2009 Programme Flamenco Festival London

Flamenco
Festival

London

Saturday 14 – Sunday 29 March 2009

IFC

Welcome to
Flamenco Festival, London

Photo: H. Glendinning.

Alistair Spalding
Artistic Director and Chief Executive

Front cover photo: Javier Suárez.

Events at Events at the Instituto
Sadler’s Cervantes in London
Wells
Organised by the Instituto Cervantes in collaboration with Flamenco Festival.
FLAMENCO DANCE CLUB
The following events are taking place during the festival at the Instituto Cervantes,
Friday 20 March, 7pm 102 Eaton Square, London Telephone: 020 7235 035
Lilian Baylis Studio www.londres.cervantes.es [email protected]
Sadler’s Wells’ monthly dance club
takes a flamenco theme with classes EXHIBITION
from 7.15pm at beginner and gener-
al levels before the club night Opens Wednesday 18 March – 6pm
begins at 9pm. Featuring resident DJ Thursday 19 – Friday 27 March 11am-
Cliffy with a selection of global 6pm
beats.
Tribute to Antonio Gades

An exhibition showing
the artistic life of a
revolutionary figure in
the world of Spanish
dance and Flamenco.
Gades used an artistic
language which had its
roots in the culture and
traditions of the Spanish people.
Antonio was born in Elda (Alicante) in
1936 in a humble household. Starting to
dance at 14 years old, he went on to be
considered as one of the best in the
dancing world.

Presented by Eugenia Eiriz, Director of the Antonio
Gades Foundation www.antoniogades.com

FILM SCREENING

Friday 20 March 5.30pm

Antonio Gades: la etica de
la danza

Directed by Juan Caño Arecha
Duration 57minutes

A documentary that reconstructs the
dancer’s professional life through his
own voice. A film that travels to the
essential landscapes of Gades’ personal
history with additional unedited
documents and testimonies of the
people who shared his life with him and
the history of Spanish dance of recent
decades. (In Spanish with English
Subtitles)

Produced by Fundación Antonio Gades, TVE and
Sociedad Estatal de Conmemoraciones Culturales
(SECC)

FlamencoSADLER´SWELLS PRESENTS
Festival
London
Sadler’s Wells
Saturday 14 March Sadler’s Wells
Estrella Morente Thursday 19 – Sunday 22 March
Antonio Gades Company
Sadler’s Wells Carmen
Sunday 15 & Monday 16 March
Gala Flamenca Mujeres: Sadler’s Wells
Merche Esmerelda, Belén Maya, Monday 23 – Wednesday 25 March
Rocío Molina, Diana Navarro Ballet Flamenco Eva Yerbabuena
Signs and Wonders
Sadler’s Wells
Tuesday 17 March Sadler’s Wells
Rocío Molina Company Friday 27 – Sunday 29 March
Oro Viejo Ballet Nacional de España
Director: José Antonio
Sevilla-Madrid-Sevilla

SPONSORED BY PRODUCED BY

FROM SOUTH TO CENTRE
AND BACK AGAIN:

FLAMENCO IN A TALE
OF TWO CITIES

by James Woodall

This year’s Flamenco Festival has a marked Madrid-Seville flavour, with some of the finest artists from both cities sharing the stage and, at the
end of March, a central performance by Ballet Nacional de España, celebrating an extraordinary thirty-year career. The company’s Sevilla-
Madrid-Sevilla is a display of the many styles, moods and rhythms which shape what we call flamenco, moulded by the company’s disciplines
in and discoveries from the broad spectrum of Spanish dance. As far as flamenco goes, Seville and Madrid are siblings, the art-form’s biggest
hitters; but their relationship in its history has been less than straightforward…

If you type “Madrid-Seville” into a computer refined than might at first seem apparent. between Castile and Andalusia. The
search-engine, you’ll get a number of links to Once, Madrid to Seville and back, or vice foundation, that year, of the pioneering Ave line
flamenco, for sure, but you’ll also find several versa, was quite a chore overland and, for ensured that in due time top-notch trains were
directing you to trains: specifically, most, costly by air. Moreover, in the Franco putting a mere six comfortable hours between
the “Ave”, or high-speed, rail connection years (1939-1975), Seville had been sat on. the two cities: it was an aspect, a technological
between the Spanish and Andalusian capitals. Madrid tried to make a mockery of the place. one, of an essential recoupling of two cultures.

It might seem wayward to force a connection In the early 1990s, cultural and political 1992 both looked back (to the 500th
between an ancient folk idiom and an imperatives, not the least of which was anniversary of Columbus’s first landfall in the
exemplary means of contemporary European Seville’s great World Expo of 1992, were fast Americas) and ahead: to a settled Spain in
travel, but their complementarity is more improving all manner of services and exchange which communications and countrywide

cross-pollination - not an absolute given, if
one notes the proximity, at least in many
Spaniards’ memories, of the savageries of the
1936-39 Civil War - were in themselves
expressions of post-fascist liberty.

Andalusia emerged from the Franco era as
the most impoverished region in Spain.
Democracy, investment and cultural revival,
including of flamenco - uncorrupted if at all
possible by the tourism of the costas - were
destined to bring cities such as Seville out of
the doldrums and into the modern age. Go to
Seville now and it’s in evidence everywhere:
in restored and cleaned façades, in the
colours and cafés on every corner, in bright
and buzzy commerce, in proud cultural
institutions - and, for flamenco, in a new
museum in the city’s historic heart, opened in
2006 under the loving eye of one of Seville’s
great dancers, Cristina Hoyos.

All photos: Josep Aznar, Ballet Nacional de España

Seville now speaks, and stands up for, itself. In the 1950s, the movement of Spanish Canasteros and the Corral de la Morería have
An exuberant and highly self-confident place, labour from south to middle (and further all earnt benchmark places in flamenco’s
flamenco ripples under the city’s skin, and north) was quasi-biblical. Andalusia was history. The latter club, along with another
under its often beautiful skies, like a mature parched and agriculture had collapsed. In Madrid Corral - de la Pacheca - still packs in
leopard fills and stretches its pelt. Artists in Madrid employment, however menial, was to audiences eager for that taste of “real”
Seville, whether gypsy or payo (non-gypsy), be had. With the labourers came the flamenco. Sometimes they’ll be in luck.
fall - to adapt a simile, about flamenco in the “flamencos”, the crazy singers and dancers Sometimes they won’t know whether they’re
whole of the River Guadalquivir basin, once of the southern slums and unyielding in luck or not. Most of the time they’ll settle
brilliantly offered to me by an Andalusian countryside. Before full-scale commercial for rubbish.
journalist - “like fruit from a tree”. recording took off in the late 1960s, their
vibrant, elemental talents established the The tablao has probably had its day.
Seville’s district of Triana, though gentrified and backbone of urban flamenco in Franco’s Flamenco’s boom and spiral upwards into
stylish today, is nonetheless a vivid monument Spain: the tablao. sophistication and artistic reach in the 1970s
to flamenco, as so many of the standard songs led to the founding of a raft of schools,
and rhythms were formed there in its long- A tablao is a club. This species of flamenco companies and festivals, thereby sidelining
since vanished gypsy forges. And then nearly entertainment bistro had its origins in the professional kudos of the tablao, and no
30 years ago, marking a significant step in Seville. But in Madrid the tablao (shortened bad thing. Most of these “boom”
flamenco’s rise to cultural maturity in the 20th from “tablado”, meaning board or platform) institutions, such as the legendary rehearsal
century, the art’s most comprehensive festival came to embody the performing life of studios, Amor de Dios, and an important
anywhere, the “Bienal” of Seville, began. flamenco. Any artist would hope, would festival, the Cumbre Flamenca (“flamenco
have, to cut his or her teeth in one. summit)”, were located in Madrid. Theatre
Seville has recaptured its pre-eminence. The impresarios, producers and recording
city still presents plenty of traps for tourists Throughout the 1950s and 1960s, major studios also began to proliferate in the
to fall into, but genuine artists and practitioners such as La Chunga, La Tati, capital, and together served, in effect, as a
aficionados will stand by in abundance and Antonio Gades and Mario Maya - and this conduit to a wider world becoming alert to a
protect flamenco’s integrity. So why, for festival’s very own, Seville-born Merche sound it might know as “flamenco” but
flamenco, has Madrid ever mattered? Esmerelda - made waves in any number of which probably didn’t know, or didn’t care,
Two reasons: mass migration and nightlife. Madrid clubs: El Duende, La Zambra, Los that its source was the south.

The richly innovative era (the 1970s, the 1980s) intersection on Canales’ motorway. Set up in identities. Dance requires personalities, but
of guitarist Paco de Lucía - and of singer 1978 by the Ministry of Culture as a when they convert themselves into
Camarón de la Isla and dancer Antonio Gades, heterogeneous dance company, it was never something collective, cohesion is also
both gone - is over too. New generations from designed as a vehicle for flamenco alone, essential.”
towns as fecund with flamenco as Seville - though in the early 1980s many of its shows,
Malaga and Granada, for example, from where under the directorship first of Gades (1978- So this year we are witnessing how, when
two of this year’s stars, Rocío Molina and 80), then of Antonio (Ruiz Soler, 1980-82), dance is mixed in Madrid, an ensemble like
Estrella Morente, respectively, hail - continue to then of María de Ávila (1983-86), tended that Ballet Nacional de España adapts and
push the art forward, but perhaps under new way. A more general point is that flamenco’s innovates. We will of course also experience
constraints. Flamenco has become sheer force of character, its ability somehow the much-anticipated passion, grace and fire
internationalised and fused, sometimes for to suck all of Spain into it, was inevitably of pure flamenco, over many nights. Ballet
better, sometimes for worse, to other musical going to dominate the repertoire of a and el baile can conflict creatively, just as
cultures. Younger audiences, who travel more company with the “national” profile it claims Madrid and Seville do their dance differently
than those of 30 or 40 years ago, know and as its own. and have given flamenco, in each place and
expect more. Flamenco must reflect that, as it on all of their stages, distinct characteristics.
does its myriad influences already. José Antonio, now into his second stint as It’s what makes a festival like this worth
artistic director, understands well the travelling for.
“Flamenco is a great exchange,” says company’s mission and what, personally, he
Antonio Canales, creator of one this year’s has brought to its flagship show at Sadler’s James Woodall is a writer. His first book, on
pieces, Cambalache, for Ballet Nacional de Wells: “It’s a little about my way of feeling,” flamenco, In Search of the Firedance, was
España’s Sevilla-Madrid-Sevilla. “It’s full of he says. “Madrid’s the city where I was born, published in 1992. Since then he has also
cross-breeding. The Mediterranean itself is but for professional reasons I took off for written a biography of Jorge Luis Borges,
like a motorway down which the spices, Seville ten years ago, where I went through The Man in the Mirror of the Book, and an
clothes, aromas, colours and sounds which experiences which changed my life.” As a account of musical travels in Brazil,
comprise flamenco have travelled.” result, he adds, audiences are seeing, under A Simple Brazilian Song. He is a regular
his tutelage, “a completely new Ballet contributor to The Economist’s on-line More
Ballet Nacional is a flamenco catalyst, a Nacional. The most important thing in Intelligent Life and to the dance monthly,
crossbreeder, par excellence: a great Spanish dance is to maintain and protect Dance Europe.

Photos: Luis Vega, Antonio Campos ESTRELLA
MORENTE

“Flamenco opens
the heart”

Enrique Morente’s eldest daughter, at 28,
already boasts a full resume as one of
flamenco’s young rising stars. In spite of her
youth, she has sown the seeds of her art and
her musical gifts across the globe. She is
blessed with a pure, crystalline vocal timbre
and moves easily between warm, seductive
tones and raw, expressive phrases.

Estrella possesses a profound knowledge of her
art as well as innate musical taste. She has
become a point of reference for aficionados and
newcomers to flamenco singing, combining the
early influences of her native Granada with the
latest tendencies in the flamenco of the new
millennium.

She has adhered to simple and untainted song-
forms and her singing is neither pure nor
orthodox, but contains that edge of personality
that makes for a true revolution in the best
tradition of flamenco Cante.

The Artists

Voice Estrella Morente
Guitar Manuel Parrilla
Guitar José Carbonell Serrano “Monti”
Palmas, Chorus Ángel Gabarre
Palmas, Chorus Remedios Heredia
Palmas, Chorus Victoria Carbonell “La Globo”

TECHNICAL & STAFF
Sound Fali Pipio
Lights Antonio Regalado
Personal Assistant Bea Vega
Management Manuel Fernández

ESTRELLA MORENTE Since making her debut as a soloist in 1997 at the prestigious
Peña de la Platería in Granada at anniversary celebrations of
The young flamenco singer Estrella Morente is already a star, a Federico Garcia Lorca, Morente has sung at Spain’s major
star with impeccable flamenco connections. Born in Granada, events and venues. These include festivals in Seville,
she grew up surrounded by flamenco artists and aficionados. Barcelona, Cartagena and Málaga, as well as the opening
Her father and musical mentor is legendary singer Enrique ceremony at the Picasso Museum in Málaga last year, which
Morente and her mother is the dancer Aurora Carbonell. By was attended by the Spanish royal family and dignitaries from
seven, she had sung with the famed guitarist Sabicas. On her around the world. She has also won many awards, among
first recording in 2001, she was accompanied by the great them the ONDAS prize for Best Flamenco Performer, and was
guitarist Manolo Sanlucar. Her recordings have been used on nominated for a Latin Grammy. With the popularity of her
the soundtracks of films by Carlos Saura and Pedro Almodóvar releases and her performances in Europe and the United
and Peter Gabriel launched her first CD on his label Real States, her fame has now spread far beyond Spain.
World.

MUJERES

MERCHE ESMERALDA, BELÉN MAYA,
ROCÍO MOLINA, DIANA NAVARRO

DIRECTED BY MARIO MAYA

Photos: E.M. Mayson, Javier Suárez Artistic Director Mario Maya The Artists Voice TECHNICAL & STAFF
Choreography Merche Esmeralda, Antonio Campos Executive Producer
Belén Maya, Rocío Molina, Manuel DANCE Jesús Corbacho María Fernández
Liñán (Caracoles) Merche Esmeralda Emilio Florido Stage Manager Balbi Parra
Choreography Assistant Manuel Liñán Belén Maya Tamara Tañé Lights Oscar Gómez
Musical Director Paco Cruz Rocío Molina Sound Miguel Arbo
Music Paco Cruz, Manuel Cazás, Percussion Monitors Fali Pipio
José Luis Rodríguez (Tangos) MUSIC Sergio Martínez Costumes (Granaína
Music (Sola & Deja de Volverme Loca) Guitars Seguiriya) Carmen Granell
Diana Navarro, Chico Valdivia, José Luis Rodríguez Special Collaboration
Manuel Illán Paco Cruz Diana Navarro, Voice
Lighting Olga García (A.A.I) Manuel Cazás Chico Valdivia, Piano

Won award for Best Show at the Flamenco
Festival of Jerez and Year’s Best Show in the
city of Miami by the Miami Herald

How should flamenco be defined
today, by its classic references or its
thirst for innovation, the maturity of
experience or the creative risk of
youth?

Three generations of flamenco
dance’s leading solo bailaoras offer
their own answers to these questions
with Mujeres.
Merche Esmeralda is not distracted by
novelty: her dignified approach to
dance is informed by her sense of
timelessness.
Belén Maya embraces dance and life
as the unity of a woman’s body, mind
and spirit.
Rocío Molina, the youngest of the
three dancers, distances herself from
the harried “marketing” of dance and
sits back to reflect. In silence or
aloud, she denounces what she sees
as the way to easy success.

Mario Maya, Artistic Director
Premio Nacional de Danza

PROGRAMME

Adan (Presentation)
Tangos
El Tránsito (Saeta)
Mis Soledades (Solea)
Romance de Zaide (Paso a dos)
Deja de Volverme Loca
Apasionada (Seguriya)
Viva Madrid (Carcacoles)
Bulerías al Golpe

Pepa Gamboa and performed in the premiere of Fuera de Los Límites
(Beyond Boundaries) together with Rafaela Carrasco under the
direction of Ramón Oller. In 2005 she presented the show Dibujos
(Drawings), in Madrid as part of the Summers at La Villa series to
both public and critical acclaim. In 2006 this was restaged and
premiered at the 10th Flamenco Festival in Jerez.

ROCÍO MOLINA

Born in Málaga in 1984, Molina started dancing at the age of three.
By the time she was 11 she was winning prizes in national dance
contests. She began her studies at the Conservatorio Profesional de
Música y Danza de Málaga, and finished her degree at the Real
Conservatorio de Danza de Madrid in 2002, graduating with honours.

MERCHE ESMERALDA In January 2001 Molina joined the María Pagés Company as a dancer
and choreographer, touring Italy, Japan, Canada and the U.S., taking
Sevilian Merche Esmerelda obtained the National Dance Award at part in the Gala de Andalucía at New York’s City Center. In 2003 she
Cordoba’s National Flamenco Art Contest in 1968 and in 1970 took part in Flamenco Festival USA, performing as a soloist together
received the Popularity Award, given by the daily newspaper Pueblo. with Manuela Carrasco, Chocolate and doing a duo with Israel
In 1973 she was distinguished as Lady of the Jonda Order and Galván.
Flamencology Scholar in Jerez de la Frontera. In 2007 she received
the Compás del Cante Prize, an award which is called “The Flamenco In 2005 she premiered her first show, Entre Paredes, at the Teatro
Nobel” and in 2008 the Flamenco Award Calle de Alcalá del Festival Principal in Vitoria which also completed a tour around different
Flamenco Caja Madrid. provinces in Andalusia. At the first edition of the Festival Málaga en
Flamenco in 2005, she premiered El Eterno Retorno, based on texts
In 1980 she joined Ballet Nacional, directed by the great Antonio by Nietzsche, with Juan Carlos Romero as musical director, Pepa
Gades. She played the main character in El Amor Brujo (A Love Gamboa as stage director and the collaboration of Pasión Vega and
Bewitched) and the flamenco part of the repertory up to 1982. Teresa Nieto.
Between 1982 and 1983 she worked with GIAD- Ballet Español de
Madrid and in 1986 she went back to Ballet Nacional and stayed In August 2006 she premiered Turquesa como el Limón. Molina’s
there until 1989, when she was called to create and direct the Ballet latest show is Pasos Contados directed by Pepa Gamboa and
in the Region of Murcia, which reached a very high level in very little featuring Diego Carrasco as guest artist.
time. Standing out among its numerous creations are El Cielo
Protector, a theatre-dance show which she herself directed and DIANA NAVARRO (SPECIAL GUEST)
starred in; Medea; La Sinfonía de la lo; Flamenco and various other
exclusive pieces. Diana Navarro (Malaga, 1978) is
a rising star, a singer known as
In 1995 she filmed Flamenco, directed by Carlos Saura and Alma both a keeper of tradition and a
Gitana (Gypsy Soul), with Chus Gutiérrez as director. In 1996 she musical explorer. A leading
created her own company with the show Mujeres (Women) and young interpreter of the
entered the Board of Directors of ACADE (Dance Schools Association). romantic southern Spanish
In 2005 she was part of the Gala Flamenca presented in Tokio and copla and saeta styles, and
Aichi at the first Flamenco Festival of Japan organised by the Spanish flamenco, Diana’s world
Pabillion. influences include fado, music
of the Middle Eastern, pop and
Since 2006 she has been a civil servant of the Community of Madrid celtic song.
at the Conservatorio Superior de Danza, continuing with courses and
other teaching jobs. Diana’s debut solo album, No te
Olvides de Mi, has sold over
BELÉN MAYA 200,000 copies and received
many international honours,
The daughter of two great flamenco artists, Carmen Mora and Mario including a Latin Grammy Award
Maya. She studied ballet as well as classical Spanish dance, jazz and nomination. She released her
contemporary dance. second album, the emotional
and uplifting 24Rosas, to critical
Maya spent six months in Tokyo at the tablao Flamenco of Tokyo, acclaim in 2007.
and upon returning from Japan, became the principal for the Dance
Company of Andalucía. She was invited by Carlos Saura to represent Diana began her career at the age of nine, singing with the group
the new generation of flamenco in his film Flamenco. Belén’s Renacer. She took copla classes and sang with Maestro Gordillo and
performance in this film would become a milestone in flamenco Rafael Castro de Málaga. She subsequently won over 20 copla
dance as interpreted by women, opening new avenues in terms of awards and two national saeta prizes over the next 20 years, before
concept, musicality, movement, and costuming. making her recording debut.

In 1996, she formed a company comprised entirely of bailaoras: Co-produced by
Yolanda Heredia, Teresa Nieto, Rafaela Carrasco, and Isabel Bayón. In
1997 she was invited by Mayte Martín to the Grec Festival in With the collaboration of
Barcelona. From this pivotal collaboration was born a shared
company, Mayte Martín and Belén Maya. Their collaborations have
received outstanding critical praise.

In 2004, Maya participated in Los Caminos de Lorca (The Paths of
Lorca) with the Dance Company of Andalucía under the direction of

Photos: Marta Azparren

ROCÍO MOLINA COMPANY

ORO VIEJO

Original Music Paco Cruz, Rafael Rodríguez, In her previous work, Rocío Molina delved deep inside stories to find
Sergio Martínez, Rosario Guerrero “La Tremendita” where movements arose, asking how and why they developed. On
Script Rocío Molina and David Picazo this occasion, the basic theme of the show is the passage of time and
Artistic Direction Rocío Molina the arrival of old age. From this theme several strands emerge and,
Stage Director David Picazo with an unusual depth, provide a unique retrospective which gives
Choreography Rocío Molina sense to life and living.
Laura Rozalén’s Choreography Laura Rozalén
The great and important themes of life are the material on which
PROGRAMME Rocío has moulded this production, to highlight the importance of
the world, and those who came before us.
Vértigo
La Gracia de Dios Pasodoble Oro Viejo was awarded the Giraldillo for Best Choreography at the
La Falsa Moneda Bienal de Flamenco de Sevilla, the most important festival of its kind
Limeña – presented in the cradle of Flamenco, Seville.
Milonga www.bienal-flamenco.org
La Catalina
Donde va maría This show is presented with the support of the Bienal de Flamenco de
Maria de la O Sevilla.
Tonás
Malagueña
Polo
Tortura

The Artists

DANCE
Rocío Molina
Eduardo Guerrero
Moisés Navarro
Guest Artist: Laura Rozalén

MUSIC
Guitars Paco Cruz, Rafael Rodríguez
Percussion Sergio Martínez
Vocals Rosario Guerrero “La Tremendita”
Palmas (Clapping) Bobote & Eléctrico

TECHNICAL & STAFF
Costumes Josep Ahumada
Lighting David Perez
Sound Design Kike Cabañas
Set Design Rodas
Set Construction Kike Rodríguez
Video Design and Editing David Picazo and Marta Azparren
Photography and Graphic Design Circusmedia, S.L.
Printing Artes Gráficas Luis Pérez, S.A.
Tour Manager Balbi Parra
Executive Producer Laura Rozalén
Production and Distribution Assistant Lola Ortiz de Lanzagorta
Production Manager and Distribution Gachi Pisani, Gachi Pisani
Prods., S.L.

ROCÍO MOLINA

Born in Málaga in 1984, Molina started dancing at the age of three. By the time she
was 11 she was winning prizes in national dance contests. She began her studies at
the Conservatorio Profesional de Música y Danza de Málaga, and finished her degree
at the Real Conservatorio de Danza de Madrid in 2002, graduating with honours. In
January 2001 Molina joined the María Pagés Company as a dancer and choreographer,
touring Italy, Japan, Canada and the U.S., taking part in the Gala de Andalucía at New
York’s City Center. In 2003 she took part in Flamenco Festival USA, performing as a
soloist with Manuela Carrasco, Chocolate and doing a duo with Israel Galván.

In 2005 she premiered her first show, Entre Paredes, at the Teatro Principal in Vitoria
touring various Andalusian provinces. At the first Festival Málaga en Flamenco in 2005,
she premiered El Eterno Retorno based on texts by Nietzsche, in collaboration with
Pasión Vega and Teresa Nieto, with Juan Carlos Romero as musical director and Pepa
Gamboa as stage director.

In 2006 she premiered Turquesa como el Limón and Dorantes, produced especially for
the Teatro Lope de Vega in Seville. In February 2007 she premiered Almario, directed
by Miguel Serrano, where Rocío revealed flamenco in its purest state. During the 2007
Málaga Bienal she premiered Por el decir de la Gente, produced by Málaga in
Flamenco and commissioned by José Luis Ortiz Nuevo.

She started 2008 participating as a soloist in Mujeres (Women), with Merche
Esmeralda and Belén Maya, and premiered Pasos Contados directed by Pepa Gamboa
and featuring Diego Carrasco as guest artist.

Throughout her career she has received several awards including: Most Outstanding
Dancer at the XI Certamen de Coreografía y Danza de Madrid (2002); Best Flamenco
Dancer at the El Madroño and Venencia Flamenca el Mistela awards (2006); Critics’
award for Best Flamenco Dancer 2006 and 2007 at Flamenco de Hoy; Canal Sur Radio’s
Best Dance Show 2007 award for Turquesa como el Limón; and Press Award for Best
Dancer at the Seville Flamenco Bienal 2008.

Photos: María Esteve ANTONIO GADES COMPANY

CARMEN

25th Anniversary

Story, Choreography and Lighting
Antonio Gades and Carlos Saura
Stage Design Antonio Saura
Based on the work by Prosper Mérimée
Music
Gades, Solera, Freire
Georges Bizet Carmen
M. Penella El gato Montes
José Ortega Heredia/Federico
Garcia Lorca Verde que te quiero verde
Recorded Music Orchestra della Suisse
Romande conducted by Thomas
Schippers, with Regina Rosnik,
Mario del Monaco, Tom Krause

World Premiere 17 May 1983, Théâtre
de Paris, Paris (France)

The Artists

DANCE
Soloists
Carmen Stella Arauzo
Don José Adrián Galia
Toreador (Bullfighter) Jairo Rodríguez
Husband Joaquín Mulero

Corps de Ballet
Female Dancers
Cristina Carnero, Maite Chico, María Nadal,
Marita Martínez-Rey, Carolina Pozuelo, Loli
Sabariego, Vanesa Vento, Lucía Sanjuan and
Luisa Serrano
Male Dancers
Miguel Lara, Elías Morales, Antonio Mulero,
Antonio Ortega, Adrián Mejías and Ángel Gil

MUSIC
Cantaores (Singers) Enrique Pantoja, Juañares,
Gabriel Cortés, Jony Cortés, “La Bronce”
Guitars Antonio Solera, Camarón de Pitita,
Ramón Jimenez

TECHNICAL & STAFF

Antonio Gades Foundation María Esteve,
Eugenia Eiriz, Josep Torrent
Artistic Director Stella Arauzo
Technical Director Dominique You
Répétiteur and Stage Manager
Antonio García Onieva
Sound Technician Juan Miguel Cobos
Light Technician Roger Goffinet
Wardrobe and Props Sofia Perez
Production Tamirú Productions Artisticas, S.L

In collaboration with

ON CARMEN to it. He has that deep-rooted concept of score by Bizet. Our desire would be that
love as private property. “I made Carmen through this staging we could get across to
The theatre version of Carmen was because I didn’t like the false, stereotypical them the happiness and passion we have
conceived roughly at the same time as the image of her. She’s a woman who devotes undertaken this work with.
shooting of Carlos Saura’s film. The film’s herself entirely when she loves, who never
success, which took even the authors by forgets what class she is from even when THE ANTONIO GADES COMPANY
surprise, undoubtedly encouraged Antonio she is in the highest circles.”
Gades to produce a version for the theatre. Just a few months before he passed away,
The latter was a masterpiece of Spanish Likewise, on the occasion of the premiere Antonio Gades created a Foundation in
dance that joined his repertoire, which of the film, Carlos Saura and Antonio Gades charge of looking after his artistic heritage
already included two works of huge artistic explained to the press what had moved and helping to spread his work, promoting
weight: Bodas de Sangre (Blood Wedding) them to perform this work. a greater knowledge of Spanish dance all
and Suite de Flamenco (Flamenco Suite). over the world. Back on the stage at the
The premiere in Paris in 1983 was a smash WHY CARMEN? request of this Foundation, the Antonio
success with the critics and public alike, Gades Company is now solely responsible
definitively boosting Antonio Gades into the By Antonio Gades and Carlos Saura for staging the ballets of the choreographer
circle of the world’s top dancers and from Alicante, keeping the original spirit
choreographers. The staging of Carmen is the result of our and guidelines his works were devised with
collaboration on the film Bodas de Sangre in tact.
Gades’ reasons for creating this work can (Blood Wedding). The story of Carmen is
be summed up in a series of ideas which he that of an obsession. As Emilio Sanz Soto Under the artistic direction of Stella Arauzo
explained at the different press conferences puts it, “Carmen and Don José devour one (who danced with Gades for many years,
which were held. In his view, “Carmen is another for the pleasure of devouring one taking over from Cristina Hoyos in the
neither a frivolous woman nor a man-eater. another. This is not the Greek tragedy that performance of Carmen), and technical
She’s just an honest woman who says she seeks salvation or condemnation. Here, direction of Dominique You (for many years
loves when she loves and says she doesn’t only death can release us from desire. The in charge of lighting and the maestro’s right
love when she doesn’t. In other words, a impossibility of changing destiny. The die is hand), the new group has several members
free woman. I don’t think this makes her a cast as in Oriental tales.” from the old company who, together with
man-eater. Carmen has a concept of class; new faces, ensure the transmission of the
she didn’t treat her feelings as private It is curious that this character who is so lines featured in Gades’ work, expressing
property. When she loved she said so and representative of Spain, the “Spaniard” par the deepest human concerns, within an
she did the same when she stopped loving. excellence, so defined by her physique, by aesthetically refined language rooted in the
She also had such an exalted concept of her attire; that gypsy Spaniard, hot-blooded traditions and culture of the Spanish
freedom that she preferred to die rather and temperamental, so immediate and people.
than lose it. She’s always been treated earthy, who men fall in love with and are
frivolously and as a man-eater. But Carmen even prepared to give their life for; should After performing Carmen at the Roman
has something essential which is a far cry be a French invention. Because from France, Theatre, and touring almost constantly
from all of that — her concept of class and and at the hands of Merimée and Bizet, since then, the Antonio Gades Company has
her nobility.” who have gone into our temperament and recovered for the stage Carmen, Bodas de
customs in such depth, comes Carmen. Sangre, Suite Flamenca and more recently,
Fuenteovejuna. His work has not only been
Created by Merimée, nourished by the endorsed by the large number of spectators
memorable music of Bizet, the two versions who have gone to the shows but also the
now inseparable, have been the basis of awards received such as the Giraldillo de
our work. Our version of Carmen is a dance Oro at Seville’s Flamenco Biennial, the
version. Here, dance is the absolute star Demófilo award from the Fundación
and dance means rhythm, music and Machado and the award from the Teatro
movement. Our intention has been that of Rojas in Toledo, which fills the company
finding in our roots, in our idiosyncrasy, the with special pride since it is awarded by the
elements of this Carmen and for this we public.
have used flamenco dancing and singing,
without any disdain for (in contrast, it has The Antonio Gades Company has been a
served as a counterpoint) the beautiful resident company in Getafe since 2006.

Regarding the success of the theatre
version all over the world, Antonio referred
to the French critics who said that “Merimée
took Carmen to France, but we’ve brought
her back to Spain.” Carmen has nearly
always been treated in a superficial,
frivolous way, but Carmen is much deeper
than that. The brilliant dancer didn’t
hesitate to state that Carmen was
misunderstood because when the work was
written in 1837, that woman scandalised
puritans and those who could not see that
she stood for true female emancipation.
Don José is a fugitive, a bourgeois who
leaves his class and who will not be faithful

BALLET FLAMENCO
EVA YERBABUENA

SIGNS AND WONDERS (SANTO Y SEÑA)

Photos: Paco Manzano, Outumuro Choreography and Artistic Direction With Signs and Wonders, Eva Yerbabuena PROGRAMME
Eva Yerbabuena reprises and refreshes some of the
Music and Musical Direction Paco Jarana outstanding flamenco choreographies De La Cava (Siguiriya)
Based on an idea by Eva Yerbabuena performed by her company since its debut in A las Cinco de la tarde (Farruca)
1998. Espumas del recuerdo (Mirabrás)
“In the silent pools of the night we learn Rarapata (Bulerías)
how life is illuminated by light, but Yerbabuena, a native of Granada, has Quiero y no quiero (Tientos-tangos)
intensified by darkness. So, too, if we received numerous awards, including Spain’s Cadencia (Soleá-bulería)
darken our eyes to take in the world around National Dance Prize. With this show, an
us through smell, touch and sound, rather innovative spectacle of authentic flamenco, This performance will end at
than appearance, shape or colour, we may the young dancer and choreographer has approximately 8.50pm.
hear our true feelings and unlock a gateway retraced her steps, and from her current
leading to new creative paths. Then, by perspective has reinvented dances extracted There is no interval.
exploring who we have been, who we are from five previous shows, including …Eva
and who we hope we may be, we come (1998), 5 women 5 (2000) and Spindle of
upon signs and wonders which illuminate Memory (2006). New choreography is also
our lives.” included in Signs and Wonders.

Eva Yerbabuena

EVA YERBABUENA

Eva Yerbabuena grew up in Granada. Her professional career began at the age
of 15, and she quickly developed an interest in choreography. As a result she
set up her own company in 1998. Since then she has created and performed
five shows – Eva (1998), 5 Mujeres 5 (5 Women 5, 2000), La Voz del Silencio
(The Voice of Silence, 2002), A Cuatro Voces (Four Voices, 2004) and El Huso
de la Memoria (The Spindle of Memory, 2006) – to critical acclaim around the
world.

Although partly self-taught, Eva studied flamenco in Granada with maestros
including Enrique El Canastero, Angustillas La Mona, Mariquilla and Mario
Maya, later studying theatre and choreography – the latter in Cuba with
Johannes García. She began her career in Rafael Aguilar’s company, performing
in Diquela de la Alhambra in 1985. Some years later she joined Paco Moyano’s
company, taking part in Ausencia, A tomar café and De Leyenda. She also
made appearances with other bailaores: Javier Latorre, Manolete, El Güito and
Merche Esmeralda.

Eva’s collaborations outside flamenco have been wide-ranging. She has taken
part in Pina Bausch’s Wuppertal Festival since 2000 and appeared alongside
Sylvie Guillem, Ana Laguna, Marie Claude Pietragalla and Mikhail Baryshnikov.
In 1999 she created choreography for Carolyn Carson for the Venice Biennale.
Film-maker Mike Figgis first invited her to work with him in his documentary
Flamenco Women (1997), in which she played a leading role, and later gave
her a cameo in his experimental film Hotel (2001). She also appears in a highly
praised sequence in Pulse, the award-winning IMAX film created by Stomp
(2002).

Eva’s work has been recognised with a series of major awards. They include:
Premio Flamenco Hoy – Bailaora of the Year (1999, 2000, 2001); Premio
Nacional de Danza (2001), awarded by the Spanish Ministry of Culture and
Education; Premio Max de las Artes Escenicas, awarded by SGAE - Female
Dancer of the Year (2005, 2006), and Dance Show of the Year (2005); Time Out
Award – Best Female Dancer (2003); Premio Giraldillo, awarded by the Seville
Bienal, for Best Female Dancer and Best Overall Performer (2002, 2006).

Her work, El Huso de la Memoria (The Spindle of Memory), premièred in
September 2006 at the Teatro de la Zarzuela, Madrid and the XIV Seville
Biennial.

In 2008, Eva’s company celebrated their 10th anniversary with Signs and
Wonders, a show that reprises and refreshes some of the outstanding
flamenco choreography performed by Eva for her company. After an
international tour and a new collaboration with Pina Bausch, Eva will return to
her studio to create.

Eva Yerbabuena is preparing a new and exciting show Lluvia (Rain) to be
presented in Madrid later this month.

The Artists TECHNICAL & STAFF
Lighting Design
Eva Yerbabuena Raúl Perotti and Flori Ortiz
Costume Design
Corps de ballet Manuel & Gabriel
Mercedes de Córdoba Sound
Eduardo Guerrero Manuel González de Tanago,
Alejandro Rodríguez Ángel Olalla
Fernando Jiménez Light Florencio Ortiz
Stage Manager
MUSIC Daniel Estrada
Singers Enrique Soto, Costume Makers
Pepe de Pura, Jeromo Segura, Manuel & Gabriel
José Valencia Production and Management
Guitars Paco Jarana, Cristóbal Ortega
Manuel de la Luz Administration Marta Román
Percussion Manuel Muñoz, Press Relabel Comunicación
“El Pajaro”
Saxe-flute Ignacio Vidaechea

With the support of:

BALLET NACIONAL
DE ESPAÑA

Director: José Antonio

Photo: Josep Aznar CAPRICHOS It’s extraordinarily exciting to reach, and remember that 30 years
Choreography Fernando Romero ago, we started on a path full of expectation with the establishment
Music Juan Manuel Cañizares and Juan José Amador of the Ballet Nacional Español (as it was called back then) under the
direction of our dearly-loved and admired artist, Antonio Gades. For
Interval this reason, I would like for the year 2009 to be one of special
commemoration for all professionals and admirers of the Ballet
DUALIA Nacional de España.
Choreography and Guest Artists Rojas and Rodríguez
Music José Nieto Over the course of the season, we’ll have a chance to put on
different retrospectives of the most emblematic works in the
Pause Company’s repertoire and we’ll take advantage of the opportunity
to spread, preserve, and promote the extensive heritage of our
CAMBALACHE already historic repertoire.
Choreography Antonio Canales
Music Livio Gianola, Antonio Canales, Diego Losada I would like to make the opening of Sevilla-Madrid-Sevilla at
Sadler’s Wells a happy occasion to celebrate and bring together
fans, professionals, and dance lovers.

José Antonio

CAPRICHOS DUALIA CAMBALACHE

Choreography Fernando Romero Choreography and Guest Artists Rojas and Choreography Antonio Canales
Music Juan Manuel Cañizares and Juan José Rodríguez Music Livio Gianola, Antonio Canales, Diego
Amador Music José Nieto Losada
Lighting Design Joan Teixidó Musical Recording Orquesta de Cámara Andrés Lighting Design Joan Teixidó
Costume Design Sonia Grande Segovia, directed by José de Eusebio Costume Design Yvonne Blake
Assistant Costume Design Armando S. Sánchez Lighting Design David Pérez Assistant Costume Design Anselmo Gervolés
Costume Production Petra Porter (women and Costume Design Rosa García Andújar Costume Production Petra Porter (women),
men), Claudio D´Avanzo (men), Camisería Burgos Assistant Costume Design Hugo di Perna González (men), Maty (bata de cola)
(shirts), Hugo Boss (musicians) Costume Production Pipa y Milagros (women), Shoes Arte FyL
Painted women dress Taller de Chus Luis Fernando Dos Santos (batas de cola),
Shoes Gallardo González (men) World premiere at the Teatro de La Zarzuela,
Shoes Arte FyL and Gallardo Madrid on 15 March 2007 by Ballet Nacional de
World premiere at the Teatro de La Zarzuela, España.
Madrid, 15 March 2007 by Ballet Nacional de World premiere at the Teatro de La Zarzuela,
España. Madrid 15 March 2007 by Ballet Nacional de Cambalache is a work that invites you to immerse
España. yourself in luminism and move deep into the
Caprichos is a non-narrative work of Flamenco mixture of peoples. As its name indicates -
dance, created for the Ballet Nacional de España Our intention with Dualia was to deal with “Cambalache” means swap or barter - it is a kind
which is intended exclusively to give a personal Spanish dance and breath in the youth and of exchange of styles, cultures, and ancestral
and abstract vision of Flamenco. freshness of this generation with such a rich feelings that in the end shape what we now call
repertoire, reflecting ourselves in the colours of Flamenco.
Capricho Primero y Serrana Sorolla’s paintings, seeking the complicity of pair
Elena Algado, Esther Jurado, Cristina Gómez, dancing, interpreting the sensuality of looks, This exchange that travelled along the routes of
Jéssica de Diego, Tamara López, Sara Calero, caresses, kisses, reminding ourselves of the great the Mediterranean brings us the aromas,
Mercedes Burgos dancers our country has produced, to try to essences, and softness of silk. All part of a
Miguel A. Corbacho, Jesús Carmona, Eduardo portray our meaning and feeling through the magical human circle that unfolds and opens its
Martínez, José M. Benítez, Isaac Tovar, Álvaro rasping of the castanets. arms to a multitude of souls.
Marban
Thank you José Antonio, we hold your air within, Many thanks to José Antonio, Yvonne, and Teixidó
Capricho de carne y de hueso this one is for you, maestro. for allowing me to dream.
Miguel A. Corbacho (27 & 28 Mar – 7.30pm) Antonio Canales
Farruca de “Sabicas” (28 Mar – 4pm & 29 Mar – Introducción - capas
7.30pm) Jesús Carmona, José M. Benítez, Eduardo Cambalache
Martínez, Isaac Tovar, Antonio Correderas, Álvaro Elena Algado, Cristina Gómez, Esther Jurado,
Capricho Cristalino Marbán, Alfredo Mérida Jéssica de Diego, Virginia Moro, Tamara López,
Zambra de “Niño Ricardo” (27 & 28 Mar – 7.30pm) Sara Calero, Mercedes Burgos
Cristina Gómez (28 Mar – 4pm & 29 Mar – Primer movimiento Miguel A. Corbacho, José M. Benítez, Eduardo
7.30pm) Elena Algado, Aloña Alonso, Maribel Alonso, Sara Martínez, Isaac Tovar, José M. Buzón, Cristian
Calero, Carmen Coy, Jéssica de Diego, Cristina Garcia, Ángel Lara, Álvaro Marbán
Puente de ida y vuelta Gómez, Esther Jurado, Tamara López, Lola Maeso,
Elena Algado/Mercedes Burgos Yumi Saeki. Entre Dos
Esther Jurado, Cristina Gómez, Jéssica de Diego, Esther Jurado – Miguel A. Corbacho
Tamara López, Sara Calero José M. Benítez, José M. Buzón, Jaime Cava,
Miguel A. Corbacho, Jesús Carmona, Eduardo Francisco J. Caraballo, Antonio Correderas, Gitanería
Martínez, José M. Benítez, Isaac Tovar Cristian Garcia, Sergio García, Álvaro Marbán, Elena Algado, Tamara López
Eduardo Martínez, Alfredo Mérida, Isaac Tovar. Cristina Gómez, Jéssica de Diego, Virginia Moro,
Capricho de Milonga Sara Calero, Mercedes Burgos
Cristina Gómez/ Jesús Carmona, José M. Benítez, Segundo movimiento José M. Benítez, Eduardo Martínez, Isaac Tovar,
Isaac Tovar Tamara López - José M. Buzón (27 & 28 Mar – José M. Buzón, Cristian Garcia, Ángel Lara, Álvaro
Elena Algado/ Jesús Carmona, Eduardo Martínez, 7.30pm) Marbán
José M. Benítez Aloña Alonso - Jaime Cava (28 Mar – 4pm &
29 Mar – 7.30pm) Pena
Pequeño homenaje al Maestro R. Montoya. Tercer movimiento Sara Calero – Cristina Gómez
Rondeña de Ramón Montoya Ángel Rojas, Carlos Rodríguez Eduardo Martínez, Álvaro Marbán, Isaac Tovar
Miguel A. Corbacho, Elena Algado
Todo el elenco Cuarto movimiento Relicario
Ángel Rojas, Carlos Rodríguez Elena Algado
Comparitos – Capricho de Talavera Elena Algado – Esther Jurado
Todos los que intervienen Pozo Hondo
Quinto movimiento Jesús Carmona
MUSIC José M. Benítez, José M. Buzón, Jaime Cava,
Guitars Diego Losada, Enrique Bermúdez, Francisco J. Caraballo, Antonio Correderas, Sintra
Jonathan Bermúdez Cristian Garcia, Sergio García, Álvaro Marbán, Jesús Carmona
Singers Sebastián Cruz (Guest Flamenco Singer), Eduardo Martínez, Alfredo Mérida, Isaac Tovar. Elena Algado, Cristina Gómez, Esther Jurado,
Isabel Soto, Momi de Cádiz Jéssica de Diego, Virginia Moro, Tamara López,
Percussion Samuel Flores. Sexto movimiento Sara Calero, Mercedes Burgos
Ángel Rojas, Carlos Rodríguez Miguel A. Corbacho, José M. Benítez, Eduardo
Elena Algado, Aloña Alonso, Maribel Alonso, Sara Martínez, Isaac Tovar, José M. Buzón, Cristian
Calero, Carmen Coy, Jéssica de Diego, Cristina Garcia, Ángel Lara, Álvaro Marbán
Gómez, Esther Jurado, Tamara López, Lola Maeso,
Yumi Saeki. MUSIC
José M. Benítez, José M. Buzón, Jaime Cava, Diego Losada, Enrique Bermúdez, Jonathan
Francisco J. Caraballo, Antonio Correderas, Bermúdez
Cristian Garcia, Sergio García, Álvaro Marbán, Sebastián Cruz (Guest Flamenco singer), Isabel
Eduardo Martínez, Alfredo Mérida, Isaac Tovar. Soto, Momi de Cádiz
Samuel Flores

The Direction reserves the right to modify the cast

JOSÉ ANTONIO COMPANY HISTORY BALLET NACIONAL DE ESPAÑA

Director BALLET NACIONAL DE ESPAÑA Today, the Ballet Nacional de España Director Pianists
(BNE) is facing a new creative period, José Antonio Juan Álvarez
Born in Madrid, he began his dance with various projects – commissioned Juan José Sánchez
studies very young. He made his first by the Ministry of Culture in 2004 – Principal Dancers
performance as a dancer at the age of under the direction of José Antonio, Ana Moya Director’s Assistant
eight in Buenos Aires, begining his during his second time as Director of Elena Algado Primitivo Daza
professional career in Spain with the the Ballet. Miguel A. Corbacho
Compañía de María Rosa. TECHNICAL
First Dancer Manager
His professional career is defined by Founded by the Theatre and Cristina Gómez Alejandro Andonaegui
two main aspects: his deep vocation Entertainment General Direction of the Esther Jurado Production Director
as dancer and his wide work as Spanish Ministry of Culture in 1978, Jesús Carmona Mercedes Antona
director. with the name of Ballet Nacional Sergio García Technical Director
Español and with Antonio Gades as Ginés Caballero
In 1965, he joined Antonio y los its first Artistic Director (1978-1980), Soloists Press Director
Ballets de Madrid as First Dancer and, the BNE has been directed by Antonio Aloña Alonso Ana Albarellos
later (1972) founded his own company (Ruiz Soler) (1980-1983), María de Jéssica de Diego Administration
with Luisa Aranda, the Ballet Siluetas. Ávila (1983-1986), José Antonio (1986- Tamara López María Jesús Tarrat
1992), Aurora Pons, Nana Lorca and Virginia Moro Production Department
He was First Dancer at Ballet Nacional Victoria Eugenia (1993-1997), Aída José Manuel Benítez Javier Bagá
de España (BNE) since the company’s Gómez (1998-2001) and Elvira Andrés Eduardo Martínez Ana Jerez
foundation (1978), under the direction (2001-2004). Isaac Tovar Dressing File
of Antonio Gades and, in 1982, First Chus García
Dancer and Artistic Codirector at the The BNE is, among the projects of the Ballet Corps Manager and
Ballet Español of Madrid. Three years National Institute for the Performing Maribel Alonso Administrative
later, he returned as First Dancer to and Scenic Arts, one of the most well- Mercedes Burgos Department
the BNE, then directed by María de known in the world, as an Sara Calero Samantha Hilario
Ávila. He was Director of Ballet ambassador of Spanish culture. The Carmen Mª Coy Mª Carmen Garrigós
Nacional de España from 1986 to Ballet has evolved in accordance with Frida Madeo María T. Pérez
1992. the times and has known how to Lola Maeso Juan Carlos Fernández
preserve its interest in all styles of Sara Nieto Stage Manager
In 1994, he founded the company José Spanish dance, performing Mª José Ramón Vanesa Arévalo
Antonio y los Ballets Españoles and in choreography including Escuela Yumi Saeki Technical Director
1997, was commisssioned as Director Bolera, flamenco and stylised Spanish Inmaculada Sánchez Assistant
at the Centro Andaluz de Danza and at dance. On the other hand, it has José Manuel Buzón Juan Lázaro Martín
the Compañía Andaluza de Danza combined tradition and modernity, not Francisco Javier Sceneman
(CAD). In 2004, he again became in forgetting important aspects such as Caraballo Jesús Manjón
charge of the direction at the Ballet training and performing new projects. Jaime Cava José Domuro
Nacional de España. Antonio Correderas Lighting Engineers
During its 30 years it has performed, Cristian García Carlos Guerrero
He also combines his work as dancer in the most renowned theatres in the José Manuel García Rafael Yunta
with the choreographic creation. From world, emblematic works including Ángel Lara Asier Basterra
his wide production, outstand the José Granero’s Medea, Mariema’s Álvaro Marbán Property Man
works created for Carla Fracci, The Danza y Tronío, Alberto Lorca’s Alfredo Mérida Francisco Corrales
Mariinsky Theatre, Julio Bocca and the Ritmos, José Antonio’s Fandango de Juan Mª Arguedas
Ballet Argentino, Ballet Nacional de Soler, Antonio and José Antonio’s Ballet Masters Audio & Video
España, The Ballet Español de María versions of El Sombrero de Tres Elna Matamoros Luis M. Castro
Rosa, Universal Fair of Sevilla, Picos, Pilar López’s El Concierto de Tino Morán Daniel Flete
Compañía Andaluza de Danza and the Aranjuez and Antonio Gades’ Bodas Raúl Tino Jesús Ávila
Centro Andaluz de Danza, María de Sangre and Fuenteovejuna. For Master Rehearsal J. César de las Heras
Giménez Company and for Aída this season, the BNE presents chore- Alberto Vidal
Gómez. El Corazón de Piedra Verde is ography by José Antonio in La Director Wardrobe
his most recent creation, premiéred at Leyenda, Aires de Villa y Corte, El Maribel Gallardo Cristina Catoya
the Teatro de la Zarzuela in 2008. Café de Chinitas, Golpes da la Vida Rehearsal Director Juana Cuesta
and Elegía-Homenaje (a Antonio Ruiz Juan Mata Carmen Morillas
In 2005, he was awarded the Medalla Soler). Martín Romero
de Oro al Mérito en las Bellas Artes, Singers José Tauste
by the Spanish Ministry of Culture. He Ballet Nacional de España has been Isabel Soto Masseurs
has, among other honours, the Premio internationally acclaimed by audience Manuel Palacín Francisco García
Nacional de Danza (Dance National and critics, obtaining various awards Momi de Cádiz Juan Carlos Martín
Prize), given by the Spanish Ministry including: Critics’ Prize for Best Julián Mínguez
of Culture in 1997, the Medalla de Foreign Show (1988 season at the Guitars Store Keeper
Honor from the Granada Festival New York Metropolitan); Japanese Diego Losada Vicente Antonio Gómez
(1999) and the Medalla de Honor 2004 Critics’ Prize (1991); Critics’ Prize for Enrique Bermúdez Cleaners
given by the Fundación de Danza Best Spectacle at the Bellas Artes Jonathan Bermúdez Dolores Escribá
Alicia Alonso. Theatre, Mexico City (1994); El País Antolina Pequeño
(Tentaciones) Prize, for Poeta (1999); Percussion
Critics’ Prize and Audience Prize (VI Samuel Flores
Festival de Flamenco de Jerez de la
Frontera, Spain, 2002), for
Fuenteovejuna by Antonio Gades.

FLAMENCO FESTIVAL

Director
Miguel Marín

Production
María Fernández

Press & Production
Belén Seoane 

FLAMENCO FESTIVAL 2009

Technical Coordinator
Belén Castres

Photographer
Javier Suárez

Poster Model
Anita Rodríguez

Press
G+M Comunica, Daniel Mejías

Design
Pon un diseñador Gráfico en tu Vida

Webmaster
Uno y Nueve 

www.flamencofestival.org



Raymond Gubbay & Sadler’s Wells present

Darren Bennett & Lilia Kopylova

from the BBC’s

Strictly Come Dancing

perform their own
sensational new show!

Wednesday 27 May - Sunday 28 June

‘I can’t wait for Latin Fever!’

DARREN GOUGH
Cricket Champion and winner of Strictly Come Dancing 2005

Coming soon to Sadler’s Wells 0844 412 4300
www.sadlerswells.com

Photo: Mike Keating
Photo: Ben Harries
Tango Fire Jasmin Vardimon Company

Justitia

Argentina’s hottest dance show, Tango Fire, flies back into London direct from Sadler’s Wells Associate Artist Jasmin Vardimon returns with her powerful,
Buenos Aires for four weeks! Featuring ten sensational dancers, one of Argentina’s politically-charged large-scale work, Justitia. Punctuated with provocative and
finest singers and a quartet of brilliant young musicians, Quatrotango, this really is insightful humour, Justitia treats us to Vardimon’s unique brand of highly acute
tango at its fiery best. As one of the most popular dance forms world-wide, this show physical theatre. Fiercely athletic and beautifully detailed, this production delivers
combines the rawness and sophistication, sexy yet sensual side of tango, in a true a generous mix of energetic dance, a sharp script and an exhilarating soundtrack.
dance spectacular.

£15 - £40 £10 - £20

Tue 17 Mar – Sat 11 Apr save live Thusave 30 Apr – Satlive 2 Maysave save save live save save live save
20% music 20% 20% 20% music 20% 20% music 20%
20% music

Breakin’ Convention 09 Havana Rakatan One of Sadler’s Wells’
most successful
International Festival of Hip Hop Dance Theatre productions, Havana
Rakatan returns to the
Peacock Theatre by
enormous popular
demand for a third year!

Photo: Paul H Mambo, jazz, bolero, son,
cha-cha-cha, rumba and
Sadler's Wells' annual three-day festival, Breakin' Convention, returns for its salsa all come alive in a
sixth year with some of the world's finest poppers, lockers, house dancers, b- dazzling dance display of
boys and b-girls representing the very best in hip hop dance. Hosted and curated Cuban passion that is
by the inimitable Jonzi D, Breakin' Convention has become a major happening guaranteed to get heads
in the hip hop dance calendar since the first festival at Sadler's Wells in 2004. nodding and feet tapping.
Set to live Cuban music
courtesy of Cuba’s well-
known son band
Turquino, Havana
Rakatan is a captivating
journey through the dance
and music of a truly unique
country.

Tickets: 1-Day £20 / 2-Day £32 / 3-Day £48 £15 - £40

Sat 2 – Bank Holiday Mon 4 May Concessions: 1-Day £12 / Tue 5 – Sat 23 May save live save
2-Day £18 / 3-Day £27 20% music 20%

Rambert Dance Company Rambert Dance Company’s Northern Ballet Theatre Photo: Richard Fairley, A Simple Man
spring visit features two very
with its Associate Orchestra London diverse London premieres. Mixed Bill / Romeo & Juliet
Musici
Photo: Hugo Glendinning /Joe Swift Christopher Bruce revives
Tue 12 – Sat 16 May Hush, a light-hearted and raucous
musical celebration of life. Critically
acclaimed in America and set to
music by Bobby McFerrin and
Yo-Yo Ma, this brilliant 2006
creation will lift your spirits and
keep your toes tapping.

The chequer-board stage of Itzik Northern Ballet Theatre celebrates its 40th anniversary with two programmes
Galili’s A Linha Curva is filled that highlight the dramatic, classical and contemporary abilities of this award-
with rhythmic pulses and sexual winning company.
tension. With irresistible samba
inspired lines and curves Galili The Mixed Bill will feature Gillian Lynne’s A Simple Man and Angels in the
blends Brazilian capoeira and Architecture, set to Aaron Copeland’s Appalachian Spring. Northern Ballet
contemporary dance technique. Theatre’s classic adaptation of Shakespeare’s tragedy, Romeo & Juliet, is both
This programme will be passionate and dramatic; dance theatre at its most intense.
completed by Doug Varone’s
Scribblings.

£10 - £38 £10 - £40

save live Tue 19 – Sat 23 Maysave live save salivvee ssaavvee
20% music 20% music 20% 2m0u%sic 2200%%
save livelive savseave save save live save
20% musmicusic 20%20% 20% 20% music 20%

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

Coming soon to Sadler’s Wells 0844 412 4300
www.sadlerswells.com

Pierre Rigal Photo: Frédéric Stoll Bruno Beltrão Photo: Scumeck

Press H3

Originally commissioned and staged at The Gate Theatre in February 2008, Bruno Beltrão is well known in his native Brazil for pushing the boundaries of
Press returns to London after a world tour. French choreographer and performer contemporary dance into brand new territories, drawing on diverse influences,
Pierre Rigal explores how our personal space is confined by the pressures of including hip hop, to create an entirely fresh choreographic language In H3, nine
modern life, performing in a specially constructed boxed stage less than three dancers from Beltrão’s company Grupo de Rua create astonishing duets as they
and a half metres wide. Rigal works in collaboration with lighting designer collide and balance against each other, incorporating elements of krumping, popping
Frédéric Stoll and sound designer Nihil Bordures who perform live and in and floor-spins. Sadler’s Wells Debut is a unique initiative that brings
response to him each evening. choreographers to the UK for the special low price of £10.

Thu 28 – Sat 30 May £15 save Fri 29live & Sat 30save Msaavey save live save £10 save
20% music 20% 20% 20% music 20% 20%
save live save live
20% music 20% music

Wayne McGregor I Random Dance Sidi Larbi Cherkaoui & Antony Gormley Photo: Hugo Glendinning

Entity with monks from the Shaolin Temple
Sutra

Wayne McGregor | Random Dance’s latest production Entity thrilled Sadler’sPhoto: Bill Cooper Sutra returns to Sadler’s Wells having performed to sell-out audiences across the world,
Wells audiences at its world premiere in 2008. It returns after sell-out shows at the Photo: Andrew Lang giving UK audiences a second chance to see this stunning collaboration. Performed by
Venice and Lyon Biennales and wide critical acclaim. Performed against a 17 monks from the original Shaolin Temple in China, along with Larbi himself, Sutra is a
pounding soundscape by Coldplay and Massive Attack collaborator, Jon fascinating exploration of the philosophy and faith behind the Shaolin tradition, its
Hopkins and award-winning composer Joby Talbot, Entity is a staggering blend relationship with Kung-Fu, and its position within a contemporary context.
of bodies, lights, technology and film, which confirms McGregor’s place at the
cutting edge of contemporary culture.

£10 - £24 £10 - £35

Fri 5 & Sat 6 June save live Tsauvee 30 June –liveSat 4 Jsauvely save save live save save live save
20% music 20% music 20% 20% 20% music 20% 20% music 20%

Matthew Bourne’s Matthew Bourne’s dance A tribute to Richard Rogers save
theatre retelling of Oscar 20%
Dorian Gray Wilde’s gothic fable was a sell- Shall We Dance
out success at Sadler’s Wells
Tue 7 – Sun 19 July in 2008 and the most highly Starring Adam Cooper
attended dance event ever at
the Edinburgh International Set to a score comprised Photo: Richard Haughton
Festival. Set in the image- entirely of melodies by
obsessed world of Richard Rodgers, Shall
contemporary art and politics, We Dance tells the story
this ‘black fairy tale’ tells the of one man’s extraordinary
story of an exceptionally quest to find true love.
alluring young man who Conceived and performed
makes a pact with the devil. by award-winning dancer
Matthew Bourne’s first new and choreographer Adam
production in three years Cooper, this brand new
reunites the team that created production thrills and
the double Olivier award- seduces with an
winning hit Play Without exhilarating blend of tap,
Words - designer Lez jazz and classical dance.
Brotherston, composer
Terry Davies and lighting Tsahveu 23 July –liveSun 30savAe usgave £10 – £50 save live
designer Paule Constable. 20% music 20% 20% 20% music
save live save
£10 - £49 20% music 20%

save live
20% music

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

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Taking the waters

Sadler’s Wells the twentieth century by Al Senter

At the beginning of the twentieth Originally it was intended that Sadler’s Ballet, with principal dancers Alicia
century, the Sadler’s Wells Theatre Wells should mirror the Old Vic in Markova and Anton Dolin under the
seemed to have reached the nadir of offering a programme that alternated inspired leadership of Dame Ninette
its fortunes. In January 1914, S.R. between drama and opera and for a de Valois, became the first truly British
Littlewood, theatre critic of The Daily time productions trundled between ballet company.
Chronicle sadly declared that the Rosebery Avenue and the Waterloo
once glorious Sadler’s Wells was a Road every two weeks. But by the It is about this time that Wendy Toye
“Poor, wounded old playhouse.” Yet 1935/36 season, Sadler’s Wells had makes her first appearance in the
a saviour was to come galloping to become the exclusive preserve of story of Sadler’s Wells. Later to
the rescue. When the redoubtable opera and dance. Sadler’s Wells become a distinguished stage, film
Lilian Baylis, who had devoted so and opera director, Miss Toye was
much of her energies to establishing then an overawed teenager in the
The Old Vic Theatre, was first asked corps de ballet. “A First Night at
to work the same magic on the ailing Sadler’s Wells could be very
Sadler’s Wells, she had given a glamorous,” says Miss Toye. “But you
typically forthright answer. “A never felt that people came simply to
madman’s dream. It’s ridiculous to be seen. There was real knowledge
think of adopting another child when about and real enthusiasm for the
one can’t provide for one’s own.” work - opera or dance.”
Wendy Toye has affectionate
Nevertheless, by 1925, she clearly memories of the world premiere of
felt that the Old Vic had survived into Benjamin Britten’s Peter Grimes,
a healthy adolescence and she could which opened at Sadler’s Wells on
therefore turn her attention to June 7th, 1945 - scarcely a month
Sadler’s Wells. She set up a after VE Day. In the company was
charitable Foundation to finance the dancer Barbara Fewster. “I played an
building of a new theatre. Designed urchin in Peter Grimes. We’d often
by FGM Chancellor, it opened on have tea with Britten at a nearby cafe
January 6th, 1931 with a timely that was run by a traditional Victorian
production of Twelfth Night and with spinster. We were young and life was
a cast headed by Richardson as exciting, especially when we had to
Sir Toby Belch and Gielgud as
Malvolio.

hide underneath the stage to avoid Marcel Marceau, the Kabuki Theatre, time capsule under the centre
the buzz bombs.” the Dance Theatre of Harlem and the stalls during construction in
Kodo Drummers from Japan. February 1997.
During the subsequent decades, After 50 years Sadler’s Wells closed
Sadler’s Wells built a high reputation in its 1931 guise on June 30th, 1996. Future archaeologists will surely
for opera and dance but when the It emerged in its new, exciting puzzle over a motley collection that
Opera Company moved to the contemporary incarnation on includes a piece of the wooden floor
Coliseum in 1968 and transformed October 10th, 1998, complete with from the de Valois Room and a No.19
itself into ENO, it was felt that the flexible auditorium, a vastly enlarged bus ticket.
theatre should be playing a pivotal sprung stage, advanced computer
role as a receiving house - both for stage and lighting technology and Since the new theatre opened, a new
foreign companies and those within spectacular multi-media displays on generation of pleasure-seekers have
the U.K. who were looking for a the facade. flocked to Rosebery Avenue to
metropolitan shop-window. Sadler’s sample the latest artistic waters. And
Wells, strategically positioned at On a more humble level, a strange let’s hope that their thirst can never
some remove from the West End mixture of objects was buried in a be quenched.
hothouse, was seen as the ideal
launching-pad for artists at the
outset of their careers.

Accordingly the theatre played host
throughout the 1970s and 80s to a
rich diversity of attractions and
Sadler’s Wells recaptured something
of its traditional eclecticism. On
Rosebery Avenue one could see
everything from Händel Opera to the
Black Theatre of Prague and
Netherlands Dance Theatre with its
controversial if highly commercial
nudity. “We had more House Full
notices (and sold more front stalls)
than the theatre had seen for years“,
recalled Douglas Craig, Director of
Sadler’s Wells from 1970 to 1980.
Also gracing the stage during this
period were Merce Cunningham,

Sadler’s Wells Supporters

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

Corporate Harriet and Michael Maunsell Midge and Simon Palley Graham Watts OBE
Barbara and Karsten Moller Dr Elizabeth Parker Gerry and Ruth Weiss
Major Supporters Sara Naudi The Porter Foundation
American Express Friends of New Adventures Robin and Bonnie Priest Performance Members
JPMorgan Chase Foundation Harald Orneberg Kerri Ratcliffe and Doug Henderson Anonymous
Man Group plc Dominic Palfreyman Jill and Paul Ruddock Helga Baitenmann
Rolex Robin Pauley Alastair Sharp Ian and Judy Barlow
Ellen Plantevin Lesley Shoebridge Jennifer Brophy
Corporate Sponsors Robert and Felicity Waley-Cohen Lord and Lady Simon of Highbury Ms Annunziata Celantano
Alfa-Bank John Ward Tanya Steyn Peter and Judith Foy
Clifford Chance Richard Wilson OBE Paula Swift Sue Hammerson
DLA Piper Melanie and Keith Young Richard Sykes and Penny Mason Michael Holter
Elior UK Martha and Carl Tack Nida Khayrallah
Madrid Tourism Board Creative Circle Torsten Thiele Eugene Leahy and
Xchanging Lauren and Mike Clancy E. G. Tomsett
The Robert Gavron Charitable Trust Bonnie J Ward Helmert Robbertsen
Corporate Supporters Jack and Linda Keenan Charles and Kathryn Wickham Gerald Lidstone
Bolt Burdon Sylvia Wong and Gary Eaborn Dr Patrick Maher
Criterion Ices Limited Stage Circle Ms Elizabeth McPhillips
digby trout Restaurants Spindrift Al Swaidi Circle Patrons Dorothy Owen
The Embassy of the Kingdom of the Peter and Sally Cadbury Anonymous Sally Pasmore
Frank and Helen Neale Jane Attias David and Tricia Peel
Netherlands Jan and Michael Topham Elissa Bernstein Henrietta Shields
Wildbore & Gibbons Richard Wilson OBE R. Borzello and the Stuart Stanley
William Norris & Company David Wyld
Studio Circle Camden Trust
Individuals Mr and Mrs Sekhar Bahadur Jenny Brend Trusts and Foundations
G. P. and J. M. Batchelar Sue Butcher
Major Supporters Louise Bhattacharjee Denise Cohen Charitable Trust Major Supporters
David and Primrose Bell Kristina Borsy and Nick Turdean Geoffrey Collens 29th of May 1961
Judith Bollinger Mrs Pamela Brand-Field John Crisp
Marco Compagnoni José and Meg Breña Andrew and Deborah Cullen Charitable Trust
Focus on Forsythe Benefactors Michael Buckingham Amanda Cupples Dame Hilda Bracket Trust
The London Morphoses Syndicate Jules and Cheryl Burns Ian and Morny Hay Davison The Deborah Loeb Brice Foundation
Simon and Virginia Robertson Dorothy Marie Burwell Neil Griffiths-Lambeth The Clore Duffield Foundation
Ann and Martin Smith Sarah and Philippe Chappatte John E Haines The John Ellerman Foundation
Lady Solti Toni Cupal and Michelango Volpi Lady Harlech The Edwin Fox Foundation
David and Hannele Tilles Sarah and Louis Elson Stephen and Jennifer Harper The Foyle Foundation
The Ulrich Family Libby Engstrom Garth Kimber The Robert Gavron Charitable Trust
Piers Fallowfield-Cooper B. Legg Calouste Gulbenkian Foundation
Artistic Director’s Circle Juliana Farha and Kit Malthouse Lady Lever Helen Hamlyn Foundation
Angela Bernstein CBE Celeste Fenichel Mr and Mrs George Loudon The Paul Hamlyn Foundation
Judith Bollinger Charles Glanville Stuart Lucas Jerwood Charitable Foundation
The Deborah Loeb Brice Foundation Sir Donald Gordon Harry and Fiona MacAuslan JPMorgan Chase Foundation
Marina Hobson The Richard Grand Foundation Jane Miller The Mirisch and Lebenheim Charitable
Barbara and Karsten Moller Jan Grandison Georgia Oetker
Tony Oakley Domonic Green Robin Pauley Foundation
Ann and Martin Smith Janine Griffis and Peter Kohl Mrs Madeleine Plaut The Monument Trust
The Ulrich Family Kate Groes Dave Plummer and Lesley Whitby Peter Moores Foundation
Gary Halkyard Peter B Rea Quercus Trust
Supporters Sarah Havens and Gregg Sando Nigel Roberts The Garfield Weston Foundation
American Friends of Rick and Janeen Haythornthwaite Ross Roberts
Vicky Hughes and John Smith Chrissy Sharp Supporters
Sadler’s Wells Joyce Kan Chantal Defay Sheridan City Bridge Trust
Robert Ashley-Jones Rosemary Lancaster - David and Dee Dee Simpson City Parochial Foundation
Charles and Leonie Vimmi and Amrit Singh The Kobler Trust
Woolacombe Bay Hotel Constance Slaughter The Mercers’ Company
Booth-Clibborn John and Susan Lazar Brian D Smith Millichope Foundation
Robert Borzello and the Alison LeMaire Alistair Spalding The National Deaf
David Lloyd Stuart and Louise Spence
Camden Trust Lindy Mason Christopher and Fiona Steane Children’s Society
Lauren and Mike Clancy Arela Natas Amy Stillman Jack Petchey Foundation
Joachim Fleury Anthony and Alison Nathan Allen Thomas and Jane Simpson The Rayne Foundation
Robert Gavron Charitable Trust Mr and Mrs C Norton Anna Valentine and Jonathan Berger Dr. Scholl Foundation
Charles Glanville
Christophe Gollut
Joseph and Jill Karaviotis

Sadler’s Wells Foundation and Trust

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

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

Sadler’s Wells Staff

Chief Executive/Artistic Director Press Officers Maintenance Technician - Deputy Housekeeper
Alistair Spalding Erin Crivelli, Jenny Lee, Ciaran The Place Alberto De Antoni
General Manager McKenna, Sally Partridge Barry Daley Housekeeping
Chrissy Sharp Press Assistant Maintenance Technician - Fabian Arias, Jeffrey Balighot,
Finance Director Eugénie Dunster The Peacock Theatre Fortunato Carian Kelly Dago, Jesiel
Mark Rhodes Web Manager Daniel Knapton Da Silva, Irene Hall, Akissi Kouassi,
Director of Marketing & Mark Doerfel Senior Building Services Abe Lambert, Jose Lary Legario,
Communications Multimedia Assistant Technician Louis Ricafort, Oumar-Florent Sam,
Kingsley Jayasekera Andrew O’Regan Ilia Constantinides Mercan Sahin, Federick Tungoha,
Director of Programming Web Editor (LondonDance.com) Building Services Technicians Celestin Trah, Amani Yoboue
Suzanne Walker Carmel Smith Richard Emmett, Wayne Lawrence,
Director of Operations Web Assistant Ghion Mekonnen, Win Tun TICKET OFFICE
Steve Hyde (LondonDance.com) Chief Security Officer Ticket Sales Manager
Director of Technical and Sarah Golding Roger Owen Zahir Jaffer
Production Security Officers Ticket Office Systems Manager
Emma Wilson DEVELOPMENT David Grant, Emmanuel Yaokumah Brian Kearney
Head of Connect Development Consultant Operations Manager Ticket Office Supervisors
Fiona Ross Janet Reeve Lynda Nichol Barbara Birch, Mark Hammond,
Executive Assistant Consultant – Trusts and Operations Administrator Abigail Parker
Nadine Pain Foundations Rachel Meikle Memberships and Ticketing
Jane Lenton House Managers Services Administrator
PROGRAMMING Manager, Individual Giving and Marguerite Bullard, Veronika Ritchie Dach
Producer Trusts Tugendraich Ticket Office Clerks
Emma Gladstone Tamzin Robertson Deputy House Managers Ramzan Ali, Robert Allen, Clare
Programming Manager Manager, Corporate Fundraising Dara Brooks, Larry Harrison, Janine Bracewell, Hugh Brady, Marguerite
Mai Komoriya Svetlana Semenchuk Kaufman, Hannah Sless Bullard, Felicity Coupland, Richard
Programming Manager - Development Co-ordinator, Front of House Sales Cross, Nathan Gaitch, Sara Gilbert,
Peacock Theatre Individual Giving and Trusts Administrator Kirk Golding, Kim Graham, Jake
Emma Dowden Lauren Burles Chris Harmer Harders, Elspeth Harrison, Tim
Programming Co-ordinator Development Co-ordinator, Performance Cashiers Hudson, Paula Jones, Rosa
Lisa Marie Bowler Corporate Fundraising Robert Churchill, Larry Harrison Maugher, Cinzia Moretti, Ros Moore,
Projects Manager Martha Heiland-Allen Front of House Sales Assistants Paula Patritti, Matt Phillips, Ailsa
Charlotte Geeves Graham Alexander, Lisa Beck, Prideaux-Mooney, Alpesh Rajani,
Sutra Tour Manager EVENTS Myriam Bennouna, Anna Bergstrom Jemma Robinson, Nicola Salt, Mark
Dawn Prentice Events Manager Ekeblom, Anna Booth, Sandra Saxton, Pauline Scullion, Cameron
Opera Advisor Misha Agzarian Castell, Hanna Cevik, Gisela Creus, Slater, Ben Stanley, Sandra
Nicholas Payne Events Co-ordinator Nansi Davies, Federico Di Pace, Wellstead, Frank Wurzinger
Breakin’ Convention Alessio Romani Katrina Dunham, Tania Edwards, Polly
Artistic Director Events Assistant Frame, Nicholas Garwolinski, Gigi Sadler’s Wells Associate Artists
Jonzi D Nu Tran Gianella, Amera Haider, Anna Matthew Bourne
General Manager Harrison, Vera Hochkofler, Agnieszka Jonzi D
Emma Dowden PERSONNEL Hoffman, Amy Hyde, Katsura Isobe, George Piper Dances
Projects Manager Personnel Manager Luke Kearney, Katherine Kingston, Sylvie Guillem
Kate Scanlan Clair Kelly Ljiljana Lemajic, Julian Li, Wing Li, Akram Khan
Administrator Administrator Vivien Loh, Sarah-Jane Lewis, Sarah Russell Maliphant
Michelle Norton Hannah Nicholson Loader, Nick Kertesz , Georgina Jasmin Vardimon
Mackie, Claire Marty, On Yee Loh, Christopher Wheeldon
CONNECT FINANCE Penny Lowther, Nicola Marsden- Resident Companies
Connect Project Manager Financial Controller Daniels, Takeshi Matsumoto, Tim Wayne McGregor I Random Dance
Rachel Evans Paul Warren Mays, Robert Mennear, Manuela New Adventures
New Audience Officer Show Accountant Mocanu, Frouke Mooij, Albukhari Guest Resident Company
Sarah Baker Lorne Cuthbert Muda, Oana Olarasu, Aleksandra Morphoses/The Wheeldon Company
Access Officer Finance Officer Podsiadlik, Anna Riessner, Paul
Sarah Howard Monisola Samuel Rooney, Miriam Ruoff, Marcella The Peacock Theatre is a non-smoking theatre. Mobile
Youth Dance Strategy Manager Finance Assistant Santese, Dorit Schwartz, Bishwo phones must be switched off before entering the
Melanie Nix Sheena Patel Shahi, Neeraj Singh, Dana Szeja, auditorium. Photography and the use of audio or visual
Youth Zone Co-ordinator Prabin Tamang, Joe Tootal, Noreen recording equipment are prohibited in the theatre.
Debbie Nielsen STAGE Townsend, Alexandra Ursache, Suzie
Arts Club Co-ordinator Chief Technicians Valerio, Calvert Watson, Jairo Zaldua,
Mary O’Mahony Liam Fahey, Andrew Gorman Siqi Zhang
Connect Assistant Technical Manager Lilian Baylis Receptionist
Hannah Dye Studio Joann Peek
Roman Bezdyk Stage Door Keepers
MARKETING Technicians Marie-Claire Adriaenessens, Lee
Marketing Campaigns Manager Tom Hares, Paul Howard, Dave Knight, Naomi Liddle, Saira O’Mallie,
Sammie Squire Judd, Marcus Macris, Michael Tina Ramdeen, Jemma Robinson,
Marketing Officers Rodgers, Sam McLeod, Christian Ludmila Rusiecka, Neeraj Singh,
Phil Newby, Lucy White Wallace, Tony White Rosannah Smith, Joe Tootal, Geoff
Marketing Assistant White
Sarah Barnett OPERATIONS IT Manager
Publications Editor Engineering Manager Alec Cuffy
George Acock Ashley Hard IT Support Engineer
Publications Assistant Facilities Manager - The Place Raymond Neequaye
Sally Preston Roy Adkins IT Technician
Press Manager Chris Massamba
Abigail Desch Housekeeper
Muriel Vaughan-Williams