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Home , Akram Khan (dancer), Antony Gormley, Heike Hennig, Pina Bausch, Sidi Larbi Cherkaoui, Sohini Alam

WELCOME TO THE

making before opening at the reimagining of the epic COMPANY Roundhouse, we are delighted Mahabharata – and pulls to be working in partnership audiences into Akram’s world, with Sadler’s Wells, as well as giving them a unique experience UNTIL THE LIONS one of the most extraordinary from every viewpoint. and instinctive collaborators I have come across, Akram Khan. I look forward to experiencing Akram has worked with world- this premiere performance once class artists from , film, again and I very much hope you and theatre and watching enjoy it too.

Photo: Ellie Pinney him in rehearsals last summer, I was able to witness his open Marcus Davey OBE and inclusive approach to the Chief Executive and In 1966, the Roundhouse creative process first hand. Artistic Director opened its doors for the first time as a cutting-edge arts This production was initiated venue, beginning with the by the 360° Network – a network legendary launch of radical of round artistic venues across underground newspaper, the the world – with Until the Lions International Times. In 2016 we especially created for our iconic started our 50th anniversary year Main Space. This also marks the with the world premiere of Until first time Akram has created a the Lions from one of the dance complete work for a 360-degree world’s most influential and setting. Our round Main Space respected figures, Akram Khan. allows him to explore a particular After a world tour of in-the- section of Karthika Naïr’s book round venues, the show returned Until the Lions: Echoes from to us in January 2019, but it is the Mahabharata – an original the special premiere, lovingly captured by our young film and broadcast team, that we are bringing to online audiences on the 27th August 2020.

Collaboration is very much at the heart of everything we do at the Roundhouse and Until the Lions is no exception. A production that was three years in the

9 – 24 JANUARY 2016 ROUNDHOUSE Artistic Director, Stage Manager Choreographer and Marek Pomocki Performer AKRAM Akram Khan Lighting Engineer Stéphane Déjours Narrative Concept, Scenario and Text Sound Engineer KHAN Karthika Naïr Julien Deloison Visual Designer Assistant to the Tim Yip Costume Designer COMPANY and Costume Maker Lighting Designer Peggy Housset

Michael Hulls UNTIL THE LIONS Model head designed Original Music Score and made by composed by Blind Summit

Vincenzo Lamagna World premiere: 12 January 2016, Roundhouse, in collaboration Project Manager with , and Tour Manager This performance will last approximately 1 hour, with no interval David Azurza, Yaron Mashitah Omar Engler, Akram Khan This production is a partial adaptation of Until the Lions: Echoes from the and Joy Alpuerto Ritter Special thanks to Mahabharata, a retelling in verse of the Mahabharata by Karthika Naïr Marcus Davey, Alistair (published by HarperCollins , 2015 and Arc Publications UK, 2016) Dramaturg Spalding, Nikolai Foster Ruth Little and Curve team, Philippe Production initiated by the 360° Network of round Bachman, Hervé Le artistic venues across the world Assistant Director Bouc, Sophie Sadeler, Sasha Milavic Davies Béatrice Abeille-Robin, Produced during residency at Sadler’s Wells and Curve Lady Angela Bernstein, Assistant Choreographer Mr & Mrs Khan, Yuko Co-produced by Roundhouse/Sadler’s Wells, MC2: Grenoble, Jose Agudo Khan, Saju Hari, Mavin La Comète Châlons-en-Champagne, Théâtre de la Ville/La Villette , Khoo, Ushma William, Danse Danse/TOHU Montréal, Les Théâtres de la Ville de Luxembourg, Voice-over Siddhartha Bose, Jayne New Vision Arts Festival , Taipei Performing Arts Center, Kathryn Hunter Stevens, Louisa Robey, Movimentos Festwochen der Autostadt in Wolfsburg, Brighton Festival Bethany Storie, Pei-Shan 2016, Maison de la Culture d’Amiens, Concertgebouw Brugge, Dancers Su, Verona Rhamanan Le Manège de Reims Scène nationale, Holland Festival Amsterdam, Akram Khan and Natalie Roberts Ching-Ying Chien Romaeuropa Festival and Curve Leicester Joy Alpuerto Ritter Sponsored by COLAS Musicians Created with generous support from The Quercus Trust Sohini Alam David Azurza Supported by Arts Council Yaron Engler Vincenzo Lamagna Akram Khan is an Associate Artist of Sadler’s Wells and Curve Leicester Producer Farooq Chaudhry

Technical Director Cover photography by Richard Fagan Richard Haughton

Technical Coordinator Rehearsal photography by Peter Swikker Jean-Louis Fernandez the morning and then doubling seven. A storytelling tradition Theatre, all of which ‘confused’ his back through the garden. Khan’s that grew from the temples kathak technique, resulting in his instinct to dance and the will to and courts of medieval India, unique style. He graduated with follow his own path was clear, kathak uses expressive gestures top marks. ‘It’s always when you’re even at a young age. and rhythmic virtuosity, with lost that you discover something lightning-quick spins and fast- – or yourself,’ he once said. His parents were mortified when stamping feet. they discovered he hadn’t been Khan set up his own company ACROSS at school but his mother was Khan went on to study dance at with producer Farooq Chaudhry appeased, a little, when she De Montfort University followed as the millennium rolled around. found out he was spending the by the Northern School of In 2002, Kaash was the piece time dancing. It was she who Contemporary Dance. It was that really got people’s attention, introduced him to folk dance as here he discovered and setting out his thrilling collision a child and then the north Indian contemporary, and the work of of cultures and showcasing a WORLDS classical dance form kathak at and DV8 Physical striking collaboration with British- A consummate influences from his Bangladeshi heritage with contemporary storyteller, risk- dance and theatre. taking collaborator Performing since his teens, two and genre-defying very different figures helped dancer, Akram launch Khan’s stage career. , the ground-breaking Khan is one of theatre director, cast 13-year- the UK’s most old Khan in his staging of the Sanskrit epic, the Mahabharata, influential artists. which toured the world from the Lyndsey Winship mid-1980s. Before that, though, Michael Jackson had provided charts his journey the inspiration for Khan to enter to the top. and win a school talent show in which he danced a ‘Thriller’ One evening in July 2012, routine. The experience saw him 900 million people around the change, in his own words, from globe watched Akram Khan ‘the Indian boy who was a bit dance. Against the backdrop weird, who nobody knew,’ to of a giant glowing orange sun, the kid they’d call out to in the 50 performers with Khan at playground, saying: ‘Hey Akram, the helm flowed across a stage wow, that was really cool.’ as Emeli Sandé sang ‘Abide with Me.’ This, of course, was As a shy boy, with a stammer the opening ceremony of the and a lisp, London-born Khan London 2012 Olympic Games could have trouble articulating for which Khan was chosen himself verbally but he found to create a section of Danny confidence in communicating Boyle’s spectacular production. physically. ‘My body became my refuge,’ he recalls. Part of the He might not have been the reason the boys at school didn’t biggest name on the televised know him was because Khan bill but by that summer Khan was wasn’t always there. For a year one of the UK’s most in-demand he managed to bunk off school dance-makers. He had already to secretly practice kathak for built a reputation as an electric eight hours at a time in a garage performer and a choreographer behind his house in Wimbledon, with a singular voice, fusing leaving dressed in his uniform in Indian sculptor In zero degrees (2005), Khan Themes of home and identity The Olympic experience had the borders of dance languages, often beyond words; like the and composer . meditated on life and death are never far from Khan’s an impact on the way that Khan his next major project being boys in the schoolyard, all you can It was Khan’s own performance with Belgian-Moroccan work. His approach can be now thinks about creation. ‘Up a reworking of the romantic say is, ‘Wow, that’s really cool.’ that many in the audience choreographer Sidi Larbi observational and wry, finding until that point, I was interested ballet . At 41, Khan will found so compelling – a dancer Cherkaoui, the production also the poignant moments in in the space inside the body soon wind down his dancing Lyndsey Winship is dance critic of supreme focus and fluidity; featuring man-sized everyday life, or it can be – and that’s a huge world,’ career and focus solely on of the and a mass of coiled energy held by artist Gormley. He epic and trancelike, delving he observes. ‘But suddenly choreography, which makes his author of Being a Dancer. together by an inner strength teamed up with French actress deep into dance with a sense it wasn’t about the internal performances all the more worth like the earth’s magnetic core. for In-I (2008) of otherworldliness. A strong journey, it was about the bigger seeing now. When he , Written in 2016. at the National Theatre, drawing spirituality runs through his picture, and it was the space there’s a power and soulfulness Since then, Khan’s work has out her dancing abilities. He work, the ‘vertical road’ in that outside the body that I started that is impossible not to connect progressed on a number of coaxed another French icon, show’s title referring to the path to learn about.’ Until the Lions, with. As with all great artists, parallel paths, expanding ballet dancer , to enlightenment, as opposed with its 360-degree setting, is a the feeling he conjures is his range of influences, into her most intimate onstage to the horizontal road that is product of this new ‘obsession’ incorporating text and growing performance in Sacred Monsters our march forward in time. as Khan describes it. ever more confident in theatrical (2006), as they shared stories of Although his performances experimentation. There are childhood and anxieties about often have a visceral pull, Khan For each new work, he often works with Khan at the centre, artistic life. And, most recently, hasn’t forgotten kathak’s art creates a new vocabulary and such as 2009’s Gnosis and the he embarked on a blistering of storytelling – the appeal he continues to rove across award-winning DESH (2011), showdown with maverick of revisiting the Mahabharata inspired by a visit to his family’s flamenco dancer Israel Galván for Until the Lions lies in homeland of . Then in TOROBAKA (2014). Along addressing some of its there are full company works, the way, he has even found universal themes, including harnessing the power of an the time to choreograph part love, injustice and revenge, ensemble of dancers including of ’s ‘Showgirl but his narratives are usually ma (2004), Vertical Road (2010) Tour.’ For him, collaboration fragmented and dreamlike. and iTMOi (2013). But perhaps acts as an essential form most revealing is a series of of communication. collaborations that represent curious conversations with artists from different worlds and disciplines. to her by taking her as his bride. Bound by his vow of celibacy, Bheeshma refuses, and Amba’s pleas for justice fall on deaf ears. Amba swears she will be AMBA’S revenged on Bheeshma and dedicates the rest of her life to this purpose.

She undergoes years of extreme STORY penance, which unbalances the universe. Finally Lord Shiva appears and tells Amba she Until the Lions is a choreographic will destroy Bheeshma in her ‘Until the response to the tale of Amba/ next life. Amba burns herself Shikhandi in the Mahabharata, to death, and is reborn as lions have the classical Sanskrit epic that Shikhandi, a woman later given has been beloved by Akram male form by a forest spirit. Khan since his childhood. their own Poet and writer Karthika Naïr Trained as a warrior, burning reimagines this story and those with the memory of Amba’s historians, of other marginal characters vow, Shikhandi finally confronts from the original in her new Bheeshma on the battlefield on the history book Until the Lions: Echoes the tenth day of an apocalyptic from the Mahabharata. Naïr’s war between the Kaurava and of the hunt retelling in verse gives voice, Pandava clans. Recognising dignity and intention to these Shikhandi as female in origin, female characters whose lives and as the instrument of Amba’s will always and stories, as well as their roles revenge, Bheeshma lays down as catalysts and witnesses, have his weapon, allowing the glorify the remained largely unexplored. warrior Arjuna to attack him from behind Shikhandi. Pierced hunter’ In the Mahabharata, Amba is the by Shikhandi’s arrows as well eldest daughter of the King of as Arjuna’s, Bheeshma falls, (African proverb) Kashi. At the point of choosing severely wounded, and awaits her husband during a public his death and the war’s end, swayamvara ceremony, she is on a bed of arrows. abducted by Bheeshma, son of the Kuru king. An unparalleled Until the Lions, though, imagines warrior and archer, he defeats this final confrontation as one Amba’s potential suitors between Shikhandi (fuelled by including her true and Amba’s spirit and boon) and secret love, Shalva. Bheeshma. The two tortured souls alone, with no other Bheeshma has made a vow of adversaries or allies: it becomes lifelong celibacy (Bheeshma the culmination of two lifetimes means ‘he of the terrible oath’). of loyalty through betrayal, Intending Amba as a potential devotion through wrath. bride for his half-brother, Bheeshma discovers that Amba On the night after the eighteenth loves another. He releases her, and final day of war, Shikhandi is but Shalva spurns her because murdered by the three surviving she has been won by another warriors from the Kaurava army, man to whom she now belongs. who, in their desperate rage, break all the rules of battle, and Amba returns to Bheeshma and kill him in his sleep, thus denying insists he right the wrong done his soul a place in heaven. Danny: Well, one of the joys I find Akram: Well, we sent the a hero but she’s a strong woman about going down to Sadler’s poems around to everybody who defies what society has – Wells or somewhere similar to and Karthika was also in the out of fear – come to regard as A NEW see dance is that I can let that collaborators’ meetings so we all right and wrong. Isn’t that so go. Narrative structure is a very started from the same place. But relevant to what is happening in strict discipline in the world what is challenging is finding the the world today? Where people I work in – which is theatre, film right time to let go of the poetry. decide fundamentally what’s PERSPECTIVE or television – and you can only When you start a process like right and wrong. In Amba’s story, get away without it for a couple this, the work has to change and the character Bheeshma abducts of minutes before you’re lost … leave the page at some point. her and puts her in a situation Film and theatre director Danny Boyle catches up with So, did you read Karthika Naïr’s The words are there to inspire where nobody will marry her Akram Khan during rehearsals. We listen in to the former book before you conceived the us but we’re not serving them. – he himself has made a vow of collaborators as they ponder sources of inspiration, production for the Roundhouse? We’ve had to free ourselves from celibacy. She expects him to marry the words so it’s not too specific her. But he won’t break his vow. questions of gender and the struggles of creating work. Akram: She sent me a couple to Hindu mythology. It has to be She asks if his vow is more of poems from her book written universal. Basically, the piece is important than her life. Many years from the character Amba’s about love, betrayal, revenge … later, he reflects on the fact that perspective. What really that’s it … that’s the essence. since he didn’t marry Amba, he Danny: Tell us why you are and then send me back down. acting training while Joe was inspired me is that the poems could never marry anybody else. returning to the Mahabharata That’s just one anecdote but busy training as an actor. I was are written in a mathematical, The other thing is that the He’s kind of acknowledging her for your new production? what was beautiful about Peter very physical, though, and I think physical, visceral way. They are Mahabharata, through Karthika’s as his equal, saying ‘she’s the one as a director was the stories Marie-Hélène chose me because phenomenally written but also poems, reveals so much about who tried to make an immovable Akram: A female poet called he would tell after the show. she knew Peter would be able to phenomenally designed. the way in which females are object like me transform.’ Karthika Naïr, who created DESH This was very special. For the mould me. I was formless; regarded in that society. The title with us, approached me because benefit of the actors, he would I didn’t have a way of speaking Danny: What I’m really of her book, Until the Lions, Danny: It’s an amazing story she has written a collection of connect the Mahabharata to then but I was very comfortable interested in is how you start comes from an African proverb. but keep talking because I poems on female characters something he had experienced in my body. The way I see things to work from there? In film or The hunter will always tell the remember reading that Amba from the Mahabharata. When personally or a story he had now, a lot of this has been television, we begin with a read- story until the lions can have their then changes into the male form, I appeared in Peter Brook’s heard. He would make things inspired by Peter. through where we all share the say. The victorious always write Shikhandi. Is that right? version, I was 13, and I don’t happening in present-day New text. I don’t know how useful it history – never the losers. What remember the women being York, for example, relevant to the Danny: The last time I saw you is but it is the tradition, it settles I loved about her approach is that Akram: First, she goes to the super celebrated. They were not Mahabharata – and he would tell rehearsing was for the opening everyone in, making them feel she’s taken it from the female mountain and prays. She’s so the main protagonists. Looking them in such a phenomenal way. ceremony of the Olympics. For as though they’re on the same characters, the unsung heroes, if still, though, that it affects the back, I can see that it gave a those of us who don’t know page, literally. Do you do that? you like. Amba is not necessarily world and creates chaos. Shiva, very male perspective, which is Danny: So, he would tell stories enough about contemporary often the case with mythology. to inspire the story you were dance, how do you go about I remember the women in the all doing? inspiring your dancers – is it company being incredible actors through vocabulary or by example? but also treating me like a son Akram: Yes, he didn’t want because I was missing my Mum the Mahabharata to feel Akram: Intention, especially a lot. I got very close to these mythological. Even though narrative intention. When I’m wonderful actors and it left we were wearing costumes rehearsing a new work, I do look me fascinated. that were aesthetically of that at the technicality but all the period, he wanted to make it performances must have an Danny: Okay, so you were 13, feel relevant. He played a lot intention. They can’t just be a and in Peter Brook’s theatre with time. series of steps or movements. version of the Mahabharata? There has to be a meaning How did you find it? Danny: Did you learn anything behind what the dancers are from him, his techniques? doing, they have to know where Akram: Since I was the youngest they are going, and how they exit. actor, he would always ask me to Akram: I learnt as much as It’s very theatre-driven. Having run to the back of the auditorium I could at that young age. said that, one of the questions to give me comments. I recently discovered that Joe that constantly challenges me is I would expect revolutionary Wright [the film director] and how literal I should make the or constructive pieces of I were in the audition for the work versus how much I leave criticism but he would usually same role. Marie-Hélène ambiguous or suggestive. Does say something like, ‘Akram, [Estienne], Peter’s right-hand, that bother you when you make just step to your left a little,’ auditioned us both. I had no a piece of theatre? the supreme god, descends and debating and questioning how And I come from a similar ambiguous so the choreography Danny: How did you find Danny: What’s your favourite asks what she wants because much of the story to tell. We community to Billy Elliot: quite has to speak of this in some way those dancers? dance in a film or musical? her stillness is unbalancing. She have to ask how we can simplify macho and working class. And – it’s a really challenging piece to Who do you admire? replies that she wants the tool it without losing its complexity. our fear was always ballet. When take into movement. Akram: I have worked with to kill Bheeshma, who has made When Ruth spent time with you move into the arts, though, them previously on iTMOi. Akram: I really enjoyed Billy another vow never to kill women David Lan [Artistic Director] of you get a chance to embrace Danny: But when you watch The dancer who plays Amba Elliot … there’s Charlie Chaplin and children. Shiva directs her the Young Vic, he told her that the female side of yourself and dance, it’s a relief not to have to has both innocence and a dark … I love , Buster to commit suicide so she can be if people don’t feel connected there’s a lack of posturing. I think hang on to narrative quite so side to her. And the dancer Keaton, Michael Jackson. reborn as a girl but trained in a to a performance in the first ten great actors often have access rigidly. There’s a feeling that you performing Shikhandi can really particular way to behave like a minutes, then you’ve lost them. to both genders and I’ve worked can watch something, and zone shift from female to masculine. Danny: I’d love to film a musical. man. Then the night before she with many who’ve shown this in and out with a wonderful They make me feel old when I love Carlos Saura and Bob goes into battle with Bheeshma, Danny: The great British film quality. Recently it was Michael freedom. You reset your brain I’m near them. Fosse’s stuff. she makes love to a spirit and director David Lean also said Fassbender who is known as and enjoy the experience of the they exchange genders. Only that you have to declare your a very intense, male actor but story being told through the Danny: I’ve recently worked Akram: They’re genius, of Shikhandi can kill Bheeshma, intentions in the first ten minutes. I found his movement to be physicality of the performers in with this extraordinary singer course. So, you want to film and the only way he wants to die quite female. I remember front of you. It’s not quite like film called FKA twigs, also a dancer. a musical? is by her arrow. When he sees Akram: Originally, I was going reading somewhere that young or theatre actors who have to I keep thinking you must meet Shikhandi, he knows it is Amba. to play this as a solo, all three children can always tell the disappear into the story. With or collaborate. Danny: For a film director, He knows this is someone who characters, because I am gender of another child, that dance, you’re always aware that if you can make an original has thought of him across the fascinated by gender. When they reveal gender through this is being expressed through a Akram: Danny, have you story musical where characters course of two lifetimes.* I was young, my school friends, movement. And little children dancer and I think that’s a beautiful ever worked on a play with break into song, that’s the most who were more macho and who have no real programming part of the process. You abandon just dancers? difficult thing to do. Song can Danny: Wow. So, how many played football, regarded me just instinctively understand yourself to it. I think the struggle be more challenging than dance people are you performing as ambiguous. I danced, that. I’ve no idea whether that’s that you’re in is very important Danny: No but I have a strong because people do dance as this with? I used to put on make-up and true but it made me think of and has to continue otherwise idea of doing a Shakespeare part of normal life but to sing sometimes I’d wear my Mum’s your script, when your character the work is just indulgence. The with dancers. I’d like to have is so vulnerable and open. We Akram: I play Bheeshma. There’s sari to play female roles. Do Bheeshma recognises that very act of struggling with it all a dancing chorus with this once did a film called Millions this wonderful creature-dancer, you find actors can be similarly Shikhandi is actually female. highlights your role. How do you particular Shakespeare in mind. about two kids growing up in the Ching-Ying Chien, who’s playing ambiguous, shifting from How will you dramatise that? do it, though, when you’re both One of the other things northwest and we should have Amba and another female artist, female to male, or vice versa? performing a role and directing I wanted to ask you is how you turned that into a musical. Christine Joy Ritter, performing Akram: We’re struggling right the work? Do you film yourself determine the length of your Shikhandi. And then there are Danny: It’s funny hearing you now. When we theatricalise and watch it back? work – does the music dictate Danny: So, last question for four musicians. My dramaturg talk about your background the scenario, it’s very clear but length or something else? now, have you worked in the Ruth Little and I are constantly because it’s basically Billy Elliot. it lacks choreography. It’s a Akram: Yes, but I also have a round before? real challenge to reveal these rehearsal director, Jose Agudo, Akram: What dictates the characters through dance, who learns my role. He can swap length of a scene is what is Akram: No, it’s very exciting especially for people who don’t with me and step in and out of happening with the bodies. yet bloody frustrating because know the story. Without words to my role. And we film everything. Has what the body has to say it’s easier to see a performance hold on to, everything becomes stopped being interesting? The from one perspective. In the Danny: So, he will dance the music then follows, the set, and round, somebody will always section for you during rehearsals? everything else. Everything has see a different angle from the to serve the body – the body one you want him or her to Akram: Yes, but my ego always is the script. We label scenes see. That can be frustrating gets the better of me because and each night we try different yet at the same time, you get I know I can do it better. That orders, treating it like a musical to look at choreography three isn’t true, actually. It’s just that form. Some scenes need dimensionally. The Olympics when he does a section, and to be big, some less so. Two was good preparation for this does it better, then I feel I have films – Timbuktu and Birdman because it was also 360 degrees. to do it better. He’s a really strong – have fascinated me recently dancer and makes me go one because of how their scenes Danny: Hey, listen, it’s a step further. What’s incredible in roll choreographically from wonderful experience for this piece are the female dancers. one to the other. This way of the audience. Theatre in the They are really special. I’m 41 and interconnecting different worlds proscenium arch remains theatre enjoying taking a step back. The and seeing the interconnection, as spectacle – it’s not really story is not told through my eyes well, I think we’re trying to that immersive. In the round, it – it’s through Amba’s eyes. I’ve embrace a little of this in becomes immersive. You really never told a story with a female Until the Lions. feel part of it as the audience. *Akram Khan refers specifically to Amba’s story as told in perspective in this way before. Karthika Naïr’s Until the Lions: Echoes from the Mahabharata. PRIMITIVE AND POWERFUL

Tim Yip, the You last worked with Akram Akram is a careful decision-maker. What has been the starting Projection proved a potent You feel more awake here. Khan on DESH. The visual He takes a long time to sense point for the visual design ingredient in DESH. Will it Real time and set elements Oscar-winning design was such an integral the best means of expression. of Until the Lions? play a similar role in Until coexist with the performers. Art Director of part of this wildly successful As he searches, I introduce The content is already defined. the Lions? This language has become show, transporting audiences different possible directions for Even so, it is always very While the content of Until the very powerful to me. Crouching Tiger, to another place. How did him to choose from. Everything difficult to translate something Lions is more complicated Hidden Dragon, you achieve this? that happens in the design has like the Mahabharata for the than DESH, I would rather How else have you utilised Akram has a very strong way of to be used by Akram, and has to stage. We are looking to a give power to simple things. the circular stage of the talks about playful dancing, mixing modern and come from the movement of his particular part of the epic story Simple things can have Roundhouse? processes and classic. We quickly decided to body. He never needs a prop involving Amba/Shikhandi and unlimited power onstage. We have divided the space work together. When he asked onstage without its own inherent her journey from a woman to a Intricate things can remind so that there is an inner circle shares an insight me what he should create for his movement. I create a space or man as she takes her revenge you of their limitations. In and an outer circle – a beyond. into the simple next piece, I said to dance as an invisible force for him to react on Bheeshma. The whole idea order to give force to the floor, The inner circle is the central himself. So we visited his family’s to with his body. We share a started in the round. I have put we have decided to cut out performance space, while the elegance of hometown in Bangladesh. We background of eastern and it in a primitive world, where the sky to let the audience outer circle is for Shikhandi and Until the Lions. had a shared way of thinking by western cultures mixed together. only land and sky exist. concentrate fully on Akram’s the chorus. It is like a Greek then, and I learnt the meanings It helps us to create a space choreography. It gives the amphitheatre, simple, with behind Akram. For DESH, rather than just an idea onstage. Can you give us an insight work a simple elegance. We three performers onstage and a I created a scene that is a stage into the aesthetic for the use projection only when it is chorus. At a certain moment, the full of fabric, suspended from You have compared the process production? absolutely the right medium for inner space itself will become the ceiling, like the reflection to a game of table tennis? Simple, classic, no existing communicating the content. the performance. of a river that runs through a Yes, there is something very concept, no existing meaning village in Bangladesh. I wanted playful about the way we work. of space, no clear time theme, Has designing the production Where do you hope Until the to reflect the feeling of missing The idea will evolve over time, no clear gender signals in the in the round thrown up extra Lions will transport audiences? your hometown in a modern, as it shuttles back and forth costumes, only space and challenges or opportunities? To the simple world beyond globalised world. between us. We need to share content, leaving the body to I have developed many different everything, a very basic primitive new thoughts and sometimes tell the story. But we will use kinds of spaces for performance space for the inner self. There How do you both collaborate we need to wait. Sometimes he the set to create some of the but this is the first time I have is not yet culture, no memories, to develop design concepts has a lot to say, sometimes I do. highest moments. worked in the round. It creates nor even any natural history. for his shows? Of all the ideas we come up a close experience. The illusions It is a dreamy, lonely place for To find the meaning of the with, he always chooses what of traditional theatre do not our performer to go looking for content, we start by brainstorming. is right for the dance. apply in this environment. desire and to take revenge. Zhuangzhuang and Li Shaohong. and on Conceal | Reveal, a He has also worked with programme of work celebrating renowned Taiwanese theatre the 20th anniversary of their BIOGRAPHIES groups such as Cloud Gate collaboration. He is currently Dance Theatre, Contemporary working on LightSpace, his career highlight was the creation the Tata Literature Live! Award Legend Theatre and Han Tang immersive light and sound of a section of the opening for Book of the Year (Fiction). Yuefu Dance Ensemble. His installation for the main stage striking costume design and of Sadler’s Wells as part of the ceremony for the London 2012 The Honey Hunter (2013) – her Photo: Gavin Evans Olympic Games, received with children’s story originally written art direction for the theatre venue’s dancer-less Nobody unanimous acclaim. for DESH, then illustrated by production Medea, television MICHAEL HULLS programme this June. drama Oranges Turn Ripe, Joëlle Jolivet and published in Lighting Designer He has been the recipient of English, French, German and feature films Temptation of a numerous awards including Bengali – has been included in Monk and Double Vision have Photo: Laurent Ziegler Photo: Laurent Over the past 20 years, further attracted international an Olivier Award for Best New the year-end lists of must-read Michael Hulls has worked acclaim. In 2010, he collaborated AKRAM KHAN DanceKARTHIKA Production, NAÏRBessie (New booksTIM for YIP children in several MICHAEL HULLS exclusivelyVINCENZO in dance, particularly York Dance and Performance countries, including those of with Robert Wilson on 1433 – Artistic Director, with choreographer Russell Artistic Director, Award),Writer the prestigious ISPA FrenchVisual Designernational radio station TheLighting Grand Designer Voyage. Choreographer and Dancer Maliphant.LAMAGNA Their collaborations Choreographer and Dancer (International Society for the Info and the Indian Karthika Naïr is the author of A renowned artist, Tim Yip Over the last 25 years Michael haveComposer won international and Musician acclaim Performing Arts) Distinguished literary journal, Biblio. Since 2002, Tim’s theory of Akram Khan is one of the most several books, including Until has multidisciplinary works Hulls has worked exclusively and several awards including a a ‘New Oriental’ aesthetic, Photo: Jean-Louis Fernandez Artist Award, Fred and Adele TimeVincenzo Out Award Lamagna for Outstandingis a celebratedmost celebrated and respected dance the Lions: Echoes from the in costume and art direction, conveyingin dance, particularlyhis interpretation with of Astaire Award, Herald Archangel Her poetry has been widely Collaboration,musician, composer South Bankand danceartists today,artists buildingtoday. In hisjust Mahabharata, a reimagining and visual and contemporary orientalchoreographers art, has been Russell introduced Award at the Edinburgh anthologised and appeared in Skyproducer Arts Award, based two in London. Olivier VINCENZO overreputation 15 years, on thehe hassuccess created of of the Mahabharata in art. For his work in Crouching toMaliphant western audiences.and Akram HisKhan, work International Festival, South journals such as Granta, The AwardsHis music for isBest known New for Dance its LAMAGNA aimaginative, body of work highly that accessible has multiple voices, which won Tiger Hidden Dragon, Tim acrossand established media has abeen reputation shown Bank Sky Arts Award and six Wolf, Prairie Schooner, Literary Productionvisceral, emotive and two and Critics’ edgy contributedand profoundly significantly moving the 2015 Tata Literature Live won the Academy Award for atas the a “choreographer National Palace of Museum Composer Critics’ Circle National Dance Review, Poetry Review, Poetry Circlelanguage National that Danceutilises Awards.an toproductions the arts in such the UK as Untiland Award for Book of the Year Best Art Direction and the inlight”. Taipei, His Maison collaborations de la Culture with Awards. Akram was awarded International Web, Indian Theunconventional Daily Telegraph hybrid has of hailed abroad.the Lions His, Kaash, reputation iTMOi has (in (Fiction). She was principal British Academy Film Award deRussell Bourges, Maliphant Centre have Pompidou won Vincenzo Lamagna, best known an MBE for services to dance Quarterly, Indian Literature theirelectro-orchestral collaboration assounds. ‘possibly beenthe mind built of on igor), the successDESH, of scriptwriter for Akram Khan’s for Best Costume Designer in ininternational Paris, John criticalF Kennedy acclaim Center by his alias Beautiful Noise, in 2005. He is an Honorary and Almost Island. theVincenzo most important has carved creative a niche in imaginative,Vertical Road, highly Gnosis accessible and DESH (2011), Chotto Desh 2001. Graduating from Hong forand the many Performing awards. ArtsMichael and is a musician, composer and Graduate of Roehampton and partnershipthe alternative in modern contemporary British andzero relevantdegrees .productions As an instinctive such (2015) and Until the Lions Kong Polytechnic University Todayhas worked Art Museum with Akram in Beijing. over producer. Born and raised in De Montfort Universities, as dance.’dance world,Michael where has worked he with asand TOROBAKA natural collaborator,, DESH, iTMOi Khan, (2016), an adaptation of her with a degree in photography. Inmany 2004, years he was on productionsthe art and Naples, he moved to London well as University of London, BalletBoyzhas established on their himself productions as Verticalhas been Road a magnet, Gnosis to and world- zero own book. Also a dance In 2010, Tim created the costumeincluding director In-i, DESH, for the Beijing in 2008 and has since worked and an Honorary Fellow of ofa Brokenmajor collaborator Fall, Critical with Mass , degreesclass artists. An from instinctive cultures and enabler, Naïr’s closest visual design for Akram Khan handoverTOROBAKA performance, Until the Lions,at the with many artists including Trinity Laban. Torsionsome of and, the most most recently, acclaimed naturaland disciplines collaborator, such asAkram the association has been with Company’s Olivier award closingXENOS ceremony and most of recently the Olympic Mysteries of the Revolution, Fallenchoreographers, winner of aof Critics’ this hasNational been Ballet a magnet of China, to world- and winning production DESH and Gameswith his in new Athens production and, in 2008, Twisted Tongues, Sean O’Brien, Circlegeneration, National Hofesh Dance Shechter Award classactress artists Juliette from Binoche, other cultures Damien Jalet as executive worked alongside Akram for hewith was English invited National to participate Ballet, in Esther Dee and Reena Green. forand Best Akram Modern Khan. Choreography. His most andballerina disciplines. Sylvie Guillem,His previous producer of works like Three his award-winning reimagining ChristianCreature .Dior’s In 2009, 60th Michael anniversary His collaboration with Hofesh Eonnagatacollaborations, his collaborationwith Khan collaboratorschoreographers/dancers include the Sidi Spells, Babel (Words), Puz/ of the romantic classic Giselle exhibitionbecame an called Associate Dior andArtist Shechter Company has seen him withinclude Sylvie Until Guillem, the Lions Robert and NationalLarbi Cherkaoui Ballet of and China, Israel actress zleand Les Médusés, and as for . Chineseof Sadler’s Artists Wells.. This In 2010,February, his tour for two years worldwide to Lepagethe award and winning Maliphant, 21st- resulted JulietteGalván, Binoche,singer Kylie ballerina Minogue, co-founder of Cherkaoui’s They joined forces once Tim’scontribution largest retrospectiveto dance was venues such as Sydney TIM YIP incentury a Knight adaptation of Illumination of Giselle Sylvievisual artistsGuillem, Anish choreographers Kapoor, company, Eastman. again for the company’s exhibitionrecognised in withEurope, his entry entitled House, Théâtre de la Ville, Visual Designer Award.for English He has National also worked Ballet. SidiAntony Larbi Gormley Cherkaoui and and Tim Israel Yip, latest production, Creature. Ininto Parallel the Oxford, opens Dictionary at the Maison of Sadler’s Wells, La Villette and withMost Akram recently Khan he over created many Galván,and composers singer Kylie Steve Minogue, Reich, www.timyipstudio.com deDance. la Culture He won d’Amiens. the Knight of Hong Kong Cultural Centre. visualNitin Sawhney, artists Anish Jocelyn Kapoor, Pook Photo: Mujib MK A renowned multidisciplinary Illumination Award for Dance yearsthe score on productions for the ballet including Alongside his emerging career Antonyand Ben Gormley Frost. A andhighlight Tim of KARTHIKA NAÏR artist, Tim Yip is an art and in both 2009 and 2016. In InCompany’s the shadow new of Manproduction,, Fix, as a solo artist, Beautiful Yip,his career writer wasHanif the Kureishi creation of costume director and also 2014 Michael received the RushCreature, In-I,. DESHHis scores – winner are a of Noise regularly composes for anda section composers of the SteveLondon Reich, 2012 Writer works in the fields of visual and Olivier Award for Outstanding themercurial 2012 Olivier combination Award forof Best contemporary dance companies NitinOlympic Sawhney, Games Jocelyn Opening Pook contemporary art. For his work Achievement in Dance. Newacoustic Dance and Production electronic – music, and including Scottish Dance andCeremony Ben Frost. that was received Author of four books, on Crouching Tiger, Hidden www.michaelhulls.com TOROBAKArecognised .for Other their regular ferocious Theatre, Phoenix Dance Theatre, with unanimous acclaim. Karthika Naïr was the principal Dragon (2000), he won an Oscar collaboratorsindustrial undertones, include Javier De Ace Dance and Music, Carlos Akram’s work is recognised scriptwriter of Akram Khan’s for Best Art Direction and a Frutoshaunted and melodies Jonathan and Burrows. Acosta, John Ross, Jose Agudo, as being profoundly moving DESH (2011), as well as its BAFTA for Best Costume Design. cinematic soundscapes. Jorge Crecis and Akram Khan. and his intelligently crafted adaptation for young adult Since his first film A Better Inwww.vincenzolamagna.com 2014, Michael received the storytelling is effortlessly audiences, Chotto Desh (2015). Tomorrow (1986), his costume Olivier Award for Outstanding intimate and epic. Described by Until the Lions: Echoes from design and art direction credits Achievement in Dance. Most the as an artist the Mahabharata (2015), her have included collaborations recently, he has worked with ‘who speaks tremendously of reimagining of the Mahabharata with directors such as John Woo, Maliphant on Here & After for tremendous things,’ a recent in multiple voices, recently won Ang Lee, Tsai Ming-liang, Tian Guillem’s farewell performances Valencia. During this time, he the USA including the National Christoph Winkler, Anja Kozik, received awards both as a dancer Theatre, Royal Shakespeare Heike Hennig, Milan Gervais and choreographer. Since his Company, Shakespeare’s Globe and Constanza Macras. She departure from Spain, Jose has and Peter Brook’s renowned has a passion for hip-hop and performed with Charleroi Danses, Centre International de is a prize-winning participant Ballet National de Marseille, Créations Théâtrales in Paris. of dance battles throughout Trash Dance, Shobana Jeyasingh She is also an associate member Europe. In 2011 she was invited

Dance and Akram Khan Company. of Complicite. She has appeared Photo: Jean-Louis Fernandez to be a dancer on the ‘Michael In 2008/09, he was artist in in title roles in Richard III, King Jackson: The Immortal World RUTH LITTLE SASHA MILAVIC residence at Déda in Derby. Lear, Antony and Cleopatra, CHING-YING Tour’ by Cirque du Soleil, Recent choreographic commissions Celestina, Yerma, Doña Rosita, which toured the USA, Canada Dramaturg DAVIES include the restaging of Spoonface Steinberg, The CHIEN and Europe. She has worked Assistant Director A Thousand Shepherds for Skriker – for which she won Dancer with Akram Khan Company Ruth Little is a dance and Cape Dance Company, Selah a Time Out Best Actress since devising material for and theatre dramaturg, teacher and Sasha Milavic Davies is a for ZfinMalta Dance Ensemble, Award – Mother Courage and Ching-Ying Chien was born in performing in iTMOi in 2013. writer. She lectured in English RUTH LITTLE British-SerbianSASHA MILAVIC theatre director. theJOSE restaging AGUDO of KI for 16 male theCHING-YING solo performance, Kafka’s TaiwanJOY and ALPUERTO graduated from the SOHINI ALAM literature at the University of Dramaturg She trained at Ecole Jacques dancersAssistant at Choreographer English National Monkey. For Complicite’s National Taiwan University of Musician Sydney, and has been literary DAVIES CHIEN RITTER Lecoq and was founding member Ballet School, A Thousand The Visit, she received an Olivier Arts. She has worked with Akram manager at Out of Joint, Assistant Director Dancer Dancer Ruth Little is a dramaturg, and Artistic Associate of ShepherdsJose started for his Ace career Dance in and Award for Best Actress. Recent Khan Company since devising Sohini Alam is a British Soho Theatre, Young Vic and teacher and writer. She The Yard Theatre in London. Music,Andalusia Arctic where for London he began theatre includes The Valley of material for and performing in Bangladeshi vocalist whose Royal Court Theatre. She is Sasha is a Welsh- Ching-Ying Chien graduated Joy Alpuerto Ritter was born lectured in English literature She makes work in the UK, Contemporaryperforming as aDance Flamenco School, Astonishment, Cards, Fragments, iTMOi in 2013. She has also musical repertoire includes an associate director at Cape Serbian theatre director, from the National Taiwan in LA and raised in . at the University of Sydney, France, Serbia and Germany. KIdancer. as a solo Slowly for thePhoenix world Dance A Tender Thing, The Bee and collaborated with choreographer folk, modern, and traditional Farewell where she is curating choreographer, and University of Arts. As well as She started training in ballet was literary manager at Out Recent productions include Theatreof contemporary and Time/Dropper dance . Julie Taymor’s production of Fang-Yi Sheu and continues to Bengali songs. She also and producing Sea Change, a dramaturg. She trained at collaborating and creating and Philippine folk dance of Joint, Soho Theatre, Royal Akram Khan’s One Side to Josebecame has moreworked visible for Akram as he Khan A Midsummer Night’s Dream. create work with her partner composes and has branched programme of interdisciplinary Ecole Jacques Lecoq and was work with a number of as a child. Graduating from Court; artistic associate, the Other at The Lowry, The Companyworked throughout since 2011 Europe.as a rehearsal Her film and television credits Kuan-Hsiang Liu as well as Horse out into multi-lingual music research, sailing expeditions, a founding member and is an Taiwanese choreographers Palucca School in Germany, Young Vic; associate director, Inquiline in Dresden, The Crackle director,As a rehearsal assistant director choreographer, and include A Midsummer Night’s Dance Theatre in Taiwan. For in bands, dance, film, and events and exhibitions across Artistic Associate of The Yard including Fang-Yi Sheu, Joy has been working with Cape Farewell. Dramaturg at Linbury Studio Theatre and movementassistant choreographer assistant and dancer Dream, Harry Potter and the Chinese artist Cai Guo-Qiang, theatre. Sohini is lead vocalist the islands of . She is Theatre, London. Productions Ching-Ying also worked as a choreographers such as SOHINI ALAM for Akram Khan Company The Wasp Factory in Bregenz, onJose several has worked productions. on several This Order of the Phoenix, All or she worked as a physical model for her band Khiyo and for dramaturg with Akram Khan as a director include The 5 physical model for Chinese Christoph Winkler, Heike Musician since 2010. Other roles and London. She has year,creations he is forrehearsal Akram directorKhan for Nothing, Orlando, The Baby of during the production of his Kishon Khan’s Afro-Cuban- Companyinclude associate and has artist, worked Lives of the Overly Sad Milutin Company, including DESH, fine art artist Cai Guo- Hennig and Company’s Bengali jazz band Lokkhi worked as a movement director Big Dance. He will also create Mâcon, Rome, Silent Witness, ‘Day and Night,’ a large-scale Sohini Alam is a British- withPerth Sadler’s International Wells, ArtsSpitalfields and My You at Atelje 212 in iTMOi, TOROBAKA, Chotto Qiang. She began working such as Cirque du Soleil. Terra. She is a co-founder of at the Hamburg State Opera, Silk Road, his first full evening Grushko, Maria’s Child and gunpowder drawing. Bangladeshi vocalist whose Festival,Festival; Barbican,dramaturg, National Sidi Belgrade, for which she won Desh, London 2012 Olympic with Akram Khan Company Joy’s interest in urban the arts company Komola Young Vic and Opéra de Lyon together with producer Assis Tale of Tales. Kathryn is also musical repertoire includes folk, TheatreLarbi Cherkaoui Connections, Shell ShockFuel, the prestigious Muci Draskic Games opening ceremony, in 2013 and achieved dance lead her to expand Collective and was a musical and as an assistant director for Carreiro, and another full a renowned director and her modern and traditional Bengali Theatre(La Monnaie), Forum Jonathan Dublin, Siobhan award for Best Director. Sasha and Sylvie Guillem’s farewell the ‘Outstanding Female her repertory to Hip Hop director of the powerful Complicite. She was recently evening for Ace Dance and credits include My Perfect Mind songs. She has branched out DaviesWatkins Dance Kes (Sheffield and Le Patin choreographed Everything tour Life in Progress. Jose’s Performance (Modern)’ and Voguing. She has been documentary, Rising Silence. invited to be part of Festival Music. Between 2016 and 2017, for the Young Vic, in New York into multilingual music, working Libre.Theatres), Recent 1984 projects (Northern include That Rises Must Dance independent choreographic award at the UK National touring internationally with A third-generation vocalist, d’Avignon’s Voyage de Kadmos he is an Associate Artist of and on a UK tour, Othello for with bands, dance and theatre. KesBallet), at Sheffield Le Patin Libre Theatres Vertical and performed in the courtyard commissions include Phoenix Dance Awards in 2016 for Company Wangramirez and Sohini has performed at programme for emerging artists. ZfinMalta Dance Ensemble. the RSC, The Glory of Living A third-generation vocalist, ShellInfluences, Shock atThreshold La Monnaie/De (Dance at Somerset House in 2018 Dance Theatre, ZfinMalta, her performance in Until the Akram Khan Company since Ronnie Scott’s Jazz Club for the Royal Court Theatre, Sohini trained with her mother, Munt,Umbrella), both ENB in 2014. Dust, She Giselle; was the and was invited to be part of ACE dance and music, Lions. She performs in the 2012. Joy was nominated for and WOMAD. She is part Mr Puntila and his Man Matti Hiron Alam and her aunts, internationalco-director Archipelago dramaturg at Banff Festival d’Avignon’s Voyage Cape Dance Company and Company’s latest production ‘Outstanding Female Dancer of the international female for the Almeida and in the West and renowned Nazrul Sangeet ArtsFolkschool; Centre DramaturgyPlaywrights Colonyfor de Kadmos Programme for Norrdans. This year, Jose Outwitting the Devil whilst (contemporary)’ at the UK collaboration GRRRL and End, The Birds for the National singers Jannat Ara and Ferdous inDance 2014 residency and 15, a leader, trustee Banff of emerging artists. She is also premiered his first short also presenting her solo National Dance Awards for provided vocals for Akram Theatre and The Comedy of Ara. She is lead vocalist with the CoveCentre; Park guest and editor, Eigg Box, Dance and an Associate of Complicité. film Selah with co-director Vulture internationally. In her performance in Until the Khan Company’s DESH. Errors and Pericles, both for CHRISTINE band Khiyo as well as Kishon sheUmbrella won the Definite 2012 KennethArticle; Matthew Beckett, and addition to performing on Lions. www.komola.co.uk Shakespeare’s Globe. JOY RITTER Khan’s Afro-Cuban-Bengali TynanDance AwardUmbrella for Lecturedramaturgy 2018. performed in the international stage, Ching-Ying worked www.joyalpuertoritter.com jazz band Lokkhi Terra. She is for her work on Akram Khan’s tour of Silk Road. with director Adam Smith to Dancer a co-founder of arts company DESH. Her publications include www.joseagudo.co.uk shoot music videos for Plan B The Young Vic Book, The Royal and The Chemical Brothers. Christine Joy Ritter was born Komola Collective and has been Court Theatre Inside Out, ‘The JOSE AGUDO in Los Angeles and moved to acclaimed for her work with Tara Slow Art of Contemporary KATHRYN Germany as a child where she Arts. Previous collaborations Expedition: Islandings’ in Assistant Choreographer HUNTER took her first ballet class at the include Akram Khan’s DESH. Expedition, ‘Art, Place, Climate: Voice-over Ballettstudio Armin Krain. From Situated Ethics’ in Art and Ethics Jose Agudo started his career in the age of 17, she attended Andalusia as a flamenco dancer. and ‘War in the Body’ for Kathryn Hunter was born in New the Palucca Dance School in He went on to study contemporary La Monnaie/De Munt. York and trained at RADA in Dresden. Since graduating in dance at Centro Andaluz de London. As an award-winning 2004, she has worked mainly in Danza in Seville and the actress, she has worked with Germany as a freelance dancer Choreographic Center of companies in the UK, France and with choreographers such as

described as charismatic, evolved into one of the world’s Abomination and The Amazing P H creatively wild, authentic and most foremost and successful Adventures of Mr Benn at . A inspirational. He graduated from dance companies. In addition Nuffield Theatre, Southampton. ARA HA OPA Berklee College of Music in to this work, he became the Richard has worked with Akram Boston in 2003. In 2014, Yaron producer at English National Khan Company for the past I S was commissioned to create Ballet in October 2013. Farooq seven years, re-lighting and Philippe Decouflé Queen Elizabeth Hall, an animated and curiosity-filled the opening percussion piece is a member of the GREAT coordinating productions such A O G G A of The Walled City Tattoo in Culture and Sport Advisory as bahok, Vertical Road, iTMOi, . I while in the same year Board and of the Strategic Kaash and TOROBAKA. He is The Han Show . S DAVID AZURZA hisYARON musical trio, ENGLER After They Left, AdvisoryFAROOQ Committee for The nowPEGG the Technical HOSSE Director for PETER SWIKKER ASHISTÉPHANEAH OAR A . I A was commissioned to create the Clore Leadership Programme, the company and works closely S Musician Assistant to the Costume Technical Coordinator Proect Manager and I kathak Musician soundtrackMusician for a new piece by asCHAUDHRY well as a witness at the with venues worldwide. E DÉJOURS Designer and Costume Maer our Manager John Ross, recipient of the New School for Social Entrepreneurs. . Lighting Engineer DavidBorn in Azurza 1968, wasDavid born Azurza in Spain Yaron Engler is a drummer, Producer Peter Swikker began his career Adventures Choreographer The French Ministry of S P H andstudied studied Fine atArts the at Madrid the Royal educator and speaker. P H working as a member of the O A Award. Yaron is a longtime Foreign Affairs acknowledged P . Based in Nantes as a freelance ConservatoryMadrid royal Conservatory. where he received He He has been involved in Born in Pakistan, Farooq I A lighting crew on Philip Glass’s collaborator of choreographer him in a list of the world’s lighting technician, Stéphane theis a Lucreciamember Aranaof several prize. vocal He is a artistic and educational Chaudhry enjoyed an O ES S opera Akhnaten at Muziektheater . Hofesh Shechter and has played top 100 cultural actors and Déjours has worked for many membergroups and of severalhas experience vocal groups as projects internationally and international professional B Hollands Diep. Since then, he , office a leading role in the creation of entrepreneurs. He is a regular different venues and companies anda solo has singer experience in contemporary as a solo was a featured speaker at dance career in the 1980s A P has toured with several theatre, E A his company’s productions and guest speaker at the University worldwide. He has toured singeropera andin contemporary symphonic opera and TEDxJaffa. Yaron has played and 90s. He was awarded an dance and opera productions in A . S . world tours, including Political of Hong Kong and London extensively with productions repertoire.symphonic Herepertoire. has received He has a leading role in producing Asian Achievement Award . S Belgium, the , South Mother, In Your Rooms, Survivor Businessfor his work School. as a dancerHe was in by Sidi Larbi Cherkaoui, I A severalconducted prizes children’s and has and a youth many of Hofesh Shechter’s A Africa and Uganda. During his Gregory Maqoma, Robyn and Uprising. Yaron also leads awarded an honorary doctorate Photo: Jean-Louis Fernandez cataloguechoirs and comprisedis a teacher of for more choral major productions. He 1988. After retiring from I studies in Rotterdam, he became Kaash Until the Lions. a variety of activities that aim from De Montfort University for Orlin and Wajdi Mouawad. He thanvocal 100 technique works composed and singing as composed the music for dancing, he graduated in one of four associates of a . kathak to reconnect people with their his services to dance in 2014. SANDER joined Akram Khan Company forwell children, as a lecturer youth and and author. adult the 2016 Open Theatre Arts Management and, a year technical production company, inner voice and creativity. in 2012 and has since worked choirs.David also He isengages a teacher in foractivities Production of Shakespeare’s later, teamed up with Akram LOONEN which he still operates to . on Vertical Road, iTMOi, DESH choralorganised vocal by technique conservatories, and Henry V and the opening Khan to cofound Akram Khan Assistant to the Set Designer support arts-related projects and TOROBAKA. . I singing.universities, David choral also federationslectures piece of the 2014 Walled Company. As the producer, he and Technical Producer around the world. Since and writeschoral aboutgroups the across voice at City Tattoo. Recent puts creativity at the heart of beginning work with Akram Khan A ESSAGE RO OAS SPOSOR O S Conservatories,Spain as well as Universities,further afield. recordings include his album his leadership style, forming Sander Loonen is an Company in 2009 on a tour of ChoralA self-educated Federations composer, and his Release and After They innovative business models experienced technical producer bahok, he has developed as a ARA HA OPA . workchoral is groupsrooted allin theover choral world. Left. Yaron is the founder to support Khan’s artistic in theatre. Having worked on multi-skilled technician and has SpainHe has as received well as abroad.several prizes of the training company ambitions. Their partnership the music scene in Brazil, he been involved with Vertical has evolved into one of the and has more than 100 works UpBeatPerformance. He is a Snow specialises A in designing Road , iTMOi , DESH and Kaash. A A world’s most foremost and composed for children, youth and Summa Cum Laude graduate and realising visionary, large- Photo: Maya Almeida Araujo successful dance companies. . adult choirs among his catalogue. from Berklee College of scale sets for dance, which mined to fulfil their destin RICHARDIn addition to this FAGAN work, he Music and holds a certificate tour around . the DESH world. iTMOi He FAROOQ Technicalbecame the Director producer at in Body Mind Healing. TOROBAKAhas collaborated Vertical with RoadAkram . English National Ballet in CHAUDHRY Khan Company on bahok, Mahabharata . RichardOctober Fagan 2013. began Farooq his is JULIEN DELOISON Producer In-I, DESH and Until the Lions , careera member as an of electrician the GREAT for Sound Engineer Akram Khan on Dust for A StagecraftCulture and Productions Sport Advisory and Born in Pakistan, Farooq English National Ballet, Sidi . wentBoard on and to ofmanage the Strategic the lighting Julien Deloison began his career Chaudhry enjoyed an Larbi Cherkaoui on Harbor Me departmentAdvisory Committee at Poole Artsfor The as a trainee on rock festival international professional for LA Dance Project and the . A I Centre.Clore Leadership He toured Programme, extensively stages in western France. dance career in the 1980s Royal Ballet Flanders on Fall. asas awell stage as aand witness production at Having attended a sound Photo: Danilo Moroni and 90s. He was awarded an His technical direction. credits MAREK POMOCKI managerthe School with for The Social Garnett technician school in Nantes, he Asian Achievement Award for include work with Wunderbaum powerStage Managerto fight her battle and Foundation.Entrepreneurs. Richard The French has also now works in his hometown at YARON ENGLER his work as a dancer in 1988. and Aakash Odedra Company. . A workedMinistry with of English National various local theatres as a sound Musician After retiring from dancing, he Sander is one of the founding Marek Pomocki is a freelance OperaForeign in Affairs its lighting acknowledged department engineer for music, drama and graduated in Arts Management members of DENZO, a collective arts manager and stage andhim isin nowa list a of freelance the world’s lighting dance productions, including Yaron Engler is a musician and, a year later, teamed up firstof technicians time eve andA designers technician. He has worked. with . designertop 100 culturalfor both actors corporate with choreographers such as who has been involved in with Akram Khan to cofound based in the Netherlands. the Centre for Youth Initiatives andand theatreentrepreneurs. productions. He is Sidi Larbi Cherkaoui, Hofesh the creation and production Akram Khan Company. As the Until the Lions Horizons, Malta International Recenta regular lighting guest designspeaker credits HervéShechter Le and Bouc Michael Clark. He of artistic and educational producer, he puts creativity at Theatre Festival, Akram Khan includeat the University work for Rolls-Royce,of Hong Chaijoinedrman Akram and Khan CEO Companyfrom - in projects across Europe, the the heart of his leadership style, Company, Sidi Larbi Cherkaoui BoehringerKong and London Ingelheim Business and IBM, 2014 for the DESH tour. USA and Asia – and was a forming innovative business I and composer Szymon Brzóska. asSchool. well as He theatre was awarded productions an featured speaker at TEDxJaffa. models to support Khan’s artistic suchhonorary as Not doctorate Now Bernard from De, His performances have been ambitions. Their partnership has . A . Montfort University for his services to dance in 2014. P H . A COMING SOON AT THE ROUNDHOUSE ARA HA OPA ROUNDHOUSE I S Philippe Decouflé Queen Elizabeth Hall, an animated and curiosity-filled A O G G A . I WE CREATE TO The Han Show . S PEGG HOSSE ASHIAH OAR A . I A S Assistant to the Costume Proect Manager and I kathak E Designer and Costume Maer our Manager TRANSFORM . S P H CircusFest P H O A P . I A 4 – 24 April 2016 O ES S . London’s Pushing the Powering B , office Creative Limits of the Talent A P E A Join us for three weeks of spectacular circus from across the globe. A . S . Engine Creativity of the Future . S Experience thrilling circus in the Main Space from the award-winning Finnish I A Built in 1847 as a railway repair We make really great work Young creatives are at the heart A Race Horse Company and Britain’s hottest circus company Barely Methodical Troupe. I Kaash Until the Lions. shed, the Roundhouse became with some of the biggest of everything the Roundhouse the heart of experimental names in music, and does. Each year we help . kathak Get up close and personal in the intimate one-on-one circus experience Ringside, theatre and cutting-edge music boundary-busting leaders in more than 3,000 people catch new work created by emerging artists in the Sackler Space or go and see . in the 20th century. Today, the theatre, circus and spoken aged between 11 and 25 to building’s iconic round shape word. Great artists power realise their potential through one of the many events happening across London. . I continues to forge a special brilliant experiences at the opportunities in music, media A dynamic between performers Roundhouse every single day. and the performing arts. ESSAGE RO OAS SPOSOR O S and audiences. ARA HA OPA .

S A A A . mined to fulfil their destin . DESH iTMOi TOROBAKA Vertical Road .

Mahabharata . Photo: Petter Hellman Photo: Hugo Glendinning A Race Horse Company: Barely Methodical . Super Sunday Troupe: Kin 4 – 16 April 20 – 24 April . A I Main Space Main Space . Chaos, comedy and phenomenal stunts collide The hottest British circus company right now power to fight her battle and in the latest offering from the award-winning flies into the Roundhouse with a brand new show. . A Finnish ensemble. Barely Methodical Troupe blasted onto the Race Horse Company will get your pulse racing UK circus scene in 2014 with its debut show first time eve A . . and have you gasping for breath in this new Bromance, winning awards and selling out production. Super Sunday features the wheel shows nationally and internationally. This brand Until the Lions Hervé Le Bouc of death, a human catapult, trampolining and new production combines exceptional acrobatics Chairman and CEO from - the teeterboard – it’s a thrilling roller coaster with contemporary dance, parkour, B-boying ride you won’t want to end. and tricking. I ‘Circus completely outside the box’ ‘Astonishing circus skills’

. A . roundhouse.org.uk Photo: Jonathan Birch Time Out ROUNDHOUSE STAFF FOR SADLER’SROUNDHOUSE WOULD

UNTIL THE LIONS Photo: Stuart Leech WELLSLIKE TO THANK

Chief Executive and Artistic Director Head of Technical and Production IS DANCEPresident Chairman’s Circle Legend Members Marcus Davey OBE Fiona Greenhill Sir Torquil Norman CBE Members Mr Jaakko Ahmala Development and Communications Production Manager Anya Tavkar AdLib Foundation The Darent Wax Company Director Ellie Sleeman Technical Manager Stephen Brookes Chairman The Atkin Foundation Simon Davis Executive Producer Nicola Thorold Chief Electrician Steve Royle Christopher Satterthwaite Philip & Peta Buscombe Dee Light Communications Finance Director Michael Dixon Senior Technician Tony Byrnes Colin & Helen David Mark Donald Assistant Production Manager Sadler’s WellsSupporters is a world of Projectsleader TonyAssociate & Jane Elliott Artists Johannafundraising Ehrnrooth programme, Senior Producers Lucy Atkinson Ollie Pickering in contemporaryand Core dance. Costs We Alex Graham John supported& Christine by Gambles lottery funding. and Rachel Nelken Venue Technicians Dean Castrillon, present aAndrew vibrant Lloydyear-round Webber MartinOur &16 Celestina Associate Hughes Artists, AlexanderLarge-scale Gunning work QC by national Producing Administrator Tom Curteis Kirstin Harrison, Adam Lovelock, programme Foundation of dance of Richardthree & Resident Philippa Companies Mintz Tim Hailstoneand international companies Film and Broadcast Producer Tim Meadowcroft, Sinead Peacock, every kindArts – from Council tango England to Pauland & Saraone AssociatePhillips CompanyTristia is Harrison presented in this 1,500- Claudia Lee Tom Webb hip-hop, ASOSballet, flamenco, Theare Rubin at the Foundation heart of Sadler’s Nicholasseat Horwood theatre. The Lilian Film and Broadcast Production Technical Apprentices Ben Rolls, BollywoodBackstage and cutting-edge Trust CharitableWells and Trustrepresent the mostAdil IspahaniBaylis Studio, part of the Coordinator Nandita Lovage Flora Wilkinson contemporaryThe Baskin dance Foundation – as well Runcimanexciting Charitable talent working Trust in The J RoseberyLeon Company Avenue site, seats as bring theBloomberg best British and Christopherdance today. & Teresa We support JHA Recruitment180 and showcases small- BECOME A Head of Marketing Carmel England internationalThe danceBuddy toHolly our Satterthwaiteour associate artists and Stevenscale Joseph work by established Marketing Manager Vicky Wilson audiences Educationalin London. Foundation Julie-Annecompanies Uggla by commissioningMichael artists, & Sophie experimental Kent work, Marketing Assistant Phil Brown Ernest Cook Trust new work from them, Richardhigh-quality Lander productions for ROUNDHOUSETicketing Manager Lloyd Stringer We also commissionEsmée Fairbairn and Producingproviding Circle access to resourcesEdmund young Lehmann audiences and work by Ticketing Assistants Maddie Ford, produce original Foundation work for our Memberssuch as rehearsal studios, Karenyoung & Lawrence artists Leverand emerging Jenny Holobow stages andEx-Animo tour it to Foundation major arts Marktechnical & Diane expertise, Aedy office Carriechoreographers. Longton MEMBER Publicist The Corner Shop Photo: Ellie Pinney venues aroundFarah the world. Allenspace Austin-Bishop and a creative base. Simon McGeary Since 2005Garfield we have Weston helped Heidi & Carlo Baravalle Ben RAt & TheNaomi Peacock B theatre, Head of Venue Operations Mark Butler to create more Foundation than 100 new EllaAudiences Bennett JP Rangaswamiour West End venue, we The Roundhouse is more Visitor Operations Managers dance works.Greene King Simon Bowman & Ben Raumannpresent popular dance Benefits include: More than half a million than just a great venue. Louise Glover, Claire Griffin, Cat McCurdie John Lyon’s Charity Gina Edwards Carolynstyles Rubin from cultures around people come to see a We nurture new talent, provide • Priority bookingVisitor for gigs Services Supervisors Our goalKopparberg is to grow the public’s Stanley Buchthal & John the& Elise globe, Ruskin as well as circus performance at Sadler’s opportunities and offer practical and shows – membersNick Comley, have Lucy Fellows, Helen Henson, enjoymentMAC and Cosmetics understanding Maja Hoffmann Budleyand Salterton physical theatre. Wells theatres each year support to thousands of young been first in linePaul for Jameson,tickets Alex Judd, Melissa Moore, of dance Nandosby making it relevant, Loraine da Costa John Samuels and more than 100,000 see people every year, helping to see Robert Plant,Florence Chic, Puddifoot, Iris Wilkes meaningfulThe and Norman enriching. Trust At the Hedley & Fiona Goldberg Miles Thomas our productions at venues On Tour them to reach their full The Knife, Patti HeadSmith ofand Food and Beverage Ian Williams same time,Olswang we seek to develop Kevin & Deborah Gundle Nigel & Jo Wagstaff around the world. The variety potential through creativity. Faith No More Photo: Damon Neale the art formPaul by Hamlyn supporting Foundation artists Nick & Diane Harvey AngusSadler’s Walker Wells productions and the creationPRS for Musicof exciting Foundation Robof & our Samantha programming Kirkwood enables Jed Wilsonhave travelled to every us to attract large audiences We also programme and • Access to the exclusive new work.Pusser’s Sadler’s Rum Wells is Mike Lucy corner of the globe and to from diverse backgrounds commission daring works of Members’ Bar a registeredRachel UK Charitablecharity. Trust Ursula Macfarlane & Registeredcities oncharity every continent. and age groups with a wide theatre, circus, installation and The Royal Masonic Trust Roy Ackerman number:Many 1071487 of these new works range of cultural interests. contemporary classical music. • Invitations to special for Girls and Boys The Mackintosh have achieved critical and Roundhouse events Runciman Charitable Trust Foundation commercial acclaim and As a Roundhouse member, from The Sackler Trust BrianOur & Lynne Theatres Magnus draw attention to dance as Universal Music Group Simon & Midge Palley an important contemporary £40 to £1,500 a year, you can • Queue jump into the venue Sadler’s Wells has been Wellcome Trust Jesse Norman MP & art form. support this valuable work and presenting theatrical

Photo: Ellie Pinney The William and Christine Kate Bingham receive great benefits. • Dedicated booking line productions from a historic Eynon Charity The Oaksmere Hotel site on Rosebery Avenue, In the Community Frank & Caroline Runge Islington, for over 300 Corporate Members Mark & Mandy Salter We seek imaginative ways to years. Five previous theatre CME Group Peter Sands & Betsy Tobin engage the widest possible buildings have also all carried The Future Laboratory Michael & Melanie public with exciting learning the name Sadler’s Wells and Thank you to the many Greene King Sherwood opportunities that have the occupied the site since 1683. Phone: 020 7424 8455 other Roundhouse staff Olswang Tom & Mary Ellen Wanty highest artistic standards, and and volunteers who STEEL London Clive & Michele Warshaw are supported by Sadler’s Email: [email protected] Our main theatre in Islington contributed to this project Stillwell Partners Erica Wax & Andrew Balls Wells world-class resources. Visit: roundhouse.org.uk/memberships Photos: Philip Vile opened in 1998, after a major COMING SOON AT SADLER’S WELLS SADLER’S WELLS STAFF FOR UNTIL THE LIONS

Artistic Director and Chief Executive Ticket Office CBE Ticket Sales & Services Manager Zahir Jaffer Chief Operating Officer Britannia Morton Ticketing Services Support Specialist Bruce Moore Director of External Affairs Magdalen Fisher Ticket Office Supervisors Barbara Birch, Director of Artistic Programme Katy Arnander Photo: Jean-Louis Fernandez Mark Hammond, Abigail Parker Finance Director Mark Rhodes Memberships & Ticketing Services Administrator Executive Producer Suzanne Walker Ritchie Dach Akram Khan BalletBoyz: Director of Technical & Production Emma Wilson Ticket Sales Assistants Emily Adams, Director of Marketing & Sales Virginia Aparicio, Jean Baynham, Naomi Bowen, Company: Kaash Life Sebastian Cheswright Clare Bracewell, Stephanie Brotchie, Artistic Programmer and Producer, Kitty Dalton, Lisa Diveney, Ryan Epps, Creative Learning Jane Hackett 3 – 5 March 20 – 24 April Brandon Force, Ben Francis, James Hameed, Executive Assistant (Maternity Cover) Elspeth Harrison, Tim Chen-Hudson,

£12–32* £12–38* Rosalind Glass Paula Jones, Wesley Jones, Ian Marshall, Isabelle Mason, Amie McBye, Lee McDonnell, Fourteen years ago, Akram Khan teamed up BalletBoyz returns with a new show for 2016, Programming & Creative Learning Sheila Motani, Grace Nyandoro, Paula Patritti, with the celebrated talents of Anish Kapoor and co-produced by Sadler’s Wells in association Director of Artistic Programme Katy Arnander Matt Phillips, Rosalind Reeder, Samuel Ricketts, Nitin Sawhney to present Kaash, his company’s with artsdepot. Artistic Programmer & Artist Development Nicola Salt, Caitriona Shoobridge, John Sinclair, first full-length work. Eva Martinez Cameron Slater, Tom Walczak Featuring two new commissions by Pontus Head of Programme Anneliese Graham Hindu Gods, black holes, Indian time cycles, Lidberg and Javier De Frutos, the evening takes Projects Manager Robyn Cabaret Press tablas, creation and destruction were the an elegant, powerful and sometimes provocative Programming Coordinator Richard Cross starting points for this work. Kaash (the Hindi look at life and death, presented in BalletBoyz’ Head of Press Abigail Desch Programming Assistant Amy Welch word for ‘if only’) accentuated Khan’s quest inimitable style. Interim Senior Press Manager Caroline Ansdell Programming Intern Louise Kay to build bridges between the worlds of Press Officers Jolene Dyke, Georgia McKay, contemporary dance and the Indian classical Performed by its all-male company of ten Agnish Ray Marketing, Sales & Press dance form kathak. An acclaimed cast of amazing dancers, the show features an original Press Office Coordinator Eugénie Dunster dancers, who will shed new light and energy score played live onstage by an ensemble of Director of External Affairs Magdalen Fisher on the piece, performs this long-awaited revival nine musicians. Corporate Communications from the Sadler’s Wells Associate Artist – one of Marketing & Sales Corporate Communications Manager Giulia Ascoli the most revered dance-makers working today. ‘A wonderfully bonded ensemble who move Director of Marketing & Sales with passion and presence’ Sebastian Cheswright Development ‘An exquisitely beautiful shifting tapestry of The Times Senior Marketing Manager Sammie Squire Director of Development Emma Collings tightly sewn motion, light and dark’ Marketing Manager (Touring) Lucy White Development Manager, Trusts & Foundations The New York Times Marketing Officers Sally Daniels, Ben Stanley Terrie McCann Marketing Publications Officer Joseph Burnham Manager, Corporate Partnerships David Milsom Publications, Digital and Social Development Manager, Individual Giving Anna Clark Save 20% on your tickets when you book two or more shows at the same time. Media Coordinator Rita Chowdhury Development Coordinator, Terms and conditions apply: sadlerswells.com/save Trusts & Development Toni Leung For full season listings: sadlerswells.com Digital Development Coordinator, Ticket Office: 020 7863 8000 Digital Manager Mark Doerfel Individual Giving Samuel Doyle Digital Media Officer Robin Clark Development Assistant, *Transaction fee applies: £3 for telephone bookings. £1.95 for online and concessionary bookings. Web Editor (LondonDance.com) Carmel Smith Individual Giving Verity Casey No charge in person at ticket office. Digital Information Assistant Denise Drake sadlerswells.com