Welcome

runs across the weekend with performances by a total of 20 non-professional older adult dance groups from across the UK and Europe. In our Rosebery room, the Elixir Conference sees international speakers discuss the value of older dancers, the role of heritage in contemporary dance and how we can change people’s perception of age through participation and performance opportunities for older adults.

This year’s festival is part of DANCE ON, PASS ON, DREAM ON (DOPODO), a partnership formed by Sadler’s Wells and other dance organisations from eight different European countries, funded by the European Union’s Creative Europe programme. The initiative aims to Photo: Cameron Slater challenge preconceived notions about age and promote a model of sustainable career and audience participation Welcome to Sadler’s Wells and the second Elixir that values older people on stage and, generally, in Festival. Following the success of our inaugural edition society. Through DOPODO, we are excited to present in 2014, I am delighted to bring back the festival this Berlin-based company Dance On Ensemble, performing year with performances and events taking place 7 Dialogues by Matteo Fargion in the Lilian Baylis Studio throughout the building across four days. on the final two days of the festival.

Elixir was born out of the desire to address the false Besides a chance to see great performances, this is perception of dance being the preserve of the young. an opportunity for both dance practitioners and our Irrespective of background and age, everybody can audiences to celebrate the contribution made by older dance – and whatever an older dancer may lack in dance artists, and think together about what more we physical prowess is more than outweighed by the can do to harness their immensely valuable experience interpretive nuance of their performance, acquired and knowledge. through years of experience. The festival is also an embodiment of our belief that every aspect of life I would like to thank The Baring Foundation for their should be reflected on our stage: what truthful ongoing support of Elixir. My thanks also go to the Royal representation of society would we offer our audiences, Victoria Hall Foundation and the Embassy of Sweden. if we weren’t showcasing work by older dancers too? Enjoy the festival! On our main stage, we are presenting KnowBody II, an evening featuring choreography created and danced by older artists. I am delighted that Annie-B Parson and Paul Lazar, co-directors of Big Dance Theatre in New York, Robert Cohan and Shobana Jeyasingh have created new works for the programme, which also includes short works by internationally renowned choreographers such as Mats Ek, William Forsythe and former Tanztheater Wuppertal Pina Bausch Company dancer Pascal Merighi. Alistair Spalding CBE In the Lilian Baylis Studio, the Elixir Extracts programme Artistic Director and Chief Executive

Front cover photo: Johan Persson Photo: Johan Persson

Introduction

According to Age UK’s recently adults to connect with Sadler’s Wells’ The first Elixir Festival in 2014 published Index for Wellbeing in Later artistic programme through regular highlighted this growing interest to take Life, creative and cultural participation talks and workshops. part in dance in later life and also put a makes the highest contribution spotlight on the incredible contribution to wellbeing for older adults. We The Company of Elders has been and value of older professional dancers passionately feel that this is true of pioneering in terms of raising the profile and dance makers. The response to dance and Sadler’s Wells has a long- of dance for older adults. Having once the first festival was incredible and track record of engaging older adults attracted attention for being unique and we hope this second Elixir Festival creative and cultural activity, our on the fringes of what people perceived will be equally inspiring for audiences resident performance group for over dance to be and who it was for, Company of and participants. 60s - the Company of Elders, formed Elders is now part of a growing collection 28 years ago. During this time we have of older adults dance groups nationally Joce Giles also run the Lilian Baylis Arts Club, and internationally, who are bringing Director of Learning & Engagement providing opportunities for older this area of work into the mainstream. Festival Guide

Friday 23 June

KnowBody II Sadler’s Wells 7.30pm

Saturday 24 June

Elixir Extracts Programme A Lilian Baylis Studio 4.30pm

KnowBody II Sadler’s Wells 7.30pm

Sunday 25 June

Elixir Workshops 11am - 12.30pm Pass On: Forest Revisited Workshop 11am - 12.30pm Company of Elders Repertoire Workshop 1.15pm - 2.45pm Choreography Workshop 1.15pm - 2.45pm Company of Elders Experience Workshop

Elixir Extracts Programme B Lilian Baylis Studio 3.30pm

Elixir Extracts Programme C Lilian Baylis Studio 7.30pm

Monday 26 June

Elixir Conference Rosebery Room 11am - 5.30pm

7 Dialogues Lilian Baylis Studio 8pm

Tuesday 27 June

7 Dialogues Lilian Baylis Studio 8pm Echoing through the generations Lyndsey Winship

Photo: Johan Persson “Every gesture is important,” The dancers in the studio hang on to from person to person, the physical Cohan’s words. And with good reason. equivalent of an oral tradition – at first says Robert Cohan, a sage The 92-year-old is, you could say, the because there was no satisfactory way figure in a floral shirt, godfather of modern dance in the of recording it, and then even when sitting at the back of the UK, instrumental in bringing Martha notation was developed, and later Graham’s teachings to London in the video technology, because knowing rehearsal studio. Cohan late 1960s as founding artistic director what to do does not teach you how lines up his dancers and of the London Contemporary Dance to do it. asks them to breathe, School and London Contemporary Dance Theatre (LCDT), the training “As dance was traditionally handed on, bending their legs into ground for those who went on to shape the psychology was handed on at the a plié with each breath. British contemporary dance. same time,” says Cohan. “Sensitivity, It’s one of the most basic that’s the thing that video never catches,” Today, Cohan is recreating his piece says Martin Welton, who is co-directing exercises in dance training, Forest, originally made in 1977, with this restaging of Forest. “How to get the one these dancers will a cast that spans the generations. sense, not just of movement, but the have repeated thousands Half of the dancers are alumni from tuning of it,” he explains, or as ex-LCDT LCDT who danced for Cohan in the dancer Kenneth Tharp puts it, “how to of times, but Cohan wants 1970s and 80s. They are now teaching direct the energies of your body.” them to think about it again. the work to five dance students and He asks them to grow taller former members of the National Youth A good teacher is not only Dance Company, who are taking the communicating the external shapes of as they bend lower; and first steps in their own careers. In the body, but what’s happening inside to breathe in a complex this one room, there is a direct line as well. “You have to be constantly rhythm that forces them to that spans a century, from Martha aware of intention, showing the secrets Graham’s beginnings of modern dance of movement,” says Cohan. “Sometimes deeply concentrate on this in the early 20th century, through to you send a video to a company to simple exercise. He’s asking the young dancers of the 21st, and learn a piece and when you go and them to be completely precious artistic knowledge is being watch them you don’t know what you’re passed down that line. looking at,” he says, “because it’s being in the moment, “to be so performed from totally the wrong point totally there that there We may think of dance as the preserve of view. We do the same steps but it’s is nothing else,” he says. of youth – the pure physical demands how we do them that matters.” feed those cliches about a dancer’s “That’s the way the whole career being over at 35 – and we may For the LCDT alumni in this restaging of dance should be.” think of modern culture as a process of Forest, they are literally doing the same constant renewal, with contemporary steps they last performed in the mid- dance in particular aiming for 80s, and despite the intervening 30-odd ceaseless innovation, but this is never years, the memory is still held deeply in really the case. Everything builds on their bodies. But while the older dancers what has gone before, and so it should, are getting back into a familiar mindset, because as Cohan warns, “if you throw the young dancers are discovering a history out you’re bound to repeat it.” completely new one. “The sensation of doing the movement is fresh and radical Dance, perhaps more than any to us,” says Luigi Nardone, despite it other art form, is passed on directly being created long before he was born. “It’s amazing to learn it and understand meaning, yes this is very...” – she the process, not just of the body but of stops to put her hands over her dad’s the mind. You can see how it’s influenced ears – “inspiring.” today’s dance; you can see where other choreographers have taken But Dominique insists that he has their inspiration.” something to learn from working with younger dancers too. “It shows you “Bob [Cohan] comes across as an other possibilities, other ways of absolute master and everything he doing things, and it helps you to says makes perfect sense,” says better understand what you’ve got Nardini. “He’s so wise. And what he’s when you have to find a way to pass it able to transfer to us has come from on. I think the challenge is to pass on Martha Graham herself, who created knowledge in a way that there is still the technique.” some air for the person who gets it to grow and discover what he has Where Cohan and his dancers are in himself.” expanding a thread that began with Graham, another Elixir work echoes Like Cohan, Merighi doesn’t really the influence of a different legendary believe in the idea of anything being woman of 20th century dance, Pina ‘new’. “I believe in the wheel that turns Bausch. Choreographer Pascal around,” he says. After 70 years in Merighi and his dancers Dominique dance, Cohan has certainly seen that and Thusnelda Mercy all danced with wheel turn, with trends that come and Bausch’s Tanztheater Wuppertal. “Each go and come back again. “One of the individual has his own qualities, of sure things that happens in dance course,” says Dominique, “but we have is that every ten years somebody been through Pina’s work intensively, discovers that you can dance naked,” so it leaves traces. You have it with he says. “And that’s a revelation! you somehow.” It comes round every ten years as if it’s the first time.” That’s not In the case of Merighi’s new piece, something that can be promised created for the Elixir Festival, the idea at this year’s Elixir, but give it another of passing down dance through the few years maybe... generations is especially pertinent as Dominique and Thusnelda are father Lyndsey Winship, London-based and daughter. “I tell a colleague I’m arts journalist and web producer, going to rehearse with my father and is dance critic for the they’re like: What?!” laughs Thusnelda, Evening Standard but the pair are used to being onstage together in Bausch’s work and Thusnelda finds their collaboration a rich experience. “I’ve always admired him as a dancer and of course it’s amplified because he’s my father,” she says. “His experience, the technique, the fullness of each movement, the Photo: Johan Persson

KnowBody II

Duration 2 hrs (including one interval)

Running Order Director of Learning and Engagement Joce Giles The Road Awaits Us Senior Producer Bia Oliveira Technical Production Catalogue (First Edition) Manager Adam Carrée Axe Projects Producer, Learning and Engagement Interval Lucy Clarke-Bishop Here Songs of Childhood Forest Revisited The Road Awaits Us Inspired by the Bald Soprano by Eugène Ionesco

Duration 20 mins

World Premiere 23 June 2017, Sadler’s Wells

Conceived, Adapted and Choreographed by Annie-B Parson Co-director Paul Lazar Associate Director/Choreographer Elizabeth DeMent Artistic Associate Aaron Mattocks Sound Designer Ben Grant Lighting Designer Adam Carrée Costume Designer Abigail Hammond Additional Text Anton Chekhov

Performers Christopher Bannerman, Brian Bertscher, Anne Donnelly, Linda Gibbs, Betsy Gregory, Paul Lazar, Diana Payne Myers, Namron, Kenneth Tharp

Photo: Andrew Lang We are absurd too.

January 2017 – Brooklyn, New York: a confusing time to be thinking about what to make for June 2017 – London. Walking around this new world, the age of the orange clown – the word “absurd” wouldn’t leave my mind. With each new disruption of our order, each tweet, each gaffe, it cropped up. Absurd. So – Ionesco – must look at Ionesco. I go to my bookshelf. How does it read through the lens of now?

We are absurd too.

This is how the theatre of the absurd operates: to talk about seeing, put a blind man on stage.

Ionesco, a student of English, and an avowed theatre-hater, wrote this text – The Bald Soprano by copying directly from his English primer. This “anti-play” (as he called it) is anti-language as expressive, romantic, motivating, anti- thinking, anti-writing, anti, anti, anti. In the context of today, this play felt good. I plucked bits of the Ionesco and adapted it for the stage, ending not as Ionesco had ended it (by returning to the beginning), but instead in an elegiac tone. Because what feels the most different from where he was writing 70 years ago is this: the world is unwelcoming; the world is in disorder; the world is scared; the world is sad.

Annie-B Parson DANCE ON ENSEMBLE Catalogue (First Edition)

Duration 18 mins An “intricate, almost baroque piece” – this is how the celebrated choreographer William Forsythe describes his new work for the DANCE ON ENSEMBLE. World Premiere 7 October 2016, The richness of the bodily knowledge shared between Jill Johnson and Theater im Pfalzbau, Ludwigshafen Christopher Roman, both former Forsythe dancers, and Brit Rodemund, is part of the fabric of the piece. Forsythe continues to search for new shapes Choreographer William Forsythe and modes of movement. He is looking back in order to re-invent himself. In artistic collaboration with Jill Johnson, Brit Rodemund, The idea for the duet came from an intention to highlight the special Christopher Roman relationship, shared sensibilities and coordinative skill set of Jill Johnson Artistic Direction DANCE ON and Christopher Roman. They have collaborated closely for a long time, ENSEMBLE: Christopher Roman staging many of Forsythe’s works all over the world. Lighting Design Benjamin Schälike Sound Stephan Wöhrmann, Brit Rodemund, who has not worked with Forsythe before, was included in Mattef Kuhlmey the rehearsal process from the beginning. She and Johnson, the first guest dancer to join the DANCE ON ENSEMBLE, will share the female role in alternate Performers Jill Johnson, performances. Different facets of these three dancers and their professional Christopher Roman experiences come together to form the basis of Catalogue (First Edition).

Co-production: Theater im Pfalzbau, tanzhaus nrw With support from BASF SE In collaboration with the University of Southern California, Glorya Kaufman School of Dance, Los Angeles Co-funded by the Creative Europe programme of the European Union as part of DANCE ON, PASS ON, DREAM ON DANCE ON is a project by DIEHL+RITTER gUG funded by the German Federal Government Commissioner for Culture and the Media Photo: Dorothea Tuch Photo: Lesley Leslie-Spinks

Duration 15 mins Choreographer Mats Ek Chopping firewood; Music Tomaso Albinoni, for him a matter of practical World Premiere Adagio in G Minor importance, Axe Axe was first created for interpreted and played for her a worrying act film on 11 November 2014. by Fleshquartet of violence. The stage version Set and costume Theirs contrasting views premiered on 20 May 2015, Katrin Brännström provokes a confrontation. House of Dance, Lighting Designer The outcome is a new Stockholm Jörgen Jansson togetherness. The axe has still its edge. Performers Ana Laguna, Yvan Auzely Here

Duration 8 mins

World Premiere 23 June 2017, Sadler’s Wells

Choreographer Shobana Jeyasingh Rehearsal Director Avatara Ayuso Music Shaker Loops (First Movement Extract) composed by John Adams, performed by The San Francisco Symphony Sound Design and Remix Fred De Fey Lighting Designer Adam Carrée Costume Designer Abigail Hammond Company of Elders Rehearsal Director Simona Scotto

Performed by Company of Elders

Here celebrates the sheer presence of the unique dancers who make up the Company of Elders. Their execution of movement is enhanced and made deeper by the richness of connected experience as well as the individuality of each person. The “meaning” of the dance work, for me, is very much about the joyful fact that they are here and in constant engagement with the new and the unknown. Shobana Jeyasingh

Photo: Johan Persson Songs of Childhood

Duration 15 mins

World Premiere 23 June 2017, Sadler’s Wells

Concept and Direction Pascal Merighi Music NASA recordings: Jupiter, Earth, Neptune, Saturn, Uranus, Sun Core ‘Ngrato by Enrico Caruso Le Mur de Ton Jardin by Tino Rossi Tex t Song of Childhood by Peter Handke. Read by Jack Laskey Lighting Designer Adam Carrée

Performers Dominique Mercy, Thusnelda Mercy

Why am I me, and why not you? Why am I here, and why not there?

When the child was a child It walked with its arms swinging

When the child was a child, It threw a stick like a lance against a tree, And it quivers there still today.

Excerpt from Song of Childhood by Peter Handke

A small form for the two dancers Thusnelda Mercy and Dominique Mercy, which allows us to approach closer to an intimate and personal choreographic vocabulary. An atmosphere tinged with one of our natural ties, memories, filiation. Photo: Stéphane Tasse Photo: Andrew Lang

Forest Revisited

Duration 25 mins Performers In the city one expects theatre full of people, or the Former dancers of everything, and nothing. quiet of a forest glade. World Premiere London Contemporary A car exhaust backfires and 23 June 2017, Sadler’s Wells Dance Theatre you barely break your step. If it is about anything, then this Christopher Bannerman, In the forest, a twig snaps, is what Forest is about: how to Directors Robert Cohan CBE Anne Donnelly, Linda Gibbs, and suddenly your whole be this careful practitioner of and Martin Welton Paul Liburd, Kenneth Tharp body is poised and ready to one’s own awareness. Lighting Designer National Youth Dance do what is necessary. Adam Carrée Company Alumni It is this feeling that animals As well as the movements of Costume Designer Joshua Attwood, Hannah seem to possess in their the original work, this is also Abigail Hammond Mason, Kennedy Mutanga, movements. They just do what something the older company Sound Brian Hodgson Luigi Nardone, Ruby Portus they’re doing, and need to members have been trying to Film Andrew Lang, owned by know nothing more. pass on to and instil in their ResCen in partnership with younger colleagues. Although Sadler‘s Wells Inspired by Forest (1977) This kind of knowing is also it resolves in an outer show, Original Choreography important for a dancer: to be it’s also an inner feeling Robert Cohan attentive in and through your that passes into and through Sound Brian Hodgson movements to the state that your movement. Costume Design you are in, whether it is a Norberto Chiesa Åkalla by Åsa Kalmer. Auzely collaboration Queen Mary partcipated in dance video University of London, productions: Gammal och University of Exeter and with dörr by Mats Ek, Homeward the Beijing Dance Academy Bound by Efva Lilja, Rain and Taipei National University by Pontus Gustavsson and of the Arts. A dedicated Joshua Attwood Yvan Auzley Desiré by Nathalie Ruizt. edition of Choreographic Practices focused on Performer – Forest Revisited Performer – Axe ArtsCross was published Joshua Attwood is currently Yvan Auzely studied at in 2017. in his second year of training Conservatoire national de la at London Contemporary Rochelle in France from 1973- Dance School. He began 1979 with Colette Milner and his contemporary training Marie Paule Cantenis, before at Dance4’s Centre for moving to Ulm, Germany Christopher Advanced Training. Joshua to work with Gunther Pick got the opportunity to work and Bernt Shindowsky. Bannerman Performer – The Road for a Changing Perceptions Between 1980-1981 Auzely Brian Bertscher Research Project, looking worked with Lyon Opera Awaits Us, Forest Revisited Performer – The Road into the Progression routes with Milkos Sparemblek and Christopher Bannerman Awaits Us for young disabled dancers; on a freelance basis with had an extensive career working as an integrated Maguie Marin and Francois as a leading dancer, Brian began ballet classes dance company, under the Guilbar. Auzely went to choreographer and at the age of seven in direction of Lucy Bennett; Sweden in 1981 to join the arts education worker Johannesburg, South Africa Artistic Director of Stopgap Cullbergballetten, until 2001 principally with the London and at 17 joined The Royal Dance Company. In 2013, under direction of Mats Contemporary Dance Theatre. Ballet School in London. he joined the National Youth Ek and was part of all his He has served as chair of He went on to study the Dance Company for 2 years, creations: Giselle, Antigone, Dance UK, Arts Council Cecchetti ballet system to working with Guest Artistic Rite of spring, Swan Lake, England’s Dance Panel the Advanced exam. Between Directors Akram Khan (2013- Carmen, She Was Black and and Creative Partnerships 1964-1979 he was a member 14) and Sidi Larbi Cherkaoui Light Beings. As well as his London North; co-facilitator of The Royal Ballet and was a (2014-15), the works theatre productions: The of Rural Retreats, a series soloist with the Sadler’s Well’s premiered at Sadler’s Wells Jew of Malta by Cristofer of intensive seminars for Royal Ballet. before touring the UK. Most Marlow, Johanna (Jeanne leaders in the arts and as In 1979-1980 he took the recently, he has performed d’Arc) at the Orion Theatre in a member of the Dance Professional Teachers with Dane Hurst and company Stockholm, Dans Med Nästan Forum of the Department Training Course at The at the Dulwich Picture Gallery. at Stockholm City Theatre. He for Culture, Media and Sport Royal Academy London After training Joshua is also worked with The Royal (DCMS) UK. He is currently and from 1980-2010 was hoping to pursue a career in Dramatic Theatre from 2001- professor of dance and Head a professor for classical dance performance. 2007 appearing in Don Juan, of ResCen Research Centre ballet at the esteemed Andromaque, The Merchant at Middlesex University. His Folkwang University of the of Venice, and most recently research focuses on the Arts in Essen, Germany. A Dream Play by August processes and practices of He choreographed for the Stringberg. Auzely also took artists and related cultural school performances during part in the films: Benbullan and policy contexts. Recent his tenure there. While living directed by Susann Osten, work includes an international and working in Germany, Leva Livet, by Mikael Håftröm Research Network funded he taught for the renowned and TV films: Gynekologen by the Arts and Humanities Wuppertal Tanztheater under i Ashim under the direction Research Council developing Pina Bausch and also for of Tova Magnussonnorling, the ArtsCross project in Deutsche Oper am Rhein, Dusseldorf as well as in Schools. Since then he has in 1962 he soon became a Bonn and Dortmund. gone on to work in theatre, co-director of the company dance and opera. Carrée with Bertram Ross. In 1967 He has also been a guest has worked on a number he became the first artistic teacher with schools and of projects with Sidi Larbi director of Contemporary ballet companies in Taiwan, Cherkaoui. He collaborated Dance Trust in London and as Japan, Venezuela, France, with Antony Gormley and such was the founder artistic England, South Africa Elizabeth DeMent Cherkaoui on Sutra and Babel; director of The Place, London and North America. Brian Associate Director/ other collaborations in Faun, Contemporary Dance School choreographed for Dance Choreographer – The Road Play, Puz/zle, 4D and recently and London Contemporary For All in Cape Town, Awaits Us m¡longa. Lighting designs Dance Theatre, which he South Africa. for other companies include: directed for the next 20 years. Elizabeth DeMent is from Ukiah, Since 2010 Brian has been Epson Downs and Hobson’s From 1980 to 1990 he acted California. She began her training back living in London. He is Choice for Drama Centra as the artistic advisor to the there at the Mendocino Ballet a tutor at Morley where he London, A Taste of Mangoes Batsheva Dance Company. and continued her studies at has been teaching a range for Tara Arts, Flavio for Early the Marin Ballet School, Recent works include Sigh of classes as well as a dance Opera Company, RSVP with Oakland Ballet and Riverside (2015) a solo for Liam Riddick, company in North London. Philine Janssens for The Ballet. After graduating from Lacrymosa (2015), Twilight Place Prize, Rites/Before The Juilliard School, Elizabeth (2016) and a new work Brian has continued Night Falls, Shattered, Second danced with Peridance forthcoming later this year for to develop his singing Grace and Gameshow for Ensemble, the Metropolitan Yolande Yorke dancers. repertoire and offers a rich Company Chameleon. The Opera Ballet, Liz Gerring Dance and varied song soiree. Cat Who Ran, The Tempest Awards include Evening Company, OtherShore, Stephen for Unicorn Theatre, For The Standard Award (1975) Petronio, Jodi Melnick, Dance Best with Mark Storor and the for The Most Outstanding Heginbotham, and Susan Unicorn Theatre and Party for Achievement in Ballet and in Stroman. She currently dances Freedom with Oreet Ashrey 1978 a similar award from the with Big Dance Theater. She for ArtAngel and A Harlem Society of West End Theatre has worked as Associate to Dream for Ivan Blackstock (now the Olivier Award); Annie-B Parson on several at the Young Vic. an honorary CBE in 1988; projects including productions Adam Carrée honorary degrees from the of Here Lies Love at the Public Lighting Designer – Universities of Kent, Exeter, Theater, the National Theatre and The Road Awaits Us, Here, Winchester and Middlesex; Seattle Rep, as well as assisting Songs of Childhood, currently Honorary Visiting on the creation of works for Forest Revisited Professor at Middlesex David Byrne and St. Vincent. University. Adam Carrée studied lighting design at Rose Bruford Robert Cohan continues with College, graduating in 1997. Robert Cohan CBE choreographic workshops as He then went on to work with Director – Forest Revisited the artistic director of the Cohan Collective with Yolande Central St Martins based Born in New York in 1925, Yorke–Edgell and support at their Cochrane theatre, Robert Cohan trained at the working annually on the Peter from Middlesex University. Martha Graham School before Anne Donnelly Williams Design for Dance joining the Martha Graham Performer – The Road Awaits seasons, collaborating with Dance Company in 1946. He Us, Forest Revisited design students from Central left in 1957 to start his own St Martins, dancers and small group of dancers and Anne Donnelly, associate choreographers from, Royal started his long career as a professor in dance, The Academy of Dance, Central choreographer. Returning Faculty of Arts and Creative School of Ballet, London to the Graham Company Industries, Middlesex Studio Centre and Rambert University, had a long career Feuer in Stockholm from closure, he established original role in Andrew Lloyd- as a dancer with London 1962-65 and with various a new ensemble, The Webber’s Song and Dance, Contemporary Dance teachers since 1973. Forsythe Company, which choreography Anthony Theatre, (under the name Between 1966-73, Ek was he directed from 2005 to Van Laast. Anne Went). Anne left LCDT producer at the Marionett 2015. Forsythe’s most recent As a contemporary dance in 1989 to study alternative Theatre and Royal Dramatic works were developed and teacher she has taught for medicine, martial arts and Theatre, Stockholm. In performed exclusively by London Contemporary Dance fitness training. Anne was 1973 he started as a dancer The Forsythe Company, Theatre and School, the the rehearsal director with the Cullberg Ballet while his earlier pieces are Royal Ballet School, Rambert and company teacher for Company and as also as a prominently featured in the Dance Company and School the National Youth Dance choreographer from 1976. repertoire of virtually every and many more. She has Company (NYDC 1993- In the 1975-1976 season major ballet company in the appeared in Wayne Sleep’s 2001). She joined Middlesex he was dancer at Opera world, including the Mariinsky Dash and Hot Shoe Show, University in 1994 to Ballet am Rhein, Dusseldorf, Ballet, New York City Ballet guest with LCDT. At the Royal consolidate her teaching and in 1980-1981 was a and the Paris Opera Ballet. Opera House she has danced practice. Anne has served dancer and choreographer at Further to his work as a in Tannhauser, William Tell, on various panels including Netherlands Dance Theater, choreographer, William Turandot, and Eugene Onegin. DanceUK, (One Dance UK), Den Haag. From 1981-1993 Forsythe is a current She has also remounted the Hong Kong Council for Ek was the artistic director professor of dance and works for Robert Cohan, Academic and Vocational of the Cullberg Ballet. His artistic advisor for the Stabat Mater for Victorian Qualifications (HKCAAVQ) choregraphy includes Swan Choreographic Institute at College of the Arts, LCDS, and Middlesex University Lake and for The Royal Ballet, the University of Southern Arts Educational Tring, Arena Assurance Committee of Stockholm (2015), Ajö for California Glorya Kaufman di Verona and Gyori Ballet Academic Board. Her interest Sylvie Guillem (2011), Place School of Dance. Hungary and Robert North’s in health and training methods for Baryshnikov (2008) and Death and the Maiden for for dancers has been the Rättika for Royal Swedish Oakland Ballet, Zurich Opera subject of her continued Ballet, (2008). Ballet, Ballet di Tuscany, Ballet research. For the last 15 da Zaragoza & LCDS. years Anne has, been working closely with Robert Cohan She was rehearsal director and colleagues to continue for Song and Dance tour documenting the mastery of of Germany, AMP Swan his teaching. Linda Gibbs Lake, Queen of Spades

Photo: Stephan Floss Stephan Photo: Performer – The Road at Glyndebourne and William Forsythe Awaits Us, Forest Revisited Midsummer Marriage at the Royal Opera House, both Choreographer – Catalogue Linda trained at the Rambert directed by Graham Vick. (First Edition) School of Ballet from 1961- 1966 and was a member In 2000 Linda had a hip Raised in New York and of Ballet Rambert when it replacement and re-trained Photo: Lesley Leslie-Spinks Lesley Photo: initially trained in Florida was still a classical ballet as a Pilates Instructor, now with Nolan Dingman and Mats Ek company. In 1968 she joined teaching at Bannatyne’s Christa Long, William Choreographer – Axe London Contemporary Dance Health Club in Chingford and Forsythe danced with the Theatre, creating many roles Studio 74 in Bermondsey. She Mats Ek was born in Malmö, Joffrey Ballet and later the by Robert Cohan, Robert danced in the Elixir Festival Sweden in 1945. He Stuttgart Ballet, where he North, Siobhan Davies and at Sadler’s Wells in 2014 graduated in theatre studied was appointed resident others and appearing in the after a 20 year absence from in 1965 from Marieborg choreographer in 1976. In first performances at the the stage and she is looking College, Norrköping, Sweden, 1984 he began a 20-year Place in 1969. In 1982 she forward to appearing again in Theatre studies, 1965. He tenure as director of the created and toured her own June this year. trained in ballet with Donya Ballet Frankfurt. After its solo show and danced an at London Contemporary Selected credits: National created for a historic Palladian Dance School, she pursued Youth Dance Company, refectory, seen at the Venice a freelance career with Tavaziva Dance, Vanessa Dance Biennale 2016 and live many choreographers and Ford Productions, The Hobbit streamed widely, Bayadère companies. Most notably, (West End 2001) Jasmin – The Ninth Life (2015) she danced with the Ian Vardimon Company: 7734, commissioned by The Royal Ben Grant Spink Group for five years Freedom, inbetween, Park, Ballet Studio Programme, and in 1982 was a founder Maze and Pinocchio. Terra Incognita (2014) for Sound Designer – The Road member of Second Stride, Rambert Dance. Works in Awaits Us Teaching: Royal Academy working with Spink, Siobhan collaboration with scientists of Dance, London College Benjamin Grant studied Davies and Richard Alston. In include the film In Flagrante of Fashion, Laban, Croydon at Royal Central School the late 80s, she received a (2013), inspired by cell College. Community projects: of Speech and Drama, bursary from the Arts Council division and Trespass (2015) National Theatre, English and has experience to study arts administration which explored the emerging Heritage, English National designing for theatre, and from 1989-1997 she possibilities for relationships Ballet, Barbican, V&A and dance and installation. worked at The Place Theatre, between human behaviour Sadler’s Wells. Benjamin recently operated first as programme manager and artificial intelligence. Complicite’s The Encounter and then associate director. Currently course leader Bayadère – The Ninth Life can on Broadway. Recent sound In 1997, Betsy joined Dance in costume design at be seen at Sadler’s Wells on design credits include Umbrella and in 2007 Wimbledon College of the 16th and 17th of October. Prurience (Southbank succeeded Val Bourne Art, University of the Arts Shobana Jeyasingh and Centre), Seen and Not Heard as artistic director, a post London. Her research field is the company have been (Complicite), and other she held until November the uniqueness of costume the recipients of numerous credits include associate 2013. She was awarded the design in contemporary awards and honours over sound designer for Beware Chevalier des Arts et Lettres dance. the years including the Time of Pity (Schaubühne) and by the French government Out London award for best associate sound designer for in October 2005. She is Abigail’s designs for the choreography. Shobana The Kid Stays In The Picture currently a member of the Sadler’s Wells commission, has honorary degrees from (Royal Court). board of Aerowaves and is RIOT Offspring, were chosen De Montford University, chair of Dance 4. to be part of the UK entry to the International Theatre Leicester, The University of Design Exhibition, the Prague Surrey and The University of Quadrennial, in 2016. Chichester. The company was nominated Best Independent Company by the Critics’ Circle in 2012, 2013 and 2015. Betsy Gregory Performer – The Road Abigail Hammond

Awaits Us Costume Designer – JP Masclet Photo: The Road Awaits Us, Here, Betsy Gregory has worked Forest Revisited Shobana Jeyasingh in dance for 40 years, as a Choreographer – Here Photo: Ronnie Smith Ronnie Photo: performer, teacher, rehearsal Abigail’s dance background director, programmer, includes the experimental Shobana Jeyasingh founded Jill Johnson producer, mentor and dance at Dartington College Shobana Jeyasingh Dance in Performer – Catalogue artistic director. Born in of Art in the 1970s, followed 1988 and has since created (First Edition) the USA, she came to by studying Dance Theatre over 60 original and critically Jill Johnson is director of London in 1972 for her final at the Laban Centre. She has acclaimed theatre, site and dance, faculty in music and university year – and stayed. created costumes for over lens-based works which have theatre, dance and media, Following a 3-year training 100 choreographic works. toured worldwide. Recent highlights include Outlander artistic director of the Harvard Dance Project at Harvard University. She is a graduate of Canada’s National Ballet School, a 28-year veteran of the dance field, choreographs for film, television and the Harris Brad Photo: stage, has danced in over Ana Laguna Paul Lazar Paul Liburd 50 tours on five continents, Performer – Axe Co-director/Performer – Performer – Forest Revisited and was a soloist with the The Road Awaits Us National Ballet of Canada Ana Laguna was born and Paul was born in Leeds, and and a principal dancer educated in Zaragoza, Spain, Paul Lazar co-founded Big studied at the London School and researcher in William where she received her Dance Theater in 1991 with of Contemporary Dance; he Forsythe’s company Frankfurt primary dance training from Annie-B Parson and Molly was a member of London Ballet. She stages Forsythe’s Maria de Avila. In 1974 she Hickok. His work with Big Contemporary Dance Theatre, work worldwide, including for joined the Cullberg Ballet in Dance includes conceiving, Irek Mukhamadov & Dancers, Paris Opera Ballet, La Scala, Stockholm under the direction directing and/or performing in Rambert Dance Company and Batsheva Dance Company, of Birgit Cullberg and Mats Ek such works as Alan Smithee Scottish Ballet as a soloist. On Norwegian National Ballet, and remained there until 1993 Directed This Play, Comme leaving Scottish Ballet, Paul Lyon Opera, Netherlands with the exception of a one-year Toujours Here I Stand, PLAN B was a guest artist at Phoenix Dance Theater, and American interlude with Nederlands and Mac Wellman’s Antigone. Dance Theatre, David Hughes Ballet Theater. Johnson is Dans Theater in 1980-81. Big Dance has received Dance Productions and Simon a founding collaborator of BESSIE and OBIE awards. Rice’s Abundance. Laguna created roles in The Movement Invention Paul has directed plays by important works by Mats His awards include the Project in New York, and has Young Jean Lee, Christina Ek as well as by Jirí Kylián, Cosmopolitan/Scholl Award served on the faculties of Masciotti and Suzanne Nacho Duato, Ohad Naharin in 1985, the BBC Yorkshire and created choreographic Bocanegra. He has performed and William Forsythe. She Black Achievers Award 1992. work for Princeton University, in The Wooster Group’s North has appeared on practically Critic’s Circle Award for Columbia University, the Atlantic; Brace Up; Emperor every major stage in the Outstanding Male Dancer Juilliard School and NYU. Jones and The Hairy Ape. world and been awarded (2004) (Contemporary), Critic’s Recent collaborations include Lazar acts in movies and numerous honors including Circle National Dance Award those with the Harvard television shows and in Premio Nacional de Danza (2009) (The Dancing Times Choruses, Harvard Mahindra plays at Soho Rep Theatre, (Spain) and Golden Carina Ari Award for Best Male Dancer). Humanities Center, Carpeter The Signature Theatre and Medal (Sweden). After leaving He was awarded the MBE in Center for Visual Arts, Theatre For A New Audience the Cullberg Ballet in 1993, Queens Birthday Honours in Boston Ballet, San Francisco among others. His most Laguna worked in drama and 2009 for services to dance. He Ballet, American Repertory recent piece is a solo dance dance theatre productions was awarded the MBE in the Theater, Dries Van Noten and with text by John Cage and and today teaches and Queen’s Birthday Honours in the Louvre Musée des Arts live music by Lea Bertucci coaches the works of Mats Ek 2009 for services to dance. décoratifs, Ryuichi Sakamoto called Cage Shuffle. at other dance companies. and Mikhail Baryshnikov. After a 24 year career, Paul Ana Laguna was awarded the retired from performing and title Doctor Honoris and the holds a diploma from the British Chevalier and Commandant Ballet Organization (BBO DTLLS). des Art et Lettres, Medalla de In 2014 Paul assisted on the Oro a las Bellas Artes, among re-staging of Ashley Page’s Alice others. Ana danced and on HNK National Ballet of Croatia. collaborated with Nureyev, At present Paul is teaching Baryshnikov and also faculty at Rambert School of collaborated with Pina Bausch Ballet and Contemporary Dance on several occasions. and London Studio Centre. David Byrne, David Lang and made the documentary teaching in international the Martha Graham Dance Dominique Mercy danse Festivals. Her latest piece Company. He has toured Pina Bausch. Following the This is my Now was made for internationally with Ms. death of Pina Bausch, he took 22 students at the Folkwang Parson and Paul Lazar/Big over artistic directorship of University of Arts in Essen. Dance Theater since 2009. the Tanztheater Wuppertal, Hannah Mason He is the executive director of together with Robert Sturm Big Dance Theater, creative until March 2013. In October Performer – Forest producer for Pam Tanowitz, 2014 he was made Chevalier Revisited former company and general dans l’ordre de la Légion Hannah is currently in her manager for the Mark Morris d’ Honneur. second year studying at Dance Group (2002-2010) Mitja Arzenšek Photo: London Contemporary and has produced projects, Pascal Merighi Dance School after premieres and tours for Concept and Direction – completing her first year Faye Driscoll, Beth Gill, and Songs of Childhood at Trinity Laban and a year Steven Reker. with National Youth Dance After his studies with Rosella

Company; guest artistic Look Oliver Photo: Hightower in Cannes and director Sidi Larbi Cherkaoui Thusnelda Mercy working half a decade with (2014-2015). She has a Jochen Ulrich’s Tanz Forum Performer – Songs of personal interest in yoga and Köln, Pascal joined the Childhood pilates and is investigating Tanztheater Wuppertal Pina their connection to primitive Bettina St. Photo: After working as a dancer Bausch in 1999 and since creativity and adaptability, Dominique Mercy and actress with the Theater 2008, has worked with the presence in performance and der Klänge Thusnelda, Mercy company as an invited guest. Performer – Songs of improvisation and movement pursued her study of dance Childhood Aside from his dance career origins and evolution. at the Folkwang University he works on different shows Dominique Mercy, born in of Arts in Essen, Germany. as an actor, director for pascal 1950 in Mauzac, France, At the end of her studies she merighi PRODUCTiONS worked from 1965 at the collaborated with the German and choreographer with Grand Théâtre in Bordeaux, choreographer Sasha Waltz partners such as Ivan Fatjo, and then from 1968 at the and continues to work with Armel Roussel, Pottporus, newly-formed Ballet Théâtre her as a guest dancer since. Maya Bösch & Sturmfrei, the Photo: Aram Jibilian Aram Photo: Contemporain in Amiens with From 2003-2015 performed Deutsche Oper am Rhein, Francoise Adret. In 1972, Aaron Mattocks with the Tanztheater Fabien Prioville Dance at the Saratoga Summer Artistic Associate – Wuppertal Pina Bausch and Company, Sadler’s Wells Festival, USA, he met Pina The Road Awaits Us continues working there as a Leaning & Engagement, the Bausch. One year later she guest dancer and assistant. Pina Bausch Foundation and Aaron Mattocks is a two invited him to join her new the writer and performer time New York Dance and dance theatre company. Since 2009 she has been Florence Minder. Performance (Bessie) There he developed into working as an independent Award nominee for an outstanding, distinctive, choreographer and is an As a director he recently Outstanding Performer individual dancer, whose associate artist to pascal created SAMUEL -titre de (2013, 2016), whose work imaginative creation of roles merighi PRODUCTiONS in travail- presented at the with choreographer Annie-B characterised many of the pieces such as SAMUEL and Theater am Engelsgarten of Parson in live performance, pieces. In 2001 he was made WAK.NTR Rehab. the Wuppertaler Buhnen. film and music includes Chevalier des Arts et des projects with Mikhail Lettres, and received the She works as a dancer Pascal’s newest work WAK. Baryshnikov, Jonathan Bessie Award in New York in and assistant for different NTR Rehab, A matrix of the Demme, Wendy Whelan, 2002. In 2003 Regis Obadia directors and has been six soli by Pascal Merighi made for Pina Bausch’s Dance Trust began offering awarded an OBE for his seen in NYC at BAM, The pieces from 2000-2005 part-time classes taught by services to dance. Kitchen, and was honoured has been premiered at the Graham Company Dancers, by PS122. Parson has also Bundeskunsthalle Bonn’s Namron was one of the made dances for the work exhibition Pina Bausch and first to enrol. After London of: Mikhail Baryshnikov, the Tanztheater. Contemporary Dance School David Byrne, David Bowie, St. opened in 1966, Namron Vincent, Laurie Anderson, taught the new students; Jonathan Demme, Ivo van then, in 1969 he became a Hove, Sarah Ruhl, Lucas founder member of London Hnath, Wendy Whelan, David Contemporary Dance Theatre. Luigi Nardone Lang, Esperanza Spalding, Performer – Forest Revisited Namron remained in the Mark Dion, Salt ‘n Pepa, company for 18 years. Namron Luigi began dancing at the Nico Muhly, and the Martha Kennedy Mutanga is also acknowledged as being Centre for Advanced Training Graham Dance Co. Awards a founding member of the at the Place when he was include: Bessie Awards, Performer – Forest Revisited Place. Namron was the first 12 years old, studying ballet Guggenheim Fellowship, Kennedy is in his first year black dancer to be employed and contemporary dance. Duke Artist Award, USA of training at the Rambert by a British dance company. He then went on to join Artist Award, Foundation School of Ballet and the National Youth Dance for Contemporary Art and Namron’s own work, the Contemporary. He first Company from 2013-14 an Olivier nomination for Bronze, was taken into LCDT discovered dance through under the guest artistic choreography in Here Lies repertoire in 1975, in 1977 hip hop and commercial then direction of Akram Khan. Luigi Love at the National Theatre. Namron staged Robert went further to study musical is currently in his second year North’s legendary Troy Games theatre at CAPA College. at Rambert School of Ballet for the Dance Theatre of He is now more focused on and Contemporary Dance Harlem in New York. In 1985 contemporary and ballet after and has recently performed Namron became a founder spending a year with National alongside Rambert Company member of the Northern Youth Dance Company; guest in Creation. Luigi is looking Contemporary Dance School artistic director, Michael forward to going into his third teaching staff for 15 years. Keegan-Dolan (2015-2016). year of vocational training As a freelancer Namron was Diana Payne-Myers and hopes to gain more appointed first rehearsal Performer – The Road professional performance director at Phoenix Dance Awaits Us experience before starting his Company in Leeds and has career in dance. Diana Payne-Myers is a also worked in the same dancer and actress, training capacity of Mavin Khoo. with Ballet Rambert in 1948. Now London based, Namron was a guest teacher at She has most recently worked Namron Millennium Dance 2000 with in Scotland with Barrowland Performer – The Road ongoing freelance teaching at Ballet (Natasha Gilmore’s Awaits Us Middlesex University and for Glasgow based company) in Photo: Ike Edeani Ike Photo: Shobana Jeyasingh Dance A Conversation with Carmel Namron began his dance Company. In 2003 he was Annie-B Parson 2013 (co-produced by Scottish career at the Willesden Jazz appointed as associate artist Conceived, Adapted and Arts & Stratford East) at the Ballet Group in 1962 whilst for Adzido. Namron appeared Choreographed – The Road Tramway Theatre, Glasgow; also studying as a mechanical in a self-choreographed solo Awaits Us Stratford East, London and two engineering apprentice at work, Missing, at the Summer Scotland tours concluding the AEI Neasden. He started his Annie-B Parson co-founded Collection, Clore Studios, Edinburgh Fringe Festival 2011. training with a scholarship to the OBIE award winning Big Royal Opera House in 2004 Rambert Ballet School in 1965. Dance Theater in 1991. Big and also at the Edinburgh Other recent credits include: When London Contemporary Dance was most recently Festival. Namron was recently Further work with Matthew Hawkins at Edinburgh Contemporary Dance School, 2015 he has been artistic prestigious BBC Young Dancer Festival (2007); Red Ladies where she has worked with director and dancer of the competition. Most recently, (2014) at the Southbank companies and artists such Dance On Ensemble, a new he was choreographer for Centre, Malvern and Margate; as Punchdrunk, Richard company formed as part of Wales Millennium Centre’s God’s Garden with Arthur Alston Dance Company and an initiative by Diehl+Ritter most significant production Pita- created and presented Liz Aggis. In September, Ruby in Berlin to raise the profile to date, Tiger Bay the Musical, in Ipswich followed by will begin her MA at Northern of dancers aged over 40 which previewed in Cape Town performances in Birmingham School of Contemporary and show how dance as in May 2017, ahead of its world and later with a company Dance as a member of their an art form benefits from premiere at Wales Millennium at the Royal Opera House. postgraduate performance experienced dancers. Centre in November 2017. Diana has also performed at company: Verve Working with internationally He has served on various arts the 2000 Sydney Olympics renowned choreographers boards, including the Royal Arts Festival with DV8 and directors, his aim is to Opera House; he is currently Physical Theatre company create a solid base for a a patron of both Akademi piece Can we afford this? The rich and ambitious future and The Place. He appears in cost of living at the Everest repertoire for dancers eight successive Powerlists Theatre, Sydney which went over 40. of Britain’s most influential to London & Hong Kong. Tuch Dorothea Photo: people of African and African Other work with DV8 includes Caribbean heritage. Kenneth Strange Fish (European tour) Christopher Roman Artistic Director and also appears in Who’s Who. and Bound to Please which Performer – Catalogue toured Europe 1999-2000. In 2003 he was made an OBE in (First Edition) recognition of his services to Diana recently performed Christopher Roman began dance. the role of Edna in An his formal training with The Inspector Calls at the Kenneth Olumuyiwa School of Cleveland Ballet, London Playhouse Theatre continuing at The School Tharp OBE having performed the role of American Ballet in New Performer – The Road previously at the Aldwich York City. He was invited Awaits Us, Forest Revisited Theatre and on two UK tours into the ranks of the Pacific and the Australia tour. Kenneth is a key figure in the Northwest Ballet and danced UK contemporary dance as a soloist and principal with scene. He danced with the Edward Villella’s Miami City Martin Welton internationally acclaimed Director – Forest Revisited Ballet, Les Grands Ballets London Contemporary Dance Canadiens in Montreal, The Theatre and other leading Martin Welton is a theatre Pennsylvania Ballet, Ballett companies during a 25 year artist and academic. Recent Frankfurt and The Forsythe dancing career, with extensive theatre work includes Vom Company. In 2009 he credits as a performer, Verschwinden der Schatten Ruby Portus received Germany’s highest choreographer, teacher with Theaterfeuerblau Performer – Forest theatre honour – Deutscher and director. (Austria), Make Me Cool with Revisited Theaterpreis DER FAUST – for Antonio de la Fe, Footage best performance. He is the From 2007-2016, Kenneth with Whistler&Welton, and Originally from Bristol, European MFA study curator headed the UK’s leading Unknown Origin with Theater Ruby danced with local and co-ordinator for Hollins centre for contemporary ASOU (Austria). Martin is youth dance companies University in the US. From dance development, as chief senior lecturer in theatre and before joining National 2013 to 2015, Christopher executive of the The Place. performance in the Department Youth Dance Company in was associate artistic director He is currently working as a of Drama, Queen Mary University 2013-2014 under the guest of The Forsythe Company, freelance arts professional. of London. His most recent book artistic direction of Akram and remains a Trustee for the Feeling Theatre is published by Khan. She is now in her final In April 2017 he was a Forsythe Foundation. Since Palgrave Macmillan. year of training at London grand final judge for the Company of Elders

The internationally renowned Company of Elders is Sadler’s Wells’ resident over 60s performance company, proving since 1989 that it’s never too late to Almeric Amina Patel Betsy Field start dancing. Johnson The Company of Elders has performed at locations ranging from The Houses of Parliament, National Theatre and Duckie Cabaret Club to foreign tours spanning Sweden, Russia, Holland, Austria, Portugal and the Venice Biennale. In 2009 (rebroadcast in 2012) the company was the subject of a BBC1 Imagine documentary, Imagine…Save The Last Dance. In September 2014 the Company of Elders hosted the Inaugural Elixir festival at Sadler’s Wells.

The company’s 22 members meet Catriona Chris Havell Christopher weekly throughout the year at Sadler’s Maccoll Dunham Wells and their performances have garnered global acclaim. The world class international choreographers and companies they have worked with include Matthew Bourne, Hofesh Shechter, Wayne McGregor, Jasmin Vardimon, BirdGang, Luca Silvestrini and Clara Andermatt.

Damien Murphy Daphne Hoban Genia Browning Jeanette White Jill Murch Linda Lewcock Martyn Lewcock

Mary O’Mahony Monica Duck Pam Zinkin Rachel Thompson

Sybil Fox Tim Coldron

Photos: Gigi Giannella Supporters We would like to thank the Baring Foundation, the Embassy of Sweden and The Royal Victoria Hall Foundation for their support with Elixir Festival.

To find out more about how to support the work produced by the Learning & Engagement department, please contact Aymeric Lavin on 020 7863 8130 or at [email protected]

DANCE ON, PASS ON, DREAM ON is a large-scale co-operation project developed by nine distinctive dance institutions from eight countries to address ageism in the dance sector and in society. Led by Berlin-based non-profit cultural agency Diehl+Ritter, the partners are Belgrade Dance Festival, Codarts University of the Arts, the Belgian choreographer Jan Martens’ company GRIP, Festspielhaus St. Pölten, Holland Dance Festival, the Swedish dance company Jus de la Vie, Nomad Dance Academy Slovenia and Sadler’s Wells.

The partnership, with its organisational expertise and Europe-wide network of performance venues, festivals and educational institutions, will make a difference: instead of continuing to ignore and sideline older dancers and older bodies in general, it showcases and celebrates the richness of age and experience – on stage and in society. DANCE ON, PASS ON, DREAM ON runs from June 2016 to May 2019 and is co-funded by the Creative Europe Programme of the European Union.

Photo: Johan Persson Learning and Engagement

The Learning & Engagement department at Sadler’s Wells has a track record of producing imaginative projects and delivering long-term community engagement programmes. It aims to inspire and excite people about dance, reaching 20,000 annually with activities that take dance out into the community and invites communities into our theatre.

Many projects are collaborative involving a range of art-forms including music, film and design and the department’s community engagement programmes are designed to connect people from all backgrounds and ages with the Director of Learning and artistic programme at Sadler’s Wells. Engagement Joce Giles Celebrating creativity is at the heart NYDC General Manager of all the work delivered by the Hannah Kirkpatrick Learning & Engagement department, Projects Producer, Learning from supporting children and young and Engagement people to become the next generation Lucy Clarke-Bishop of artists through to extensive Community and Engagement opportunities for the over 60s to Manager Natasha Anderson engage with dance and the arts. Learning and Engagement Officer Sara Daniels sadlerswells.com/learning NYDC/Learning and Engagement Coordinator Enquiries Rosalind Hewett 020 7863 8094 Elixir Festival Placement [email protected] Sara Pikkarainen sadlerswells.com/learning NYDC Placement Anna Curtis Photo: Johan Persson Coming Soon

Photo: Johan Persson Design: Joe Walkling Photo: Chris Van der Burght

Alexander Whitley Dance Company Alain Platel / les ballets C de la B 8 Minutes nicht schlafen

Tuesday 27 & Wednesday 28 June Friday 30 June & Saturday 1 July £20* £20* Sadler’s Wells Sadler’s Wells

Following on from his innovative digital work Pattern Recognition, The trailblazing Alain Platel returns with nine dancers from his Sadler’s Wells New Wave Associate Alexander Whitley takes critically acclaimed contemporary ensemble les ballets C de la on the breathtaking scale of space for his company’s main B, for the dark and moving nicht schlafen. Inspired by the music stage debut. of Gustav Mahler and the time the composer lived in, Alain Platel draws parallels between the music and the troubled early years of Working in partnership with the scientists from STFC RAL Space the 20th century in Europe. at Rutherford Appleton Laboratory, 8 Minutes draws inspiration from the images and data of solar science research to explore Alain Platel’s regular collaborator, Steven Prengels, used African the spectacular forces at work in the universe and illuminate our polyphonic chants, cowbells and the sounds of sleeping animals relationship with the star that gives us life. to create a surprising soundscape in contrast with Gustav Mahler‘s adagios and symphonies, confronting Western classical music with With a specially created score by the electroacoustic music African culture. Visual artist Berlinde De Bruyckere sculpted the innovator Daniel Wohl and an installation of high-definition startling image of the bodies of dead horses, piled up in a jumbled imagery from visual artist Tal Rosner, 8 Minutes creates heap. This is a dance of life and death. a striking, immersive environment of dance, music and film. “One of the most influential dance theatre companies in “A mercurial imagination” The Financial Times on the world” The Guardian Pattern Recognition

Save 20% and get priority booking with Sadler’s Wells membership Join online now to receive your discounts: sadlerswells.com/membership Photo: Giulietta Verdon-Roe Photo: Hayim Heron

Sisters Grimm Dorrance Dance Voices of the Amazon ETM: Double Down

Tuesday 4 - Saturday 8 July Wednesday 12 - Saturday 15 July £12 - £38* £12 - £45* Sadler’s Wells Sadler’s Wells

Following the Grammy Award nominated success of INALA, a Zulu Michelle Dorrance brings tap into the age of electronic music ballet performed with Ladysmith Black Mambazo, Sisters Grimm with collaborator Nicholas Van Young. Tap has always been return with the tale of a water spirit from the Amazon River, who a way of talking to the stage, now with Van Young’s electronic ventures deep into the rainforest in search of a cure for her dying tap boards, the stage is able to talk back, as every step, swipe, sister. Entranced by the beauty of the natural world, her eyes are and scrape sets off an element of sound, building musical loops, soon opened to the realities of deforestation. turning the stage into a musical instrument in its own right.

With voiceover narration by Jeremy Irons and performed by With Afro-Brazilian, indie-pop, and even a bit of Adele triggered 15 dancers, singers and musicians, this unique production by the eight dancers’ fabulous footwork, ETM: Double Down choreographed by Helen Pickett fuses ballet, contemporary and takes the first American dance form to a new level. capoeira with a sensational Brazilian musical score, created in collaboration with world-renowned percussionists, Olodum. “A fresh and innovative show” New York Times

“A show that enchants as much as it impresses” The Telegraph on INALA

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, 7th March 2005 the new opened on 27th September 1935 to great acclaim with one director of Sadler’s Wells, Alistair Spalding, decided the time critic noting “the splendid dancing of the young newcomer had come to make a splash. “You’ve got the National Theatre Miss Margot Fonteyn, who has a compelling personality and for drama, English National Opera for opera and I want Sadler’s exceptional gifts, though only just 16.” Wells to perform the same function for contemporary dance.” With those words, he inaugurated a new chapter in the history Whilst opera continued to be important (Peter Grimes of London’s second oldest theatre: its transformation into premiered at the Wells in 1945), it was in this period that 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 6th January 1931 with John Gielgud promotes but also commissions and produces outstanding ‘Sadler’s Wells Dance House’ and 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 Support Trust and Sadler’s Wells would like to thank all those who generously support Foundation the theatre and our programme of work on and off stage

Sadler’s Wells Trust Individuals Project Supporters Opening Night Patrons Britannia Morton The Leverhulme Trust Aspect Charitable Trust Anonymous The Mucha Family The Linbury Trust Avant-Guardians Michael and Claire Francies Tobe and Nicholas Aleksander Nahla Murad The London Community Chairman Anonymous Guardians Carol Lake Diana Allgaier Susan Noble Foundation Nigel Higgins David and Primrose Bell The Mactaggart Third Fund Carolyn Amhurst John Nugent The Mirisch and Lebenheim Angela Bernstein CBE Michel and Ellen Plantevin Hannah Azizollah Sarah Perry Charitable Foundation Sue Butcher Seat Appeal Supporters Severine Balick Dave Plummer and The Monument Trust Directors Sanya Polescuk and Pamela Bertschinger Lesley Whitby The Pure Land Foundation Nigel Higgins Legacy Circle Joanne Black Sia Ratajczak Quercus Trust Jules Burns Aud Jebsen David and Deborah Botten William Boyce Peter B Rea The Sackler Trust Sue Butcher Robin Saunders Mike and Caroline Howes Jenny Brend David Ripert Sir Siegmund Warburg’s Kathleen Crook Ann and Martin Smith Ross Roberts Alison Brodie Marc Roberts Voluntary Settlement The Ulrich Family Maria Bukhtoyarova Susanna Rodriguez Stavros Niarchos Foundation Robert Glick Commissioning Patrons Ossi and Paul Burger Angel Rodriguez Issa Weston Jerwood Creative Carol Lake Major Project Support Anonymous Jim Caroll Robert and Corinne Rooney Bursary Scheme David and Torunn Banks Francois and Anais Aguerre Guy Chapman Zerin Safa The Wolfson Foundation Tim Marlow The Blavatnik Family Foundation Geoff and Judith Batchelar Jenny Chu Anatoly Savin David Ripert The Deborah Loeb Brice Justin Bickle Geoffrey Collens Alastair Sharp Supporters and Partners Robin Saunders Foundation Kristina Borsy and Nick Turdean Victoria Conran Maria Sheremteva Andor Charitable Trust Stephanie and Jacques Gabillon Nica Burns OBE Philippa Crane Brian Smith Chapman Charitable Trust Sanoke Viswanathan Barbara Kahn Moller Alexander de Mont Sean Cross Alistair Spalding CBE Children & the Arts and Karsten Moller Juliana Farha and Kit Malthouse Andrew Cullen Helen Stevens CHK Charities Limited The Richard Grand Foundation Amanda Cupples Juliet Strang The D’Oyly Carte Charitable Trust Trustee placements Artistic Director’s Circle Neil Griffiths-Lambeth Tess Daly Sue Swallows Ernest Cook Trust Sharla Duncan Anonymous Lettie Hart Angela Docherty Ebba Thott Harold Hyam Wingate Foundation Jo Wolfe Humphrey and Ginny Battcock Laoise Hayes Simon and Jane Duncan Alex Timken The Golsoncott Foundation William and Judith Bollinger Bee Hopkins Maryam Eisler Lan Tu The Ironmongers’ Company Jules and Cheryl Burns Anne Kauder Sarah and Louis Elson Nigel Turner The John Thaw Foundation Honorary Member Marco Compagnoni Faizal Khan Magdalen Fisher Anna Valentine and The Leche Trust Kathleen Crook and Latifa Kosta Sybille and Lionel Giacomotto Jonathan Berger The Mercers’ Company Sandi Ulrich James Penturn Dominique and Laurent Laffy Karine Giannamore Kevin Walker The Rayne Foundation Lloyd and Sarah Dorfman John and Susan Lazar Clare Haden Linda and Stephen Waterhouse The Royal Victoria Hall Jack and Linda Keenan Alison and Dominique LeMaire Erin Hale Sarah Jane Watson Foundation Fameed Khalique Harry and Fiona MacAuslan Sarah Hayter Simeon Williams Teale Charitable Trust Sadler’s Wells Foundation Sophie Lecoq and Lindy Mason Eleanor Heine Holmes Wood The Three Monkies Trust Fawzi Kyriakos-Saad Nancy Miller and Glen Ireland Steve Hendry Josh Wood Simon and Lesley MacDonagh John Nicoll and Mina Gerowin Herrman and David and Vivienne Woolf Corporate President Paul Mulholland Laurence Colchester Jeffrey Herrman Kate Wormald – OESA Partners Lady Solti Karim and Julie Saddi Mr C and Mrs A Norton Gina Hickey Corporate Partners Georgia Oetker Gary Hocking and Sandra Quinn Performance Members American Express Season Patrons Dr Elizabeth Parker Mike and Caroline Howes Andrew Barnett Bloomberg Honorary Vice President Celeste Fenichel Frances Prenn Rita Hughes Jemma Cowley Rothschild & Co Ian Albery Charles Glanville Joan Ritchie Mr Sajid F. Hussein Major Dafydd Edwards Stéphane Lapiquonne Ross Roberts Raphael Im Sandrine Jensen Corporate Sponsors Ian Hay Davison CBE Samantha Lee His Excellency Ghassan I Shaker Colin Izzard Eugene Leahy and Angel Central Craig Mullan Georgie Shields and Claire Johnston Helmert Robbertsen Bennetts Associates Chairman Robin Pauley Trevor Francis Colin Keil Gerald Lidstone Clifford Chance Kristina Rogge Wendy Sigle Louise and Philip Keller Juliette Morris Criterion Ices Sir David Bell ERMAK Group/Shafranik Family Graeme and Susan Sloan Chris Kneale Helen Mundy ERMAK Group Paul Williams Christopher and Fiona Steane Sybil and Herbert Kretzmer OBE Sally Pasmore Hermès Max Steinkopf Maxine Lange Geraldine Ravet Van Cleef & Arpels Directors Acosta Danza Circle Gabrielle Tana Vicki Lant Isla Smith Rab Bennetts OBE Anonymous Allen Thomas and Kim Lavely Alison Smyth Local Business Members Celeste Fenichel Michael and Claire Francies Jane Simpson Derek Lee David Taylor Frederick’s Jeannette Grohe Geoff Westmore and Fiona Leishman Green & Fortune Kathryn Firth Esther Isaacs Paula Clemett Andrew Lerpiniere Trusts and Foundations Moro Nigel Higgins Jack and Linda Keenan Meng Zhou Gwen Lewis and Ottolenghi Jonathan Holliday Major Supporters and Partners Viaduct Furniture Harry MacAuslan New Production Patrons The American Friends Chantelle MacKay Anonymous Lesley MacDonagh Anonymous David and Melissa Bernstein Tim Marlow The Andrew Lloyd Webber Embassies / Government Celia Rodrigues Maria Adonyeva Matthew and Elissa Bernstein Alessandra Masoero Foundation Agencies Lauren and Michael Clancy Colin and Deirdre McKechnie Patricia Masri The Baring Foundation Embassy of Spain Roger Spence John Drewitt (Deputy President) David Mathew BBC Children in Need Embassy of Sweden Paul Williams Claire Griffiths Celia Rodrigues (President) Terrie McCann Cockayne - Grants for the Arts Institut Français du Mrs Joyce Kan and Mark Rodrigues Martha Mehta Dame Hilda Bracket Trust Royaume-Uni Majella Murphy-Altschuler Monica Voldstad Alison Miller The Edwin Fox Foundation in Taipei Representative Office Honorary Members Frank and Helen Neale Jane Miller memory of Michele Fox in the UK Valerie Colgan Yana Peel Andrea Mitchell Esmée Fairbairn Foundation The Porter Foundation Erdem Moralioglu Garfield Weston Foundation Robert Kahn Switzerland Richard Morgan J Paul Getty Jr Charitable Trust Martin Klute Koji Moriya Jerwood Charitable Foundation

Honorary Clerk Joachim Fleury

Clerk to the Foundation Alistair Spalding CBE If you would like to know more about supporting Sadler’s Wells, please contact the Development Office on 020 7863 8134 or [email protected] Sadler’s Wells Sadler’s Wells Staff Artists and Artistic Director and Chief Executive Production Accountant Development Manager, Lilian Baylis Studio Alex Barnes, Lisa Beck, Amy Bentley, Companies Alistair Spalding Ricci Pleszkan Individual Giving Technical Manager Dominic Berry, Harry Blain, Lorea Chief Operating Officer Producing & Touring Coordinator Katie Wellington Roman Bezdyk Burge, Becky Byers, Jane Chan, Vicky Britannia Morton Isabelle Drummond Development Officer, Senior Technician Chapman, Ioana Delves-McGuire, Executive Director Producing & Touring Assistant Members & Patrons Fraser Thompson-Noble Helen Doyle, Barney Evans-Doran, Associate Artists Magdalen Fisher Georgia Kersh Rebecca Fogg Technician Lindsey Fraser, Gigi Giannella, Sally Producing & Touring Intern Development Coordinator, Pete Maxey Hacking, Anna Harrison, Kylie Hawryliw, BalletBoyz® Director of Artistic Programme Michael Johnson Trusts & Foundations Geber Sandoval Heredia, Kornelia Matthew Bourne Katy Arnander Aymeric Lavin Building Services Jaroc, Jasmine Kambi, Ewa Lamond, Finance Director Marketing & Sales Development Coordinator, Building Services Manager Lisa Laville, Ljiljana Lemajic, Vivien Loh, Sidi Larbi Cherkaoui Mark Rhodes Individual Giving Russell Lynch Eleanor Martin, Claire Marty, Katie Jonzi D Executive Producer Director of Marketing & Sales Bobette Kenge Senior Building Services Technician Mason, James McAndrew, Carole Suzanne Walker Sebastian Cater Development Coordinator, Corporate Wayne Lawrence Mitchell, Rhiannon Montagu-Harrison, Michael Hulls Director of Technical & Production Senior Marketing Manager Partnerships & Events Building Services Technicians Thomas Montagu-Harrison, Kate Michael Keegan-Dolan Emma Wilson Sammie Squire Ornela Salloum Yassine Chenaf, Richard Emmett, Neville-Towle, Joel O’Donoghue, Director of Development Marketing Manager (Touring) Development Assistant, Mark Hobson, Ghion Mekonnen, Amelia O’Hara, Raisa Pankalainen, Akram Khan Emma Collings Lucy White Members & Patrons Darren Spencer Hannah Parsons, Paula Patritti, Philip Marshall (Maternity Cover) Marketing Campaigns Officer Sarah Wingfield Maintenance Technician – Dominique Perrett, Magdalena Russell Maliphant Director of Marketing & Sales Martha Quigley Peacock Theatre Radlowska, Georgia Redgrave, Rowan Wayne McGregor Sebastian Cater Marketing Insight Officer Finance & IT Daniel Knapton Roberts, Kate Ryan, Chiara Sarra, Dorit Director of Learning & Engagement Ian Briggs Administrative Assistant, Schwartz, Jamie Sheehan, Shorai Crystal Pite Joce Giles Publications Officer Finance Director Building Services Shoniwa-Forchin, Caroline Topley, Lily Kate Prince Executive Assistant Maxine Smiles Mark Rhodes Elsa Stevens Tran, Nu Tran, Calvert Watson, Emma Rosalind Glass Content Officer Wells, Robert Wilkes, Stephanie Wong, Nitin Sawhney Rita Chowdhury Finance Catering & Events Jairo Zaldua Hofesh Shechter Programming, Learning Marketing Coordinator Financial Controller & Engagement Kirsty McGuinness Paul Warren Head of Catering & Events Stage Door Jasmin Vardimon Marketing Assistant Management Accountant Zuzana Galikova Receptionist Christopher Wheeldon Director of Artistic Programme Dominique Perrett Ben Dart Development Head Chef Joann Peek Katy Arnander Production Accountant Kenny Warren Stage Door Keepers Digital Ricci Pleszkan Junior Sous Chef Marie-Claire Adriaenessens, Programming Digital Manager Show Accountant Cherif Camara Phil Bartlett, Alec Kensit, Vivien Loh, Associate Artist Emeritus Artistic Programmer & Mark Doerfel Lorne Cuthbert Senior Chef De Partie Magdalena Radlowska, Sylvie Guillem Artist Development Digital Officer Finance Officer Paul Mileham Rosannah Smith Eva Martinez Sarah Vaughan-Jones Monisola Samuel Kitchen Assistants Head of Programme Content & Community Manager Finance Assistant Ellie-Brook Dean, Luminita Sfesnic Housekeeping Resident Companies Anneliese Graham Thea King Sheena Shah Catering Operations Manager Housekeeping Manager Projects Producer Content and Community Assistant Justin Rogers Fabian Arias Company Robyn Cabaret Jobeda Khanum IT Catering Administrator Housekeeping Operations Wayne McGregor Programme Manager Digital & Marketing Apprentice Head of IT Janet Elliott Supervisor Richard Cross Temi Fernandez Matt Kirby Bars Supervisors Katarzyna Rogulska New Adventures Programming Coordinator CRM Database Manager Alessio Colandrea, Jolanta Cleaning and Housekeeping ZooNation Dance Elaine Foley Ticket Office Dmitrij Zeile Petrauskaite Supervisor Programming Assistant Ticket Office Systems Manager IT Systems & Network Manager Catering Team Leaders Ken Debidin Company Sarah Lacombe Bruce Moore Raymond Neequaye Marcus Romaneli, Maurice Rowan Cleaners Ticket Office Supervisors IT Support Analysts Bishop, Nicole Saker, Sonia Teape Joshua Aqui, Jeffrey Balighot, Breakin’ Convention Barbara Birch, Mark Hammond, Stephen Amissah, Jake Hummerston General Catering Assistants Fortunato Carian, Ben Coughlan, Associate Company Artistic Director, Breakin’ Convention Abigail Parker Isobel Adderley, Camille Baptiste, Kelly Dago, Jesiel Da Silva, Jose Lary Jonzi D Memberships & Ticketing Human Resources Karolina Baublyte, Natalie Beale, Legario, Oumar-Florent Sam, Mercan English National Ballet General manager, Breakin’ Services Administrator Deborah Boateng, Rosaleen Brooks, Sahin, Thayaparan Eliyathamby Convention Ritchie Dach Head of HR Sarah Covington, Sonya Crème, Paige Sinnathamby, Ziegfredo Tanilon, Cyrille Natalie Pryce Ticket Sales Assistants Clair Kelly Dehaarte-Wiseman, Laura Ellis, Eva Tchaho Wandji, Celestin Trah, Antonio International Programme Manager, Virginia Aparicio, Matthew Barrington, HR Manager Escribano Olmo, Josh Gill, Deborah Villanueva, Amani Yoboue Associate Companies Breakin’ Convention Naomi Bowen, Clare Bracewell, Lesley Owusu Gomes, Paulo Guilhenme, Egija Michelle Norton Stephanie Brotchie, Tim Chen- HR Coordinator Kavecka, Laura Kerin, Beulah Security Acosta Danza Tour Manager, Breakin’ Convention Hudson, Melissa Collier, Katherine Braham Lyons Lambert, Judit Lopez Berga, Bopielo Security Officers Rosas Emma Ponsford Dalton, Ryan Epps, Brandon Force, Administrative Apprentice, HR Mahkokolo, Claudia Marciano, Katie Andrew Ayinbode, Tariq Aziz, Canberk Digital Communications Officer, Ben Francis, James Hameed, Elspeth Tiegan Hummerston McGregor, Eva Parets Merino, Gurel, Nii Lartey, Mohammed Mulla, Tanztheater Wuppertal Breakin’ Convention Harrison, Paula Jones, Wesley Jones, Alexandra Plaige, Bethany Pratt, Katie Torbett, Kemoh Sesay Dave Barros Asher Levitas, Steph Lodge, Lee Capital Projects Sabela Ramos Candedo, Raffaella Technical Lighting Supplier Pina Bausch Education Coordinator, McDonnell, Sheila Motani, Grace Scotto Di Clemente, Waddah Sinada Breakin’ Convention Nyandoro, Richard Owen, Paula Projects Facilitator Events Manager Shay Rafati Patritti, Matthew Phillips, Aine Pullan, Charlotte Meyer Alessio Romani Marketing Assistant, Breakin’ Rosalind Reeder, Samuel Ricketts, Events Executive, Corporate Convention Nicola Salt, Caitriona Shoobridge, Technical & Building Services Kelly McGibney With thanks to our colleagues Owen Ling John Sinclair, Lois Tucker Events Executive (Arts) at the London School of Economics: Director of Technical & Production Pascha Rix-Whippey Learning & Engagement Press Emma Wilson Events Assistant Head of Conference & Events Director of Learning & Engagement Christopher Haddow Rachel Ward Joce Giles Head of Media Relations Sadler’s Wells Theatre LSE Theatre Manager General Manager, NYDC Abigail Desch Technical Manager Visitor Experience Sam Gaid Hannah Kirkpatrick Senior Press Manager Zeynep Kepekli Assistant Producer, Creative Caroline Ansdell Technical Coordinator Head of Visitor Experience The information in this programme was Learning Press Officers Tom Hares Howard Clark correct at the time of going to print and Lucy Clarke-Bishop Jolene Dyke, Eugénie Dunster, Head of Stage and Flys may be subject to change. NYDC and Creative Learning Dan Macarthur Colin Wilson Front of House Coordinator Press Assistant Head of Lighting and Sound Senior House Manager Rosalind Hewett Rachel McClure Sam McLeod Marguerite Bullard Community and Engagement Senior Technician House Manager Manager Corporate Communications Graham Cutting Haroula Lountzi Natasha Anderson Technicians Deputy House Managers Learning and Engagement Officer Corporate Communications Manager Kirsty Campbell, Kirstin Harrison, Dara Brooks, Larry Harrison-Mateeba, Sara Daniels Giulia Ascoli Aran Morrison, Mark Noble, Ben Walker Janine Kaufman Wardrobe Supervisor Duty House Manager, The Peacock Producing & Touring Development Miwa Mitsuhashi Duncan Steer Apprentice Theatre Technicians Front of House Sales Administrator Executive Producer Director of Development Kurtis Jeremiah, Carole Williams Louise Cooper Suzanne Walker Emma Collings Performance Cashiers Senior Producers Philip Marshall (Maternity Cover) The Peacock Dara Brooks, Robert Churchill, Ghislaine Granger Development Manager, Technical Manager, Peacock Chris Harmer, Larry Harrison-Mateeba, Bia Oliveira Trusts & Foundations Theatre & Special Events Alex Wood Russell Maliphant Company Sophie Brooke-Smith Chris Booth Front of House Assistants Producer Development Manager, Technicians Marie-Claire Adriaenessens, Josiane Ellie Hartwell Corporate Partnerships Sophie Brown, James Kazwini, Adriaenessens-Gardes, Keziah Allen, Technical Production Manager Sarah Drake Tom Pritchard Makiko Aoyama, Corinna Barker, Adam Carrée