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MARKETING and PRESS PACK for 6000 Miles Away MARKETING AND PRESS PACK FOR 6000 miles away Version 12 – Feb 2014 Photo: © Lesley Leslie-Spinks Content 1. Crediting – Including tour sponsor -Rolex (p.2-3) 2. Brochure copy (p.3) 3. Images (p.3) 4. Logos (p.4) 5. Evening Programme/Freesheet (p.4) 6. Press Quotes (p.4) 7. Biographies (p.5 - 11) – Please confirm which dancers are appearing in specific venues 8. Optional – Approved – Shorter versions of biographies (p.12-14) For further information contact: Lucy White, Marketing Abigail Desch, Press Sadler’s Wells, Rosebery Avenue Sadler’s Wells, Rosebery Avenue London EC1R 4TN London EC1R 4TN T: 00 44 (0) 207 863 8104 T: 00 44 (0) 207 863 8119 E. [email protected] E: [email protected] Important note All copy must be used as provided. No changes are permitted without the agreement of Sadler’s Wells. All information contained in this document, along with high resolution images, can be downloaded from http://www.sadlerswells.com/tour-marketing/sylvie All marketing, programmes and press releases must be proofed by Sadler’s Wells and approved by the tour supporter Rolex before going to print, please allow at least 72 hours for the approval process. Please contact Lucy White, [email protected] / +44 (0)20 7863 8104 and Nick Marsden, Corporate Partnerships Manager, Tel +44 (0)20 7863 8138 / [email protected] 1. Crediting (Advance publicity & press release) The following short billing must appear on all advance publicity including posters, venue/festival brochures and press releases: SHORT BILLING: Sadler’s Wells London / Sylvie Guillem 6000 miles away Ek/Forsythe/Kylián A Sadler's Wells London / Sylvie Guillem Production Co-produced by Les Nuits de Fourvière/Département du Rhône, Athens Festival, and Esplanade – Theatres on the Bay [The following full billing must appear in all programmes] FULL BILLING: 27’52” * Choreography: Jiří Kylián Music: Dirk P Haubrich (new composition, based upon 2 themes by Gustav Mahler) Set Design: Jiří Kylián Costume Design: Joke Visser Lighting Design: Kees Tjebbes World Premiere: 21 Feb 2002, Lucent Danstheater, Den Haag NDTII Dancers: PLEASE ASK WHICH DANCERS ARE PERFORMING Rearray Choreography: William Forsythe Music: David Morrow Costume Design: William Forsythe Lighting Concept: William Forsythe Lighting Design Realised by: Rachel Shipp Dancers: Sylvie Guillem & Nicolas Le Riche / Massimo Murru* Bye Choreography: Mats Ek Music: Ludwig van Beethoven Piano sonata Op. 111, Arietta Recording played by Ivo Pogorelich Set & Costume Design: Katrin Brännström Lighting Design: Erik Berglund Filmographer: Elias Benxon Dancer: Sylvie Guillem Co-produced by Dansens Hus Stockholm * Casting & rep may change in some venues. Please check with Sadler’s Wells. [Further credits will be required for the programme and will be supplied by Sadler’s Wells at a later date. Please request in plenty of time for your programme deadlines.] 2. Sample Brochure Copy Sadler’s Wells is delighted to present the world premiere of a mixed programme devised and performed by internationally acclaimed dancer and Sadler’s Wells Associate Artist Sylvie Guillem. Widely recognised as one of the world’s greatest dancers, Sylvie Guillem stars in this new evening of work by three of today’s most important choreographers; Mats Ek, William Forsythe and Jiří Kylián. This Sadler’s Wells / Sylvie Guillem production features iconic dance-maker William Forsythe’s new duet, Rearray, for her and Paris Opera Ballet étoile Nicolas Le Riche / Teatro alla Scala Ballet étoile Massimo Murru [delete as appropriate] Acclaimed Swedish choreographer Mats Ek’s new solo, Bye, for Guillem, set to Beethoven’s last piano sonata, has been heralded as a “masterpiece” by Frankfurter Allgemeine Zeitung. Completing the evening is a duet from Kylián’s work 27’52” performed by dancers handpicked by the choreographer. Following the highly acclaimed Sadler’s Wells’ collaborations, PUSH and Eonnagata, this world premiere evening is a highly-anticipated return to the stage for the ballerina widely acclaimed as ‘the greatest of her generation.’ 3. Images Images can be downloaded from http://www.sadlerswells.com/tour-marketing/sylvie 4. Logos Venues should include the Sadler’s Wells logo on all print including flyers, posters, programmes. Where space is limited (eg media ads) the logo may be omitted and just the line credit used. On all evening programmes the following credit and logo must be included: Supported by Both logos can be downloaded from http://www.sadlerswells.com/tour- marketing/sylvie 5. Evening Programme/Freesheet Rolex, the international tour supporter, may require a full page colour advert in a prime position in the Sylvie Guillem 6000 miles away evening programme. Please send advert design specifications at least two weeks prior to the programme print deadline to: Nick Marsden, Corporate Partnerships Manager, Tel +44 (0)20 7863 8138 / [email protected] Sadler’s Wells to be charged for the advert space at the charity rate. In the instance that an evening programme is not produced and is replaced with a freesheet Rolex must be credited as outlined in the short billing information in point 1. and go through the proof and approval process as specified at the beginning of this document. Further logos for the co-producers will also be required and will be supplied at a later date. 6. Press Quotes “Sylvie Guillem is widely regarded as the most brilliant ballerina of her generation” THE GUARDIAN “There can be no doubt that Sylvie Guillem is one of the greatest dancers ever” DAILY TELEGRAPH 7. Biographies [Additional biographies will be required. Please request in good time for your programme deadlines] Sylvie Guillem By John Percival Pure physical prowess was the beginning of Sylvie Guillem’s career, but it was theatre that seduced her and made her the great star of her generation. Born in Paris, she began as a gymnast with Olympic hopes, but at 11 when she and her group attended the Paris Opera’s ballet school for polishing, she switched ambitions. The teachers accepted her with delight, bowled over by her extraordinary physique, amazing feet, tremendous jump, and equally by her intelligence and determination. Already as a student she attracted attention in the school performances of ballets by David Lichine, Albert Aveline and Attilio Labis. Joining the Paris company at 16, she raced right up the hierarchy, winning promotion every year in the annual competitions. Rudolf Nureyev, appointed artistic director of the company as she began her third year, gave her a small role in his debut production, Raymonda, quickly followed by others as he continued diversifying the repertoire. Her swift, light technique proved radiant in the “Shades” solos of his Bayadère vision scene, her dancing in Balanchine’s Divertimento No 15 showed style. Even more notably, she danced everyone else off stage in Rudi van Dantzig’s No Man’s Land, her powerful dramatic sense creating a convincing portrait of tension and tenderness, anxiety and determined self-sufficiency. In December 1984, aged 19 (and only five days after she had won promotion to première danseuse ranking), Nureyev appointed her étoile, star dancer, coming on stage at the end of her first Swan Lake to make the announcement publicly. Over the next few years many visiting choreographers put her into their creations. William Forsythe led the way with France Danse and later gave her the central role of In the middle, somewhat elevated. Maurice Béjart made Mouvements Rythmes Etudes and Arépo featuring her; she stood out in Carole Armitage’s GV10 and John Neumeier made a brilliant solo for her in Magnificat. Especially influential was the experience of creating Robert Wilson’s minimalist Le Martyre de St Sébastian. Jerome Robbins chose to mount his In Memory of… specially for her, and she was prominent in the company’s Antony Tudor programme and in MacMillan’s Song of the Earth, also in other works by Balanchine, Béjart and Lifar .Naturally she danced the big classics too: Nureyev particularly liked her in his Don Quixote (“like champagne”, he said), and in 1986 he made the title part in his Hollywood-based Cinderella for her. However, because the Opéra’s administration would not change her contract to make it easier for her to accept invitations abroad, in 1988 she resigned and made London her main base, with a guest contract at The Royal Ballet. Her roles there have included, besides the classics, Ashton’s Birthday Offering, Cinderella, Marguerite and Armand (Fonteyn’s first replacement) and Month in the Country, MacMillan’s Romeo and Juliet, Manon, Prince of the Pagodas and Winter Dreams, and Robbins’s The Concert. Her wish for a wider range inspired Royal Ballet productions of Mats Ek’s Carmen and Forsythe’s Herman Schmerman, Steptext and the new Firsttext, and several showpiece dances were given only for her: Robbins’s Other Dances, Béjart’s La Luna, also Victor Gsovsky’s virtuosic Grand Pas Classique, to which she added an unexpected touch of humour. Travelling worldwide to perform with many companies (including guest appearances at the Opéra), she took further opportunities to enlarge her repertoire, including Rostislav Zakharov’s Fountain of Bakhchisarai for the Kirov Ballet (choosing to play the tough wife Zarema, not Ulanova’s romantic Polish princess) and Agnes de Mille’s Fall River Legend with American Ballet Theatre. Béjart created three further ballets for her (including SissiImpératrice about the eccentricities of the Austro-Hungarian Empress Elisabeth) and cast her in two of his most famous works, Bolero and The Rite of Spring. Mats Ek made two filmed ballets for her with special effects, Wet Woman and Smoke. Collaborations with the film maker Francoise Va Han have documented parts of her career and included her own improvisations, also a strange walking around solo for her, Blue Yellow, commissioned from the independent British choreographer Jonathan Burrows.
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