Welcome

Photo: Cameron Slater

Welcome to Sadler’s Wells and to these UK premiere filled singing is perfectly suited to the heart-breaking performances of Layla and Majnun by Mark Morris events we see unfold on stage. The result is truly Dance Group. exceptional and utterly breath-taking, and I am proud that Sadler’s Wells is a co-commissioner of the work. Based on the Azerbaijani opera of the same name composed by Uzeyir Hajibeyli at the beginning of the I hope you enjoy the show. 20th century, Layla and Majnun was born out of a collaboration involving Mark Morris, the late Howard Hodgkin and the Silkroad Ensemble. It is an incredibly moving interpretation of an ancient love story that was described by Byron as the “Romeo and Juliet of the East” – beautifully told through the dancers’ movements and the equally arresting music played and sung live by the award-winning musical collective Alistair Spalding CBE founded by cellist Yo-Yo Ma. Artistic Director and Chief Executive

Morris is an absolute master of translating the musicality of the piece into the physicality of the choreography, while the expressive and emotion-

Front cover photo: Susana Millman Supporting Sadler’s Wells

At Sadler’s Wells, we support the creation and presentation of contemporary dance from around the world, irrespective of genre, and always to the highest possible standards. None of this would be possible without donations from the public and the generosity of our members and private supporters.

As a registered charity, we fundraise so that we can do more of:

• presenting the best dance artists and companies from around the world to you, our audiences

• supporting the creation of new and exciting work by our 17 Associate Artists, Resident Companies and emerging artists

• delivering acclaimed creative learning projects which engage over 20,000 people of all backgrounds, abilities and ages a year, using dance as a catalyst to improve health and instil confidence in participants

• engaging as wide and diverse an audience as possible both in London and beyond

• maintaining two of London’s longest-running theatres to provide the very best experience for our audiences and artists

• creating a new mid-scale dance venue to expand what we do

To find out more about how to support us – from individual and corporate more patrons more possibilities memberships, specific project support, or the naming of a seat in our main more history more tomorrows auditorium, visit sadlerswells.com/supportus, pick up a leaflet in the foyer more first night nervesmore effort or email [email protected].

more innovation more risk Thank you for making our work possible. more involvement more moves more exhilaration more rave reviews more sweat more opening nights more experimentation more Sadler’s Wells Sadler’s Wells is a registered charity Sadler’s Wells Trust Limited charity number: 279884

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Sadler’s Wells marks 20th anniversary with a double celebration

With something happening on each of our foyers, visitors were encouraged to wander throughout the building, drop in and out of various activities or simply sit down to watch, chat and relax. By the end of the day, visitors had a chance to learn Tudor dance, Bollywood and flamenco moves, practice yoga, take part in a drawing class and decorate a paper footprint to be displayed on the wall of the Mezzanine level as part of a collective artwork titled Dancing on the Ceiling.

Four days later, on 11 October, we celebrated again with the world premiere of Reckonings, a mixed bill we commissioned to three bold choreographic voices: Julie Cunningham, Alesandra Seutin and Botis Seva. The dance-makers each took different conceptual starting points to create an evening that at its core asked questions about identity and the state of In October 1998, after two intense years Sadler’s Wells’ first Fun Palace, as part contemporary society. Cunningham’s of construction, the new Sadler’s Wells of Fun Palaces 2018. The campaign work interrogated traditional gender theatre opened its doors to the public. The promotes the central role of community binaries; Seutin fused African styles with milestone was marked with two opening at the heart of culture with a weekend of urban dance language to comment on events. One, a traditional gala opening and action each October, where arts, science how we perceive brown bodies; and Seva performance by Rambert, took place on and community organisations across – inspired by Sally Brampton’s memoir Tuesday 13 October. The other, in keeping the country are called on to facilitate about depression – looked introspectively with Lilian Baylis’ legacy of using theatre community-led activities. at his own trials as an artist, using a hip hop as a means for social outreach, was a free dance vocabulary and representations of public opening for the local community, For the Sadler’s Wells Fun Palace, we violence to question our assumptions which took place the previous Saturday invited local community organisations about black men and street dance. 10 October. As a nod to the past, but with to lead a variety of activities throughout our eyes fixed firmly on the future, our the day; the resulting programme had a Thank you to everyone who came to 20th anniversary celebrations this month strong emphasis on skills, learning and our Fun Palace and to the opening of reflected these two separate openings. creativity. Workshops throughout the day Reckonings – to all the artists, audiences, were grouped into three main categories communities and supporters who have On Sunday 7 October, we opened our – dance, crafts, and mindfulness, with a been part of the Sadler’s Wells journey doors to our local communities for requisite dance floor on the ground floor. these past 20 years. Here’s to many more!

Join the conversation sadlers_wells sadlerswells Twenty years doesn’t seem so very Yet because the theatre was essentially built for Dystopian Dream. Photo: Johan Persson drama, it had a tiny stage – just 9.14 metres square long ago. But in the story of Sadler’s – which never made it suitable as a dance house. Wells, it feels like ancient history. Wendy Toye, who went on to become a famous The successful, thriving theatre that director, recalled performing there as a dancer in the 1930s. “You’d leap off the stage during a performance you are sitting in today had been on and bump your nose against the wall.” No wonder de the verge of bankruptcy and closure Valois’s fledgling company headed for the wide-open – and was only saved by visionary spaces of Covent Garden immediately after the war. thinking and faith in the art of dance. But a second company remained resident (with occasional breaks) until what had become known “There are two stages in the story of this place as Sadler’s Wells Royal Ballet moved to Birmingham over the past two decades,” says Alistair Spalding, in 1990. With its departure, the rot set in. By the time Artistic Director and Chief Executive. “There was Ian Albery was appointed as chief executive in 1994, the hardware of building the theatre and turning it the theatre was virtually bankrupt, its hill of assorted into a fantastic facility, which I inherited, and then oddities – a musical one week, a play the next, a there is making something of that – properly to turn revue the following – failing to attract an audience. it into a dance house. And that’s what I could bring. “Everyone had turned the job down,” Albery “Anniversaries are a chance to mark a moment in remembers. “They all knew it was bust. It was not only time. To look back and also to look forward to set run down and lacklustre, but it was a rag bag of out what the next phase is going to be.” programming. To run a theatre like that, without any programming policy, you shoot yourself in the foot.” The story of the past two decades is an inspiring one, that has its roots in a long history. This building He only took the job because it was in his bones, is the sixth theatre on the site. The first was built in thanks to his family’s long theatrical history: his 1683, around the therapeutic spring that gives it great grandfather, Charles Moore, had been its name. The most relevant, in terms of its current manager of Sadler’s Wells in 1872; his grandfather reputation as the home of world-class dance, was Bronson Albery was the joint administrator of the built after the redoubtable theatre pioneer Lilian Wells (as it was always called then) and the Old Vic Baylis launched an appeal (supported by Churchill, during the Second World War; and his father John Galsworthy and Thomas Beecham) to replace Donald Albery was the general manager of the the Victorian playhouse that was falling down. Sadler’s Wells Ballet over the same period. Designed by F.G.M. Chancellor, who had worked But he proved the perfect man for this Herculean alongside the famous Frank Matcham, this new task. With a background in commercial theatre theatre opened on 6 January 1931 with a – “I knew how to make money. I was a bit of a performance of Twelfth Night starring John buccaneer” – he also knew about dance, having Gielgud and Ralph Richardson. It was within its worked as chief electrician for American Ballet walls that Ninette de Valois founded and nurtured Theatre on their 1960 European tours, and from the company that went on to become The Royal 1964 to 1968 as a production manager at London Ballet, featuring the nascent talents of the young Festival Ballet (the company that became English Margot Fonteyn, who performed at a gala in 1935 National Ballet). From the first, he decided that at the age of 16. “She has a compelling personality Sadler’s Wells had to have something that would and exceptional gifts,” noted one critic at the time. make it special. “I had to find a niche,” he says. Our theatre’s 20th anniversary He knew de Valois – she had intermittently lodged For a future solution, he looked to the past – and to Combined with the best work imported from with his family when he was a young man and de Valois’s illustrious example. “Sadler’s Wells had companies around the world, these new creations they had travelled on the Number 9 bus from to have a focus and it had to have a brand. I knew by Sadler’s Wells’ Associate Artists have bolstered Kensington to the West End together, on their way in my bones that to make it a creative dance house the importance of contemporary dance as an art to their respective workplaces – and decided to was the right thing to do. The old building had all form with something to say – and something to say follow the example of her era: the theatre would these memories and we needed to create a more to a lot of people. On the other side of the curtain revert to being a place where you could see dance contemporary version of that.” over the past 20 years, audiences have not only and small-scale opera. But he also took a radical grown in size but also in expertise. “Audiences decision. He made the first application to the new The theatre had always been at its best when it have been very much part of this,” says Spalding. National Lottery, asking for money to rebuild. had artists making work at its heart, so Spalding “I feel it is a joint venture. There are a lot of people gathered around him many of the most talented out there who enjoy what we do, and every time The process wasn’t without opposition. The old people making dance in Britain at the time, and we bring something back, the circle widens.“ building was Grade II* listed. “English Heritage didn’t made them Associate Artists, building his 2005 want it demolished. We offered the carrot that they programme around the new works they would Now, as he celebrates the anniversary with 20 new could have all kinds of excavations before we rebuilt, create. The first five associates were Matthew works, he is once more looking to the future, and we kept the auditorium circles while altering Bourne, the BalletBoyz (Michael Nunn and William planning for the decades to come. Part of this will the angle of them to improve the sightlines.” He Trevitt), Jonzi D, Wayne McGregor and Akram be based in another new theatre, the 500-seater also persuaded Islington Council to allow the theatre Khan. The season included themed sections that due to open in east London’s Queen Elizabeth to move a tree, known as the Baylis tree, on a triangle have become fixtures: the Flamenco Festival and Olympic Park in 2022. Just as important is the of land that provided space for the radical Breakin’ Convention, which has done investment in new talent, in the young associates a new foyer and public areas. so much to nurture the growth of hip hop as a who are starting out as dance creators and who theatrical force. now have the backing of London’s dance house. On 11 October 1998, after a Their work forms part of its anniversary programme. two-year closure, the current It also featured zero degrees, an innovative Sadler’s Wells opened its collaboration between Khan, Sidi Larbi Cherkaoui, “Dance is an expression of the way we are as human doors. It had cost £54 million, Nitin Sawhney and the sculptor Anthony Gormley, beings,” Spalding says. “Over the course of this of which £42 million came from the National and PUSH, choreographed by Russell Maliphant and year, you will see many aspects of humanity and Lottery. De Valois, who had just celebrated her danced by him and Sylvie Guillem (the two joined different stories on our stages. You can come to 100th birthday, was there. The opening season the associates’ roster shortly after). Both productions experience some of these things and come away was thrilling: it brought Pina Bausch to London were sensational, winning critical acclaim and with a different view of yourself. I think it is really and showcased William Forsythe’s Ballett drawing new crowds to contemporary dance. important at this moment in time to remind ourselves Frankfurt. Spalding, who was Head of Dance and of our shared humanity and ideals, which are Performance at the Southbank Centre at the time, Once work was being made in the theatre, everything deeper and more long-lasting than current concerns. remembers: “When I saw the stage opened up began to change. As the list of associates grew, and Forsythe’s company dancing on stage, I knew the backstage became – in Spalding’s words – “We want to bring people together here. We want it was a place where dance could be displayed “like a year-round festival.” People met, they talked, to offer a platform to different voices. We want to properly and I knew I wanted to work here.” ideas blossomed. The works that they made for make a case for internationalism. Dance is a way the stage, with the backing of Sadler’s Wells, of having access to the way people are thinking Two years later, he arrived as Director of became popular and pioneering dance hits, not and making sense of our experience and the Programming, but despite some thrilling just in Britain but around the world. Turnover has experiences of others. This is what we do.” highlights, the theatre was still struggling to make more than doubled to £26 million. its mark. Albery left in 2002, to be replaced by Sarah Crompton is a writer Jean-Luc Choplin for a short, disastrous period “The success of this place has been down to one and broadcaster that was artistically ambitious but financially thing and that’s the investment in artists,” says flawed. By the time Spalding took over the top Spalding. “Using every single penny we have to job in 2004, it was losing £50,000 a month and support them in what they want to do, and do it playing to audiences of 65 per cent. properly, has given us success.”

As part of the celebrations marking the 20th through light, movement that might not anniversary of Sadler’s Wells’ current building, immediately be apparent, and this was an Curtain we commissioned our Associate Artist Michael opportunity to do that,” says Hulls. “Something Hulls to create a light installation for the stage you might catch out of the corner of your eye Our theatre’s up curtain of our main auditorium, which is usually while chatting to friends or reading the just lit with red light. programme for the show you are about to see. A slowly repeated descent of a curtain of light, “I immediately imagined a slow wave of light to create some gentle pre-show movement descending the curtain that would be understated in the auditorium.” and subtle. Something people might not 20th anniversary immediately sense, something peripheral. I’ve For details of when the light installation is on, see always been interested in creating movement sadlerswells.com/lightinstallation Duration 1 hr 10 mins (no interval) Silkroad Ensemble Cast Bass Shawn Conley World Premiere 30 September 2016, Mugham vocals Kamancheh Rauf Islamov Zellerbach Hall, Berkeley, Majnun Alim Qasimov Viola Max Mandel California, United States Layla Fargana Qasimova Vocals Miralam Miralamov, Kamila Nabiyeva Choreography and Direction Mark Morris Dance Group Violin Georgy Valtchev, Mark Morris Mica Bernas, Sam Black, Jessie Montgomery Set and Costume Design Karlie Budge*, Durell R. Comedy, Cello Karen Ouzounian Howard Hodgkin Brandon Cournay, Percussion Shane Shanahan Lighting Design James F. Ingalls Domingo Estrada, Jr., Shakuhachi Kojiro Umezaki Set realised by Johan Henckens Lesley Garrison, Lauren Grant, Tar Zaki Valiyev Costumes realised by Maile Okamura Sarah Haarmann, Deepa Liegel*, Pipa Jin Yang Music Layla and Majnun by Uzeyir Aaron Loux, Laurel Lynch, Hajibeyli, arranged by Alim Qasimov, Dallas McMurray, Minga Prather*, Backdrop painted by Scenic Arts Johnny Gandelsman, Colin Jacobsen Brandon Randolph, Studios. Special thanks to Joe Forbes, Sung in Azerbaijani with English subtitles Nicole Sabella, Christina Sahaida*, Susan Jackson and Richard Prouse Stools built by Matthew Eggleton Assistant to Howard Hodgkin Billy Smith, Noah Vinson Costumes built by Eric Winterling, Inc Andy Barker * Apprentice Costume fabrics digitally Consultant Aida Huseynova printed by Dyenamix, Inc Rehearsal Assistant Rita Donahue

Mark Morris Dance Group & Silkroad Ensemble Layla and Majnun Layla and Majnun is a Mark Morris Layla and Majnun is made possible, in Layla and Majnun Dance Group/Cal Performances, UC part, through the MMDG New Works Fund ©2016 Discalced, Inc. Berkeley, California production in with support from the Friends of MMDG, Layla and Majnun titles, association with Sadler’s Wells, London; Doris Duke Foundation for Islamic Aida Huseynova ©2016 The John F. Kennedy Center for the Art, the Howard Gilman Foundation, The Silkroad Ensemble Performing Arts, Washington, D.C.; Ellsworth Kelly Foundation, Elizabeth arrangement of Layla and Majnun Harris Theater for Music and Dance, Liebman, a special grant from The Henry was made possible in part by the Chicago, Illinois; Hopkins Center for Luce Foundation, PARC Foundation, generous support of the Qatar the Arts, Dartmouth College, Hanover, Poss Family Foundation, the National Museums Authority, with additional New Hampshire; Krannert Center Endowment for the Arts, and Trust for support from the Academie for the Performing Arts, College of Mutual Understanding. Musicale de Villecroze and the Fine + Applied Arts, University of National Endowment for the Arts. Illinois at Urbana-Champaign; Lincoln Funding has also been provided by For more information on Layla and Center for the Performing Arts, New the New England Foundation for the Majnun, visit laylaandmajnun.org York, New York; Meany Center for the Arts’ National Dance Project, with lead Performing Arts, Seattle, Washington; funding from the Doris Duke Charitable Melbourne Festival, Victoria, Australia; Foundation and The Andrew W. Mellon and University Musical Society of the Foundation, with additional support from University of Michigan, Ann Arbor. the National Endowment for the Arts.

Photo: Frank Wing Mark Morris Dance Group Silkroad Staff The Mark Morris Dance Group was the formation of the MMDG Music Co-Artistic Director Jeffrey Beecher formed in 1980 and gave its first Ensemble in 1996. MMDG regularly Executive Director Eduardo A. Braniff performance that year in New York collaborates with renowned musicians, Co-Artistic Director Nicholas Cords Silkroad Associate Hannah Dardashti City. The company’s touring schedule including cellist Yo-Yo Ma, pianist Producer and Artistic Programs Director steadily expanded to include cities in Emanuel Ax, mezzo-soprano Liz Keller-Tripp the United States and around the world, Stephanie Blythe and jazz trio The Bad Director of Communications and in 1986 it made its first national Plus, as well as leading orchestras and Ben Mandelkern television programme for the PBS opera companies, including the Learning Advisor Cristina Pato Co-Artistic Director Shane Shanahan series Dance in America. In 1988, Metropolitan Opera, English National Manager of Digital Communications MMDG was invited to become the Opera and the London Symphony Jessica Shuttleworth national dance company of Belgium, and Orchestra. MMDG frequently works Comptroller Ed Sweeney spent three years in residence at the with distinguished artists and Director of Leaning Lori Taylor Théâtre Royal de la Monnaie in Brussels. designers, including painters Robert Bordo and the late Howard Hodgkin, From the company’s many London set designers Adrianne Lobel and seasons, it has received two Allen Moyer and costume designers Laurence Olivier Awards and a Martin Pakledinaz and Isaac Mizrahi. Mark Morris Critics’ Circle Dance Award for Best Foreign Dance Company. While on tour MMDG partners Dance Group Staff with local cultural institutions and Artistic Director Mark Morris Reflecting Morris’ commitment to live community organisations to present Executive Director Nancy Umanoff music, MMDG has featured live arts and humanities-based activities musicians in every performance since for people of all ages and abilities. Production Director of Technical Production Johan Henckens Music Director Colin Fowler Lighting Supervisor Nick Kolin Silkroad Ensemble Sound Supervisor Rory Murphy Costume Coordinator Stephanie Sleeper Yo-Yo Ma conceived Silkroad in 1998 Today, these Grammy® Award- as a reminder that even as rapid winning artists seek and practice Administration globalisation resulted in division, it radical cultural collaboration in many brought extraordinary possibilities forms, creating and presenting Chief Financial Officer Elizabeth Fox for working together. Seeking to new music, teacher and musician Payroll Manager/Benefits Administrator Rebecca Hunt understand this dynamic, he began training workshops, and residency Finance Manager Natalia Kurylak to learn about the historical Silk programmes in schools, museums Finance Associate Emma Clemens Road, recognising in it a model for and communities. Finance Intern Heleny Rodriguez productive cultural collaboration, for IT Director Aleksandr Kanevskiy the exchange of ideas and tradition Silkroad has recorded seven albums. Company Manager Jen Rossi Associate General Manager Geoff Chang alongside commerce and innovation. Sing Me Home, which won the 2016 Assistant Company Manager Julia Weber And in a radical experiment, he Grammy® for Best World Music Archive Project Manager Stephanie Neel brought together musicians from Album, was developed and recorded Archive Project Associate the lands of the Silk Road to co- alongside the documentary feature Sandra Aberkalns create a new artistic idiom, a musical The Music of Strangers, from Oscar- Archive Project Metadata and Cataloging Coordinator Regina Carra language founded in difference, winning director Morgan Neville. Archive Digitization Assistant a metaphor for the benefits of a more Kareem Woods connected world. Development Maintenance Hector Mazariegos, Hyland Companies; ExxonMobile Corporate Pitts, Orlando Rivera, Virginia Ross, Arturo Matching Gift Program; Google Matching Gift Director of Development Michelle Amador Velazquez Program; Guggenheim Partners Matching Manager of Individual Giving David Gracia Booking Representation Michael Mushalla Gifts; The Harkness Foundation for Dance; Manager of Institutional Giving (Double M Arts & Events) Marta Heflin Foundation; IBM Corporation Ann Marie Rubin Media and General Consultation Services Matching Gifts Program; Jaffe Family Development Associate Makayla Santiago William Murray (Better Attitude, Inc.) Foundation; JPMorgan Chase & Co.; Kinder Legal Counsel Mark Selinger (McDermott, Morgan Foundation; The Langworthy Marketing Will & Emery) Foundation; Leatherwood Foundation; Accountant O’Connor Davies, Munns & The John D. and Catherine T. MacArthur Director of Marketing Karyn LeSuer Dobbins, LLP Foundation; Materials for the Arts; Megara Database Manager Georgia Tan Orthopaedist David S. Weiss, M.D. (NYU Foundation; Merck Partnership for Giving; Marketing & Communications Associate Langone Medical Center) Mid Atlantic Arts Foundation; Morgan Julie Dietel Physical Therapist Marshall Hagins, PT, PhD Stanley & Co.; Harris A. Berman & Ruth Web & Social Media Coordinator Hilot Therapist Jeffrey Cohen Nemzoff Family Foundation; The L. E. Phillips Joleen Richards Family Foundation; The Pinkus Foundation; Marketing Assistant Trevor Izzo Thanks to Maxine Morris Jerome Robbins Foundation; Rolex; Billy Rose Foundation, Inc.; Jennifer P. Goodale Sincerest thanks to all the dancers for their and Mark Russell; San Antonio Area Education dedication, commitment and incalculable Foundation; Schneer Foundation; Director of Education Sarah Marcus contribution to the work. SingerXenos Wealth Management; Laurie School Director Kelsey Ley M. Tisch Illumination Fund; Trust for a Mutual Education Programs Coordinator Major support for the Mark Morris Dance Understanding; Viad Corp and Zeitz Foundation. Rachel Merry Group is provided by American Express; Community Education Programs Manager Anonymous; Beyer Blinder Belle Architects The Mark Morris Dance Group is supported Alexandra Cook & Planners, LLP; Morley and Frederick Bland; in part by public funds from the New York Education Programs Assistant Booth Ferris Foundation; Allan S. and Rhea K. City Department of Cultural Affairs in Jessica Pearson Bufferd; Suzy Kellems Dominik; Doris Duke partnership with the City Council; Mayor Bill School Liaison Alexandria Ryahl Charitable Foundation; Judith R. and Alan H. de Blasio; Brooklyn borough president Eric Education Interns Janelle Barry and Fishman; Shelby and Frederick Gans; Isaac L. Adams; council member Helen Rosenthal; Marie Saint-Cyr Mizrahi and Arnold Germer; Howard Gilman the New York City Department for the Aging, the New York State Council on the Arts with Outreach Director Eva Nichols Foundation; Hearst Foundations; Sandy Hill; the support of Governor Andrew Cuomo Dance for PD® Program Director Elizabeth Amy Liebman; The Pierre and Tana and the New York State Legislature and the David Leventhal Matisse Foundation; Suzanne Berman and National Endowment for the Arts. Dance for PD® Programs and Engagement Timothy J. McClimon; McDermott; Will & Manager Maria Portman Kelly Emery; The Andrew W. Mellon Foundation; The Mark Morris Dance Group is a member Dance for PD® Programs Assistant Meyer Sound/Helen and John Meyer; Ellen of Dance/USA and the Downtown Brooklyn Amy Bauman and Arnold Offner; Sarabeth Berman and Arts Alliance. Dance for PD® Programs Administrator Evan Osnos; PARC Foundation; Poss Family Natasha Frater Foundation; Diane E. Solway and David Dance for PD® Interns Christine Hands, Resnicow; Resnicow + Associates; Margaret For more information contact: Shreya Jain Conklin and David Sabel; The Fan Fox and Mark Morris Dance Group Leslie R. Samuels Foundation; Iris Cohen 3 Lafayette Avenue Dance Center Operations and Mark Selinger; The SHS Foundation; Brooklyn, NY 11217-1415 The Shubert Foundation; Jane and R.L. Stine; (718) 624-8400 Operations Manager Elise Gaugert The White Cedar Fund and Friends of MMDG. mmdg.org Facilities Manager Mark Sacks Rental Programs Manager Annie Woller Additional support provided by Amazon; Facebook markmorrisdancegroup Operations Coordinator Aria Roach Kenneth Aidekman Family Foundation; Lily Twitter markmorrisdance Operations/Education Fellow Alexia Maitland Auchincloss Foundation, Inc.; Bossak/ Instagram markmorrisdance Front Desk Manager Tamika Daniels Heilbron Charitable Foundation; Cavali Snapchat markmorrisdance Assistant Front Desk Manager Foundation; Chervenak-Nunnalle YouTube Mark Morris Dance Group Dominique Terrell Foundation; Con Edison; Joseph and Joan Blogger Mark Morris Dance Group Front Desk Associates Hunter Darnell, Cullman Foundation for the Arts, Inc.; Dau Sign up for inside news from the Mark Morris Roxie Maisel, Anna Marchisello, Tiffany Family Foundation; The Gladys Krieble Dance Group. Go to mmdg.org/join-email-list McCue, Kareem Woods Delmas Foundation; Estée Lauder or text MORRIS to 66866 The story

Layla and Majnun is a classic story of love most notably expressed by the great poets Nizami Ganjavi and Muhammad Fuzuli. It has been presented in many Middle Eastern and sub-continental cultures: Muslim, Sufi, Hindu and secular.

Layla and Qays, are in love from childhood but are not allowed to unite. Qays (called Majnun, which means “possessed”) is perceived to be mad in his obsession with Layla. Layla is married off to another and Majnun becomes a hermit, devoting himself to writing verses about his profound love of Layla. Although they attempt to meet, they die without ever realising a relationship.

Read more about the story and the many interpretations that have emerged throughout history at laylaandmajnun.org Images courtesy of: State Hermitage Museum All pieces in this medley are based on both singers and instrumentalists Medley of the melodic patterns of Bayati Shiraz, demonstrate their ability to improvise. which is one of the major mughams of The song You have been apart from me Azerbaijani Azerbaijani music. The composition is a closing part of the medley. Alibaba proceeds from the melancholic and sad Mammadov, Azerbaijani mugham singer, Music: music expressions toward upbeat and composed this song following all the playful closing piece; such development rules and stylistic features of the Bayati Shiraz is highly typical for Azerbaijani traditional traditional songs known as tasnifs. music. The medley opens with the famous Tasnif is a romance-like lyrical song that Mugham Vocals Kamila Nabiyeva, Azerbaijani folk song, I have watered the is usually performed within mugham Miralam Miralamov street, which is about the girl who is composition. This medley, therefore, Kamancheh Rauf Islamov waiting for her beloved and wishing that features three vocal genres of Tar Zaki Valiyev they never be separated. The second traditional music of Azerbaijan, such as part of this composition features the mugham, and folk song and tasnif. actual mugham Bayati Shiraz, where

Act I Majnun My only wish is to perish in the world My soul is on fire because we are apart of love Love and I want to join my beloved I thank God that my wish is granted My heart is heavy because I am alone I have no more desire Separation I want to see my beloved Layla I feel like a nightingale that cries in pain, My true love knows my heart is breaking Layla Mica Bernas trapped in a cage He knows what sadness lives in my heart Majnun Dallas McMurray I want a flower garden There is no need for me to explain my grief Layla He knows every sliver of sorrow Sam Black, Lesley Garrison, My heart has been breaking since in my heart Lauren Grant, Sarah Haarmann, I was overcome by love Majnun Yes, I know Aaron Loux, Laurel Lynch, What kind of sorrow is this? Layla Yes, he knows Brandon Randolph, Christina Sahaida, I do not have the strength to describe Majnun Yes, I know Billy Smith, Noah Vinson the sorrow in my heart Layla and Majnun I cannot bear being apart from you Your movements tantalise me Majnun Your smile – like a flower – makes Seeing your face – as lovely as the sun – me weep has made me weak Your sweet scent renders me motionless I cannot be still Your tousled hair drives me mad Libretto Act II Both Layla You fell in love, desperately in love Mother, Father – it’s not my fault The Parents’ And your love is mixed with that I went to school sadness and grief I’ve never done anything to disobey you Disapproval Majnun I swear this was not my intention Father and Mother – my soul, my spirit I just wanted to be a carefree schoolgirl Layla Nicole Sabella Father and Mother – my heart Don’t say any more Majnun Domingo Estrada, Jr. How could I know that falling in Have mercy and stop tormenting me love with Layla Majnun Layla’s Parents would turn out this way? Father, Mother, my love will drive me mad Lauren Grant, Noah Vinson What could I say, what could I do? Majnun’s Parents I cannot control this love Christina Sahaida, Billy Smith I’m powerless – I have no strength Mica Bernas, Sam Black, I can only worship this one idol Durell R. Comedy, Lesley Garrison, until the very end of my life Dallas McMurray, Brandon Randolph

Act III Majnun Majnun Dear God, let me be at peace I yearn to feel this sorrow as long as I live Sorrow and with my troubles I need this sorrow because this Let me feel the despair of my love sorrow needs me Despair Have mercy on me in my grief I will not surrender Let me feel even more despair I will not be called unfaithful Layla Laurel Lynch for my love Layla Majnun Aaron Loux Layla I am as faithful as you are Your eyes are closed, your heart Maybe even more so Mica Bernas, Domingo Estrada, Jr., is broken You are on fire only at night Lauren Grant, Sarah Haarmann, Your mind tortured, and your While I am on fire night and day Dallas McMurray, Brandon Randolph, legs are bound Both Nicole Sabella, Christina Sahaida, You are burning from head to toe Like Fuzuli, I am inspired. Please, Billy Smith, Noah Vinson And your heart smolders God, let me be

Photo: Beowulf Sheehan Photo: Mat Hayward

Act IV Majnun How could you choose a stranger Why are you in the garden to share your grief and happiness? Layla’s with a stranger Is this what you call love? Enjoying yourself, bestowing You are cruel! You broke our vows! Unwanted favours on him? Layla How could you break your word? God, what torture! What agony! Wedding Did you forget about our vows? I was burning with love for you. How cruel! Now I know the torture of being apart Layla Lesley Garrison Layla Majnun Majnun Sam Black No, no, my soul mate, please So this is your loyalty, Layla? The Husband Durell R. Comedy listen to me Can someone who is unfaithful If this were up to me I would never be loved? Layla’s Parents want anyone but you Lauren Grant, Noah Vinson Fate has dealt me a cruel blow Domingo Estrada, Jr., Sarah Haarmann, I don’t know how this happened Aaron Loux, Nicole Sabella, Majnun Christina Sahaida, Billy Smith What did I do to make you turn away from me? Act V Layla Libretto by Uzeyir Hajibeyli The wheel of fate has not turned the way (based on the poem by The Lovers’ I wanted Muhammad Fuzuli) It has not cured the pain of separation Translation by Demise My beloved gave me so much pain Aida Huseynova and My heart is filled with suffering that Isabelle Hunter Layla Mica Bernas, Nicole Sabella, has no remedy Laurel Lynch, Lesley Garrison My beloved promised to love me forever, Majnun Dallas McMurray, Domingo But he forgot about his vows and about our love. Estrada, Jr., Aaron Loux, Sam Black Majnun True love means sacrificing one’s life for Layla’s Parents his beloved Lauren Grant, Noah Vinson A soul that has not been given to a beloved Majnun’s Parents is a wasted soul Christina Sahaida, Billy Smith Lovers want to be together But separation brings them joy forever. Into the Divine

t the age of 23, the composer Silkroad Ensemble under the artistic Uzeyir Hajibeyli (1885-1948) direction of Yo-Yo Ma. In 2007, the The Music put Azerbaijan – and himself group created a chamber arrangement A– on the map of music history of Hajibeyli’s work that was entitled with his Leyli and Majnun. This opera Layla and Majnun, following the of Layla was the first piece of composed music pronunciation of the heroine’s name in created in Azerbaijan, premiering in Arabic culture, in which this ancient 1908 in Baku (then part of the Russian legend had originated. From 2007 to and Empire, now the capital of the Republic 2009, the arrangement was a highlight of Azerbaijan). Azerbaijanis have of the ensemble’s repertoire, delighting revered their first national composer large audiences around the world. Majnun and his work ever since. For decades, every season at the Azerbaijan The rich multicultural potential of State Opera and Ballet Theater Hajibeyli’s opera perfectly resonates has opened with Leyli and Majnun. with Silkroad, the cultural organisation Aida Huseynova Each Azerbaijani singer appreciates Yo-Yo Ma founded to house the the honour and responsibility of Silkroad Ensemble. Silkroad envisions participating in these productions, music as a global phenomenon, with and audiences throughout the musical forms, genres and styles country enjoy broadcasts of the serving as bridges across time and performances. between cultures. Azerbaijani opera offers many possibilities for such Nearly a century after the Baku musical and cultural synthesis. In premiere, Hajibeyli’s opera found a Leyli and Majnun, Hajibeyli combined new life half a world away thanks to the Western opera with two artistic Photo: Mat Hayward treasures of Central Asia and the attesting to the tale’s enduring music as a testament to the emotional Middle East: the story of Layla and popularity. Hajibeyli’s opera – the life of human beings. In 2003, UNESCO Majnun and the genre of mugham. first piece of composed music to set recognised Azerbaijani mugham as a this ancient story – was based on Masterpiece of the Oral and Intangible The ill-fated lovers Layla and Majnun mugham, the quintessential genre of Heritage of Humanity. are often compared to Romeo and traditional Azerbaijani music. Mugham Juliet, although their story in oral is a branch of the large maqam Throughout its long history, the mugham tradition predates Shakespeare’s play tradition cultivated in the Middle East genre has attracted many outstanding by more than a thousand years. Layla and Central Asia. An improvised modal performers in Azerbaijan. Among them and Majnun have been celebrated in music, mugham historically has been is Alim Qasimov, who occupies a unique tales by Turks, Arabs, Persians, Indians, performed by a mugham trio that and honourable place in Azerbaijan’s Pakistanis and Afghans. Known in many consists of a singer playing gaval national music history. Qasimov is revered poetic renditions, their story also has (frame drum) and two instrumentalists as a national treasure of Azerbaijan, and inspired works of visual art, literature, playing tar (lute) and kamancheh (spike he also has enjoyed substantial acclaim cinema and music. It is not accidental fiddle). Mugham remains a precious abroad. In 1999, Qasimov won the that Hajibeyli chose the poetic setting part of the traditional music heritage International IMC-UNESCO Music of the Azerbaijani poet and philosopher of Azerbaijan. Since the early 20th Prize – a highly respected award that Muhammad Fuzuli (1483-1556). Written century, mugham also has become previously had been bestowed on Dmitri in the Azerbaijani language, Fuzuli’s the main source of creative inspiration Shostakovich, Leonard Bernstein, Olivier work is one of the most famous and experimentation for Azerbaijani Messiaen, Daniel Barenboim, Munir versions of this ancient legend. composers. In 1977, Azerbaijani Bashir and Ravi Shankar, among mugham was one of the 27 musical others. Qasimov possesses an in-depth Musical interpretations of the legend selections put in Voyagers I and II. knowledge of mugham. At the same of Layla and Majnun appear in diverse Sent beyond our solar system, these time, he is renowned for his innovative genres and national traditions, American spacecraft carried this approach to tradition and his openness to experimentation. This is why it is no these selections, Silkroad Ensemble is a supreme fulfilment, as it takes the surprise that Qasimov initiated the members Johnny Gandelsman and individual into the divine. In Hajibeyli’s idea of a new embodiment of Colin Jacobsen, both violinists, opera, this idea was conveyed through Hajibeyli’s old “mugham opera.” created a score. the chorus “Night of Separation,” which opens and concludes the work. Qasimov shared his vision with In the interpretation of the Silkroad These episodes can be compared to members of the Silkroad Ensemble Ensemble, the story of Layla and the Chorus in Greek tragedies, which and received a positive response. He Majnun is presented in a condensed comments on events before they was intimately familiar with Hajibeyli’s version: the three-and-a-half-hour- occur in the narrative. Reconstituting Leyli and Majnun, as he had been long opera is compressed into an the Chorus as a cello solo, both at the involved in its productions in the hour-long chamber piece. Hajibeyli’s beginning and at the end of the piece, Azerbaijan State Opera and Ballet five acts are rearranged into six parts. is one of the new arrangement’s most Theater in the 1980s. For his Silkroad These changes have resulted in a insightful interpretations: the lonely work, Qasimov selected the portions reordering and even an omission of melody of the cello sounds as the of Hajibeyli’s score that focus on many operatic episodes. Ultimately, voice of eternity. Majnun’s solo and duet scenes with the Silkroad Ensemble’s alterations Layla, the heroine, whose role was highlight the story’s time-honoured The new arrangement of Hajibeyli’s performed by Fargana Qasimova, messages. The legend of Layla and opera has created a different balance Qasimov’s daughter and student, now Majnun has a strong Sufi component, between Western and Eastern a highly reputed mugham singer on with the love between a man and a traits. In Hajibeyli’s opera, these two her own. Qasimov also included choral woman being seen as a reflection components mostly are kept separate: and ensemble episodes, along with of love for God. The death resulting the symphony orchestra plays all instrumental interludes. Based on from separation from one’s beloved episodes of composed music and Photo: Susana Millman

remains silent during the mughams. of spontaneity and superb score, creating a work of global East- Only the tar and kamancheh craftsmanship” (Washington Post). West significance. The new musical accompany singers during mugham arrangement of Layla and Majnun episodes. In the new version, however, Indeed, this composition is a result of is a respectful and highly artistic the role of the ensemble – with tar collective effort and is imbued with transformation of Hajibeyli’s “mugham” and kamancheh included – is crucial the spirit of improvisation. Hajibeyli opera, now shaped by creative throughout the entire piece, and both was aware of the large cultural span of energies coming from diverse cultural, the improvised and written parts of the his project, in terms of its musical and stylistic, and temporal sources. composition are firmly integrated. literary contents. However, Hajibeyli limited the cultural, aesthetic, and Aida Huseynova has a PhD in Layla and Majnun is a constantly stylistic scope of the opera to the musicology and teaches at the Indiana changing and developing project. context of his native culture. In so University Jacobs School of Music. Every performance is unique, and it is doing, he reflected the social and Her publications include Music of impossible to take a snapshot of this cultural expectations of early 20th- Azerbaijan: From Mugham to Opera work. Yo-Yo Ma called this a “part of century Azerbaijan as well as his own (Indiana University Press, 2016). the thrill” and described the project professional experience (or rather, Huseynova also serves as a research as “perhaps the finest example of its absence, as Leyli and Majnun was advisor for Silkroad under the group intelligence at work” (New York Hajibeyli’s first work). The Silkroad artistic direction of Jeffrey Beecher, Times). A reviewer of a performance Ensemble has expanded the cultural Nicholas Cords and Shane Shanahan. by the Silkroad Ensemble noted, reach of Azerbaijani opera deep into Her numerous awards include an “Layla and Majnun was the apex of the Middle East and Central Asia. No Andrew W. Mellon Foundation grant the program. Classical music making less importantly, they have increased (2016) and a Fulbright scholarship rarely achieves this combination the Western elements in Hajibeyli’s (2007-2008). From 1988 to 1991, he was director of dance at Brussels’ Théâtre Royal de la Monnaie, the national opera house of Belgium. In 1990, he founded the White Oak Dance Project with Mikhail Baryshnikov. Tanglewood Music Center. He is a Much in demand as a ballet member of the American Academy choreographer, Morris has created of Arts and Sciences and the 22 ballets since 1986 and his work American Philosophical Society, has been performed by companies and has served as an Advisory worldwide, including San Francisco Board Member for the Rolex Mentor Ballet, American Ballet Theatre, and Protégé Arts Initiative. Morris Ballet du Grand Théâtre de Genève has received the Samuel H. Scripps/ and the Royal New Zealand Ballet. American Dance Festival Award for Noted for his musicality, Morris has Lifetime Achievement, the Leonard Photo: Beowulf Sheehan been described as “undeviating in Bernstein Lifetime Achievement his devotion to music” (The New Award for the Elevation of Music Yorker). He began conducting in Society, the Benjamin Franklin performances for MMDG in Laureate Prize for Creativity, 2006 and has since conducted the International Society for the at Tanglewood Music Center, Performing Arts’ Distinguished Mark Lincoln Center and BAM (Brooklyn Artist Award, Cal Performances Academy of Music). He served Award of Distinction in the as music director for the 2013 Performing Arts, the Orchestra of Ojai Music Festival. He also works St. Luke’s Gift of Music Award and extensively in opera, directing and the 2016 Doris Duke Artist Award. Morris choreographing productions for the In 2015, Mark Morris was inducted Metropolitan Opera, New York City into the Mr. and Mrs. Cornelius Opera, English National Opera and Vanderbilt Whitney Hall of Fame at Mark Morris was born on 29 August The Royal Opera, amongst others. the National Museum of Dance in 1956, in Seattle, Washington, where Saratoga Springs, New York. he studied with Verla Flowers and He was named a Fellow of the Perry Brunson. In the early years of MacArthur Foundation in 1991 Morris opened the Mark Morris his career, he performed with the and has received 11 honorary Dance Center in Brooklyn, New companies of Lar Lubovitch, Hannah doctorates to date. He has taught York, in 2001 to provide a home for Kahn, Laura Dean, Eliot Feld and the at the University of Washington, his company, rehearsal space for Koleda Balkan Dance Ensemble. Princeton University and the dance community, outreach programmes for children and seniors, He formed the Mark Morris Dance and a school offering dance classes Group (MMDG) in 1980, and has to students of all ages and abilities. since created over 150 works for the company. Maile Okamura Creatives Costume Realisation Maile Okamura studied with Lynda Yourth at the American Ballet School. She was a member of Boston Ballet II Howard Hodgkin James F. Ingalls and Ballet Arizona before moving to Set and Costume Design Lighting Design New York to study modern dance. Howard Hodgkin James F. Ingalls has She has worked with choreographers was born in London designed several Neta Pulvermacher, Zvi Gotheiner, in 1932. He studied pieces for Mark Gerald Casel and John Heginbotham, at the Camberwell Morris including collaborating as both dancer and School of Art and Orfeo ed Euridice costume designer. Okamura has also the Bath Academy (Metropolitan designed costumes for Mark Morris’ of Art, Corsham. In 1984 he Opera); King Arthur (English National Words, A Forest and The Trout represented Britain at the Venice Opera); Sylvia, Sandpaper Ballet, (MMDG) and The Letter V (Houston Biennale and won the Turner Prize Maelstrom, and Pacific (San Ballet). She danced with MMDG from the following year. He was knighted in Francisco Ballet); Platée (The Royal 1998 to 2015. 1992 and made a Companion of Opera and New York City Opera); Honour in 2003. An exhibition of his Mozart Dances, Romeo and Juliet: paintings opened in 1995 at New On Motifs of Shakespeare, L’Allegro, il Johan Henckens Set Realisation York’s Metropolitan Museum of Art Penseroso ed il Moderato, and Dido before touring. A retrospective and Aeneas (MMDG). Recent designs Johan Henckens became the director opened at the Irish Museum of for dance include The Nutcracker of technical production of the Mark Modern Art in 2006. It travelled to the (Pacific Northwest Ballet/Seattle), Morris Dance Group in 1989, during Tate Britain and then to Madrid’s Twyla Tharp’s 50th Anniversary the company’s three-year residency Museo Nacional Centro de Arte Reina Tour (US and NY State Theatre), The at the Koninklijke Muntschouwburg Sofía. Hodgkin first worked in the Sleeping Beauty, choreographed in Brussels, Belgium. theatre in 1981, designing sets and by Alexei Ratmansky (Teatro alla costumes for Richard Alston’s Night Scala Ballet and ABT), Celts, Music with the Ballet Rambert. They choreographed by Lila York (Boston Johnny later collaborated on Pulcinella. For Ballet), Sea Lark and Death and the Gandelsman the MMDG, Hodgkin designed the Maiden (Paul Taylor Dance Company). Orchestral Arrangement sets for Rhymes with Silver (1997), Recent theatre work includes Kolam (2002) and Mozart Dances Desdemona, directed by Peter Johnny Gandelsman (2006). He is represented by Sellars (UCLA/CAP, Melbourne is the son of a Gagosian Gallery and has shown with and Sydney Festivals), Druid musical family from them in New York, Los Angeles, Paris, Shakespeare, directed by Garry Moscow, by way of Rome and London. Toronto’s Aga Hynes (Galway, Irish tour and Israel. He has lived Khan Museum exhibited Hodgkin’s Lincoln Center Festival). He often in the United States own paintings, Inspired by India, collaborates with Melanie Rios Glaser since 1995. He has collaborated with along with Indian miniatures from his and The Wooden Floor dancers in the likes of Yo-Yo Ma, Bono, Osvaldo collection in 2015. After All, an Santa Ana, California. Golijov, David Byrne, Bela Fleck, exhibition of prints, opened the Alan Kayhan Kalhor, Suzanne Vega, James Cristea Gallery in Pall Mall, London Levine, Mark Morris, Alim Qasimov in 2016. Hodgkin died on 9 March and Fargana Qasimova, Nigel 2017 in London. Kennedy and Martin Hayes. Combining his classical training with by millions of viewers worldwide. His a desire to reach beyond the work for dance and theatre includes boundaries of the concert hall, and Chalk and Soot, a collaboration with a voracious interest in the music of Dance Heginbotham, and music for our times, Johnny developed a Compagnia de’ Colombari’s theatrical unique style. A passionate advocate production of Walt Whitman’s Song for new music, Johnny has premiered of Myself. dozens of works written for Brooklyn Rider and Silkroad Ensemble, as well as works by Lev “Ljova” Zhurbin, Alim Qasimov Dmitri Yanov-Yanovsky, Vijay Iyer, Orchestral Arrangement and Bela Fleck, Daniel Cords, Rubin Mugham Vocals, Majnun Kodheli, Dana Lyn, Gabriel Kahane, Alim Qasimov is a Colin Fowler Music Director Colin Jacobsen, Shara Worden, prominent mugham John Zorn, Christina Courtin, Ethan singer named a Colin Fowler began Iverson, Padma Newsome, Gregory “Living National his musical study at Saunier, Evan Ziporyn, Bill Frisell, Treasure” of the age of five in Nik Bartsch and Gonzalo Grau. Azerbaijan. He has Kansas City and been passionate about mugham went on to study at since early childhood, but did not the Interlochen Arts Colin Jacobsen pursue a career in music until the age Academy and The Juilliard School, Orchestral Arrangement of 19, after various jobs as an where he received his bachelor of Colin Jacobsen is a agricultural worker and driver. music in 2003 and his master of founding member of Qasimov studied at the Asaf Zeynalli music in 2005. He is a veteran of two game-changing, Music College and the Azerbaijan numerous Broadway shows, most audience-expanding University of Arts. His teacher was recently performing in the Tony ensembles, the well-known mugham singer Award-winning Jersey Boys. string quartet Aghakhan Abdullayev. Qasimov’s A seasoned church musician, Fowler Brooklyn Rider and orchestra The performing style is unique, is currently the organist at Marble Knights. He is also a touring member combining deep knowledge of Collegiate Church on Fifth Avenue of Yo-Yo Ma’s Silkroad Ensemble and centuries-old rules of mugham with and also serves as music director an Avery Fisher Career Grant-winning challenging innovations, juxtaposing of Park Avenue Synagogue. As a violinist. Jointly inspired by mugham with other music styles. classical soloist and collaborative encounters with leading exponents Qasimov was awarded the artist, he has performed and of non-western traditions and by his International IMC-UNESCO Music recorded with many world-renowned own classical heritage, his most Prize in 1999 in recognition of his musicians and ensembles, including recent compositions for Brooklyn musical contributions to world peace. Deborah Voigt and the Los Angeles Rider include Three Miniatures, which Qasimov’s awards also include the Philharmonic. He began to were written for the reopening of the title of the People’s Artist of collaborate with the MMDG in 2005 Metropolitan Museum of Art’s Islamic Azerbaijan, the highest artistic rank and since then has performed over art galleries. Jacobsen collaborated in the country. On his 50th birthday in 40 pieces with the company, and has with Iran’s Siamak Aghaei to write a 2007, the President of Azerbaijan conducted performances of Mozart Persian folk-inflected composition, awarded Qasimov the Medal of Glory. Dances, Acis and Galatea and The Ascending Bird, which he performed Hard Nut. Hailed by the New York as soloist with the YouTube Symphony Times as “invaluable” and “central to Orchestra at the Sydney Opera House, Morris’ music,” he was appointed in a concert that was streamed live music director in 2013. Reserve University and danced with Performers Graham 2. Budge has performed works by Mark Morris, Pascal Rioult, Larry Keigwin, Martha Graham, Ted Shawn, Bertram Ross, Virginie Marta Renzi Dance, Armitage Gone Mecene, Adam Barruch, Michael Mao Fargana Qasimova Dance, Gallim Dance, Barkin/Selissen and Randy Duncan. She has Mugham Vocals, Layla Project and Carolyn Dorfman Dance. presented her choreography in Fargana Qasimova, She was also a guest artist with the Playscape2016, NEXT@Graham, Alim Qasimov’s Limón Dance Company. Bernas NYC10, SoloDuo Festival and four daughter and teaches at the Limón Institute and Martha Graham School showings. protégée, is an Brandeis University. She joined She received the Pearl Lang Award accomplished MMDG as an apprentice in January for Excellence in Choreography in mugham singer. Her 2017 and became a full-time 2017. Budge joined MMDG as an father has been the major influence company member in August 2017. apprentice in September 2018. in her life and career. She grew up with sounds of mugham and verses from the classical poetry of Sam Black Durell R. Comedy Dancer Azerbaijan and from the age of four, Dancer often performed along with her father Sam Black is Durell R. Comedy, at home and first joined him on tour originally from a native of Prince at the age of 16. She studied mugham Berkeley, California, Georges County, at the Azerbaijan National Conservatory, where he began Maryland, began and has earned recognition as a studying tap at the dancing at the age master of mugham. In 1999, Love’s age of nine with of six with Spirit Deep Ocean, a CD featuring Qasimov Katie Maltsberger. He received his Wings Dance Company. He graduated and Qasimova, was released by BFA in dance from SUNY Purchase, from Suitland High School in 2004, Network Medien in Frankfurt, Germany. and currently teaches MMDG master and George Mason University in In 2002 at the Women’s Voices Festival classes and Dance for PD®. He first 2008. Since then, he’s worked and in Belgium, Qasimova made her first appeared with MMDG in 2005 and performed with The Metropolitan appearance as a soloist. She has became a company member in 2007. Opera, Troy Powell, Kyle Abraham, in performed with the Silkroad Ensemble Baltimore Opera Company’s Aida and and has been featured in the 2006 Washington National Opera. He was documentary Meditation Day. Karlie Budge a member of the Limón Dance Dancer Company from 2009 to 2015. He was a former fellowship student at the Ailey Karlie Budge grew Mica Bernas School and a 2014 adjunct faculty up in Knoxville, Dancer member at George Mason University’s Tennessee, dancing School of Dance. Comedy joined Mica Bernas, with the Tennessee MMDG as an apprentice in 2015 and originally from Children’s Dance became a company member in 2016. Manila, Philippines, Ensemble (TCDE). trained at the She graduated magna cum laude Cultural Center of with a BA in dance and BS in the Philippines statistics in 2016 from Case Western Dance School before joining Ballet Philippines. Since moving to New York in 2006, Bernas has worked with Shawn Conley Lauren Grant Bass Dancer of KEIGWIN + COMPANY. He joined Shawn Conley was New York Dance MMDG as an apprentice in March born in Honolulu, and Performance 2018 and became a company Hawaii and won a “Bessie” award- member in October 2018. position with the winning Lauren Honolulu Symphony Grant has danced while in high school Domingo Estrada, Jr. with MMDG since before graduating from Rice University. Dancer 1996, appearing in over 60 of Morris’ Conley won the 2009 International works. Grant stages Morris’ repertory Society of Bassists Jazz Competition, Domingo Estrada, on his company and at universities. was a semi-finalist in the Thelonious Jr., a native of Her writing has been published in the Monk Jazz Competition and received Victoria, Texas, journals Dance Education in Practice, a Wagoner Fellowship. He has studied martial arts Ballet Review, Dance Magazine, and performed with Sting, Peter Gabriel and earned his black InfiniteBody. She also serves as a and Emanuel Ax, among many others. belt in 1994. He panellist for the New York State He teaches at the Hawaii Contrabass danced ballet folklorico through his Council on the Arts. Grant earned her Festival and regularly performs with church for 11 years. Estrada MFA from Montclair State University The Hot Club of Detroit, The NOW graduated from Texas Christian (where she was a member of the Ensemble and The Knights. University where he performed Laura Alpha Epsilon Lambda Honor Society Dean’s Skylight at the American and is now an adjunct faculty member) Dance Festival. He also worked with and her BFA from New York University’s Brandon Cournay the late Fernando Bujones. He Tisch School of the Arts. She is a Dancer debuted with MMDG in 2007 and recipient of the American Association became a company member in 2009. Brandon Cournay is of University Women Career originally from Development Grant, the Sono Osato Walled Lake, Scholarship for Graduate Studies Lesley Garrison and the Caroline Newhouse Grant. Michigan and Dancer graduated from The Juilliard School. Lesley Garrison Cournay performed in the Radio City grew up in Swansea, Sarah Haarmann Dancer Christmas Spectacular, and with Illinois, and trained MMDG, Metropolitan Opera Ballet, at the Center of Sarah Haarmann New York Theatre Ballet, The Chase Creative Arts, St. grew up in Macungie, Brock Experience, Schoen Louis, Missouri; Pennsylvania, Movement Company, Dance Interlochen Arts Academy, Michigan; trained at the Lehigh Heginbotham and Morphoses. TV/ Rotterdamse Dansacademie, Valley Charter High film/industrial credits include PBS’ Netherlands and Purchase College. School for the Great Performances, Musical Chairs She first performed with MMDG in Performing Arts and graduated from (HBO), Puma, Sesame Street and 2007 and became a company Marymount Manhattan College in Target. He has been the associate member in 2011. Garrison teaches at 2012. Haarmann has performed with choreographer for My Fair Lady (Bay The School at the Mark Morris Dance Pam Tanowitz Dance, Jessica Lang Street), The Wildness and Coriolanus Center and for MMDG’s Dance for Dance, Dylan Crossman Dans(ce), Pat (off-Broadway), and I Am Anne PD® programme. Catterson, Denisa Musilova and Bill Hutchinson/I Am Harvey Milk. Young. She joined MMDG as an Cournay is associate artistic director apprentice in January 2017 and became a full-time company member Aaron Loux Dancer in August 2017. Orchestra, The Scottish Chamber Aaron Loux grew up in Orchestra, The Academy of Ancient Seattle, Washington, Music, The Canadian Opera Rauf Islamov and began dancing Company Orchestra, Camerata Bern Kamancheh at the Creative Dance and the Handel & Haydn Society, amongst others. Other group Rauf Islamov was Center as a member affiliations include The Smithsonian born in Baku, of Kaleidoscope, a Chamber Players, Tafelmusik Azerbaijan and youth modern dance company. He Baroque Orchestra and the Silkroad studied kamancheh began his classical training at the Ensemble. His most recent record at the Asaf Zeynalli Cornish College Preparatory Dance with FLUX Quartet is Michael Hersch: Music College Program and received his BFA from Images From A Closed Ward. and the Azerbaijan National The Juilliard School in 2009. He Mandel’s newest venture is his Conservatory. He completed his danced at The Metropolitan Opera lecture series Chamber Talk. He is a master’s at Azerbaijan State Arts and with Arc Dance Company before member of the music education University. He has been a member of joining MMDG in 2010. outreach group ClassNotes and also the Alim Qasimov Ensemble since teaches at Le Domaine Forget 1998 and has been active with the summer festival in Quebec. Aga Khan Music Initiative as a lead Laurel Lynch Dancer participant in cross-cultural music. Laurel Lynch began Dallas McMurray her dance training at Dancer Deepa Liegel Petaluma School of Dancer Ballet in California Dallas McMurray, from El Cerrito, Deepa Liegel grew and later attended California, began up in Seattle, The Juilliard School. dancing at age four, Washington, After graduation Lynch danced for studying jazz, tap dancing and Dušan Týnek Dance Theatre, Sue and acrobatics with performing with Bernhard Danceworks and Pat Katie Maltsberger and ballet with Cornish Preparatory Catterson. Lynch joined MMDG as an Yukiko Sakakura. He graduated from Dance, Leela Kathak Dance and apprentice in 2006 and became a the California Institute of the Arts. Seattle Theatre Group. She company member in 2007. McMurray performed with the Limón graduated in 2017 with a BFA in Dance Company in addition to works dance performance and a minor in by Jiří Kylián, Alonzo King, Robert arts management from Southern Max Mandel Viola Moses and Colin Connor. McMurray Methodist University. Now based in performed with MMDG as an New York City, Liegel is a freelance Toronto-born Max apprentice in 2006 and became a dancer and model. She has Mandel is the company member in 2007. apprenticed with the Limón Dance co-principal viola of Company and performed with Barkha The Orchestra of Dance Company, Broadway Bares, The Age of Catherine Cabeen/Hyphen and Enlightenment, a others. She joined MMDG as an member of the FLUX Quartet and has apprentice in September 2018. appeared as guest principal viola with The Chamber Orchestra of Europe, The Australian Chamber holds a bachelor’s degree from The Juilliard School and a master’s from Miralam Miralamov New York University. Vocals Miralam Miralamov Kamila Nabiyeva was born in the Vocals Shamakhi district of Kamila Nabiyeva Azerbaijan. He was born in the guest principal of the St. Paul studied in the Asaf Ismayilli district of Chamber Orchestra and Chamber Zeynalli Music Azerbaijan. In 2004, Orchestra of Philadelphia. Born to College in Baku, Azerbaijan before Nabiyeva became a Armenian parents in Toronto, Karen joining the Azerbaijan National winner at the was a prize-winner at the 2012 Conservatory graduate programme. Children’s Mugham Competition held Canada Council for the Arts Musical In 2011, he was awarded first place by the Kainat Group. She studied at Instrument Bank Competition. She at the Mugham Competition held by the Baku Humanitarian College holds master’s and bachelor’s the Azerbaijan State Television before joining the Azerbaijan State degrees from The Juilliard School. company and the Heydar Aliyev University of Art and Culture. In 2011, Foundation. In 2013, Miralamov she was awarded at the Mugham became winner at the National Competition held by the Azerbaijan Minga Prather Mugham Competition and State Television company and the Dancer International Mugham Competition Heydar Aliyev Foundation and and frequently appears as a soloist Minga Prather, a frequently appears as a soloist on on Azerbaijan National Television. Dallas, Texas native, Azerbaijani National Television. trained at Booker T. Washington High Jessie Montgomery School for the Violin Karen Ouzounian Performing and Cello Visual Arts, and later graduated with Jessie Montgomery Karen Ouzounian is honours in dance from the Ailey/ is a New York-native a founding member Fordham BFA programme. Prather violinist, composer of the Aizuri Quartet, has performed with Hubbard Street and music educator. which has been in Dance Chicago, Alvin Ailey American She was a co- residence at the Dance Theater, and Nimbus Dance founder of Caramoor Center, Works performing works by Alvin PUBLIQuartet. Since 1999 Jessie Curtis Institute of Music and the Ailey, Alejandro Cerrudo, William has been affiliated with The Sphinx Barnes Foundation. She is a member Forsythe, Ohad Naharin, Crystal Pite Organization. Since 2012 Jessie has of the Grammy-nominated A Far Cry, and Twyla Tharp. She received an held a post as composer-in- and the critically-acclaimed new award from the National Young Arts residence with the Sphinx Virtuosi, music collective counter)induction. Foundation for Modern Dance in been a two-time laureate in the She has performed with The Knights, 2014. Prather joined MMDG as an annual Sphinx Competition and was Trio Cavatina, IRIS Orchestra and as apprentice in September 2018. awarded an MPower grant towards her debut album, Strum: Music for Strings (Azica Records). Jessie has collaborated as an improviser with avant-garde greats Don Byron, Butch Morris and William Parker. Jessie Photo: Susana Millman Christina Sahaida Billy Smith Dancer Dancer Christina Sahaida Billy Smith grew up grew up in in Fredericksburg, Pittsburgh, Virginia, and Pennsylvania and attended George Brandon Randolph began her early Mason University, Dancer dance training at the graduating in Brandon Randolph Pittsburgh Ballet Theatre School. In 2007 with awards in performance, trained at the 2012, she graduated with honours choreography and academic School of Carolina from Butler University, receiving a endeavours. Smith’s own piece, Ballet Theater in BFA in dance performance. She has 3-Way Stop, was selected to open Greenville, South worked with Ballet Quad Cities, the 2006 American College Dance Carolina and the Texture Contemporary Ballet, and Festival Gala at Ohio State University South Carolina Governor’s School most recently the Big Muddy Dance and his original choreography for a for the Arts and Humanities. Company in St. Louis, Missouri. production of Bye Bye Birdie garnered Randolph graduated from Purchase Sahaida joined MMDG as an much critical praise. Smith’s regional College in 2012. There he had the apprentice in July 2017. theatre credits include Tulsa in Gypsy, opportunity to perform with Dance Mistoffelees in CATS and Dream Heginbotham as well as repertory by Curly in Oklahoma!. Smith danced with Stephen Petronio, Lar Lubovitch, Shane Shanahan Parsons Dance before joining MMDG Paul Taylor and George Balanchine. Percussion as a company member in 2010. Randolph began working with Shane Shanahan is MMDG in 2013 and became a a percussionist, company member in 2014. composer and Kojiro Umezaki Shakuhachi arranger who has combined Kojiro Umezaki is a Nicole Sabella drumming traditions Japanese-Danish Dancer from around the world with jazz, rock performer and Nicole Sabella is and Western art music. He is one of composer originally originally from Silkroad’s inaugural co-artistic from Tokyo. He is Clearwater, Florida, directors, and has performed with renowned as a where she studied Bobby McFerrin, James Taylor, virtuoso of the shakuhachi, but his at the Academy of Aretha Franklin, Philip Glass, Alison work also encompasses traditional Ballet Arts and the Krauss, Chaka Khan and Deep and technology-based music. His Pinellas County Center for the Arts Purple, and has appeared at the recent commissioned works and at Gibbs High School. She later White House, playing for President producer credits include those for graduated from the University of the and First Lady Obama. He frequently Brooklyn Rider, Joseph Gramley, Arts in Philadelphia, Pennsylvania, hosts workshops and clinics, and Huun Huur Tu and Silkroad. Umezaki winning the Outstanding collaborates actively with the dance, is currently associate professor of Performance in Modern Dance theatre and yoga communities in the music at the University of California, Award. She was a performer with New York area, including Broadway. Irvine, where he is a core faculty Zane Booker’s Smoke, Lilies and member of the Integrated Jade Arts Initiative. Sabella first Composition, Improvisation, and performed with MMDG in 2013 and Technology group. became a company member in 2015. Noah Vinson Dancer Zaki Valiyev Noah Vinson is Tar originally from Springfield, Illinois, Zaki Valiyev was and received his BA born in Ganja, in dance from Azerbaijan and Columbia College studied tar in the Chicago. He was named a Dance Ganja Music Magazine Dancer on the Rise in 2009 College and the and assisted Mark Morris in the Azerbaijan National Conservatory. creation of his most recent work for Besides music, he is also interested Houston Ballet, The Letter V. He began in artwork. Valiyev has been a dancing with MMDG in 2002 and member of the Alim Qasimov became a company member in 2004. Ensemble since 2009. Jin Yang Georgy Valtchev Pipa Violin Jin Yang was born in Georgy Valtchev has Datong, Shanxi performed at Province, and is one Lincoln Center’s of the leading pipa Alice Tully Hall, New soloists of her York’s Carnegie Hall, generation. She Kennedy Center in received her BA and MA degrees Washington DC, the 92nd Street Y, from Central Conservatory of Music Chicago’s Cultural Institute, Wigmore in Beijing and was a pipa instructor at Hall and the Barbican, La Cité de la Wuhan Conservatory of Music. She Musique in Paris, Amsterdam’s Royal won first prize in the TianHua Cup Carré Theatre, Bulgaria Hall, Beijing and the silver award of the Chinese Cultural Arts Center, Guangzhou Golden Bell Award. In 2010, she was Opera House, Sydney Opera House, the only pipa performer from Tel Aviv Opera house, Taipei Cultural Mainland China selected to Center Taiwan, Hong Kong and participate in the Kronos Quartet and Suntory Hall in Tokyo. Valtchev has Wu Man Master Class at Carnegie lead, as guest concertmaster, several Hall. Yang is a solo performer of major symphony orchestras, most Cleveland Chinese Music Ensemble, notably the London Philharmonic and Pittsburgh Purple Bamboo Ensemble, the Royal Symphony Orchestra of Helio Phoenix Trio and Afro Yaqui Madrid. He is a founder and artistic Music Collective. She joined Silkroad director of the Unbeaten Path, Ensemble in 2016. chamber music festival in Kovachevitsa, Bulgaria and founding member of the Bulgarian Concert Evenings in New York. AD TBC Give the gift of dance

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Photo: Johan Persson Renjith Babu and Vijna Vasudevan. Noetic. Photo: Bengt Wanselius Photo: Jean-Louis Fernandez Photo: Iyappan Arumugam

Nitin Sawhney / Darbar Festival 2018, GöteborgsOperans Akram Khan Company Sébastien Ramirez curated by Akram Khan Danskompani, Until the Lions & Honji Wang Sidi Larbi Cherkaoui Dystopian Dream & Antony Gormley Icon / Noetic

Tuesday 27 & Friday 23 - Thursday 1 - Friday 11 - Wednesday 28 November Sunday 25 November Saturday 3 November Thursday 17 January £35 - £12* £50 - £12* £45 - £12* £45 - £18* Sadler’s Wells Sadler’s Wells Sadler’s Wells Roundhouse

Created from a concept originated Discover dance styles that have For their Sadler’s Wells debut, the Following the sold-out success by composer Nitin Sawhney and evolved over thousands of years and Swedish company brings two works of XENOS in 2018, Akram Khan co-devised with Honji Wang and can trace their origins back to temples choreographed by Sadler’s Wells returns to the stage to perform Until Sébastien Ramirez, Dystopian Dream and travelling storytellers, as the Associate Artist Sidi Larbi Cherkaoui, the Lions for the final time in the takes inspiration from threads woven festival dedicated to Indian classical with designs by sculptor Antony Gormley. atmospheric, in-the-round setting through Sawhney’s album of the music once again includes the best of the Roundhouse. same name. of classical Indian dance within In Icon, the company joins forces with a specially curated programme dancers drawn from Cherkaoui’s Using a powerful blend of kathak This stunning visual spectacle by Sadler’s Wells Associate Artist Eastman to mold, shape and heap movement and contemporary dance, exploring loss, isolation, surrender and Akram Khan featuring choregraphy three-and-a-half tonnes of clay. While Khan explores notions of gender continuity, directed by Wang Ramirez, by Mavin Khoo and Aditi Mangaldas. in Noetic, they are joined on stage by and time, in a battle for justice and features animated projections by Nick singer Miriam Andersén and taiko liberty taken from Karthika Naïr’s Hillel, costumes by Hussein Chalayan drummer Shogo Yoshii to examine poetic retelling of the Sanskrit epic, and lighting by Natasha Chivers. the need to both control the world, Mahabharata. and escape from its rules. HHHH “Cosmic tale of destiny and revenge” The Guardian

Save 20% and get priority booking with Sadler’s Wells membership Join online now to receive your discounts: sadlerswells.com/membership For full season listings: sadlerswells.com Ticket Office: 020 7863 8000 *Transaction fee applies: £3 for telephone bookings. £1.95 for online and concessionary bookings. No charge in person at ticket office. A Brief History of Sadler’s Wells

New beginnings sometimes happen quietly and sometimes give the Vic-Wells Ballet a permanent base. The new season they are announced. On Monday, 7 March 2005 the new opened on 27 September 1935 to great acclaim with one director of Sadler’s Wells, Alistair Spalding, decided the critic noting “the splendid dancing of the young newcomer time had come to make a splash. “You’ve got the National Miss Margot Fonteyn, who has a compelling personality and Theatre for drama, English National Opera for opera and exceptional gifts, though only just 16.” I want Sadler’s Wells to perform the same function for contemporary dance.” With those words, he inaugurated Whilst opera continued to be important (Peter Grimes a new chapter in the history of London’s second oldest premiered at the Wells in 1945), it was in this period that theatre: its transformation into a contemporary dance house. Sadler’s Wells became most strongly associated with dance. It was where De Valois founded British ballet here and built Sadler’s Wells was not born of an artistic impulse but both a company of dancers and a repertory that included the discovery of a mineral spring in 1683. Richard Sadler her own works and those of Frederick Ashton and Robert built a music house around the spring to rival the already Helpmann. She also founded a school which remained fashionable Tunbridge and Epsom wells. By the beginning throughout World War II, when the theatre was itself acting of the 18th century, visitors to Sadler’s Wells could as a refuge for the homeless. see entertainments that included jugglers, tumblers, ropedancers, ballad singers, wrestlers, fighters, dancing At the end of the war, De Valois took her fledging ballet dogs and even a singing duck. company to Covent Garden to become The Royal Ballet. However, her touring ballet company, known first as the In 1765 Thomas Rosoman had the theatre rebuilt for the first Sadler’s Wells Theatre Ballet, then the Sadler’s Wells Royal time so that it could mount high-calibre opera productions. Ballet, remained until 1955 and returned from 1970 to 1990 However, it wasn’t long before the beer brewed from the before moving permanently to Birmingham to become the spring waters became the primary attraction. By 1801, Birmingham Royal Ballet. although a young actor called Edmund Kean and the great clown, Grimaldi, had both appeared on its stage, Sadler’s By the 1970s Sadler’s Wells’ dance programme had Wells had become more famous for incidents, both devised diversified considerably. Alongside Rambert Dance and (spectacular sea battles) and accidental (a terrible stampede London Contemporary Dance, who briefly held residencies in which 18 people died) than for work of merit. In the 1830s here, a great variety of touring and commercial work was Dickens wrote: “The theatre was in the condition of being also presented. However audiences began to drift away. entirely delivered over to as ruffianly an audience as London When Ian Albery took over as chief executive in 1994 it was could shake together…Fights took place anywhere, at every clear that redefinition was needed. He led the campaign to period of the performance.” transform Sadler’s Wells into a purpose-built dance theatre. Matters improved in 1843 with the passing of a parliamentary During the two-year rebuild, Sadler’s Wells decamped to act which enabled the actor-manager, Samuel Phelps, to Holborn’s Peacock Theatre which it has continued to present a famous run of Shakespeare. But after he left programme ever since. in 1862, the theatre once more sank into the doldrums, The rebuilt theatre opened in October 1998 with a design suffering conversion into a skating rink and then a cinema. that still incorporates the skeleton of Frank Matcham’s 1931 In 1914 the Daily Chronicle’s theatre critic, S.R. Littlewood, theatre, which in turn contained bricks from the Victorian described it as “a poor, wounded old playhouse” and in 1915, playhouse. It has an expanded 15m² sprung stage, it closed its doors. a welcoming 1,500 seat auditorium, and a glass-fronted It took another decade for the most significant figure in the foyer that captures Lilian Baylis’ belief that theatre should modern history of Sadler’s Wells to enter the picture. Since embrace everyone. Here no-one enters the “gods” through 1898, Lilian Baylis had been presenting drama and opera a separate entrance. There are also three rehearsal studios at the Old Vic at popular prices. Motivated by a profound and the smaller 200-seat Lilian Baylis studio theatre for the belief that great art should belong to everybody, in 1925 development and presentation of small-scale work. she began fundraising to rebuild Sadler’s Wells so that the But even with the new facilities, it took some time to people of north London could enjoy the same opportunities establish the theatre as a force for dance. After a thrilling as those in the south. opening season, which included performances by Pina Then Baylis met Ninette de Valois, a striking young Irish Bausch’s Tanztheater Wuppertal, William Forsythe’s ground- woman who deeply impressed her. After their interview, breaking Ballet Frankfurt, and Rambert Dance, it once again Baylis’s secretary, recorded her saying: “Miss de Valois struggled to find its voice and its audience. is going to run her school with the Vic and when we have Alistair Spalding took up the challenge to turn things around Sadler’s Wells she’ll run a wholetime ballet company for in 2004. He decided that Sadler’s Wells had been at its best us.” The fact that it all came to pass says much about the when it had had resident companies and new works being abilities of both women. created within its walls. This vision paved the way for an De Valois was formally hired in 1928 and the fifth Sadler’s increasing number of Associate Artists and for companies Wells, designed by the prolific theatre architect Frank producing work in the building. Today Sadler’s Wells not only Sarah Crompton’s book Matcham, opened on 6 January 1931 with John Gielgud and promotes but also commissions and produces outstanding Sadler’s Wells Dance House Ralph Richardson in Twelfth Night. For four years, drama dance. It reflects the best of its history while looking productions, opera and ballet shuttled between the Old Vic defiantly and brightly towards the future. is available in the foyer and at and Sadler’s Wells until Baylis decided to dedicate Sadler’s Sarah Crompton sadlerswells.com/shop/book Wells to opera and ballet for eight months of the year and Sadler’s Wells Sadler’s Wells Fellowship Donors and Supporters Artists and We thank former board members Thank you to all those who generously support Companies and those who have given the theatre and our programme of work on significant and sustained support and off stage Associate Artists BalletBoyz® Ian Albery Ian Jentle Individuals Season Patrons Legacy Circle Matthew Bourne David and Carol Lake Maria Adonyeva Klara Bloch Sidi Larbi Cherkaoui Primrose Bell Annie Norton Avant-Guardians Sir Trevor and Lady Chinn David and Celeste Fenichel Deborah Botten Jonzi D Angela Bernstein CBE Lady Panufnik Anonymous Samantha Lee Mike and Sharon Eyal Jules Burns Robin Pauley Humphrey and Michael Hulls Craig Mullan Caroline Howes Nica Burns OBE Robin Saunders Ginny Battcock Majella Murphy- Ross Roberts Michael Keegan-Dolan Marco Compagnoni Ann and Martin Smith David and Altschuler Akram Khan Kathleen Crook Valerie Solti Primrose Bell Yukiko Pajot Commissioning Russell Maliphant Joachim Fleury Vanni Treves CBE Sue Butcher Robin Pauley Patrons Wayne McGregor Ian Hay Davison CBE Sandi and Jake Ulrich Sanya Polescuk Shafranik Family Anonymous Crystal Pite and Nigel Higgins Francois and Kate Prince Aud Jebsen Acosta Danza Circle Anais Aguerre Nitin Sawhney Robin Saunders Anonymous Geoff and Sadler’s Wells Trust Sue Butcher Judith Batchelar Hofesh Shechter Ann and Martin Smith and Foundation Michael and Nigel Boardman and Jasmin Vardimon The Ulrich Family Claire Francies Lynda Gratton Christopher Wheeldon Jeannette Grohe Cynthia Brown and Sadler’s Wells Trust Sadler’s Wells Major Project Support Esther Isaacs Andy Tomkins Associate Artist Foundation The Blavatnik Family Jack and Linda Keenan Nica Burns OBE Emeritus Chairman Foundation Juliana Farha and Sylvie Guillem Nigel Higgins President The Deborah Loeb New Production Patrons Kit Malthouse Lady Solti Brice Foundation Anonymous Neil Griffiths-Lambeth Resident Companies Directors Stephanie and Denise and Rab Bennetts Lettie Hart Humphrey Battcock Honorary Vice Angela Bernstein CBE Laoise Hayes Company Wayne Jacques Gabillon John Drewitt Bee Hopkins McGregor Sue Butcher President Hugues and Sarah Evans Ian Albery Charles Glanville Anne Kauder New Adventures Emmanuelle Lepic Farah Golant Faizal Khan ZooNation: The Kate Robert Glick Ian Hay Davison CBE The Richard Grand Latifa Kosta Prince Company David Lan Artistic Director’s Foundation John and Susan Lazar Tim Marlow Chairman Circle Claire Griffiths Alison and Associate Company Farah Ramzan Golant Nigel Higgins Anonymous Mrs Joyce Kan Dominique LeMaire English National Ballet David Ripert David and Christopher Kneale Nancy Miller and and Michael Page Glen Ireland Sanoke Viswanathan Directors Torunn Banks Frank and Helen Neale Nathalie and International Sharon White Rab Bennetts OBE James and Celeste Fenichel Stephen & Yana Peel Nicolas Motelay Associate Melissa Bethell The Porter Foundation Nicola Nicholls Kathryn Firth Companies Trustee placements William and Switzerland John Nicoll and Acosta Danza Sharla Duncan Harry MacAuslan Judith Bollinger Laurence Rosas Jo Wolfe Celia Rodrigues Jules and Project Supporters Colchester Tanztheater Roger Spence Cheryl Burns Aspect Charitable Trust Mr C and Wuppertal Honorary Member Paul Williams Kathleen Crook and Carol Lake Mrs A Norton Sandi Ulrich James Penturn The Mactaggart Georgia Oetker Pina Bausch Third Fund Midge and Honorary Members Christophe Czajka and Valerie Colgan Seat Appeal Supporters Simon Palley Sadler’s Wells Brid T Rodgers Kate Wormald – Dr Elizabeth Parker Martin Klute Ambassadors Lloyd and Sarah OESA Partners Frances Prenn Gillian 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Rogge Webber Foundation Chapman Charitable Trust Clifford Chance Allen Thomas and David Hanson Robert and The Baring Foundation Children & the Arts Criterion Ices Jane Simpson Jonas Havnes Corinne Rooney BBC Children in Need CHK Charities Limited DoubleTree by Hilton Eric Tomsett Sarah Hayter Anatoly Savin Cockayne - Grants for The Derek Hill Foundation Egon Zehnder Geoff Westmore and Steve Hendry Albin Serviant the Arts The D’Oyly Carte ERMAK Group Paula Clemett Mina Gerowin Herrman Alastair Sharp Dame Hilda Bracket Trust Charitable Trust Rothschild & Co Paul and and Jeffrey Herrman Maria Sheremteva The Edwin Fox Ernest Cook Trust Christine Williams Gary Hocking and Brian Smith Foundation in memory Harold Hyam Wingate Local Business Members Meng Zhou Sandra Quinn Alistair Spalding CBE of Michele Fox Foundation Frederick’s Mike and Caroline Howes Juliet Strang Esmée Fairbairn The Golsoncott Viaduct Furniture The American Friends Rita Hughes Ebba Thott Foundation Foundation Bourne & Hollingsworth David and Darren Humphreys Alex Timken Garfield Weston The Ironmongers’ Brother Marcus Melissa Bernstein Mr Sajid F. Hussein Nigel Turner Foundation Company Frederick’s Matthew and Raphael Im Cem/Tolga Uzuner J Paul Getty Jr The John Thaw Moro Elissa Bernstein Colin Izzard Anna Valentine and Charitable Trust Foundation Viaduct Furniture Colin and Deirdre Louise and Philip Keller Jonathan Berger Jerwood Charitable The Leche Trust McKechnie Sybil and Lou Verrill Foundation The Mercers’ Company Embassies / (Deputy President) Herbert Kretzmer OBE Sarah Jane Watson The Leverhulme Trust The Rayne Foundation Government Agencies Celia Rodrigues Rebecca Kwee Josh Wood The Linbury Trust The Royal Victoria Hall Embassy of Spain (President) and Vicki Lant David and Vivienne Woolf The London Community Foundation Embassy of Sweden Mark Rodrigues Kim Lavely Kate Wormald – Foundation Teale Charitable Trust Institut Français du Monica Voldstad Derek Lee OESA Partners The Mirisch and The Three Monkies Trust Royaume-Uni Fiona Leishman Pam Zinkin Lebenheim Charitable Italian Cultural Institute Opening Night Patrons Andrew Lerpiniere Foundation Taipei Representative Anonymous Harry and Performance Members The Monument Trust Office in the UK Diana Abergerllgaier Fiona MacAuslan Andrew Barnett The Pure Land Hannah Azizollah Sarah Martin Lt Col Dafydd Edwards Foundation Severine Balick Alessandra Masoero Sandrine Jensen Quercus Trust Bruno Bertrand-Delfau Patricia Masri Eugene Leahy and The Sackler Trust Joanne Black David Mathew Helmert Robbertsen Sir Siegmund Warburg’s John Bolland Terrie McCann Gerald Lidstone Voluntary Settlement William Boyce Jane Miller Juliette Morris Stavros Niarchos Jenny Brend Andrea Mitchell Helen Mundy Foundation Alison Brodie Erdem Moralioglu Sally Pasmore Weston Jerwood Maria Bukhtoyarova Richard Morgan Geraldine Ravet Creative Bursary Cristina Bundyra Koji Moriya Isla Smith Scheme Ossi and Paul Burger Britannia Morton Alison Smyth The Wolfson Foundation Jim Carroll The Mucha Family David Taylor Guy Chapman John Nugent Jenny Chu Simon Nurney Geoffrey Collens Venkatramanan Charles Cook Panchapakesan Andrew Cullen Sarah Perry Amanda Cupples Dave Plummer and Loraine da Costa Lesley Whitby Dr Genevieve Davies Peter B Rea Angela Docherty

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Artistic Director and NYDC & Learning & Newton, Grace Nyandoro, Joel HR Assistant Buchanan, Paige Dehaarte- Pankalainen Wendy Parry, Chief Executive Engagement Coordinator O’Donoghue, Nicola O’Keeffe, Tiegan Hummerston Wiseman, Maria De Melo Sousa, Hannah Parsons, Paula Patritti, Alistair Spalding Rosalind Hewett Paula Patritti, Rosalind Reeder, Eva Escribano Olmo, Josh Gill, Raffaella Petropoulou, Nicki Chief Operating Officer Laura Warner (Maternity Cover) Nicola Salt, Caitriona Shoobridge, Capital Projects Deborah Gomes, Egija Kavecka, Perrett, Danielle Pollastri, Eloise Britannia Morton John Sinclair, Lois Tucker James Kent, Laura Kerin, Price, Magdalena Radlowska, Executive Director Producing & Touring Projects Manager Jennifer Lake, Ciara Lynch, Niamh Georgia Redgrave, Kelly Magdalen Fisher Press Charlotte Meyer Malin, Hannah Mason, Isobelle Robinson, Rowan Roberts, Chiara Executive Producer Mason, Maria Moragas-Auladell, Sarra, Dorit Schwartz, Jamie Finance Director Suzanne 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