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Annual Review 2014–2015 Contents

4 About English National Ballet 30 English National Ballet Philharmonic

6 A message from our Chairman 32 Nurturing Talent

8 A message from our Artistic Director 34 Reaching Audiences

10 Highlights 38 Engagement

12 A message from our Executive Director 42 Support

14 Artistic Programme Review 45 Financial Performance

22 Artistic Programme Credits 46 Looking Forward

24 Artistic Programme Awards 48 English National Ballet Board & Advisors

26 English National Ballet Dancers 50 English National Ballet Staﬀ

Cover: Stina Quagebeur, Grant Rae and Shevelle Dynott in Second Breath by Russell Maliphant. Snowflakes. ©Photography by ASH © Photography by ASH

2 3 About For 65 years, English National Ballet has been at the centre of the creative life of the country English National Ballet

Our Mission Our Objectives

We bring world-class classical ballet to the – To present productions of classical ballet widest possible audience – delighting them of the highest quality within England and with the traditional and inspiring them with around the world; the new. We aspire to be the United Kingdom’s most exciting and creative ballet company. – To offer access to the widest possible audience through affordable pricing and Our Vision attractive repertoire in a variety of venues including theatres, schools, festivals and Under the leadership of Artistic Director digital platforms; Tamara Rojo, English National Ballet stands for artistic excellence and creativity. – To inspire, enlighten and uplift the public We are a world-class organisation, flexible, through performances, events, interaction collaborative, and engaging with its and experience; audiences. We honour the tradition of great classical ballet while embracing change, – To develop the art form of ballet by evolving the art form for future generations commissioning new choreography, and encouraging audiences to deepen their design, and musical composition as well appreciation of it. as cherishing the classical repertoire;

– To maintain the highest artistic standards.

Our ambition is great ballet for everyone.

Alina Cojocaru and Ivan Vasiliev © Photography by ASH

4 5 A message from our Chairman “ England’s National Ballet has always been a very special company but under Rojo’s artistic direction it has acquired a tightly-knit, progressive (and most a hard-working, experienced and diverse group of trustees, each of whom deeply of all, consistent) edge as a springboard for world- love the company and who give considerable leading, superstar performances.” time to an organisation which is now London Dance, Graham Watts becoming a genuine arts leader and innovator. I have had the pleasure of being English National Ballet’s Chairman for three years and I am delighted that the Board have placed faith in me to serve a second three year term, effective December 2015.

It has been clear for some time that the company is in need of more space, and a building that is fit for purpose. Our current home in South Kensington has served us well, but with only two studios and a lack of modern English National Ballet’s 2014-2015 season facilities, the time is right for us to move on proved to be a transformative one in the life and to have a new building consistent with the of the company, notable for its artistic company’s talents and ambition. I am thrilled achievements, financial health, increased that from summer 2018, we will be based at engagement from a growing audience and London City Island in East London. For the our strategic investments for the longer term. first time, we will share a home with English National Ballet School and the new purpose- We had our most successful Christmas season built facility by leading property developers on record, held the world premiere of award EcoWorld Ballymore will give us everything winning Lest We Forget, and we completed we need to continue creating new work and our search for a new long term home. inspiring a love of ballet among the public and the communities we serve. And that’s on top of our usual programme of UK and international touring, outreach I have made it a priority in my second activities and developing new talent. It has been term as Chairman to use the move to an incredibly busy, creatively rewarding period, our transformational new headquarters to and one that I believe will place the company on underpin our investment in education, digital a sound footing for the years ahead. and music provision. Thanks to our strong box office performance and the ongoing Integral to our recent success is the hard work support of Arts Council England, we are in of all of our staff, but I must in particular pay a solid position to realise our bold plans and tribute to our Artistic Director Tamara Rojo, delivering on our mission to bring world-class and to our Executive Director, Caroline ballet to the widest possible audience. Thomson. Without their fearless leadership, willingness to take risks and commitment to I look forward to the next 12 months and artistic excellence, English National Ballet commend this Annual Review to you. would not be the company it is today.

I also wish to say thank you to my Board, whose oversight and commitment to the company is a major factor in the dynamism

Junor Souza, Yonah of English National Ballet. We are blessed with Acosta, Carlos Acosta in Romeo and Juliet in Justin Bickle the round. Chairman © Photography by ASH

6 7 A message from our Artistic “we dance to enrich people’s lives” Director Tamara Rojo

I have always been clear about what we are Swan Lakes and the Nutcrackers that first here to do as a ballet company: we are here spark a passion for ballet. We will continue to enrich people’s lives. To connect with them, to bring new ideas, energy and talent to the to move them, to inspire them. And to do that, classical repertoire – that is a promise. we need to be continually propelling our art form forward, developing talent, creating We ended the year with our first new work and reinvigorating the classical performances as an Associate Company of repertoire. So when I look back at the last 12 Sadler’s Wells. This new relationship with one months, it fills me with great pride to be able to of the world’s leading dance houses reflects say that is exactly what we have been doing. our growing reputation as a versatile and innovative ballet company. Our triple bill, Lest We Forget was a pivotal moment in our Modern Masters drew new audiences to story. The anniversary of the outbreak of the Sadler’s Wells, and new audiences to English First World War was an opportunity for us to National Ballet – I trust our relationship will reflect and pay tribute to those who fought, continue to be as artistically fruitful in the and those who were left behind. It was a years to come. When you collaborate and subject that called for an extraordinary you are willing to take risks it pays off. creative effort. So I asked Akram Khan, Liam Scarlett and Russell Maliphant to work What gave me the biggest thrill, was with us to create three entirely new works. witnessing how each piece connected Collaborating with these exceptional artists with our audiences on a deep, emotional was an honour and I would like to thank them and personal level – that is what dance for giving me, our dancers and the whole team can do. Whether we were performing at an unforgettable experience. the London Coliseum or on the Pyramid Stage at Glastonbury, I saw people lose themselves Lest We Forget is a marker of what we are in the stories we were telling. capable of. I want us to continue working with exciting artistic partners, pushing our dancers Ultimately, every success we have had over to master new repertoire and surprising our the past year is down to the hundreds of audiences with the possibilities of ballet. people who are connected to English National Ballet – Arts Council England, our guest Our productions of the classical greats have teachers, our supporters, our dancers, continued to captivate audiences this year our musicians, our creative teams and of and this is no less important to me than the course, our staff. Thank you to every single creation of new work. We have a responsibility person who has contributed their time, talent to share these works with as many people as and enthusiasm. possible – ballet is for everyone and quite often it is the Romeo and Juliets, the

Tamara Rojo © Jeff Gilbert

Tamara Rojo Artistic Director

8 9 Highlights 1m+ YouTube video views 187 8 performances new 616k unique visits to commissions ballet.org.uk 261k attendance 30k+ tickets sold at discounted rates for children, families, students, seniors 33.8k people enjoyed 573k My First Ballet: Coppelia saw us at Glastonbury and 5k on BBC2 and BBC iPlayer Participated in Dance for Parkinson’s sessions 40k+ people reached through Engagement programmes

Spring and Fall © Photography by ASH

10 11 A message from our Executive Director

We continued to focus on building strong teams across the organisation and expanded our Marketing and Development departments. We are committed to investing in people who are passionate about our work and have the ability to deliver our vision of bringing ballet to more people, and more places.

Now in it’s fifth year, our Dance for Parkinson’s programme continued to touch the lives of hundreds of people with Parkinson’s. It is one of the most valuable programmes we run as a company and I am delighted that this year we reached more people than ever before, all of whom benefitted from the power of dance. Long may it continue.

Looking ahead to next 12 months, there is much to be excited about. We will be full steam ahead with planning and fundraising The past 12 months have been both hugely for our move to London City Island, we will be creatively satisfying and fiscally rewarding. throwing our energy into creating new works We ended the year with a surplus: our box by female choreographers, developing a new office income of £6, 924, 330 from 156 full-length ballet, Giselle, with Akram Khan and performances combined with generous performing in some awe-inspiring venues, support from funders and donors, is testament including “the cathedral of ballet”, Palais to the nation’s healthy appetite for ballet in all Garnier in Paris. Off stage, we are going to be 2014/2015 Objectives its forms, and means we are well positioned to working hard to grow and develop our digital deliver on our bold plans for the next few years. presence and we will aim to develop an out-of- – Further ENB’s programme of developing London residency and programme of innovative new work through creative Looking back on the objectives we set Engagement. collaborations, with Lest We Forget ourselves for 2014/2015, I am very proud of (commissions from Akram Khan, Russell the year we’ve had. Lest We Forget saw us English National Ballet is going from strength Maliphant and Liam Scarlett) and Modern add brand new works to our repertoire, to strength – and I am confident that the Masters. while Modern Masters allowed us to perform next year will be just as exhilarating as work by three of the 20th century’s most the last 12 months. It continues to be – Successful delivery of self-funding influential choreographers. a thrilling time to be a part of the international tours English National Ballet story. We also not only launched our search for a – Launching the search for a new building new home, but found one – in 2018, English with English National Ballet School National Ballet and English National Ballet School will be brought together under one – Secure a performing strategy for London roof for the first time at London City Island. – Further investment in health and fitness Caroline Thomson support for the dancers Executive Director – A strengthening of the Marketing and

Dancers of English Development teams National Ballet in No Man’s Land by – Build on English National Ballet’s successful Liam Scarlett. © Photography by ASH Dance for Parkinson’s programme.

12 13 Artistic Our 2014–15 programme reflected our twin aims of cherishing the great works of the classical repertoire and bringing fresh Programme and challenging new works to the widest possible audience. Review Collaborating with choreographers, artists and organisations we brought together diverse creative visions.

2014–2015 saw the world premiere of Akram’s Khan’s contribution to the evening, Lest We Forget, created to commemorate Dust, was duly rewarded at the 2014 Critics’ the centenary of the start of the First Circle National Dance Awards with the World War. We invited three of Britain’s accolade for Best Modern Choreography. leading choreographers to create new Featuring 24 of our dancers and set to works: Akram Khan, Liam Scarlett and Jocelyn Pook’s pounding rhythmic Russell Maliphant. soundtrack, with Dust, we added a contemporary piece “full of pain and power” (The Independent) to our repertoire.

“Lest We Forget is The “devastatingly effective” (The Daily adventurous and full of Telegraph) Second Breath from Russell promise for ENB’s future.” Maliphant used the recorded voices of The Daily Telegraph survivors to punctuate the swaying movements of 20 dancers and Andy Cowton’s haunting score. While Liam Scarlett’s No Their brief was to express the experiences Man’s Land evoked the entwined destinies of those who fought, and those who stayed of the women working in munition factories behind. At the opening night, critics and at home and the men fighting in the trenches. audiences alike were in agreement that they had more than risen to the challenge. The Daily Telegraph declared Lest We Forget “melancholic, but thrillingly uplifting” while audience members responded to the evening through social media, calling it “spellbinding and poignant” @Fiona_Trewavas, “groundbreaking, breathtaking, mark-making creative brilliance” @GWDanceWriter and an evening that provided “three strong and beautiful world premieres mixing traditions and taking us to new places” @armslengthal

Lest We Forget showed us exploring the possibilities of ballet, and embracing the experience of working with new creative partners.

Right: Liam Scarlett works with English National Ballet dancers on No Man’s Land. © Photography by ASH

Left: Tamara Rojo and Akram Khan in Dust by Akram Khan. © Photography by ASH

14 15 Artistic Programme Review “gutsy performance” The Daily Telegraph

In June, we returned to London’s Royal Albert Continuing the season on a lighter note, Hall for 14 performances of Derek Deane’s we brought a comic tale of love and mistaken production of Romeo & Juliet in-the-round. identity, Coppélia, to the London Coliseum in The Shakespearean classic had a cast of 120 July. The run was made even more memorable and reunited Tamara Rojo and Carlos Acosta for two of our dancers with news of their in the lead roles. Prokofiev’s majestic score promotions in the days leading up to opening was played by the full English National Ballet night. Yonah Acosta, making his debut in the Philharmonic, with Roberta Guidi di Bagno’s production, was promoted to Principal, and grand set designs animating the stage. The Shiori Kase to First Soloist. highly anticipated return of Acosta and Rojo was met with delight by ballet fans, but we also With the arrival of Autumn, we prepared to bade farewell to Principal Dancer Daria take our critically-acclaimed production of Klimentová who performed the role of Juliet Swan Lake around the country to Manchester, for the very last time. Reviews of the Liverpool and Milton Keynes, before a London production were roundly positive, with the run at the Coliseum. Since its premiere in Guardian dubbing the production a “hugely 2000, Derek Deane’s timeless interpretation entertaining spectacle.” has been seen by more than half a million people in the UK. The stellar cast included Alejandro Virelles making his debut as Principal with us and performing the lead role of Prince Siegfried with Alina Cojocaru playing Odette/Odile. Tamara Rojo also returned to the role of Odette/Odile for a number of performances and winner of Emerging Dancer 2014 Junor Souza played Prince Siegfried on six occasions.

Touring is fundamental to our vision of bringing ballet to the widest possible audience and we have long-standing relationships with many of the venues and cities we return to year after year. And as ever, the press in each region came to review our performances, the Liverpool Echo reported “this is a Swan Lake to cherish” while the Manchester Evening News went even further, calling it “a perfect version of a much-loved ballet.”

Above: Erina Takahashi in Coppélia © Photography by ASH

Right: Barry Drummond in In the Middle, Somewhat Elevated. © Photography by ASH

16 17 Artistic Programme Review “ they look as though they own the ballet” Judith Mackrell, The Guardian on Petit Mort Also touring throughout the Autumn season was our version of Coppélia. We took our much-loved production from Southampton, to Oxford and on to Bristol. The tour put the spotlight on recently promoted First Soloist Shiori Kase in the lead role of Swanilda. Sharing the limelight were another recently promoted First Soloist, Junor Souza, Laurretta Summerscales, Erina Takahashi, Fernando Bufalá and Tamara Rojo. Léo Delibes’ joyful score was played by English National Ballet’s full orchestra and critics were were quick to laud our production as one to “lift the spirits” (Oxford Times).

“ Yet again, ENB have

given us a thoroughly In January, Swan Lake arrived at the Coliseum delightful evening at on the back of its UK tour. We were thrilled to welcome Guest Artists Alban Lendorf, Vitor the ballet…” Luiz and Ivan Vasiliev to perform with the The Arts Desk on Coppélia company but there was also a touch of poignancy to proceedings as we said goodbye to Lead Principal Elena Glurdjidze. As the year drew to a close, we embarked on what was to become our most successful This run of Swan Lake continued its fantastic festive season on record, with Nutcracker in track record for enchanting critics and December followed by Swan Lake in January. audiences for over 15 years. The Sunday In total, an extraordinary 105,000 people saw Express called it “one of the best an English National Ballet performance over productions of Swan Lake you are likely this period and we performed to practically to see for a long time” and The Daily full-houses every evening. Telegraph gave it their seal of approval as “an impeccably judged piece of work”. Wayne Eagling’s Nutcracker premiered in 2010 to celebrate our 60th anniversary and has been a firm favourite in our repertoire ever since, seen by more than 300,000 people. Our 2014 run saw two dancers making their debut as Clara; Katja Khaniukova and Ksenia Ovsyanick. And our more seasoned Principals included Alina Cojocaru, Alejandro Virelles and Tamara Rojo, whose performance was described by one audience member as “heaven-sent” (@AmandaStekly). Our opening night made a splash on the Swan Lake - Alina front cover of The Times the following day Cojocaru and Alejandro Virelles and the Daily Express’ warm review © Photography by ASH pronounced the show to be “spellbinding”.

Left: James Forbat in Petite Mort © Photography by ASH

18 19 Artistic Programme Review “It is a coup for Rojo to have acquired one of his works” The Guardian, on Neumeier’s Spring and Fall

In Spring 2015, we presented our first We also gave the UK premiere of Neumeier’s programme of work as Associate Company Spring and Fall, set to Dvořák’s Serenade for of the nation’s foremost contemporary dance Strings in E Major. Featuring two couples and house, Sadler’s Wells. When this new corps de ballet, Lead Principal Alina Cojocaru partnership was announced in November called the opportunity to perform the work 2014, Alistair Spalding, Artistic Director and “a dream come true” and we are now CEO of Sadler’s Wells remarked “The new privileged to be the only UK company to have contemporary work that Tamara has been Spring and Fall exclusively in our repertoire. commissioning, has added an exciting dimension to English National Ballet’s Forsythe’s In the Middle, Somewhat Elevated firmly-established reputation and was first created at the request of Rudolf repertoire, the result of a clear vision Nureyev when he was Director of the Paris for ballet in the 21st century”. Opéra and this was English National Ballet’s first time tackling the piece. Performed on a It seemed fitting for our inaugural production bare stage, it is a technically demanding work to present an homage to some of the most set to an electronic score. influential choreographers of the 20th Century. Modern Masters, was a triple bill of The evening collected a number of four works from three of today’s most celebrated star reviews from publications including choreographers: William Forsythe, Jiří Kylián The Times, The Daily Telegraph, The Observer and John Neumeier. and Evening Standard. 86% capacity revealed the public’s keen interest in our fledgling The programme began with Kylián’s Petite partnership with Sadler’s Wells and with Mort, which we previously performed in 36.5% of ticket purchases being made by Ecstasy and Death in 2013. A witty first time buyers to Sadler’s Wells, we showed contemporary ballet, it is performed to the new audiences the potential of ballet. movements of two Mozart Piano Concerti As one Twitter user commented “May the and was originally created in 1991 to mark relationship with Sadler’s Wells be long 200 years since the death of Mozart. and prosperous.” (@joel_l_cottrell)

Right: James Forbat and Kei Akahoshi in Spring and Fall © Photography by ASH

20 21 Artistic Programme Credits

Firebird COPPÉLIA MODERN MASTERS Choreography GEORGE WILLIAMSON Choreography RONALD HYND Petite Mort Music IGOR STRAVINSKY after MARIUS PETIPA Choreography JIŘÍ KYLIÁN Set Design DAVID BAMBER and Music LÉO DELIBES Music W.A. MOZART GEORGE WILLIAMSON in collaboration Design DESMOND HEELEY Set Design JIŘÍ KYLIÁN with John Campbell Scenic Studio Lighting DAVID MOHR Costume Design JOKE VISSER Costume Design DAVID BAMBER Performance Dates Light Design JIŘÍ KYLIÁN (Concept) Lighting PAUL KEOGAN Coliseum London 23–27 July 2014 JOOP CABOORT (realisation) By arrangement with Schott Music Limited 7 performances Technical Superviser KEES TJEBBES and Chester Music Limited Mayflower Southampton 15–18 Oct 2014 Spring And Fall (UK Premiere) Performance Dates 6 performances Barbican London 2–12 April 2014 12 performances New Theatre Oxford 28 Oct–1 Nov 2014 Choreography JOHN NEUMEIER 7 performances Music ANTONÍN DVOŘÁK MY FIRST BALLET: Coppélia Hippodrome Bristol 4–8 Nov 2014 Light and Costume Design JOHN NEUMEIER 7 performances Choreography GEORGE WILLIAMSON In The Middle, Somewhat Elevated LEST WE FORGET after an original production by RONALD HYND SWAN LAKE Choreography WILLIAM FORSYTHE Second Breath and MARIUS PETIPA Choreography DEREK DEANE after Music THOM WILLEMS Direction and Choreography Concept and Direction GEORGE WILLIAMSON MARIUS PETIPA and LEV IVANOV in collaboration with LES STUCK RUSSELL MALIPHANT Music LÉO DELIBES Additional Choreography Stage, Light and Costume Design Lighting MICHAEL HULLS Music Arrangement GAVIN SUTHERLAND FREDERICK ASHTON WILLIAM FORSYTHE Composer ANDY COWTON Design LOUIE WHITEMORE Music PYOTR ILYICH TCHAIKOVSKY Performance Dates Orchestrator BEN FOSKETT Lighting RICHARD HOWELL Design PETER FARMER Sadler’s Wells London 10–15 March 2015 Costume Design STEVIE STEWART Performance Dates Lighting HOWARD HARRISON 8 performances Collaborative Assistant DANA FOURAS Theatre Severn, Shrewsbury 5–6 April 2014 Generously supported by Esmée Fairbairn Foundation Performance Dates Assistant CARYS STATON 5 performances and the Modern Masters Production Circle Peacock Theatre, London 8–19 April 2014 Palace Theatre Manchester 8–11 Oct 2014 No Man’s Land 19 performances 6 performances Choreography LIAM SCARLETT Palace Theatre, Manchester 26–27 April 2014 Milton Keynes Theatre Milton Keynes 11–15 Nov 2014 Music Excerpts from Harmonies Poétiques 5 performances 7 performances et Religieuses by FRANZ LISZT, arranged and Assembly Hall Theatre, Royal Tunbridge Wells Liverpool Empire Liverpool 18–22 Nov 2014 3-4 May 2014 7 performances orchestrated by 5 performances Coliseum London 7–18 Jan 2015 GAVIN SUTHERLAND New Victoria Theatre, Woking 10–11 May 2014 15 performances Design JON BAUSOR 5 performances Lighting PAUL KEOGAN Waterside Theatre Aylesbury 17–18 May 2014 NUTCRACKER Co-production of English National Ballet 5 performances and Queensland Ballet Churchill Theatre, Bromley 24–25 May Choreography WAYNE EAGLING 5 performances Based on concept by TOER VAN SCHAYK Dust Generously supported by The Leverhulme Trust and WAYNE EAGLING Direction and Choreography AKRAM KHAN and King’s College London Music PYOTR ILYICH TCHAIKOVSKY Music JOCELYN POOK* Design PETER FARMER Dramaturg RUTH LITTLE ROMEO & JULIET IN-THE-ROUND Lighting DAVID RICHARDSON Costume Design KIMIE NAKANO INTERNATIONAL TOUR Choreography DEREK DEANE Performance Dates Lighting Design FABIANA PICCIOLI Teatros del Canal Madrid 24 –27 Apr 2014 Music SERGE PROKOFIEV Coliseum London 11 Dec 2014–4 Jan 2015 Set Design SANDER LOONEN Design ROBERTA GUIDI DI BAGNO 33 performances Teatro del Generalife Granada 4 July 2014 Rehearsal Directors JOSE AGUDO, Lighting Design HOWARD HARRISON Festival Castell Peralada 1–2 August ADREJ PETROVIC and HUA FANG ZHANG *By kind permission of Chester Novello Music Ltd Performance Dates Royal Albert Hall London 11–22 June 2014 14 performances Begona Cao and Alejandro Virelles George Williamson Modern Masters and Company rehearsal. rehearse Firebird © Laurent Liotardo © Laurent Liotardo

22 23 Artistic English National Ballet is living through one of the most thrilling periods in its history; staging new, re-invigorated Programme productions of the Classics and commissioning new Awards works from eminent contemporary choreographers.

In the 2014–2015 season, we received the following honours:

Awards

National Dance Awards Outstanding Company of 2014

National Dance Awards Akram Khan – Best Modern Choreography Dust

Manchester Theatre Awards Robert Robson Award for Dance Le Corsaire

Knights of Illumination Awards 2014: DANCE Paul Keogan – No Man’s Land, Lest We Forget at the Barbican

USA International Ballet Competition Shiori Kase – Gold Medal

Breaking Glass Award Stina Quagebuer – Vera

Dust by Akram Khan © Photography by ASH

24 25 English 2014–2015 Guest Principals and Current Company at time of printing. National Ballet Dancers Lead Principals First Soloists

Alina Cojocaru Isaac Hernández Fernanda Oliveira Tamara Rojo Crystal Costa James Forbat Shiori Kase Adela Ramírez

Erina Takahashi Carlos Acosta* Esteban Berlanga* Mathias Dingman* Fabian Reimair Junor Souza Laurretta Summerscales Soloists

Casey Herd* Alban Lendorf* Vitor Luiz* Ivan Vasiliev* Désirée Ballantyne Fernando Bufalá Alison McWhinney Ksenia Ovsyanick

“As so often with ENB, the corps were resplendent.” On Swan Lake, January 2015 – The Daily Telegraph

Friedman Vogel* Emilio Pavan James Streeter Max Westwell Junior Soloists Junior Principals

Yonah Acosta Begoña Cao Alejandro Virelles Kei Akahoshi Cesar Corrales Katja Khaniukova Senri Kou Character Artists

Michael Coleman Jane Haworth Irek Mukhamedov Daniel Kraus Laurent Liotardo Anton Lukovkin Juan Rodríguez

26 * 2014–2015 Guest Principals 27 English National Ballet “With the ENB dancers on fizzing Dancers form, this is a night to savour.” On Modern Masters, March 2015 – The Stage First Artists

Tiffany Hedman Anjuli Hudson Madison Keesler Van Le Ngoc

Makoto Nakamura Ken Saruhashi Tamarin Stott Pedro Lapetra Adriana Lizardi Joshua McSherry-Gray Guilherme Menezes Company the of Artists

Precious Adams William Beagley Francisco Bosch Naomi Bottomer Vitor Menezes Stina Quagebeur Grant Rae Maria José Sales

Isabelle Brouwers Emilia Cadorin Yoko Callegari Jung ah Choi Daniele Silingardi Angela Wood Erik Woolhouse Jia Zhang

Barry Drummond Shevelle Dynott Josephine Frick Jennie Harrington Jinhao Zhang

Amber Hunt Jeanette Kakareka Rina Kanehara Sarah Kundi

28 29 English We are committed to achieving the highest musical as well as dancing standards, and some of the country’s top musicians National form our orchestra. Ballet Philharmonic

2014/2015 saw English National Ballet’s The season also afforded a number of orchestra renamed English National Ballet smaller appearances, including groups Philharmonic, during an exceptionally busy for events big and small. season where as usual live music played a vital part in the company’s UK performances. This year saw a departure for our regular Choreographics season in that it featured With the triumphant success of Lest We members of the orchestra playing newly Forget the orchestra explored significant commissioned works by young emerging new work by current British composers – British composers. English National Ballet something the company seeks to continue Philharmonic also performed the soundtrack developing over the coming years and clearly of Jocelyn Pook’s score for Akram Khan’s approached with relish by the musicians. Dust at Glastonbury alongside further recordings made for performances in The orchestra played a fundamental role in both Granada and Peralada during the our UK performances and the 14/15 financial summer of 2014. year saw English National Ballet Philharmonic taking on Romeo and Juliet at the Royal Albert Hall (boasting an orchestra of 91 players), Coppélia and Swan Lake during our Autumn Tour and of course Nutcracker at the Coliseum during the Christmas/ New Year season.

ENGLISH NATIONAL BALLET PHILHARMONIC

Violin I Cello Bassoon Harp Matthew Scrivener Garry Stevens* John McDougall* Isobel Frayling-Cork* (Leader) Naomi Elliott Howard Legge Rachel Allen Rosemary Edwards Tympani (co-leader) Lars Payne French Horn Kate Eyre* Emil Chakalov Mark Johnson* Anne Martin Double Bass Alexandra Carr Percussion Ruth Knell Jeremy Gordon* Richard Dilley Austin Beattie* Linda McClaren Dominic Black Andrew Paterson Kevin Nutty Fiona Chesterman Catherine Ricketts Duncan Fuller Edward Brenton Piano / Celeste / Organ Flute Trumpet Julia Richter Violin II Christopher Green* Andrew Mitchell* Chris Swithinbank Alain Petitclerc* Helen Keen Patricia Reid Susan Croot “the orchestra means business” Charlotte Howes Oboe Trombone * Section Principal Caroline Barnes Gareth Hulse* Michael Crowther* The Arts Desk Catherine Smart Jenny Brittlebank Stephen Dinwoodie Bass Trombone Clarinet Leslie Storey* Viola Derek Hannigan* Alexandros Koustas* Paul Allen Tuba David Danford Martin Knowles* Linda Kidwell Elizabeth Sharpe

English National Ballet Philharmonic Music Director, Gavin Sutherland © Photography by ASH

30 31 Nurturing We believe in rewarding hard work and nurturing talent: it makes us stronger as a company and motivates our dancers “Emerging Dancer shows a company in very fine Talent to reach their full potential. We give our dancers opportunities to learn from mentors, create new work, and work alongside form with dancers’ development high up its agenda”. some of the world’s finest guest artists and teachers. London Dance

It is an honour to welcome guest teachers and Under the direction of Associate Artist, artists to work with the Company, and in 2014 George Williamson and with the guidance of we were thrilled to have Irek Mukhamedov Kerry Nicholls and Dr Bruce Wall, they worked work with our dancers as a teacher. Guest in collaboration with professional composers, artists including Ivan Vasiliev, Alban Lendorf who in turn created new music for the pieces, and Carlos Acosta were equally inspiring. to create original works inspired by texts about the First World War. The finished works We are always proud to see our dancers were performed at The Pit, Barbican in May recognised at competitions and through the 2014. Stina Quagebeur’s piece Vera was discovery of their own choreographic work. In subsequently selected for The Breaking 2014, Shiori Kase won the Senior’s Gold Medal Glass Award and performed in New York. at the USA International Ballet Competition. Our partnership with Opera Holland Park over Our Emerging Dancer competition exists to three years, has continued to be an artistically recognise and reward young talent within the fruitful one. Dance Holland Park 2012, an Company. Nominated dancers work with an English National Ballet and Opera Holland Park artistic mentor, before performing in front of initiative, invited west London based dance an audience and a distinguished panel of organisations to nominate emerging judges. Audiences also have their say by choreographers who would benefit from the being able to vote throughout the national opportunity to build their portfolio and tour for their favourite dancer who will win choreographic skills within the genre of opera. the People’s Choice Award. In the 2014 season, English National Ballet dancer James Streeter was invited by Opera The Emerging Dancer competition occurred Holland Park to choreograph the ballet The twice during the year, each time supported Judgement of Paris within their production of by Talbot Hughes McKillop. In May 2014 at Adriana Lecouvreur which was performed by the Lyceum Theatre judges Deborah Bull, English National Ballet’s dancers. Clement Crisp, Dame Gillian Lynne, Arlene Philips, Wayne Sleep and Tamara Rojo Our relationship with English National Ballet selected joint winners Junor Souza and School is an essential way in which English Alison McWhinney. Junor also received the National Ballet can continue to support the People’s Choice Award that year. In March development of young dancers. The Company 2015 Jinhao Zhang walked away with the offers regular opportunities to the School’s Emerging Dancer award and Laurretta dancers to perform as part of the My First Summerscales was named winner of the Ballet series and in productions where People’s Choice award in a competition held additional dancers are required for the at Southbank Centre’s Queen Elizabeth Hall. corps de ballet. The judges were Leanne Benjamin, Michael Nunn , William Trevitt, Didy Veldman and Tamara Rojo.

Our Choreographics programme is a platform for aspiring choreographers Irek Mukhamedov to produce and perform new work. rehearses Swan Lake In 2014, four English National Ballet with Ken Saruhashi. © Laurent Liotardo dancers participated; Makoto Nakamura, Fabian Reimair, James Streeter and Right : Alison McWhinney Stina Quagebeur. and Junor Souza perform Esmerelda pas de deux. © Photography by ASH

32 33 Reaching We believe ballet is for everyone and are committed to sharing our creativity and passion for the artform with as many Audiences people as we can. We relish touring around the UK, and around the globe, but also performing in expected places. Beyond the stage, we continue to invest in our digital channels to reach farther and broaden our audience.

Each year, we perform in locations that take ballet beyond the walls of the theatre; from festivals to galleries and museums. It is all part of our goal to go out and meet new audiences, reaching communities and people who wouldn’t normally see ballet.

The 2014–2015 season saw English National Ballet make history as the first ever ballet company to perform on the Pyramid Stage at the world-famous Glastonbury Festival. Our performance of Akram Khan’s Dust from Lest We Forget was watched in rapt silence by over 30,000 people on site, as well as 43,000 BBC iPlayer viewers and 500,000 BBC2 viewers.

In July, we took to the stage at Suffolk’s Latitude Festival as part of Sadler’s Wells Presents, where we we performed James Streeter’s In Living Memory and Van Le Ngoc’s Four Seasons.

Part of our mission is to help grow the ballet audience of the future, introducing children to narrative ballet in a way that is accessible, fun and affordable for families. Our My First Ballet series of specially commissioned works for children aged three and over is highly regarded and is a unique partnership between English National Ballet and English National Ballet School.

This season we presented My First Ballet: Coppélia, playing seven venues across England and reaching an audience of 33,806 people. Affirming the production’s ability to engage even the youngest audience members, the Islington Gazette remarked that it was “lovingly rendered and well-pitched for its target three-plus audience”.

English National Ballet dancers, Erina Takahashi and James Streeter, in Akram Khan’s Dust on the Pyramid Stage, Glastonbury 2014. © Patrick Balls

34 35 Reaching Audiences

In 2014/2015 our ticket pricing for London Coliseum performances was simplified while maintaining a range of price points, and while offering initiatives for audience development including; family friendly performances where up to children under 16 go free for every full paying adult, offer incentives for under 30s, half-price tickets for children and discounts for students, registered unemployed, over 60s, under 16s, people with disabilities, schools and groups.

Digital media provides a key platform through which English National Ballet can reach the widest possible audience providing access to our work, artists and creative talent across the Company. We continued to develop our digital presence to reach out to an ever wider international audience, connecting with thousands of dance fans who have seen us To support the My First Ballet series, we perform, and thousands more who haven’t. also formed a partnership with King’s College Our aim is to use our digital channels to London, Widgit and Sign 2 Learn to make inform, inspire and educate audiences, ballet more accessible to children with wherever they might be in the world. In the learning difficulties and disabilities. Together, last year, we have seen our followers increase we created a range of symbolised resources across all of our platforms, including on to accompany My First Ballet: Coppélia , Facebook, Twitter and Instagram. We also making the story clearer and easier to saw our email subscribers go up by 97% understand. The resource packs were and a rise in new visitors to our website. available to be downloaded for free by anyone. New projects included the release of Le Corsaire on DVD/Blu-Ray and the creation of an interactive advent calendar. This festive digital tool had more than 30,000 unique visits “My First Ballet: Coppélia and attracted people from 94 countries.

is pitch perfect and an Overall, nearly 65,000 people attended one of ideal introduction our productions outside of London, and nearly 197,000 people enjoyed an English National to classical dance” Ballet performance in London, including our Anne Coates, Parenting Without Tears annual Christmas Season at the Coliseum, which was our most successful season on record. Over 102,000 people made English English National Ballet’s pricing policy reflects National Ballet a part of their Christmas our commitment to enabling people, whatever holiday plans and we performed to 95% their means, to be able to see us perform. capacity for the run. 80% of those booking We seek to have a low entry price of £10–£14 tickets were booking to see a performance to all performances as a way of widening by English National Ballet for the first time. access to our art form and make it more affordable for all.

Right: Illustration by Mark Ruffle

36 37 Engagement For English National Ballet, Engagement is about making connections, building partnerships and extending our ENB family – our communities, audiences and artists. We develop programmes that make a difference to the communities we work with, inspire creativity and develop the artist within us.

Our Engagement department were busier than ever holding events, programmes, projects and classes throughout the country, reaching over 40,600 people.

In 2014–2015 we built on the success of our Dance Journeys project, with generous support from John Lyon’s Charity. Students from four west London secondary schools formed a company of 70 dancers for the Dance Journeys: Perfect Disorder performance at Sadler’s Wells Theatre Schools’ Link is our annual programme of on 13 March 2015. The ambitious dance repertory-based workshops linked to the performance, choreographed by Richard productions we are touring. Bringing ballet Chappell, Sonia Illescas, Melanie Teall and into schools and children and young people Stina Quagebeur, was inspired by William into the theatre to recognise from seeing the Forsythe’s In the Middle, Somewhat Elevated, Company perform what they have learnt in the with original music by Chris Swithinbank. dance workshop, not only enhances the Selected students from each school also individual and group experience, it also performed alongside ENBYouthCo dancers contributes to gaining Arts Award. Almost for English National Ballet’s first ever curtain- 4,000 children took part in an English National raiser performance as part of the Modern Ballet workshop from Lest We Forget to Masters matinee on 12 March 2015. An Swan Lake, and on-stage workshops for original score was played live by English children through our family friendly ballet National Ballet Philharmonic for both My First Ballet: Coppélia tour. performances. Creative Pathways, a cross curricular project For a second year in a row, we were invited by at Knole Academy, focused on creative Artistic Director Tom Kemp to contribute to learning around Romeo & Juliet, and working his international festival of music, Music@ with choreographer Hubert Essakow and Malling. This unique festival brings together Company artists across costume, lighting, artists from around the world to perform in and design, reinterpreted the old, making new, historical venues in and around West Malling and performing the work. in Kent. English National Ballet First Soloist Fabian Reimair contributed to the event by English National Ballet also offers adult ballet, choreographing a new work, which was youth ballet and BalletFit classes for learners performed by dancer Daniele Silingardi and of all levels. 584 sessions were held with dance artist Amelia Carrington-Lee led a 14,900 participants. number of creative dance workshops with students from local primary schools. Each school group created a short piece which was performed alongside Reimair’s work.

38 39 Engagement “ The thing I have learnt most is self-belief. ENBYouthCo has made me believe that I am as good as others and that with determination I can be better.”

with English National Ballet, and to learn first-hand about being a professional dancer. In 2014, award winning choreographer Cameron McMillan created a new work on the young dancers, inspired by social media and its impact on how the dancers see themselves. Kinetic Echo – Our Dancing Selves was a Big Dance commission and premiered at Westfield London Shopping Centre.

As part of our public engagement offer to engage with marginalised communities, we develop models of artistic practice that can have a positive impact of health and well-being. Romeo & Juliet also provided the inspiration for a family event that brought together the Our Dance for Dementia dance and music Tri Borough Music Hub, Royal College of project at the Westbourne Dementia Centre Music, Royal Albert Hall and English National and in Kensington and Chelsea enhanced the Ballet in a music and dance extravaganza. lives of 330 people living with dementia. Participants, their loved ones and carers take In May, our Engagement team collaborated part in dance and music workshops, see us with Imperial War Museum North for a special perform, meet the dancers and go behind- Museums at Night event, recreating Russell the-scenes. It is a chance to get out, engage Maliphant’s Second Breath set amongst with new people and learn - all of which war-themed exhibits and artefacts. The impacts positively on wellbeing. performance was live streamed as a part of the launch of BBC Arts Online. English National Ballet’s Dance for Parkinson’s programme is ground-breaking Big Dance 2014, a Mayor of London and GLA in its model for practice, professional initiative, aims to get everyone dancing, and in development and cultural engagement the west London hub, English National Ballet across the country. Artistically driven, the brought together hundreds of dancers of all programme offers high quality dance and ages and backgrounds to Westfield London to cultural experiences to people with perform the Big Dance Pledge 2014 as a mass Parkinson’s and their communities. celebration of dance and community spirit. In 2014, we established two new hub Groups of performers came from across west partnerships for the programme with London including Rambert Youth Company, DanceEast in Ipswich and National Dance Hammersmith Academy, West London School Company Wales in Cardiff. With these new of Dance, Young Dancers Academy, Open Age partnerships in place, we delivered two Dance and our own Classes programme. for Parkinson’s Professional Development Weekends and were able to invest in training Our youth dance company ENBYouthCo was four regional artists to join our specialist team founded in 2012 and has grown out of our of Dance for Parkinson’s Associate Artists. choreographic project work with young We also have hubs for the programme in Above: Dance for people. The company has quickly established London, Oxford and Liverpool meaning that in Parkinson’s Photo a reputation for strong performance work and the last year we held 135 sessions across © Rachel Cherry exciting repertory. We develop talented young these regions and reached more than 5,000 Right: Kinetic Echo dancers through opportunities to work with people in the process. © Photography by ASH world class artists, to share the main-stage

41 Support As English National Ballet’s profile and scope of work grew in 2014–2015, so did the generous support of individuals and partners, helping to galvanize our work on and off the stage.

Over the last financial year, nearly £2 million was raised through private donations, grants and sponsorship, a significant increase from the previous year. Our investment in a new fundraising team, including a new Development Director, paid dividends.

With a new team came a new fundraising strategy. A review and relaunch of our individual Patrons’ schemes, including the introduction of a new Artistic Director’s Circle, provided support for Tamara Rojo’s new vison for English National Ballet. At the end of the year we had increased our Patrons Membership by 25 percent. including nine members of the Artistic Director’s Circle. Our support from Trusts and Foundations We also launched two new major giving went from strength to strength during the syndicates: a production syndicate financial year, including a grant from the supporting our new mixed programme, Esmée Fairbairn Foundation towards Modern Modern Masters, which premiered at Masters. Our ground-breaking Dance for Sadler’s Wells Theatre in March 2015, and a Parkinson’s programme continues to be Guest Artist Syndicate, which enabled us to generously supported by the Paul Hamlyn bring Danish Royal Ballet star, Alban Lendorf, Foundation and we were delighted to receive to the London Coliseum to perform funding from the West London Clinical in our Nutcracker in December, Ivan Vasiliev Commissioning Group (CCG), the first time to dance four performances of Swan Lake that one of our programmes has been in January and Irek Mukhamedov as supported in this way. In addition, Guest Teacher. The Leverhulme Trust gave generously to our My First Ballet performances at the Our Corporate Membership scheme Peacock Theatre and on tour in April and May, benefitted from being simplified and providing a younger audience with an relaunched. As a result we welcomed Aviva, opportunity to experience ballet for the first Lloyds Private Banking and Weil, Gotshal & time, performed by students from English Manges as new members. We were also National Ballet School. pleased that XL Catlin sponsored First Soloist Junor Souza, in a show of their commitment The year also saw us hold over 100 events to nurturing talent within the Company. for our supporters including opening nights XL Catlin have supported Junor’s career at the Royal Albert Hall, Sadler’s Wells Theatre progression by visiting him during rehearsals and our annual Christmas party at the and introducing him to their clients. St Martins Lane hotel around Nutcracker at the London Coliseum, together with masterclasses, dinners and performances in our studios at Markova House. The highlight of the year was our annual Spring Gala at The Dorchester in March where over 300 guests enjoyed performances including Left: Alban Lendorf Vera choreographed by Stina Quagebeur with Tamara Rojo in Coppélia. and Spring and Fall from Modern Masters. © Photography by ASH The evening was a successful start to a new

Right: 2015 Spring Gala fundraising year at English National Ballet, © Photography by ASH raising over £215,000 for the Company.

42 43 English We would like to extend our sincere thanks to our business Financial English National Ballet continuously works to be more partners, individual supporters and trusts and foundations efficient, increase revenue and invest in its artistic output. National whose generosity and involvement helps us to maintain Performance Ballet and enrich our high performance standards and to deliver on our ambitions. Supporters

INDIVIDUAL SUPPORTERS Michael & Claire Francies Peter Blackmore MAJOR DONORS Mrs Felicia Foreman Cherry Dickins For the financial year 2014/15 we are For a full set of the annual statutory accounts Alta Advisors Michael & Margaret Garner Karim Khairallah delighted to report a total operating surplus please contact [email protected] or they Mr Justin Bickle Ann-Marie Goodbody Ida Levine of £356,304. After one of the most successful can be downloaded from our website at Mrs Aud Jebsen Bart Gorissen Richard Luck-Hille Mr and Mrs Maurice Pinto Lady Shauna Gosling David Morgan-Hewitt seasons at the box office, our ongoing www.ballet.org.uk The Porter Foundation Olivia Ha Grandchamps des Raux Jennifer Talbot funding from Arts Council England and careful Cecilia McAnulty and Ian Hadden Joshua Burrill Quercus Trust control of expenditure, the Company’s John Talbot Michael Harrison James McAlpine Sian and Matthew Westerman Gillian Holgate Justin A Bickle finances are in a stable position to support Dr Paul Horsnell Roger Black its future plans for new repertoire and a new MODERN MASTERS PRODUCTION Sherry Kernan Stuart Fletcher CIRCLE Michael & Micheline Kingston Rafael Gil-Alberdi home at London City Island. Anonymous Richard Luck-Hille Peter Goodwin Justin Bickle Eileen Lam-Smith Alistair Johnston Sue Butcher Ida Levine Christopher Nourse Charles Glanville The Simon Marks Charitable Trust Norman L Rosenthal Peg and Steve Hale David Morgan-Hewitt Dr Alessia Nicotra CORPORATE SUPPORTERS DIRECTORS’ CIRCLE John B. Jones Aviva Anonymous Eric Peel & Jacky Cowdrey Backes & Strauss Income Wendy Becker & David Benello Elizabeth & Maurice Pinto Chanel £ % Mr Justin Bickle Kristina & Olaf Rogge Enders Analysis Sir John & Lady Buchanan Mr and Mrs James Smillie Lloyds Bank Private Banking Voluntary income 982 6.3 Victor Dahdaleh Steve Springford RPC LLP (donations, legacies) Sarah & Lloyd Dorfman CBE Mr & Mrs Julian Stanford Sweaty Betty Dorothy & John Ind Mr & Mrs Brian Steer Talbot Hughes McKillop Grants 6,407 40.8 John Turner & Jerry Fischer Tim & Joanne Stone The Dorchester Trading subsiduary 557 3.6 Ray and Jenny Jenner Marsha Taylor Weil, Gotshal & Manges David Lloyd Allen Thomas XL Catlin In-kind sponsorships 183 1.2 Aideen Masterson John & Lynn Turner Hiring of productions 213 1.4 Steve & Charlotte Sacks Peter & Karen Ventress IN-KIND SUPPORTERS Lindsay & Sarah Tomlinson Monica. B. Voldstad Amanda Anderson & Associates % Co-production 87 0.6 Bluthner Pianos Grenville Turner & Karen Hirst Steven Warren Outreach and Engagement activity 254 1.6 Adrienne Waterfield Bodega Raffy CREATIVE CIRCLE Paddy Wells Lambert Smith Hampton Limited Ticket sales 6,924 44.1 Alan Firmin Ltd Laura Kuy Jennifer Wills Programmes and merchandise 76 0.5 Carol Brigstocke Ken Yang & Ted Lakey Laurent-Perrier Sue Butcher Lavender Green Flowers Investment Income 7 0.0 Peggy Hale DANCE CIRCLE MAC Cosmetics Charles Glanville Anonymous Purbrooks 15,690 Mr B. Schroder David M Bain Richmond Associates Jennifer Talbot James Carroll Simmons & Simmons Mrs Louis Urvois Mrs Felicia Foreman St Martin’s Lane Hotel Mme Gerard Wertheimer Peter Goodwin Swarovski The Wigoder Family Foundation Christopher Gorman-Evans The Goring Pamela, Lady Harlech PREMIERE CIRCLE Roger Helmer MEP TRUSTS & FOUNDATIONS Anonymous Sir Anthony Holland & Lady Holland Andor Charitable Trust Expenditure Mr & Mrs L Al Swaidi The Austin and Hope Pilkington Trust Joan Jones £ % Ian & Judy Barlow Mary Jordan The John S Cohen Foundation Dolly Knowles Charitable Trust Vanessa & Peter Blackmore Sylvie Matz New Productions 447 2.9 Mr & Mrs J. Bloomer Heather McCubbin The D’Oyly Carte Charitable Trust Lulu Bott Rosie Miller Embassy of the Kingdom of Revivals 273 1.8 Natasha Kaplinsky & Justin Bower Jane Mulcahy QC the Netherlands Performances 11,348 74.0 Michael Buckingham Dian Neilsen Esmée Fairbairn Foundation Peter & Sally Cadbury Simon & Maureen Pegg The Idlewild Trust Fundraising costs 782 5.1 Alejandra Caro Russell Race J Paul Getty Jr Charitable Trust Sir Roger & Lady Stephanie Carr Tara Robinson John Lyon’s Charity Engagement Programme 448 2.9 Glenn Carroll The Leverhulme Trust Pablo & Sara Rojo Premises 622 4.1 Mrs Susan Carter Janet Rogers P H Holt Foundation % Claire Cohen Sir Norman Rosenthal Paul Hamlyn Foundation Depreciation 99 0.6 Richard & Jennie Cunis Michael Smith & Nicholas Bartlett Schroder Charity Trust Anne Curran Natalia Stavskaya Stoller Charitable Trust Medical/H&S 248 1.6 Annette Dart The Vandervell Foundation Claire Soulal Administration 1,067 7.0 Dr A W King & Miss F A Delaney Norita van der Velde & Keith Goody West London Clinical Care Nicholas Ferguson Hazel Ward Commissioning Group 15,334 Graham Fletcher The Gilbert & Eileen Edgar Foundation TALENT DEVELOPMENT APPEAL 91 Annette & Peter Ellis Kon Asimacopoulos Diana, Lady Farnham, DCVO Ian Barlow

44 45 Looking English National Ballet is full of energy and renewed creative vigour. We want to achieve artistic excellence at every level; Forward continue to be artistically brave; and for audiences far and “I want the space to echo to wide to connect with dance and with us. the sound of creative Britain.” Tamara Rojo

We know we can do more, create more, The building is designed by leading architects engage more and have a wider lasting impact. Glenn Howells Architects. At over 99,000 We are on a journey to challenge and elevate square feet it will be more than four times the all aspects of our Company and art form. size of ENB and ENB School’s current homes and feature: In Spring 2015, we announced that we will move into a new home in 2018. This – A Production Studio for the development transformational move will bring English and rehearsal of productions and creation National Ballet and English National Ballet of new commissions. School together under one roof, combining modern training facilities, teaching and – Seven large studios for rehearsals rehearsal studios, alongside a unique and teaching. Production Studio unrivalled in the UK. – A dedicated Music Room for English This state-of-the-art facility will enable National Ballet Philharmonic. new opportunities for collaboration and nurturing of dance talent. It will have – A health suite including a gym, dedicated digital facilities enabling wider pilates studio, hydrotherapy pool audience engagement to enhance our and rehabilitation facilities. traditional touring outside London. – Digital Infrastructure that allows for Located at London City Island, a new the capture and sharing of work neighbourhood developed by Eco World Ballymore, we will bring ballet and dance – Dedicated Engagement spaces to the heart of East London and the local community and provide a resource for the – Open spaces and architectural features wider performance sector. that will create a transparent, open, welcoming environment, sharing the The development is a short distance from creative process with the public, inside Canning Town and adjoins Trinity Buoy Wharf, and outside the building. which is home to an emerging creative arts cluster. It is based in the London Borough of Tower Hamlets, on the border of the London Borough of Newham.

Computer generated image of London City Island. Courtesy of Glenn Howells Architects.

46 47 English National Ballet Board “For sheer spectacle, and Advisors ballet in the round at the for the 2014–2015 Royal Albert Hall is hard to beat” Financial Year Daily Express

ENGLISH NATIONAL BALLET FINANCE & GENERAL PURPOSES BOARD & ADVISERS COMMITTEE PRESIDENT Justin Bickle Dame Beryl Grey DBE Kirsty Cooper [Chair] ARTISTIC DIRECTOR Val Gooding Tamara Rojo Sir David Scott Ed Williams EXECUTIVE DIRECTOR Caroline Thomson DEVELOPMENT BOARD Alejandra Caro BOARD OF TRUSTEES Baroness Rosario CHAIRMAN de Mandat Grancey Justin Bickle Ann-Marie Goodbody DEPUTY CHAIRMAN Val Gooding Ed Williams (resigned August 2015) Natasha Kaplinsky Wendy Becker (resigned June 2015) Michael Kingston Susan Boster Susan McDonald Kirsty Cooper David Morgan-Hewitt Val Gooding Sian Westerman Natasha Kaplinsky Ed Williams Sir Norman Rosenthal Steve Sacks Grenville Turner Robert F. Wallace (resigned April 2015) Sian Westerman PATRON His Royal Highness, The Duke of York, K.G INTERNATIONAL AMBASSADOR The Baroness de Mandat Grancey MARKOVA HOUSE TRUSTEE Sir Anish Kapoor ASSESSOR FOR THE ARTS COUNCIL ENGLAND (LONDON) Cate Canniffe COMPANY SECRETARY Claire Hawk

English National Ballet is a company limited by guarantee with no share capital and is a registered Charity governed by its Memorandum and Articles of Association. The Directors of English National Ballet are its Trustees for the purpose of charity law.

“It has been an incredibly busy, creatively rewarding period” Justin Bickle

48 49 English National Ballet Staff

Current staff at time of printing

ARTISTIC FINANCE AND FACILITIES ENGAGEMENT Associate Artistic Director Finance Director Engagement Director Loipa Araujo Pippa Adamson Fleur Derbyshire-Fox Principal Ballet Master Finance Manager Engagement Manager and Character Artist Tricia Lewis Lottie Coombes Irek Mukhamedov Management Accountant Senior Engagement Producer Ballet Mistress James Steel Emma Abbey Hua Fang Zhang Payroll Manager Engagement Producer – Ballet Master and Repetiteur Ray Cullum Development Talent Antonio Castilla Finance Assistant Kate Hartley Associate Artist James Palmer Apprentice Producer George Williamson Facilities Manager Rachel Ryan Repetiteur Adrian Wyer Engagement Assistant Yohei Sasaki Facilities Officers Georgie O’Hare Artistic Co-ordinator Alan Vass and Anton Green Creative Associate Jane Haworth Receptionists Laura Harvey Artistic Assistant Laura Wilkins Danielle Jones Lia Buddle and Suzanne Omer IT Support Manager COSTUME MUSIC Alex Bursik Costume Department Music Director Manager(Production) Gavin Sutherland MARKETING AND Geraldine Tiernan Music Administration Manager COMMUNICATIONS Dyer/Painter Paul Allen Director of Marketing Symone Frost Pianists and Communications Costumier Christopher Swithinbank Heather Clark Charrington Serena Fusai and Julia Richter PR Manager Touring Wardrobe Manager Music Librarian Robert James Lola Stott Lars Payne Press Officer Senior Wardrobe Assistant Orchestra Attendant Alice Gibson Anna Evripidou Andrew Paterson Marketing Manager Touring Wardrobe Assistants Benjamin Lalague Samantha Gilsenan OPERATIONS Marketing Officers Lauren Isles Creative Producer Allison Gold and Adam Lawford Shoe Supervisor Farooq Chaudhry Consultant Julie Heggie Producer Sue Lynas Wig Supervisor Louise Shand-Brown Amelia Carrington-Lee Assistant to Producer DEVELOPMENT Caroline Gane Director of Development TECHNICAL Company Manager Nicole Newman Technical Director Sarah Griffiths Head of Development Alan Riches Project Manager Gaby Sumner Stage Manager Sarah Cannon-Jones Head of Corporate Partnerships Kerry Lewis Company Masseur Alyssa Bonic Chief Electrician Dominic Hickie Trusts and Foundations Manager David Richardson Physiotherapist Anne Biggs Chief Mechanist Jackie Pelly Individual Giving Manager David Baxter Company Doctor Silvia Melchior Deputy Chief Mechanist Dr. Chris James Corporate Manager Andy Morrison Honorary Orthopaedic Surgeon Debbie Stevens Technical Operations Manager Prof. WJ Ribbans, PhD FRCS Orth FFSE Major Gifts Manager Emily Mitchell Health and Safety Advisor Joanne Andrews Touring Mechanists Dave Allen Events Manager Todd Baxter, Marc Dussert, Imogen Curtis Paul Dwyer, Stephen Insch ADMINISTRATION Corporate and Events Officer and Simon Read Director of Human Resources and Lucy Curtis Organisational Development Membership Coordinator Claire Hawk Jennifer Miller HR & Organisational Development Development Coordinator Advisor Jade Mintrim Nick Arthur HR Co-ordinator Stasia Skolik Executive Assistant Oonagh McGrath Archive Consultant Jane Pritchard MBE Erina Takahashi and Archive Assistant James Forbat perform Michael Reed in James Streeter’s In Living Memory. © Photography by ASH

Registered in England and Wales. Registered Company No. 735040 Charity Registration No 214005 Markova House, 39 Jay Mews, London, SW7 2ES Design: Cosima Dinkel