophonist
Sergio de Lope was born in 1985 in
Priego de Córdoba, Spain. He started
studying the saxophone at eight, and
at 16 decided to teach himself to
play flamenco on the flute. Later, he
graduated from the Advanced Music
conservatory of Córdoba, specialising
on flamencology (“flamecología” in
Spanish). In 2017, he was honoured with
the Filón Minero Award. He was also
chosen as Mediterranean emerging
artist of Medinea (MEDiterranean
INcubator of Emerging Artists). He has
performed at major festivals, venues and
theatres including Teatro Real in Madrid
(Spain), Flamenco Festival New York,
the White Night of Flamenco in Córdoba
(Spain), Festival d’Aix en Provence
(France), International Mugham Festival
in Baku (Azerbaijan), Lyric Theatre in
Johannesburg (South Africa), Bolívar
Theatre in Quito (Ecuador), The Elgin
(Canada), The Concourse in Sydney
(Australia), Elisabeth Murdoch Hall
in Melbourne (Australia) and Festival
Flamenco of Montreal (Canada), working
with the likes of Farruquito, Chano
Domínguez, Javier Latorre, Estrella
Morente, Diego Amador, Josemi
Carmona, Javier Limón, Dani de Morón,
Jesús Méndez, Antonio Reyes, David
Pastor and José Antonio Rodríguez.

Alvin Ailey
American Dance
Theater

4 - 14 September

HHHHH “Thrilling.
A night of pure joy”

The Observer
Sadler’s Wells Theatre
sadlerswells.com
020 7863 8000

Angel

Coming Soon

Photo: Stephen Wright Photo: Manuel Vason

Young Associates National Youth Dance Company / Botis Seva
Together, not the same MADHEAD

Wednesday 17 July Friday 19 July
£12 (£6 for concessions)* £12 (£6 for concessions)*

Sadler’s Wells Theatre Sadler’s Wells Theatre

In October 2018, the Sadler’s Wells Young Associates introduced their Marking the end of a successful national tour, National Youth Dance
refreshing voices to audiences at sell-out performances in the Lilian Company (NYDC) stage their new work created by acclaimed 2018/2019
Baylis Studio. guest artistic director and 2018 Olivier Award winner, Botis Seva.

Now, Anthony Matsena, Wilhelmina Ojanen, Ruby Portus and Christopher 38 of the country’s best young dancers present a unique evening fusing
Thomas, alongside a team of young creatives, disrupt the traditional contemporary dance, physical theatre and hip hop, as Botis Seva’s
mixed bill dance format under the artistic guidance of New Wave choreographic style combines with the young dancers’ energy and talent.
Associate Hetain Patel.
“They are strong, skilful and ready for anything”
“We have some exciting new names in the dance world Daily Telegraph on NYDC
to look forward to” Young Talent UK

Photo: Laurent Liotardo Photo: Stella Olivier

English National Ballet Dada Masilo
Akram Khan’s Giselle Giselle

Wednesday 18 - Saturday 28 September Friday 4 & Saturday 5 October
£75 - £15* £45 - £15

Sadler’s Wells Theatre Sadler’s Wells Theatre

Sadler’s Wells Associate Artist Akram Khan’s reimagination of the archetypal For her Giselle, the fearless South African choreographer Dada Masilo
Romantic ballet is fast earning a reputation as a modern masterpiece. places the definitive Romantic heroine in South Africa. Deserted by her
lover, Giselle, danced by Masilo herself, is guided by a Sangoma, a
With the action moved to a condemned garment factory, a community of traditional healer, in a trailblazing feminist take on the classical ballet.
migrant workers serve at the mercy of the factory’s landlords, while the
ghostly figures of their victims form a vengeful cabal within Academy Featuring a contemporary score by South African composer Philip Miller,
Award-winning Tim Yip’s towering set and Vincenzo Lamagna’s adaptation which pays homage to Adolphe Adam’s score, and traditional Tswana
of Adolphe Adam’s original score. dance styles.

★★★★★ “Staggeringly beautiful and utterly devastating” “Bold, brazen, unapologetic and absolutely enrapturing”
Daily Express Dance Magazine

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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 Sadler’s Wells Donors and Supporters
Artists and Trust and Thank you to all those who generously support the
Companies Foundation theatre and our programme of work on and off stage

Associate Artists Sadler’s Wells Trust Individuals Season Patrons
BalletBoyz® Maria Adonyeva
Matthew Bourne Chairman Avant-Guardians Angela Bernstein CBE
Sidi Larbi Cherkaoui Nigel Higgins Anonymous Celeste Fenichel
Jonzi D Humphrey and Samantha Lee
Sharon Eyal Deputy Chairman Craig Mullan
Michael Hulls Sharon White Ginny Battcock Majella Murphy-Altschuler
Michael Keegan-Dolan David and Primrose Bell Yukiko Pajot
Akram Khan Directors Sue Butcher Robin Pauley
Russell Maliphant Humphrey Battcock Lloyd and Sarah Dorfman Samuel and Nina Wisnia
Wayne McGregor Lord Bethell Sanya Polescuk
Crystal Pite Sue Butcher New Production Patrons
Kate Prince Sarah Evans and Nigel Higgins Anonymous
Nitin Sawhney Robert Glick Aud Jebsen Denise and Rab Bennetts
Hofesh Shechter David Lan Jack and Linda Keenan Lauren and Michael Clancy
Jasmin Vardimon Tim Marlow Alexander and Brenda Leff John Drewitt
Christopher Wheeldon Farah Ramzan Golant Ann and Martin Smith Charles Glanville
David Ripert Farah Golant
Associate Artist Emeritus Sanoke Viswanathan Major Project Support Claire Griffiths
Sylvie Guillem The Blavatnik Family Foundation Mrs Joyce Kan
Honorary Member The Deborah Loeb Christopher Kneale
Resident Companies Sandi Ulrich
Company Wayne McGregor Brice Foundation and Michael Page
New Adventures Sadler’s Wells Foundation Stephanie and Colin and Deirdre McKechnie
ZooNation: The Kate Prince Frank and Helen Neale
President Jacques Gabillon Vanessa and Vincent Ponsonnaille
Company Lady Solti Hugues and The Porter Foundation Switzerland

Associate Company Honorary Vice President Emmanuelle Lepic Project Supporters
English National Ballet Ian Albery Aspect Charitable Trust
Ian Hay Davison CBE Artistic Director’s Circle Carol Lake
International Associate Anonymous The Mactaggart Third Fund
Companies Chairman David and Torunn Banks Seat Appeal Supporters
Acosta Danza Nigel Higgins James and Melissa Bethell Kate Wormald –
Rosas Jules and Cheryl Burns
Tanztheater Wuppertal Deputy Chairman Kathleen Crook and OESA Partners
Rab Bennetts
Pina Bausch James Penturn Legacy Circle
Directors Christophe Czajka and Klara Bloch
Sadler’s Wells Ambassadors Rab Bennetts OBE David and Deborah Botten
Gillian Anderson Dan Daw Brid T Rodgers Mike and Caroline Howes
Hussein Chalayan Kathryn Firth Sarah Evans Ross Roberts
Antony Gormley Andy Lerpiniere Anindita and
Anish Kapoor Roger Spence Commissioning Patrons
Arlene Phillips Paul Williams Ravi Gupta Anonymous
Fiona Shaw Paul Mulholland Francois and Anais Aguerre
Neil Tennant Trustee Placements Stephen & Yana Peel Geoff and Judith Batchelar
Richard Wilson Melissa Sykes Julie and Karim Saddi Nigel Boardman and
Ivan Yuen Shafranik Family
Sadler’s Wells Fellowship The Ulrich Family Lynda Gratton
We thank former board Honorary Members Cynthia Brown and
members and those who Valerie Colgan
have given significant Marian Spall Andy Tomkins
and sustained support Nica Burns OBE
Honorary Clerk Juliana Farha and
Ian Albery Joachim Fleury
David and Primrose Bell Kit Malthouse
Angela Bernstein CBE Clerk to the Foundation Swagata and Nupur Ganguly
Jules Burns Alistair Spalding CBE Neil Griffiths-Lambeth
Nica Burns OBE Lettie Hart
Marco Compagnoni Laoise Hayes
Kathleen Crook Bee Hopkins
Celeste Fenichel Anne Kauder
Joachim Fleury Faizal Khan
Ian Hay Davison CBE Latifa Kosta
Ian Jentle Vicki Lant
Carol Lake John and Susan Lazar
Harry MacAuslan Alison and Dominique LeMaire
Lesley MacDonagh Karen and Lawrence Lever
Annie Norton Nancy Miller and Glen Ireland
Camilla Jessel Panufnik Nathalie and Nicolas Motelay
Robin Pauley Nicola Nicholls
Robin Saunders John Nicoll and
Ann and Martin Smith
Valerie Solti Laurence Colchester
Vanni Treves CBE Mr C and Mrs A Norton
Sandi and Jake Ulrich

Georgia Oetker Raphael Im Trusts and Foundations
Midge and Simon Palley Esther Isaacs
Dr Elizabeth Parker Vanessa Kandiyoti 29th May 1961 Charitable Trust
Frances Prenn Sybil and Herbert American Express
Joan Ritchie Baring Foundation
Ross Roberts Kretzmer OBE City Educational Trust
His Excellency Rebecca Kwee Cockayne – Grants for the Arts
Kim Lavely Edwin Fox Foundation
Ghassan I Shaker Derek Lee FEDORA Platform
Georgie Shields and Andrew Lerpiniere Great Britain Sasakawa Foundation
Harry and Fiona MacAuslan Harold Hyam Wingate
Trevor Francis Sarah Martin Monument Trust
Wendy Sigle Alessandra Masoero Robert Gavron Charitable Trust
Graeme and Susan Sloan Patricia Masri Teale Foundation
Matthew Slotover and Emily King David Mathew
Christopher and Terrie McCann Corporate
Jane Miller
Fiona Steane Andrea Mitchell Corporate Partners
Max D Steinkopf Erdem Moralioglu Bloomberg
Allen Thomas and Richard Morgan Citadines Apart’Hotels
Koji Moriya Clifford Chance
Jane Simpson The Mucha Family Criterion Ices
Eric Tomsett John Nugent DoubleTree by Hilton
Geoff Westmore Venkatramanan Panchapakesan Egon Zehnder
Sarah Perry ERMAK Group
and Paula Clemett Dave Plummer and Rothschild & Co
Paul and Christine Williams
Meng Zhou Lesley Whitby Local Business Members
John F Powell Viaduct Furniture
The American Friends Peter B Rea Bourne & Hollingsworth
Colin and Deirdre McKechnie Phoebe and Nick Reith Ibery Brother Marcus
Celia Rodrigues (President) and David Ripert Frederick’s
Marc Roberts and Moro
Mark Rodrigues Viaduct Furniture
Monica Voldstad Rafael Navarro
Susanna Rodriguez Embassies /
Opening Night Patrons Kristina Rogge Government Agencies
Anonymous Robert and Corinne Rooney Embassy of Spain
Ayongga Anatoly Savin Embassy of Sweden
Diana Abergerllgaier Albin Serviant Institut Français du Royaume-Uni
Hannah Azizollah Maria Sheremteva Italian Cultural Institute
Severine Balick Brian Smith Taipei Representative Office
Bruno Bertrand-Delfau Alistair Spalding CBE
Joanne Black Juliet Strang in the UK
William Boyce Alex Timken
Alison Brodie Nigel Turner
Maria Bukhtoyarova Cem/Tolga Uzuner
Ossi and Paul Burger Anna Valentine and
Jim Carroll
Guy Chapman Jonathan Berger
Jenny Chu Lou Verrill
Ady Coles Sarah Jane Watson
Charles Cook Josh Wood
Andrew Cullen David and Vivienne Woolf
Amanda Cupples Kate Wormald –
Loraine da Costa
Dr Genevieve Davies OESA Partners
Dr Michael Dilley Chizuko Yashiro
Angela Docherty Pam Zinkin
Maryam Eisler
Sarah Elson Performance Members
Magdalen Fisher Andrew Barnett
Mo Fisher and Claude Keith Lt Col Dafydd Edwards
Michael and Tessa Green Sandrine Jensen
Natalie Greenwold Eugene Leahy and
Margaret Guitar
David Hanson Helmert Robbertsen
Jonas Havnes Gerald Lidstone
Sarah Hayter Juliette Morris
Steve Hendry Helen Mundy
Lady Sue Hendy Sally Pasmore
Mina Gerowin Herrman Geraldine Ravet
Isla Smith
and Jeffrey Herrman Alison Smyth
Mike and Caroline Howes David Taylor
Rita Hughes
Mr Sajid F. Hussein

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

Sadler’s Wells Staff

Artistic Director and Senior Producer Senior Development Officer, Senior Chef De Parties Ewa Lamond, Lisa Laville, Ljiljana
Chief Executive Ghislaine Granger Members & Patrons Aaron Hartmann Lemajic, Maddie Lewis, Freya
Alistair Spalding Producer Rebecca Fogg Paul Mileham Macdonald, Esther Mark, Claire
Chief Operating Officer Ellie Hartwell, Jemma Robinson Corporate Partnerships & Kitchen Assistants Marty, Francis Maskens, Katie
Britannia Morton (Maternity Cover) Events Officer Ellie-Brook Dean, Luminita Sfesnic Mason, Timesha Mathurin, Takeshi
Executive Director Tour Producer Ornela Salloum Kitchen Porters Matsumoto, James McAndrew, Iona
Magdalen Fisher Aristea Charalampidou Individual Giving Coordinator David Cabrol McGuire, Madeleine Millar, Hannah
Technical Production Manager Katherine Sharp Andrew Ejayese Millward, Carole Mitchell, Amelia
Finance Director Adam Carrée Members & Patrons Coordinator Catering Manager O’Hara, Raisa Pankalainen Wendy
Mark Rhodes Assistant Producers Joely Langston Claudiu Cheana Parry, Hannah Parsons, Paula
Executive Producer Florent Trioux, Lani Huens Catering Administrator Patritti, Rafaella Petropoulou, Nicki
Suzanne Walker Producing & Touring Intern Finance Janet Elliott Perrett, Danielle Pollastri, Eloise
Director of Technical Leila Jassal Duty Catering Managers Price, Magdalena Radlowska,
& Production Finance Director Alessio Colandrea, Georgia Redgrave, Kelly Robinson,
Emma Wilson Content & Audiences Mark Rhodes Jolanta Petrauskaite Rowan Roberts, Dorit Schwartz-
Director of Learning Financial Controller Catering Team Leaders Young, Jamie Sheehan, Freya Tate,
& Engagement Director of Content & Audiences Paul Warren Marcus Romaneli, Sophia Naneli, Henrietta Thomas, Benjamin Todd-
Joce Giles Ankur Bahl Senior Management Accountant Sonia Teape Jones, Caroline Topley, Lily Tran, Nu
Director of Development Content Manager Rémi Lacroix General Catering Assistants Tran, Calvert Watson, Emma Wells,
Phoebe Reith Rosanna Chianta Management Accounts Daisy Barrett, Karolina Baublyte, Jairo Zaldua
Director of Data & Systems Content Officer Administrator Natalie Beale, Nicola Beale, Isabel
Matt Kirby Rosie Mackie Jodie Edwards Bogo Saavedra, Rosaleen Brooks, Stage Door
Director of Content & Audiences Show Accountant Jamie Buchanan, Paige Dehaarte- Receptionist
Ankur Bahl Digital Lorne Cuthbert Wiseman, Maria De Melo Sousa, Joann Peek
Interim Director of Digital Manager Finance Officer Ewa Dina, Josh Gill, Deborah Senior Stage Door Keeper,
Campaigns & Sales Mark Doerfel Monisola Samuel Gomes, James Holmes, Egija The Peacock
Jane Macpherson Digital Officer Finance Assistant Kavecka, Jessie LaFargue, Rachel Copel
Sarah Vaughan-Jones Sheena Shah Jennifer Lake, Ciara Lynch, Stage Door Keepers
Programming Isobelle Mason, Ashley Miles, Eva Marie-Claire Adriaenessens, Faith
Press Data & Systems Parets Merino, Roger Maul, Maria Alibi, Hollie Ashton-Penketh, Neil
Programming Head of Media Relations Director of Data & Systems Perego, Asta Petrauskaite, Collins, Joshua Gill, Cory Haas,
Head of Programme Abigail Desch Matt Kirby Raffaella Scotto Di Clemente, Sam Hopkins, Laura Kerin, Vivien
Anneliese Graham Senior Press Manager CRM Database Manager Anita Sidoruk, Lizzie Treece, Loh, Magdalena Radlowska,
Artistic Programmer & Caroline Ansdell Dmitrij Zeile Kathryn Turner, , Marilyn Webster, Hannah Scothern, Laura Wyatt-
Artist Development Press Officers Data Insight Analyst Hallam Wood, Anqi Zhao O’Keeffe
Eva Martinez Charlotte Constable, Ian Briggs Events Manager
Peacock Programmer Chelsea Robinson IT Service Desk Analysts Alessio Romani Housekeeping
David Fry Stephen Amissah, Events Executive Cleaning &
Projects Producer Campaigns & Sales Jake Hummerston Tayma Trotman Housekeeping Manager
Robyn Cabaret Events Assistant Fabian Arias
Programme Manager Interim Director of Human Resources Georgia Cantwell Cleaning and
Richard Cross Campaigns & Sales Housekeeping Supervisor
Programming Coordinators Jane Macpherson Head of HR Visitor Experience Ken Debidin
Christopher Haddow Head of Campaign Marketing Clair Kelly Cleaning & Housekeeping
Winona Guy Sammie Squire HR Manager Head of Visitor Experience Team Leader
Programming Intern Marketing Manager, Lesley Owusu Howard Clark Antonio Villanueva
Rebekah Hundeyin Productions & Touring HR Assistant Cleaners
Daniel King Tiegan Hummerston Building Services Marc Aster, Albina Boho,
Breakin’ Convention Marketing Manager HR Support Apprentice Building Services Manager Jeffrey Balighot, Fortunato
Artistic Director, Martha Quigley Bobby Arowosola Tony Stacey Carian, Ben Coughlan, Kelly Dago,
Breakin’ Convention Publications Officer Senior Building Sheen Mae De Austria, Jose Lary
Jonzi D Maxine Smiles Capital Projects Services Technician Legario, Marlon Passial, Mercan
Head of Breakin’ Convention Marketing Coordinator Wayne Lawrence Sahin, Thayaparan Eliyathamby
Michelle Norton Nicki Perrett Projects Manager Building Services Technicians Sinnathamby, Ziegfredo Tanilon,
Tour Producer, Breakin’ Marketing Assistant Charlotte Meyer Ron Caverly, Richard Emmett, Cyrille Tchaho Wandji, Crystal
Convention Kathy Hughes Projects Coordinator Daniel Knapton, Anthony Kolawole, Wong, Amani Yoboue
Emma Ponsford Joy Williams Ghion Mekonnen
Digital Communications Officer, Ticket Office Building Services & Security
Breakin’ Convention Head of Ticket Office Technical Technical Coordinator Security Officers
Dave Barros James Broderick Elsa Stevens Akeel Ahmed, Andrew Ayinbode,
Education Coordinator, Deputy Ticket Office & Director of Technical Kenny James, Katie Torbett,
Breakin’ Convention Systems Manager & Production Front of House Kemoh Sesay
Shay Rafati David Knight Emma Wilson Senior House Manager Technical Lighting Supplier
Breakin’ Convention Coordinator Sales & Revenue Manager Marguerite Bullard
Karine Goudout Timothy Cook Sadler’s Wells Theatre House Manager With thanks to our colleagues at
Breakin’ Convention Ticket Office Duty Managers Technical Manager Haroula Lountzi the London School of Economics:
Support Apprentice Barbara Birch, Mark Hammond, Zeynep Kepekli Deputy House Managers
Ryan McAneny Abigail Parker Technical Coordinator Dara Brooks, Larry Harrison- Head of Conference
Ticket Sales Assistants Tom Hares Mateeba, Janine Kaufman, & Events
Learning & Engagement Virginia Aparicio, Samuel Bailey, Head of Lighting Duncan Steer Rachel Ward
Sarah Beebe, Clare Bracewell, Graham Cutting Duty House Manager LSE Theatre Manager
Director of Learning Stephanie Brotchie, Tim Chen- Head of Sound Luigi (Gigi) Giannella Sam Gaid
& Engagement Hudson, Melissa Collier, Neil Collins, Mark Noble Front of House Sales
Joce Giles Louise Crane, Lisa Diveney, Technicians Administrator The information in this
General Manager, NYDC Brandon Force, Ben Francis, Elspeth Rob Foskett, Ben Walker Louise Cooper programme was correct at the
Hannah Kirkpatrick Harrison, Nick Harrison, Sophie Head of Wardrobe Performance Cashiers time of going to print and may be
Community and Holdstock, Wesley Jones, Steph Miwa Mitsuhashi Dara Brooks, Robert Churchill, subject to change.
Engagement Manager Lodge, James McAndrew, Lee Chris Harmer, Larry Harrison-
Natasha Anderson McDonnell, David Mindham, The Peacock Mateeba, Alex Wood
Projects Producer, Learning Thomas Montagu-Harrison, Sheila Technical Manager, Front of House Assistants
& Engagement Motani, Sophie Newton, Grace The Peacock Jessie Acton, Christina Adonoo,
Lucy Clarke-Bishop Nyandoro, Joel O’Donoghue, Nicola Paul Burgess Marie-Claire Adriaenessens, Keziah
Rosalind Hewett (Maternity Cover) O’Keeffe, Paula Patritti, Matt Phillips, Senior Technician Allen, Winifred Arhin-Amankwah,
Projects Manager Rosalind Reeder, Nicola Salt, John James Kazwini Makiko Aoyama, Serael Asphall,
Elaine Foley Sinclair, Lois Tucker Technicians Naida Babic, Paddy Barras-Hargan,
Learning & Engagement Officer Sophie Brown, Corinna Barker, Alex Barnes, Lisa
Sara Daniels Corporate Communications Imogen Clarke Beck, Amy Bentley, Dominic Berry,
NYDC & Learning & Alessandra Bertocco, Lorea Burge,
Engagement Coordinator Senior Communications Manager Lilian Baylis Studio Becky Byers, Jane Chan, Alexandra
Rosalind Hewett Giulia Ascoli Senior Technician Cheung, Kris Clay, Naomi
Laura Warner (Maternity Cover) Communications Coordinator Fraser Thompson-Noble Cockshutt, Marie Deane, Ioana
Learning & Shirley Ahura Technicians Delves-McGuire, Helen Doyle,
Engagement Assistant Nick Rundall, Simon Young Alexandra Duran, Barney Evans-
Shiri Fileman Development Doran, Lindsey Fraser, Lauren Ford,
Catering & Events Simone Gray-Ritson, Carina
Producing & Touring Director of Development Griffiths, Sally Hacking, , Chris
Phoebe Reith Head of Catering & Events Harmer, Aimee Harrison, Anna
Executive Producer Head of Individual Giving Zuzana Galikova Harrison, Kylie Hawryliw, Sam Hind,
Suzanne Walker Katie Wellington Development Head Chef Geber Sandoval Heredia, Nadia
Head of Producing & Touring Trusts & Foundations Manager Kenny Warren Jaglom, Kornelia Jaroc, Jasmine
Bia Oliveira Edie Culshaw Sous Chef Kambi, Laura Kasmauskaite,
Paul Walsh Athina Kavaklioti, Grace Keeble,