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Annual Review 2016–2017 Contents

4 About English National Ballet 32 ENB Philharmonic

6 A message from our Artistic Director 34 Nurturing Talent

8 A message from our Chairman 36 Reaching Audiences

10 A message from our Executive Director 40 Engagement

12 Highlights 44 Support

14 Artistic Programme Review 48 Financial Performance

24 Artistic Programme Credits 50 Looking Forward

26 Artistic Programme Awards 52 ENB Board & Advisors

28 ENB Dancers 55 ENB Staff

Dancers of English National Ballet in Swan Lake in-the-round © Laurent Liotardo

Our ambition is great ballet for everyone.

Our Mission Our Objectives update this text 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. – T o 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. – T o inspire, enlighten and uplift the public We are a world-class organisation, through performances, events, interaction flexible, collaborative, and engaging with and experience; our audiences. We honour the tradition of great classical ballet while embracing – T o develop the art form of ballet by change, evolving the art form for future commissioning new choreography, generations and encouraging audiences design, and musical composition as well to deepen their engagement. as cherishing the classical repertoire;

– T o maintain the highest artistic standards.

Isaac Hernandez as Albrecht in Giselle © Laurent Liotardo

4 5 A message from our Artistic Director

‘To be relevant to the audiences

of today... we must be bold.’ When I joined as Artistic Director five years One of the things I find most rewarding Tamara Rojo ago, I knew that English National Ballet, a about my job is seeing our dancers get company steeped in tradition could also be to experience such variety and have access the company to push and transform the art to some of today’s brilliant works and form forward. I truly believe that we must choreographers. People like Akram Khan, continue to be relevant to the audiences of Aszure Barton, Annabelle Lopez Ochoa and today, and to achieve this we must be bold. Yabin Wang. It makes them braver, more well Respecting and caring of our classical rounded artists and this is something that repertoire while questioning their meaning makes English National Ballet truly special. and traditions. Collaborating with the greatest artists of today to see them anew. As a company, we are a family. We push each It develops us as artists, it shows our other but we also support each other because audiences the multitude of ways to tell a we know this is how to keep progressing. story and it means that when we return to I would like to thank every single member our beloved classics, we have renewed of the ENB family for their hard work and vigour and passion. unrelenting dedication. Our dancers, our musicians, everyone backstage and everyone Looking back on this season, I see as it as in the office – a season like the one we’ve just a year that really brought this vision to life. had wouldn’t have been possible without each Our two versions of Giselle, the powerful of you. I hope we continue to keep pushing, female voices of She Said, the grandeur of taking risks and being brave, because this our Nutcracker, the raw emotion of Bausch’s season shows it’s working! Le Sacre du printemps, the richness of Swan Lake. The classical and the new came together to the create a season we can all be proud of, a season that reached more people than ever.

Tamara Rojo Artistic Director

Tamara Rojo © Karolina Kuras

6 7 A message from our Chairman

As a growing company about to embark on ‘our reputation for an exciting new chapter in our new home at London City Island, I must pay tribute to all of innovation and creativity the people who have helped get us here. I’d has reached new heights’ like to thank our Executive Director Patrick for a sterling first year’s work, he has Justin Bickle wholeheartedly embraced the challenges of the job and I am sure he will continue to be a valuable champion of English National Ballet. I would also like to thank my board, who remain so steadfastly committed to the vision and work of the company and who give up so much time and energy each year, and of course, Tamara herself. I never cease to be Over the past few years, I have watched with amazed by her work ethic or determination to great pride as English National Ballet, under push boundaries. the directorship of Tamara Rojo has gone from strength to strength. As a company, we have My time as Chairman has been hugely fulfilling always been held in high esteem but I think it but with English National Ballet now on such is fair to say our reputation for innovation and solid foundations for the future, I have taken creativity has reached new heights. This year, the decision to step down as I move to Dublin that was reflected in a brilliant season of new for my own new business. It has been a great work, rejuvenated classics, critical acclaim honour to serve as Chairman of ENB’s board and a very healthy box office. I take my hat for five years, and to have been part of some off to every single person at English National of the most remarkable moments in its recent Ballet who have worked so hard for our history, from Lest We Forget, She Said and continued growth and success. Akram Khan’s Giselle to securing the deal with EcoWorld Ballymore to create our new purpose built home. This investment will further cement English National Ballet as a real powerhouse in the dance world and I will look on with great interest and continued involvement in the years to come.

Justin Bickle Chairman of the Board

HRH The Duke of York with Chairman Alina Cojocaru and Justin Bickle. Isaac Hernandez in © Photography by ASH Akram Khan’s Giselle © Laurent Liotardo

8 9 A message from our Executive Director

Although I am new to the company I have been made to feel part of the family from day one and I would like to thank everyone who has made me feel so welcome. I am looking forward to helping steer ENB through our move to London City Island and if this past season is a taste of things to come, I can’t wait to see the next few years unfold.

To my predecessor Caroline Thomson I would also like to extend my thanks for supporting me in my transition, and to Tamara for her inspiring vision and ceaseless energy.

I’d also like to recognise all of the people and organisations who have so generously After my first full year as Executive Director, supported us in recent years. Without their I feel privileged and excited to be part of generosity in addition to the support we English National Ballet’s journey. What we’ve receive from Arts Council England and our done over the last year is astonishing but it’s box office revenue, we simply would not be no fluke; ENB work harder than any company able to be so ambitious. There are exciting I’ve known. And that’s why it’s so gratifying to times ahead so thank you to everyone who see it all paying off when we hear from has supported us so far, and I hope we audience members about the impact our work continue to do you proud. has had on them, and from critics recognising the deep well of talent within the company. 2016/2017 Objectives One particular highlight from this last year was being there to collect the Olivier Award for – Securing funding for a new home for Outstanding Achievement in Dance English National Ballet and English alongside Tamara Rojo. It was richly deserved National Ballet School and a very welcome endorsement of Tamara’s tenure as Artistic Director and the whole Patrick Harrison – Increase ENB’s intellectual property company’s skill and dedication to excellence. Executive Director through the commission of new works

– Secure permission to perform Pina Bausch’s Le Sacre du printemps

– Increase ENB’s Digital output and audience

– Deliver large scale Engagement offer for Akram Khan’s Giselle

Tiffany Hedman and James Streeter in In the Middle, Somewhat Elevated © Laurent Liotardo

10 11 Highlights 771 296,000 local people attended a free paid attendance preview of Akram Khan’s 181 Giselle in Manchester performances, including six internationally 14.9m views of ENB’s digital videos 1,148,897 visitors to our website, up 39.9% on the previous year 120 dancers in our production of Swan Lake in the round 230,264 views of original dance 10,000 film Curing Albrecht views of our live stream for Emerging Dancer 4 new commissions including three one act works (She Said) and one 2,500 enjoyed Big Dance activities two act work (Akram Khan’s Giselle) 116% 79,000 at Westfield in London increase in tickets sold for Nutcracker Instagram followers at the London Coliseum, a new record

English National Ballet Dancers in Fantastic Beings by Aszure Barton © Laurent Liotardo

12 13 Artistic Programme Review

‘Three steps forward for women’ Our artistic programme is a diverse one, The Guardian enriched by the classical repertoire, contemporary work and new commissions. The thread that runs through everything is our belief that ballet is for everyone, everywhere – and it should reflect the world we live in. So whether it’s Akram Khan’s Giselle or Mary Skeaping’s, She Said or Swan Lake, this ever evolving art form speaks to our humanity and connects us with one another. The last 12 months have encapsulated this vision.

In the last year we gave 181 performances, including six internationally. And it all began in Spring 2016 with a return to the familiar main Laurretta Summerscales in M-Dao stage of Sadler’s Wells, where we are proud © Laurent Liotardo to be an Associate Company. For this run, we premiered our new triple bill dedicated to female choreography, She Said. The In an endorsement of our championing of production had long been an ambition of our female creativity The Guardian declared it artistic director Tamara Rojo, who called the ‘three steps forward for women’ and three choreographers at the helm – Aszure ‘a campaigning first’. While our audience Barton, Annabelle Lopez Ochoa and Yabin members were no less generous, with Wang ‘some of the most creative voices comments on social media ranging from working in dance today.’ Barton’s piece was ‘stunning new ballets to savour’ and developed in close collaboration with our ‘art at its finest’. And, in an example of our dancers, showing off the full possibility of the enthusiasm for collaboration across art forms, body, while Wang drew inspiration from the She Said also gave us the opportunity to work Greek tragedy Medea. And completing the bill, with Turner Prize-winning artist Grayson Perry, Lopez Ochoa’s Broken Wings told the story of who we specially commissioned to create a the iconic artist Frida Kahlo. front cloth. As all three pieces were yet to be created, Perry was free to let his imagination take charge, and the resulting work is a vibrant depiction of ‘She’ having three ideas, reflecting the three new ballet works.

Tamara Rojo as Frida and Irek Mukhamedov as Diego in Broken Wings © Laurent Liotardo

Tamara Rojo and Grayson Perry in front of his front cloth for She Said © Laurent Liotardo See page 22

14 15 Artistic Programme ‘‘moulded with a sculptural beauty’ The Times Review

From the rich tradition of Swan Lake, we moved into entirely new territory in September with Akram Khan’s fearless interpretation of the classic, Giselle. The world premiere took place on Tuesday 27th September at the Palace Theatre in Manchester before travelling to Bristol, Southampton and London. Khan’s first full length ballet features set and costume design by Academy Award-winning designer Tim Yip and an adaptation of the original score by composer Vincenzo Lamagna.

While commissioning and creating completely new work is intrinsic to what we do, we remain Jennie Harrington determined to keep the classical repertoire in English National relevant, and Akram Khan’s Giselle lives and Ballet’s Swan Lake in-the-round The beginning of June saw us reconnect with breathes that ethos. When it came to this © Laurent Liotardo arguably the most popular ballet ever created, production, our artistic director knew exactly Swan Lake. From 1 June to 12 June, we who was needed at the helm, ‘there was only performed Derek Deane’s take on the classic one choreographer I believe had both the tale in-the-round at the Royal Albert Hall. knowledge of tradition and creativity Featuring more than 120 dancers, this necessary’ adding ‘I believe this will be a production has already been seen by half very important step for the whole art form.’ a million people and in 2016 we added over The bold decision to reimagine this classic 53,000 ballet goers to that tally. Principal was made possible by additional National casting included Tamara Rojo, Isaac Lottery funding through Arts Council England Hernandez, Fernanda Oliveira, Alejandro and through our partnership with Manchester Virelles, Erina Takahashi, Yonah Acosta, Alina International Festival and Sadlers Wells, Cojocaru, Guest Osiel Gouneo and rising stars London as co-producers. It’s only with this Cesar Corrales and Shiori Kase. As in previous kind of continued support that we are able to years, we received warm praise from the take the calculated risks that are necessary critics, Luke Jennings of The Observer to push our artform forward. described seeing our Swans appear for the first time moving and breathing as one as As the work travelled across the UK, ‘profoundly touching’ and the Financial critics were unanimous in their admiration. Times remarked on the ‘roars of pleasure The Evening Standard called it ‘epic’ and from the encircling public’ and applauded a ‘a triumph’, The Times highlighted ‘the ‘true, honourable Swan’. Swan Lake is a ballet earthbound, visceral, feral and intense’ that often attracts first time or novice ballet group dances ‘moulded with a sculptural goers, and we were encouraged and beauty’ and The New York Times called it a heartened by those audience members’ ‘beautiful and intelligent remaking of the reaction on social media, ‘tonight, I fell in beloved classic’. In 2017, Khan’s production love with ballet’ said @SimonBurbage, received yet another honour when it picked another called the new experience ‘a up the Robert Robson Award for Dance at wonderful evening’ while @booksinkbanbury the Manchester Theatre Awards and the described it as ‘a magical night’. Sky Arts South Bank Award for Dance.

English National Ballet, Fernanda Oliveira and James Forbat in Adagio Hammerklavier © Laurent Liotardo 16 17 Artistic Programme Review ‘Full of wonder, magic, Christmas cheer and an abundance of talent’ @LucyAEvans

Our audience’s enthusiasm for Giselle was reflected in ticket sales of nearly 40,000.

As we headed towards Christmas, we delighted audiences with with our much-loved production of Nutcracker, choreographed by Wayne Eagling. A show on a grand scale, our Nutcracker has a cast of more than 100 dancers and Tchaikovsky’s score played live by our orchestra English National Ballet Philharmonic. 2015 was our most successful Nutcracker on record, with over 73,000 people attending performances at the London Coliseum over Christmas and New Year – so expectations were high in 2016. And we were delighted to surpass even that figure, with Rina Kanehara in ticket sales totalling more than 79,000. Mary Skeaping’s Giselle © Laurent Liotardo Knowing that many of our audience members are at a performance as a Christmas treat makes it all the more rewarding to see their In January 2017, we gave London audiences positive reactions on social media. Among the opportunity to enjoy Mary Skeaping’s the many tweets were @LiisaClaire’s, who classic production of Giselle. Although a very described it as ‘absolutely beautiful’ and the different interpretation from Akram Khan’s, orchestra as ‘fantastic’, and @LucyAEvans’ Skeaping’s Giselle is known for some of who said it was ‘Full of wonder, magic, ballet’s most dramatic scenes and haunting Christmas cheer and an abundance of imagery, and gives audiences the chance to talent’. As part of a national tour, Nutcracker experience Adolphe Adam’s score performed was staged at Milton Keynes Theatre for four live by English National Ballet Philharmonic. nights, at Liverpool Empire for five nights and at the London Coliseum from December 14 For these performances, we welcomed the through to 7 January. In London, critical praise international talents of Xander Parish, First came from the Financial Times, who said the Soloist with the Mariinsky Ballet, Elisa performance ‘sparkled’ and Express Online Badenes Principal with Stuttgart Ballet, as well who warned ‘this is one Nutcracker not as Michaela DePrince, Grand Sujet with Dutch to be missed’. National Ballet. The company is already home to talent from across the globe, but it is a reflection of the respect for the direction in which Tamara Rojo has taken the company that we are able to attract such acclaimed international stars. And as Tamara commented, it’s an added bonus for our audience ‘I am thrilled that our audiences will have the opportunity to see these remarkable dancers.’

Alina Cojocaru and James Forbat in Nutcracker © Laurent Liotardo

18 19 Artistic Programme ‘tremendous choreography, Review tremendously realised by ENB’s artists’ The Financial Times

Making their principal casting debuts were Also considered masterpieces in their own Lead Principal Alina Cojocaru, Principal right, In the Middle, Somewhat Elevated and Laurretta Summercales, Soloist Alison Adagio Hammerklavier completed a suite of McWhinney and Junior Soloist Katja brilliantly executed works. The critics called it Khaniukova as Giselle. And taking on the role a ‘decidingly tantalising bill’ (The Telegraph) of Albrecht for the first time, Lead Principal and commended ‘tremendous choreography, Isaac Hernandez, Principals Yonah Acosta tremendously realised by ENB’s artists’ and Alejandro Virelles, First Soloist Cesar (The Financial Times on Le Sacre du Corrales and Junior Soloist Ken Saruhashi. printemps). Audience members also felt compelled to share their reactions on social For the critics, Skeaping’s version had media, with comments including ‘triple bill? lost none of it’s power. The Observer Triple jackpot!’ from @Elenovello, ‘beyond confirmed it ‘remains one of the jewels’ brilliant’ from @riannamezzullo and of our repertoire, The Guardian called it ‘Absolutely superb triple by @ENBallet ‘atmospheric and richly picturesque’, tonight. So much energy, passion and and one Sunday Times reviewer remarked talent - completely blown away’ ‘With acting and dancing of such finesse, from @ daughterofashep. it’s no wonder I want to watch it over and over again.’ Again, audience members took Over the course of the season, we sought to to social media to share their reactions to the measure how we were doing in a number of production, with feedback ranging from ‘one ways. For example, She Said was evaluated of the most beautiful things I’ve ever seen’ using the Culture Counts quality metrics to ‘ethereal’, ‘spine tingling’ and ‘other survey, and recieved high marks from public worldy’. This traditional, enduring Giselle and peers for concept, presentation, risk and was also a box office success. captivation. While audience responses to Akram Khan’s Giselle were overwhelmingly To draw a hugely exciting year full of firsts to positive. In Manchester, audiences rewarded a close, triumphant returns to the classical it with 4.6/5 stars, with 89% saying they were repertoire and successful debuts, we ‘definitely glad they went’. Bristol audiences presented a triple bill at Sadler’s Wells gave 4.7 /5 stars and 87% and we received from Thursday 23 March to Saturday 1 April. comments such as ‘it was like a piece of art The evening comprised of Pina Bausch’s not a show’. Mary Skeaping’s Giselle was Le Sacre du printemps, William Forsythe’s equally well received, with 4.6/5 stars and In the Middle, Somewhat Elevated and Adagio 4.8/5 saying they were ‘definitely glad they Hammerklavier by Hans van Manen. With went’. Khan’s Giselle attracted the most press these performances we became only the coverage of the season, including 18 major second ballet company in the world and the features and braodcast items, 67 national only UK company to perform Bausch’s previews, 77 local and online previews, Le Sacre du printemps. As Tamara Rojo and 77 reviews. commented at the time: ‘Pina Bausch was an incredible artist, and remains of the most Critical success came in other forms too; we influential people in modern culture today. were awarded the Stef Stefanou Award for Pina’s Le Scare du printemps is of great Outstanding Company at the 2016 Critics significance, and it gives me so much joy Circle National Dance Awards and the Robert that English National Ballet have been Robson Award for Dance at the Manchester entrusted to perform the work.’ Theatre Awards, for Akram Khan’s Giselle to crown a highly successful 2016/17 season. Pina Bausch’s Le Sacre du printemps by English National Ballet © Laurent Liotardo

20 21 22 23 Artistic Programme Credits

SHE SAID Performance Dates Nutcracker Adagio Hammerklavier Broken Wings Peacock Theatre, London 1–2 April 2016 Choreography WAYNE EAGLING Choreography HANS VAN MANEN 5 performances (2016/17 FY performances) Choreography ANNABELLE LOPEZ OCHOA Based on concept by TOER VAN SCHAYK Staging RACHEL BEAUJEAN Theatre Royal, Norwich 8–9 April 2016 Music PETER SALEM* 5 performances and WAYNE EAGLING Music LUDWIG VAN BEETHOVEN La Llorona sung by CHARVELA VARGAS Orchard Theatre, Dartford 16–17 April 2016 Music PYOTR ILYICH TCHAIKOVSKY Set Design JEAN-PAUL VROOM Scenography DIEUWEKE VAN REIJ 5 performances) Design PETER FARMER Costume Design HANS VAN MANEN Lighting Design VINNY JONES Palace Theatre, Manchester 23–24 April 2016 Lighting DAVID RICHARDSON Lighting Design JAN HOFSTRA 5 performances Dramaturg NANCY MECKLER Performance Dates *By kind permission of Cool Music Ltd New Theatre, Oxford 30 April – 1 May 2016 5 performances Milton Keynes Theatre 23–26 November 2016 Le Sacre du printemps (The Rite of Spring) 6 performances White Rock Theatre Hastings, 7–8 May 2016 Choreography PINA BAUSCH 5 performances Empire Theatre, Liverpool M’Dao 29 November – 3 December 2016 Staging JO ANN ENDICOTT, BARBARA The Bristol Hippodrome 21–22 May 2016 Choreography YABIN WANG 7 performances 5 performances KAUFMANN, DOMINIQUE MERCY, HANS POP, Coliseum, London Music JOCELYN POOK* New Victoria Theatre, Woking 28–29 May 2016 JORGE PUERTA ARMENTA, KENJI TAKAGI Singer TANJA TZAROVSKA 14 December 2016 – 7 January 2017 Music IGOR STRAVINSKY 5 performances 35 performances Traditional Armenian song DLE YAMAN Peacock Theatre, London 6–10 July 2016 Set and Costume Designs ROLF BORZIK Set and Costume Designer KIMIE NAKANO 11 performances Collaboration HANS POP Giselle Lighting Design FABIANA PICCIOLI Performance Dates Production and Choreography Video Design MATT DEELY Swan Lake in-the-Round Sadler’s Wells, London 23–31 March 2017 MARY SKEAPING Dramaturg JORGE DE JUAN Choreography DEREK DEANE 8 performances (2016/17 FY performances) Music ADOLPHE ADAM *By kind permission of Chester Novello Music Music PYOTR ILYICH TCHAIKOVSKY A co-production between English National Ballet and Original Choreography JEAN CORALLI and Design PETER FARMER Pina Bausch Foundation in collaboration with Tanztheater JULES PERROT revised by MARIUS PETIPA Wuppertal Pina Bausch Lighting HOWARD HARRISON Fantastic Beings Design DAVID WALKER Performance Dates Choreography ASZURE BARTON Recreated Lighting DAVID MOHR INTERNATIONAL TOUR Assistant to the Choreographer Royal Albert Hall, London 1–12 June 2016 Performance Dates Le Corsaire TOBIN DEL CUORE 14 performances Coliseum, London 11–22 January 2017 Staged by ANNA-MARIE HOLMES after Music Anthology of Fantastic Zoology – 15 performances MARIUS PETIPA and KONSTANTIN SERGEYEV MASON BATES* Akram Khan’s Giselle Music by ADOLPHE ADAM, CESARE PUGNI, Costume Design MICHELLE JANK Direction and Choreography AKRAM KHAN BAUSCH/FORSYTHE/VAN MANEN LEO DELIBES, RICCARDO DRIGO, PRINCE Stage and Lighting Design BURKE BROWN Music, after the original score of In The Middle, Somewhat Elevated PYOTR VAN OLDENBURG, LUDWIG MINKUS, Video TOBIN DEL CUORE Adolphe Adam VINCENZO LAMAGNA Choreography, Costume and Lighting Design YULY GERBER, BARON BORIS FITINHOF- *By kind permission of Aphra Music Orchestration GAVIN SUTHERLAND WILLIAM FORSYTHE SCHNELL, ALBERT ZABEL and J. ZIBIN Visual Design and Costumes TIM YIP Performance Dates Edited by LARS PAYNE and Lighting Design MARK HENDERSON Staging AGNÈS NOLTENIUS Sadler’s Wells, London 13–16 April 2016 GAVIN SUTHERLAND 6 performances Dramaturgy RUTH LITTLE Music THOM WILLEMS in collaboration Libretto by JULES-HENRI DE SAINT- Assistant Choreographer ANDREJ PETROVIČ with LES STUCK Supported by the Esmée Fairbairn Foundation, The Foyle GEORGES and JOSEPH MAZILIER in a version Foundation, the She Said Production Syndicate, Cockayne – World Premiere 30 May 1987, Ballet de l’Opéra Grants for the Arts, The London Community Foundation and Co-produced by Manchester International Festival and National, Paris by ANNA-MARIE HOLMES the PRS for Music Foundation Sadler’s Wells, London Based on The Corsair (1814) by LORD BYRON By arrangement with Boosey & Hawkes Generously Supported by the She Said Production Syndicate Performance Dates Sets and Costumes by BOB RINGWOOD Palace Theatre, Manchester 22–24 September 2016 Lighting by NEIL AUSTIN 3 preview performances My First Ballet: Sleeping Beauty Performance Dates Palace Theatre, Manchester Choreography GEORGE WILLIAMSON 27 September–1 October 2016 Palais Garnier, Paris, France 21–25 June 2016 5 performances after Marius Petipa 7 performances Concept and Direction GEORGE WILLIAMSON The Bristol Hippodrome 18–22 October 2016 7 performances Music PYOTR ILYICH TCHAIKOVSKY Mayflower Theatre ,Southampton Music Arrangement GAVIN SUTHERLAND 26–29 October 2016 Design PETER FARMER and 6 performances NICHOLAS GEORGIADIS Sadler’s Wells, London 15–19 November 2016 Lighting Design HOWARD HUDSON 7 performances Dramaturg ADAM PECK

24 25 Artistic English National Ballet strives to consistently deliver artistic Programme excellence and creativity Awards

In the 2016–2017 Season we received the following honours: 2017 Olivier Award for Outstanding Achievement in Dance for expanding the variety of our repertoire with Akram Khan’s Giselle 2016 Lovie Award Winner for Best Internet Personality (Performances) and She Said at Sadler’s Wells. English National Ballet/Bohemian Rhapsody 2017 Sky South Bank Award Dance 2016 Manchester Theatre Awards, Robert Robson Award for Dance Akram Khan’s Giselle Akram Khan’s Giselle Palace Theatre Manchester 2017 Tanz Magazine Award for Production of the Year 2016 Critics’ Circle National Dance Awards Akram Khan’s Giselle Stef Stefanou Award for Outstanding Company Best Dance Film at the New Renaissance Film Festival 2016 Oustanding Male Performance (Classical) Best Director at the Portland Dance Film Festival Cesar Corrales as Ali in English National Ballet’s Le Corsaire Audience Award and Special Award Best Actor in an Experimental Film at the Choreoscope International Dance Film Festival Curing Albrecht

English National Ballet in Akram Khan’s Giselle © Laurent Liotardo

26 27 English We continue our commitment to maintaining the highest artistic standards by investing in our National dancers and attracting new talent to the Company. Ballet Dancers Lead Principals Character Artists

2016-2017 Current Company at time of printing and season Guest Artists

Joseph Caley Alina Cojocaru Jurgita Dronina Isaac Hernández Michael Coleman Jane Haworth

‘the company’s dash and whole-hearted commitment to their chosen profession quite rightly brought the house down.’ On She Said, Sunday Express

Fernanda Oliveira Aaron Robison Tamara Rojo Erina Takahashi Principals First Soloists

Begoña Cao Cesar Corrales Shiori Kase Laurretta Summerscales Fernando Bufala Crystal Costa James Forbat Alison McWhinney

‘They articulate each part of the body, somehow rendering geometric lines human.’ On In the Middle, Somewhat Elevated, The Telegraph

Adela Ramírez Fabian Reimair Junor Souza 2016–2017 Artists Guest Soloists

Elisa Bandenes Oscar Chacon Jeffrey Cirio Micahela DePrince Aitor Arrieta Katja Khaniukova Skyler Martin Ken Saruhashi

Osiel Gouneo Brooklyn Mack Xander Parish Ciro Tamayo James Streeter

28 29 English National Ballet Dancers Junior Soloists Junior

Tiffany Hedman Rina Kanehara Senri Kou Daniel Kraus Julia Conway Henry Dowden Noam Durand Shevelle Dynott

‘The dancers give committed, confident performances. with the corps in particularly good shape.’ i

Guilherme Menezes Eireen Evrad Giorgio Garrett Jennie Harrington Amber Hunt First Artists

Precious Adams Isabelle Brouwers Jung ah Choi Barry Drummond Sarah Kundi Pedro Lapetra Laurent Liotardo Adriana Lizardi

Anjuli Hudson Van Le Ngoc Stina Quagebeur Francesca Velicu Daniel McCormick Joshua McSherry-Gray Victor Prigent Maria José Sales Company the of Artists

Matthew Astley Claire Barrett William Beagley Alice Bellini William Simmons Emily Suzuki Lucinda Strachan Connie Vowles

Francisco Bosch Georgia Bould Emilia Cadorin Fernando Carratalá Coloma Angela Wood Erik Woolhouse Rhys Antonio Yeomans Jia Zhang

30 31 English We are committed to achieving the highest musical as well as dancing standards, and some of the National country’s top musicians form our orchestra. Ballet Philharmonic

Since Dame Alicia Markova and Anton Dolin scores for She Said by Jocelyn Pook and founded the company in 1950, English Peter Salem; exhilarating performances of National Ballet has always been committed Stravinsky’s score for Le Scare du printemps; to making live music a vital part in the cherished performance of Nutcracker on tour Company’s UK performances. and at the Coliseum; and performances of two different scores for Giselle – Adolphe Adam’s Led by Music Director, Gavin Sutherland, our beautiful classical score and Vincenzo critically acclaimed orchestra is one of the Lamagna’s new score, after the original, largest of its kind in Europe. for Akram Khan’s Giselle.

The 2016/2017 season was yet another English National Ballet Philharmonic members where the orchestra shone bright, performing also performed at smaller appearances for magnificent classic and thrilling contemporary events throughout the year including our scores throughout the season. annual Gala and at Dance Journeys 2017, where a new score was created by Thomas Highlights included performing Tchaikovsky’s Hewitt Jones and played by six members of magnificent score for Swan Lake to audiences the ENBP and 25 young musicians from of over 50,000 at Royal Albert Hall, Royal College of Music Juniors Department. performances of newly commissioned

ENGLISH NATIONAL BALLET PHILHARMONIC

MUSIC DIRECTOR Viola Clarinet Tuba Gavin Sutherland Alexandros Koustas* Derek Hannigan* Martin Knowles* David Danford Paul Allen GUEST CONDUCTORS Linda Kidwell Harp Gerry Cornelius Elizabeth Sharpe Bassoon Isobel Frayling-Cork* Misato Tomita John McDougall* Cello Howard Legge Timpani Violin 1 Garry Stevens* Kate Eyre* Matthew Scrivener (Leader) Martin Thomas French Horn Rachel Allen (Co-Leader) Mark Johnson* Percussion Naomi Elliott Austin Beattie* Emil Chakalov Lars Payne Alexandra Carr Anne Martin Richard Dilley Kevin Nutty Ruth Knell Double Bass Duncan Fuller Piano/Celeste/Organ Linda McLaren Jeremy Gordon* Trumpet Julia Richter Fiona Chesterman Dominic Black Chris Swithinbank Edward Brenton Catherine Ricketts Andrew Mitchell* Patricia Reid Violin 2 Flute II/Piccolo Alain Petitclerc * Helen Keen Trombone *Section Principal Susan Croot Andrew Connington* Charlotte Howes Oboe Michael Crowther Catherine Smart Gareth Hulse* Jennifer Brittlebank Bass Trombone Stephen Dinwoodie Leslie Storey*

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

32 33 Nurturing We believe in rewarding hard work and nurturing talent: it makes us stronger as a company and motivates our dancers Talent to reach their full potential. We give our dancers opportunities to learn from mentors, create new work, and work alongside some of the world’s finest guest artists and teachers.

We believe that hard work brings great reward. New commissions are another platform But for talent to really reach its full potential, for us to develop the skills of our dancers in it needs nurturing. And for people to give contemporary choreography and to give them something their all, they need to be looked a greater understanding of how new work is after physically and emotionally. At ENB, created. In the last 12 months, workshop we have a number of initiatives designed sessions were delivered by the She Said to nurture young artists and make sure the choreographers and our dancers were talent within our company is protected. involved in the research and development period for Akram Khan’s Giselle. And, to give Our Emerging Dancer competition is now an our dancers the ability to adapt and expand annual fixture on our schedule. In its seventh their skill set, contemporary classes were consecutive year, we see it as vital to taught by Patricia Okenwa, Kerry Nicholls developing talent from within the company and Mavin Khoo. and giving confidence to dancers in the early years of their careers. It is an opportunity to get feedback and praise from the likes of Sir Matthew Bourne and Russell Maliphant, as well as perform in the world famous London Palladium. In 2016, we also introduced the Corps de Ballet award, to recognise an exceptional artist of the company that has gone above and beyond for ENB. And as in previous years, the People’s Choice Award was voted on by members of the public.

We hope this year’s winners, Cesar Corrales (Emerging Dancer and the People’s Choice Award) and Jennie Harrington (Corps de Ballet Award) will also find their involvement in Emerging Dancer to be a stepping stone towards greater success.

New this year, Emerging Dancer was live streamed from the London Palladium, Cesar Corrleas and Jennie Harrington - Working in partnership with ArtStreamingTV, Emerging Dancer 2016 © Laurent Liotardo this gave people across the globe the opportunity to not only watch every We appreciate that being part of any performance, but have backstage access, professional dance company is a demanding enjoy behind-the-scenes footage and see job, and we want to make sure our dancers interviews with some of the artists involved. bodies and minds are well cared for. So in We were very pleased that the Live Stream 2017, we undertook a comprehensive review received more than 10,000 views. of our medical, rehabilitation and wellbeing provision. What we learn will help us offer the best support possible, as we prepare for our move to our new home at London City Island which will have significantly improved medical, fitness and rehabilitation facilities.

34 35 Reaching Audiences ‘What I have enjoyed most is dancing for a film and having the opportunity to create site-specific movement’ Participant in Curing Albrecht

We believe ballet has no barriers – everyone We strive to be a leader in broadening should be able to experience ballet. And that the demographic of ballet audiences. means we have a responsibility to reach as So in 2016/17 we set about forming new many people as we possibly can, regardless partnerships to help us do just that. of whether we’re in a theatre or not. This is We worked closely with Manchester why we are committed to expanding our International Festival and Greater Manchester touring activities, keeping our ticket prices local authorities to identify which schools accessible, reaching out to young people should be prioritised for our Giselle Explored and investing in digital innovation. engagement project. Out of 27 schools, 9 of them were in the top 20% of deprived Ticket sales are just one indicator of how neighbourhoods in the country. And we well we are connecting with audiences and focused on the ones that were least engaged in 2016/17 we gave 175 performances to with the arts and especially dance. We were a paid attendance in the UK of just under also pleased to welcome 771 local people 285,000, a figure that included more than new to ballet to a free preview of Akram Khan’s 30,000 tickets sold at £14. This was an Giselle during our Manchester residency, improvement on just under 190,000 in showcasing how the classical repertoire can 2015/16. be powerfully reimagined and made relevant for the 21st century. As a company, we relish opportunities to visit venues around the UK and over the We also reached out to groups that we know last 12 months, we performed in Bristol, from research are less engaged with dance Southampton, Manchester, Liverpool and and ballet in particular. In Manchester, Milton Keynes, while our popular First Ballet Southampton and Bristol this meant targeting series, a collaboration with English National our marketing campaign for Akram Khan’s Ballet School, delighted young audiences Giselle at specific postcodes with a higher (and future ballet lovers) in Norwich, Dartford, proportion of Asian households and C2, D Manchester, Oxford, Hastings, Bristol, Woking and E mosaic profiles*. Through direct print and London. and social media, we sought to connect with students and young people, as well as older Internationally, we continue to make audiences (aged 60 and over), community connections in a variety of ways. We were groups and people with a hearing impairment. joined by a number of dancers from around As a measure of our success, Manchester the world and worked with international reported 55% first time visitors, while choreographers Aszure Barton, William Bristol recorded 48% and Southampton, Forsythe, Hans van Manen, Annabelle 42%. And although there is still a way to go, Lopez Ochoa and Yabin Wang. Akram Khan’s around 8–10% of people who responded Giselle’s impact on the international dance to our survey in each venue described scene was evidenced by a number of themselves as an ethnic minority, which requests and visits from overseas promoters, is higher than in previous years. venue managers and artistic directors eager to see or programme the work. And in June If we are to reach a wider range of people, 2016, we performed at the Palais Garnier, a we must reflect this intention in the way we highly prestigious and rare opportunity that programme work too. She Said, celebrating introduced ENB to Parisien ballet fans. Online, the talents of female choreographers was a 80% of views for our Curing Albrecht film case in point, as was Akram Khan’s Giselle. came from abroad, as did 57% of Emerging And their commercial and critical successes Dancer live stream views. And a quarter of prove there is an appetite for work that speaks visits to our website were international. to diversity and a spectrum of influences. Curing Albrecht © Thomas Stroppel *C2 = Skilled manual occupations, D & E = semi-skilled and unskilled manual occupations, unemployed and lowest 36 grade occupations. 37 Reaching Audiences

Digital communication is an area in which In another first for ENB, we created a virtual We also use digital channels to encourage We made further progress against our we continue to make strides forward. reality experience. Working with Sky and debate and discussion around ballet and equality action plan goals. This included 2016/17 was no exception. In 2017, our Factory 42, we created the Giselle Virtual widen our impact. In the last year, this included the creation of a Dance for Parkinson’s website was redesigned and relaunched and Reality experience, available on Sky App. our Reimagining the Classics panel volunteering framework, which will be rolled our investment paid off almost immediately. The project was nominated for the Broadcast discussion, which was led by Tamara and live out to our wider volunteer network so that we Bounce rates went down by 74% and average Digital Award and selected for the Art of streamed, receiving 7,000 views. Live can attract a more diverse applicant base for pages per session and session time across VR Conference at Sotheby’s New York. streaming is a brilliant way to open up our art each role involved in this project. Our music the website went up by 53% and 8% form and in the last 12 months we live director Gavin Sutherland, contributed to the respectively. Film and television offer us the chance to streamed Emerging Dancer for the first time Association of British Orchestras Conference extend our reach beyond the walls of the and a company class for World Ballet Day. in Feb 2016 to promote the importance of theatre and in 2016 we created an original Emerging Dancer had over 10,000 views and delivering diversity in orchestras and he is dance film, Curing Albrecht, involving young the company class had more than 165,000 playing an active role in ensuring ENB leads dancers from Greater Manchester who views over the course of 24 hours. the way within the industry. worked with choreographers and directors, Morgann Runacre-Temple and Jessica Wright Overall, it was a successful year for our on location at Manchester’s Victoria Baths. digital reach: we had 1,148,897 visitors to It was shown before select performances, our website, up 39.9% on the previous year, and then released in January 2016 to coincide and 66.4% were new visitors. We had a with Mary Skeaping’s Giselle and was viewed 116% increase in Instagram followers, a 228,000 times on Facebook. We were also 26.8% increase in Twitter followers and a involved in the production of two 60.1% increase in Facebook followers. documentaries. Broadcast on the BBC, Giselle Belle of the Ballet was directed by Dominic Best and hosted by our artistic director Tamara Rojo and featured excerpts from our classic and new production of Giselle. We also joined forces with the Michael Nunn & William Trevitt to create a documentary about our historic trip to the On the set of Akram Khan’s Giselle provided us with a Palais Garnier, ENB in Paris. And we celebrated Giselle VR filming wealth of opportunities to connect digitally the 40th anniversary of Queen’s mega-bit © Laurent Liotardo with a wider audience. With support from an Bohemian Rhapsody by specially Arts Council England Exceptional Grant, we choreographing and filming a piece set to the created a more enhanced digital campaign. song. The resulting video amassed over 5.5 This included a bespoke microsite which million views and won the 2016 Lovie Award launched in May 2016. The microsite gave for Best Internet Personality / Performance. visitors access not only to information about the upcoming production but also rehearsal images and insightful short films chronicling the creative process. The site has had over 406,000 page views and the films have clocked up more than 6.5 million views.

38 39 Engagement ‘The ballet did make me urgently want to move more, and move better and hinted at how this might be possible Participant, Dance for Parkinson’s London

Integral to ENB’s programme is enabling our participants in the programme to see the company perform with provision of subsidised tickets for our matinee performances. And judging by the take up rate of 86%, this is a very popular offer. In addition, our participants were invited to attend our first Dance Journeys Matinee Takeover at Sadler’s Wells in March 2017, giving them a unique insight into another area of our Engagement programme.

Akram Khan’s Giselle was an inspiring launch pad for our Engagement team over the last 12 months and we delivered seven strands of arts activity in Manchester. The aim was to engage local communities, young people, and emerging artists in the production English National Ballet’s Our Engagement programme is all about process. The programme, Dialogues with Dance for Parkinson’s getting people closer to our work and Giselle, took in fashion and design, film, class programme © Laurent Liotardo demystifying the art form through choreography, animation and digital, live inspirational experiences - encouraging drawing, music and poetry all of which emotional connection through dance. provided more opportunities for the local We believe the benefits of dance go far community to connect with professional beyond enjoyment in a theatre; dance also artists. We also took advantage of local has enormous physical, mental and spiritual venues as a way of engaging new audiences. benefits as demonstrated by so many of For example, Akram Khan’s Giselle Takeover our Engagement activities over the last year. at the Whitworth Gallery in Manchester which included family workshops, a Chat with One of the areas of our Engagement work we Creatives, all day screenings of Curing are most proud of is our Dance for Parkinson’s Albrecht, a pop up design exhibition curated programme. Over the last 12 months, we by Tim Yip, performances and a ChoreoSpace continued to work with people with choreographic workshop for emerging artists. Parkinson’s through a range of dance and This drew an audience of over 1250, most of cultural activities, delivering regular high whom were new to ballet. quality dance classes annually in five hub locations. Our leadership role in dance for Parkinson’s is recognised by People Dancing, the Dance for Parkinson’s Partnership UK and through our affiliation with Parkinson’s UK. To further the artistic ambition of this programme we invited Jorge Puerto from the Pina Bausch Foundation as a guest artist to lead a ChoreoSpace exploratory workshop with our Parkinson’s dancers.

40 41 Engagement

‘Dance Journeys to me is learning new

ENB YouthCo, founded in 2012, is a key strand Dance Journeys is a large scale performance skills, improving, and making new friends’ of our Engagement work and is already one of project that brings together ENB YouthCo Dance Journeys Participant the UK’s leading companies in the youth with other young people, schools and cultural dance sector. This is thanks in no small part to organisations. In April 2016, around 100 young its unique focus on both ballet and people between the ages of 12 and contemporary, which reflects the diverse 18 joined forces with leading creative styles audiences see in of the work our main professionals to create a new choreography company. It offers the chance to train with a performed in a mixed bill with ENBYouthCo, world class company, and work with world ENBS and ENB at the Britten Theatre, Royal Other highlights of our Engagement We also continued to work closely with the class artists. In the last year, ENB YouthCo College of Music. The new work Unsilenced, programme over the last 12 months were bridge organisation, A New Direction to worked with Antonio Borellio of Phoenix, inspired by Malala Yousafzai was performed our activities as the West London hub for maximise the cultural offer for children and Louis McMiller of Studio Wayne McGregor, as a curtain raiser for our She Said triple bill at Big Dance, which included a performance at young people in London, the outer London New Movement Collective, Jordan James Sadler’s Wells on 16 April. This was following Westfield shopping centre in London to an boroughs and specifically in East London, Bridge of Tavaziva and Michael Clark the success of Dance Journey’s curtain raiser audience of over 2,500. We collaborated with with a focus on developing new relationships Company, Liane McRae, Desiree Ballantyne in 2015, which was the first of its kind for ENB, the Poetry Society for our Akram Khan’s with schools and academies that have least and Hubert Essakow, Kenji Takagi and showing how the project has grown in stature Giselle Challenge, a competition that had access to the arts. We trialled an Arts Award Josephine Ann Endicott from Pina Bausch as a core part of our ambitious Engagement 58 entries from 14 countries and more than one day project with Milton Keynes Theatre, Foundation. All of these artists provide a well programme.The Britten Theatre performances 2,500 views. We partnered with Widgit (who which aimed to help 30 key stage three of inspiration for our young, aspiring dancers. also involved young musicians for the specialise in producing materials for people students achieve their Bronze Arts Award. In 2017, graduates of the company went on to Royal College’s Juniors department, who who have difficulty in understanding and The project included a Nutcracker creative vocational training at a number of prestigious accompanied the dance piece live. Promoting using text) to produce resources using dance workshop, a Q&A with our company companies including Rambert, Laban, the whole project, were another group of symbols to support literacy and dancers and the chance to watch company Northern Ballet School and the London seven students from Hammersmith Academy communication for those with class on stage. and we will be progressing Studio Centre. who worked with us to come up with a digital special educational needs. this offer to further venues and schools and print marketing campaign. Throughout going forward. the process, they learnt to film dance footage, design and write marketing materials, and get everything done on time and within budget. Dance Journeys 2017 © Danilo Moroni

42 43 Support

We continue to rely on the support of individuals, trusts and companies, whose commitment and generosity provides vital funding which supports a wide range of work. Having significantly increased our fundraising income in the last few years, we maintained this growth in 2016/17, raising close to £2 million again.

Our regular giving schemes (Patrons, Friends and Ballet Buddies) continue to be a popular way to get more closely involved and support our work, and fundraising from individuals was once again strong. We recruited 36 new © Joshua Halvatzis & Helena Curtis Patrons, growing the revenue from regular giving schemes by 20% including upgrades and new recruits across both Friends and We welcomed two new brand partners – Kate Patrons schemes. Additionally, we ran a very Spade New York, which focused on activity successful appeal to support the production around the premiere of Akram Khan’s Giselle of Akram Khan’s Giselle, a syndicate for and their new flagship store opening on Pina Bausch’s Rite of Spring and established Regent’s Street, and Omorovicza, the luxury a fund to support the English National Ballet skincare brand that focused on working with Philharmonic. our dancers and company masseur to create a ballet-inspired massage which was launched Trusts and Foundations also made a vital at Equinox. We also welcomed law firm Reed contribution to our success, including a new Smith as a new corporate member. multi-year grant from John Lyon’s Charity to support our Dance Journeys programme, and In March we were delighted to return to a one-off grant from Fidelity UK to enable the The Dorchester Park Lane for our Spring acquisition of a new CRM system, Tessitura, Gala, surpassing previous years by raising which will be used across a number of over £300,000. Guests were treated to two departments and will transform the way we performances by Artists of the Company work and are able to use data intelligently. and our Appeal focused on raising funds that enable us to reach new audiences and give more people access to ballet for the first time through initiatives such as low price tickets.

44 45 English We are grateful to all the individuals, companies and charitable trusts and foundations who support English National National Ballet. Thank you for your generosity, passion Ballet and commitment to our work. Supporters

MAJOR DONORS Sophie Caruth ARTIST PATRONS IN-KIND SUPPORTERS Anonymous Nick Claydon Anonymous The Dorchester Alta Advisors Claire Cohen Peter Alderson Laurent-Perrier (UK) Ltd. Mr Justin Bickle Richard & Jennie Cunis David M Bain MAC Carol Brigstocke The Baroness de Sarah Blomfield St Martin’s Lane Hotel Julia Brodie Mandat Grancey Julie M Bradshaw Swarovski Isabelle de Wismes The Gilbert & Eileen Peter Buckley Mrs Aud Jebsen - Edgar Foundation Deborah Buffini TRUSTS AND EMBASSIES Sponsor of the 2016/17 Annette & Peter Ellis Faith Carthy Anonymous Guest Artists & Teachers Diana, Lady Farnham, DCVO Raffaella Cuccia Andor Charitable Trust Programme Michael & Claire Francies Emma Danks The Beaverbrook Mr. Li Hong Mrs Felicia Foreman Nicholas Eldred Foundation Ida Levine Michael & Margaret Garner Val Gooding Cockayne - Grants for Mr & Mrs Maurice Pinto Wanda Gase Goody Peter Goodwin the Arts The Porter Foundation Ann-Marie Goodbody Roger Handley The Victor Philip Dahdelah The Quercus Trust Val Gooding Pamela, Lady Harlech Foundation Sue & Graeme Sloan Olivia Ha Grandchamps Roger Helmer MEP The D’Oyly Carte John Talbot des Raux Nick Johnson Charitable Trust Grenville Turner Paul & Jacquie Gulbenkian Joan Jones Daiwa Anglo-Japanese & Karen Hirst Michael Harrison Nicky Jones Foundation Sian & Matthew Westerman Diana Harvey Samantha Kang Dolly Knowles Charitable The Wigoder Family Gillian Holgate Latifa Kosta Trust Foundation Dr Paul Horsnell Edite Ligere Embassy of the Kingdom of John B. Jones Helen Magowan the Netherlands in London PRINCIPAL PATRONS Ms Natasha Kaplinsky & John Mathers Esmée Fairbairn Foundation Anonymous Mr Justin Bower Lauren McAughtry The Foyle Foundation Alan Firmin Ltd Sherry Kernan Heather McCubbin Garfield Weston Foundation Carol Brigstocke Dr A W King & Rosie Miller Goethe-Institut London Julia Brodie Miss F A Delaney Dian Nielsen The Granada Foundation Sue Butcher Michael & Maria Jose Pascual The Idlewild Trust Kathleen Crook & Micheline Kingston Simon & Maureen Pegg John Lyon’s Charity Jim Pentrum Richard Luck-Hille Janet Rogers The Kirby Laing Foundation Peg & Steve Hale The Simon Marks Antony Russell The Linbury Trust Charles Glanville Charitable Trust Dr Sreeram Ramagopalan The London Community Phyillis Johnson Sylvie Matz Janet Rogers Foundation Chris & Emma Marks Susan McDonald Pablo & Sara Rojo Masonic Charitable Mr & Mrs P. Rogers David Morgan-Hewitt Sir Norman Rosenthal Foundation Olaf & Kristina Rogge Simon & Midge Palley Jill Samuels Old Possum’s Practical Trust Mr B. Shroder Mark Payne June Scully P H Holt Foundation Tej & Krishna Sood Eric Peel & Jacky Cowdrey Claire Soulal Paul Hamlyn Foundation Jennifer Talbot Kristina & Olaf Rogge Margaret Stewart Postcode Support Trust John & Lynn Turner David Saleh Susan Tribe The Porter Foundation Mrs Louis Urvois Michael Smith & Hazel Ward PRS for Music Foundation Geraldine Winner Nicholas Bartlett The Rose Foundation Steve Springford CORPORATE SUPPORTERS The Rudolf Nureyev SOLOIST PATRONS Mr & Mrs Julian Stanford Aviva Foundation Anonymous Mr & Mrs Brian Steer Backes & Strauss Rupert Hughes Will Trust Mr & Mrs L Al Swaidi James & Paula Stirling Bloomberg The Dr.Mortimer and Ian & Judy Barlow Tim & Joanne Stone Chanel Theresa Sackler Ken Batty & Amene Mir Christine Swabey French Sole Foundation Peter Blackmore Caroline Thomson kate spade new york Sir Siegmund Warburg’s Sarah Blomfield Peter & Karen Ventress Omorovicza Charitable Settlement Susan Boster & Monica. B. Voldstad Reed Smith The Vandervell Foundation Anthony Simpson Stephen Warren RPC Lulu Bott Adrienne Waterfield Santander Susan Burns Paddy Wells Weil Gotshal & Manges Peter & Sally Cadbury Simeon Williams Alejandra Caro Jennifer Wills Glenn Carroll Ken Yang & Ted Lakey James Carroll Meng Zhou Susan & Brian Carter

46 47 Financial 2016/17 illustrates how English National Ballet can use the boldness of its programming and artistic collaboration to Performance achieve long term financial sustainability; investing in valuable intellectual property and achieving strong box office returns.

Box office and performance fee income for Production and performance costs for Support costs during the year were well the year was £7.4m (2016: £6.3m) and the the year increased to £16,596,000 (2016: controlled and at £1,837,000 remained at a company had particularly successful seasons £13,694,000) which reflects both an increase similar level to 2016 (£1,874,000). For a full with some of its new programming in the year. in origination costs for three new productions set of the annual statutory accounts please As always, the challenge for ENB is to balance but also the additional costs related to an contact [email protected] or they can be its need for strong box office revenues with increase in the number of performances downloaded from our website at artistic programming which provides quality, (175 in England compared to 147 in 2016) www.ballet.org.uk. variety and challenge for the Company’s and variable costs related to box office artists and audiences, while knowing that new returns (eg venue rental charges which or less well-known works will not sell as easily are very often charged as a percentage as the popular classics, particularly in venues of box office income). where ballet programming is infrequent. 2016/17 provided strong evidence of how ENB can be bold in its programming and artistic collaboration and yet still achieve its Income £ % financial objectives in terms of investing in Where our money Voluntary income (donations, legacies) 1,581 8.7 valuable intellectual property and achieving comes from Grants 6,637 36.5 strong box office returns. Trading subsiduary 376 2.1 In-kind sponsorships 135 0.7 Jia Zhang in Tokyo Income from donations during the year rose Hiring of productions 266 1.5 © Laurent Liotardo For the financial year 2016/2017 the English to £1,581,000 (2016: £973,000) of which Programmes and merchandise 57 0.3 National Ballet group of companies reported £445,000 is restricted to the London City Investment income 1 0.0 a surplus of £110,000 for the year after Island project. This is a positive result in a year % investing in new repertoire, including the in which ENB must meet revenue fundraising Membership and subscriptions 42 0.2 She Said triple bill, Akram Khan’s Giselle, and targets while building its Outreach and engagement activity 162 0.9 the Bausch/Forsythe/Van Manen triple bill . capacity to deliver a strong capital Ticket sales 7,394 40.7 fundraising campaign to raise c£12m Co-production income 175 1.0 Unrestricted funds at 31 March 2017 total towards the London City Island project. Theatre tax relief (2014/15 & 2015/16) 1,344 7.4 £3,234,000 of which General Reserves stand Other income 5 0 at £2,271,000, and two Designated Funds at Other forms of contributed income including 18,175 100 31 March 2017 totalling £963,000. Restricted corporate sponsorships, hire income, and Funds total £1,120,000 of which £495,000 investment income remained relatively stable, is restricted to the development of London and comparable to 2016 at £882,000 (2016: City Island. £873,000). Of this income, £376,000 was £ % contributed via the company’s trading Expenditure Production and rehearsal costs 2,108 11.7 The long-term financial stability of English subsidiary. What we spend National Ballet relies on the National Portfolio our money on Performances 12,253 67.8 Organisation (NPO) grant funding that the Fundraising costs 882 4.9 Company receives from Arts Council England Engagement Programme 587 3.2 (ACE) in the form of a revenue grant. The Premises 618 3.4 current funding cycle runs for three years Depreciation 262 1.5 from April 2015 to March 2018 with an annual award of £6,214,000. 2016/17 is the second Medical/H&S 443 2.5 year of the current NPO funding round. On 28 % Administration 912 5.0 June 2017, Arts Council England confirmed 18,065 100 that it will continue to fund ENB for the four- year period from April 2018 to March 2022 at the same level of £6,214,000 per annum.

48 49 Looking Forward

‘I have no doubt that ENB’s relocation to City Island will further cement the city’s status as a global hub for dance and the performing arts.’

Mayor of London, Sadiq Khan PC

Our future plans continue to be focused on For our new home at London City Island, our large scale capital project to develop a work will continue on the construction of the new home at London City Island in Canning building by developers EcoWorld-Ballymore, Town but we also have a number of other key who have gifted us the shell and core to fit projects in development that will shape out and create industry-leading new rehearsal coming months. In a first for us, we will be facilities. Fundraising is ongoing, led by the bringing Akram Khan’s acclaimed Giselle to Capital Campaign Board and ENB’s own the big screen, making it available in cinemas fundraising team. Fundraising for English and bringing it to an even bigger audience. National Ballet and English National Ballet’s We started the 2017-2018 season by move is ongoing. English National Ballet plans celebrating the 40th anniversary of one to start taking occupancy from the end of of the most treasured works in our repertoire, 2018 with the full Company moving in early Nureyev’s Romeo and Juliet with 2019. English National Ballet School plans to performances across the UK. We took move following the end of the school term in Kenneth Macmillan’s masterpiece, Song summer 2019. of the Earth, to our touring cities across England so audiences outside of London can experience its powerful exploration of mortality. And, in a show of great trust from some of the 20th century’s most respected choreographers, we will perform a new William Forsythe work, an honour that hasn’t been bestowed on a UK company for many years. We will also return to the Coliseum for a summer season with our production of MacMillan’s Sleeping Beauty.

Progress on new home of English National Ballet and English National Ballet School at London City Island. Image: Michael Molloy

50 51 English National Ballet Board and Advisors

for the 2016–2017 PRESIDENT COMPANY SECRETARY Financial Year Dame Beryl Grey, DBE Grace Chan ARTISTIC DIRECTOR FINANCE AND GENERAL PURPOSES COMMITTEE Tamara Rojo CBE Justin Bickle (Chair) Valerie Gooding EXECUTIVE DIRECTOR Zachary Lewy Patrick Harrison Chris Marks CHIEF OPERATING OFFICER Sir David Scott Grace Chan LONDON CITY ISLAND PROJECT STEERING BOARD Grenville Turner (Chair) Justin Bickle BOARD OF TRUSTEES Zachary Lewy Sir David Scott CHAIRMAN Justin Bickle GOVERNANCE, NOMINATIONS AND REMUNERATION COMMITTEE VICE CHAIRS Christopher Saul Chair Susan Boster (Re-appointed 28 June 2017) Justin Bickle Grenville Turner (Re-appointed 28 June 2017) Steve Sacks Lord Andrew Adonis Grenville Turner Kirsty Cooper (Resigned 14 September 2016) Valerie Gooding (Re-appointed 6 February 17) DEVELOPMENT BOARD Natasha Kaplinsky (Term of appointment ended Sian Westerman Chair 31 March 2017) Sarah Blomfield (appointed 1 February 2017) Zachary Lewy Nick Claydon (appointed 1 February 2017) Tanya Rose Valerie Gooding Sir Norman Rosenthal Alejandro Caro Steve Sacks Ann-Marie Goodbody Christopher Saul Baroness Rosario de Mandat Grancey Caroline Thomson (Appointed 8 June 17) Michael Kingston Sian Westerman (Re-appointed 6 February 2017) Isabella MacPherson (appointed 1 September 2017) Susan McDonald PATRON Sue Sloan (appointed 1 September 2017) HRH The Duke of York, KG Martin Turner (appointed 1 September 2017) INTERNATIONAL AMBASSADORS The Baroness de Mandat Grancey Farooq Chaudhry David Morgan-Hewitt

MARKOVA HOUSE TRUSTEE Sir Anish Kapoor

ASSESSOR FOR ARTS COUNCIL ENGLAND (LONDON) Pam Johnson

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.

52 53 English National Ballet Staff

Current staff at ARTISTIC FINANCE ENGAGEMENT time of printing Associate Artistic Director Head of Finance Engagement Director Loipa Araújo Kim Lassemillante Fleur Derbyshire-Fox Guest Principal Ballet Master Management Accountant Head of Creative Programmes Irek Mukhamedov James Steel Laura Harvey Ballet Mistress Assistant Accountant Participation and Events Officer Hua Fang Zhang Stephanie O’Reilly Charlotte Newman Ballet Master and Repetiteur Payroll Manager Creative Programmes Officer Antonio Castilla Miles Hardy Drew Potter Repetiteur Finance Assistant Engagement Administrator Yohei Sasaki Chiara Acanfora Charlotte Kelly Artistic Co-ordinator Engagement Assistant Jane Haworth MARKETING & COMMUNICATIONS Sarah Moore Artistic Assistant Director of Marketing and Lia Buddle Communications COSTUME Heather Clark Charrington Costume Department Manager MUSIC Marketing Manager (Production) Music Director Benjamin Lalague Geraldine Tiernan Gavin Sutherland Head of Digital Dyer/Painter Music Administration Manager Daniel Alicandro Symone Frost Paul Allen Digital Content Producer Costumier/Cutter Company Pianists Sofie Roberts Serena Fusai Julia Richter CRM Project Manager Touring Wardrobe Manager Chris Swithinbank Alison Atkinson Lola Stott Music Librarian Head of Communications Senior Wardrobe Assistant Lars Payne Robert James Anna Evripidou Senior Press Officer Touring Wardrobe Assistants OPERATIONS Alice Gibson Sam Gilsenan Executive Producer Senior Marketing Officer James Kelly Louise Shand-Brown Allison Gold Shoe Supervisor Executive Producer Assistant Marketing Officer Julie Heggie Caroline Gane Adam Lawford Wig Supervisor Executive Assistant Staff Photographer/Filmmaker Amelia Carrington-Lee Nina Woods Laurent Liotardo Project Manager TECHNICAL Laura Oliver DEVELOPMENT Technical Director Company and Development Director George Thomson Operations Manager Gaby Sumner (Maternity Leave) Deputy Technical Director Sarah Griffiths Head of Business Development Todd Baxter Assistant Company Manager Alyssa Bonic Stage Manager Marta Luna Head of Corporate Partnerships Fiona Findlater Company Masseur Debbie Stevens Deputy Stage Manager Dominic Hickie Head of Individual Giving Emma Frith Physiotherapist Silvia Melchior Chief Electrician Sarah Lindsey Individual Giving Manager David Richardson Company Doctor Carrie Anne Duff Chief Mechanist Dr. Chris James MB, ChB, FRCGP Trusts and Research Manager David Baxter Honorary Orthopaedic Surgeon Laura Howes Deputy Chief Mechanist Prof. WJ Ribbans, Events Manager Andy Morrison PhD, FRCS Orth FFSEM Imogen Curtis Technical Operations Manager APPI Sports Scientists Capital Campaign Executive Rachel Ryan Frank Appel Emma Sheard Touring Mechanists Patrick Rump Philanthropy Manager Steve Chesworth Christoph Thormann Louisa Wood Marc Dussert Additional Masseuse/Masseur Development Officer Paul Dwyer Graham Stones Alayna Bennink Edward Kittle Helen Wellington Events Officer Simon Read Stephanie Capps Lance Weaver ADMINISTRATION Individual Giving Coordinator Store/Workshop Supervisors Director of Human Resources and Rosie Hewitson Colin Hucker Organisational Development Eric Hucker Claire Hawk HR Manager FACILITIES Grace Nugent Facilities Manager HR Assistant Adrian Wyer Aminat Shode Facilities Officers Archive Consultant Anton Green Jane Pritchard MBE Karl Holder Archives Assistant/Cataloguer Alan Vass Serena Fusai, Michael Reed Receptionists English National Ballet Suzanne Omer © Laurie Fletcher Laura Wilkins 54 55 © 2017 English National Ballet. All rights reserved.

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