Sadler’s Wells Annual Report 09/10 g n i n n i d n e l G o g u Russell Maliphant’s AfterLight . H

: o t Part of Sadler’s Wells’ major production for o h

P 09/10, In the Spirit of Diaghilev . Contents

Foreword by Sir David Bell 3

Foreword by Alistair Spalding 4

Artistic Programme 5

Developing Audiences 14

Our Supporters 20

Commercial Activity 21

Financial Position 22

Supporters 23

Staff 24

References 25 3 Sir David Bell Chairman

I joined Sadler’s Wells as Chairman of the Board late I would like to thank the Board and the wide range of in 2005; Alistair had only recently been appointed as supporters who ensure that Sadler’s Wells thrives. Artistic Director and there were major questions being This year we were delighted to welcome two new asked about the future direction of Sadler’s Wells. Board members – Marco Compagnoni and Arlene Phillips – both of whom bring a vast amount of Looking back now, almost half a decade later, I am experience in their respective fields. Chrissy Sharp, incredibly proud of the journey on which Alistair our General Manager, left us to return to her native embarked. Under his leadership – and with the help Australia and we were sorry to see her go. But we are of a very fine team – Sadler’s Wells has firmly delighted that Laura Stevenson, who was previously established itself as a dance house on a global stage, Deputy Director at the Hayward Gallery, has with some of the world’s finest choreographers succeeded her. We were also sad to say goodbye to working as Associate Artists and over 40 Janet Reeve who has been involved with the commissions and productions under its belt. Development team of Sadler’s Wells for many years, most recently as its leader, and has gone to New Despite the difficult current economic climate, the Zealand with her family. We are delighted to welcome past year has seen audience figures continue to rise Georgie Shields into this role. and the theatre’s activity continue to expand – over 850 performances to an audience of over 600,000 in We have a very exciting programme for the coming 12 months is a remarkable number for any venue. year and forward bookings are encouragingly strong. 70% of our turnover comes from ticket sales and so Even so we have no illusions about the challenges we are incredibly grateful to our audiences who ahead as the government makes cuts in every area continue to support us and enjoy our diverse and including, of course, the arts. But our finances are critically-acclaimed programme. strong, our support is excellent and our team superb, which gives us huge confidence for the future. 4 g n i n n i Alistair Spalding d n e l G

o Artistic Director & Chief Executive g u H

: o t o h P

When I first envisioned Sadler’s Wells as a producing Our offsite projects continue to grow in scale and house I hoped to support and commission works ambition and I am pleased that we have once again that brought in artists from other disciplines, who been able to work with a wonderfully diverse range of could exploit the form’s incredible versatility. The artists and venues to take the Sadler’s Wells name past year has really seen that vision come to fruition beyond the walls of the theatre, and into spaces with more of our productions on the Sadler’s Wells where people can engage with dance in a completely stage and touring the world than ever before. different way. From the wild-abandon of the Latitude mud to the white-walled calm of Tate Modern, we’ve It felt absolutely right that our celebration of Les covered a whole spectrum of performance spaces Ballets Russes, In the Spirit of Diaghilev , should be and each time the reaction has been the same – more! about seeking new ideas, so it was a thrill to ask four of today’s most groundbreaking choreographers to It is a difficult time for all businesses; impending cuts create new work, rather than to restage existing to the arts are going to force all venues to rethink pieces by Diaghilev’s company. Together with a how they operate and where their priorities should remarkable range of artists from different disciplines lie. Sadler’s Wells has worked hard to grow and they created a superb evening of work, which has develop our audience to ensure we are able to thrive continued to tour around the world. I’m certain despite a low government subsidy, and we recognise Diaghilev would approve. and are grateful for the loyalty of our supporters and audiences. We will continue to commission and It was a privilege to present our Focus on Forsythe produce new work and bring the very best dance to season. Forsythe is an artist whose work I admire London because we believe it is a vital part of the hugely and it has been a long-standing ambition of UK’s cultural life. mine to present his work to as wide an audience as possible. It is important to reflect on the body of work of an important artist and we will continue the series with a retrospective on Anne Teresa de Keersmaeker’s Rosas in 2011. 5 ARTISTIC PROGRAMME

Media and public perceptions of dance have changed radically in recent years and Sadler’s Wells has responded to this growth with an increasingly diverse programme, which has attracted a multi-generational, multi-cultural audience. In 2009/10 we presented performances at our main Rosebery Avenue site, our West End venue the Peacock Theatre, the Lilian Baylis Studio and at eleven offsite venues.

In 2009 / 2010… We presented 136 productions †

We took £13 million at our box office

There were 872 performances on our stages and on tour We sold 618,501 More than 50,000 tickets tickets were sold as part of our multibuy offer 39% of our tickets were priced under £20

We sold over 40,000 access tickets The Sadler’s Wells e-mailing list reached 140,000 members Our website had almost 3 million visitors

“The Wells has become a busy creative hub, buzzing with vibrant premieres, exciting foreign attractions and trendy young audiences. From to , from Russell Maliphant to , from to Hofesh Shechter, from to Wayne McGregor: Spalding has commissioned and facilitated more new contemporary dance than anyone else working in Britain today.” THE TIMES ii 6 NEW COMMISSIONS AND PRODUCTIONS

In 09/10 we presented 22 new Sadler’s Wells productions. We firmly believe that one of the most powerful contributions Sadler’s Wells can make to the dance sector is the commissioning of new work that crosses artistic and cultural boundaries and appeals to diverse audiences. Some of our highlights of the past year include:

Svapnagata Festival of Indian Dance and Music

Svapnagata , curated by Sadler’s Wells Associate Artists Akram Khan and Nitin Sawhney, was a two- week celebration of Indian arts. It featured dance events, music concerts and theatre, including new commissions from Akram Khan, Nitin Sawhney, The festival culminated in a brand new collaborative Aakash Odedra, Yuko Inoue, Sidi Larbi Cherkaoui, work from Akram and Nitin, commissioned by Shantala Shivalingappa and Riz MC. The programme Sadler’s Wells, entitled Confluence . This new played to packed houses and very diverse production featured an ensemble of dancers and audiences, many of whom had not visited the theatre musicians, and looked back at Khan and Sawhney’s in the past. unique collaborative partnership. It was performed for three nights in November 2009, with future touring currently planned.

In the Spirit of Diaghilev

A major Sadler’s Wells production for 09/10 was In the Spirit of Diaghilev . To celebrate the centenary of Les Ballets Russes, Alistair Spalding invited Sidi Larbi Cherkaoui, Javier De Frutos, Russell Maliphant and Wayne McGregor to create new works, inspired by Diaghilev’s legendary company. The production was a critical and commercial success and toured internationally during 09/10, with Russell Maliphant’s piece ( AfterLight ) picking up an Olivier nomination for Best New Dance Production. 7

In the Spirit of Diaghilev was filmed and shown on BBC Three as part of the BBC’s schedule of Christmas Focus on Forsythe viewing. It drew some controversy due to the nature of Javier De Frutos’ piece, prompting a media debate We presented a major survey of recent works by about television’s censorship of the arts. seminal choreographer William Forsythe, at Sadler’s Wells and offsite venues including Tate Modern, “It’s 1909 all over again. Boos rang out, nightclub Fabric and a goods shed on the Kings shocked patrons walked out. Never mind Cross industrial estate. The events drew excellent Frieze, the most provocative art event this audiences and reviews. Telegraph critic Sarah Crompton gave it five stars and described the week is Sadler’s Wells’ In the Spirit of retrospective as “a stimulating season, which has Diaghilev …This is absolutely the way dance prompted me to think about how we watch theatre should go” dance” .iv EVENING STANDARD iii Forsythe gave a fascinating series of interviews Russell Maliphant will bring AfterLight back to about each of the works featured in the Sadler’s Wells, expanded as a full-length evening retrospective, which can be seen on Sadler’s Wells piece for three dancers. Screen at www.sadlerswellsisdance.com 8

Eonnagata

A major collaboration between Sylvie Guillem, Russell Maliphant & Robert Lepage, this Sadler’s Wells production returned in June 2009 due to phenomenal demand for tickets, and toured internationally throughout 09/10 (see touring map, over the page) .

Sutra

2009 and 2010 also saw the return of Sidi Larbi Cherkaoui’s Sutra , which once again played to sell- out houses and drew critical praise. The production has succeeded in crossing over to a non-dance specialist audience and in May 2009 Sunday Times Culture ran a two-page cover feature on the show, with the headline: “You must jump, spin and kung-fu kick for a ticket” . We are continuing to tour the production and in July 2010 it was shown on Sky Arts 2 in its entirety. 9

Awards We had a very successful year, with nominations and awards going to five of our Associates plus a prestigious Walpole Award for British Cultural Excellence.

• 2009 South Bank Show Award WINNER:

Wayne McGregor for Entity and Infra .

• 2009 South Bank Show Award NOMINATIONS:

The Gate at Sadler’s Wells for I Am Falling Akram Khan for Bahok

• Ballettanz Production of the Year Award Breakin’ Convention WINNER:

Our annual festival of hip hop dance theatre, Sidi Larbi Cherkaoui & Antony Gormley for Sutra Breakin’ Convention , sold out its sixth consecutive • 2010 Olivier Award NOMINATIONS: year at Sadler’s Wells. In May 2009 Breakin’ Convention toured the UK, presenting 14 Russell Maliphant’s AfterLight at Sadler’s Wells. performances in eight venues. Each venue’s line up was different, with international artists VII Gems Rock Birmingham Royal Ballet’s E=MC² at Sadler’s Dance Division featuring Ken Swift (USA), Salah Wells. (France) and MyoSung (South Korea) performing Rambert Dance Company’s A Linha Curva at alongside local acts, plus DJs, workshops and film Sadler’s Wells. screenings. Michael Hulls for his lighting designs for Russell Maliphant’s Two:Four:Ten at the London Coliseum (as part of Sadler’s Wells’ Spring Dance season); and for AfterLight and Eonnagata at Sadler’s Wells.

Associate Artist Matthew Bourne for Oliver! at the Theatre Royal, Drury Lane.

• Walpole Award for British Cultural Excellence WINNER:

Sadler’s Wells 10 INTERNATIONAL TOURING

During 09/10 we toured five Sadler’s Wells productions nationally and internationally, to almost 100 venues.

Breakin’ Convention Eonnagata • May 09 High Wycombe, UK • Jun 09 Place des Arts, Montreal, Canada • May 09 Nottingham, UK • Jun 09 Grand Théâtre, Quebec, Canada • May 09 Birmingham, UK • Jul 09 Les Nuits des Fourvières, Lyon, France • May 09 Bradford, UK • Jul 09 Teatre Nacional de Catalunya, Barcelona, Spain • May 09 Edinburgh, UK • Nov 09 Berliner Festpiele, Berlin, Germany • May 09 Plymouth, UK • Nov 09, La Comète, Châlons en Champagne, • May 09 Newcastle, UK France • May 09 Salford, UK In the Spirit of Diaghilev • Nov 09 Teatre Nacional de Catalunya, Barcelona, Spain • Nov 09 Théâtre National de Chaillot, Paris, France • Nov 09 Opera de Dijon, France • Dec 09 Monaco Dance Forum • Jan 10 Grand Theatre, Luxembourg 11

PUSH • Jul 09 Stadsschouwburg, Amsterdam, Holland • Apr 09 Sydney Opera House, Australia • Jul 09 Ravenna Festival, Italy • Apr 09 St James’ Theatre, Wellington, New • Jul 09 Cividale Festival, Italy Zealand • Aug 09 Helsinki Festival, Finland • Apr 09 The Edge Festival, Aotea Centre, Auckland, • Sep 09 Norrlandsoperan, Umea, Sweden New Zealand • Sep 09 BITE Festival Belgrade, Serbia • Jan 10 Forum Am Schlosspark, Ludwigsburg, • Sep 09 Cankarjev dom, Ljubljana, Slovenia Germany • Sep 09 Altstadtherbst Festival, Dusseldorf, Germany • Oct 09 Kampnagel, Hamburg, Germany Sutra • Oct 09 Shanghai Contemporary Arts Centre, China • May 09 Macau Cultural Centre • Nov 09 Danse Danse, Montreal, Canada • May 09 Grand Theatre, Luxembourg • Nov 09 National Arts Centre, Ottawa, Canada • May 09 Singapore Festival, Singapore • Nov 09 Grand Theatre de Quebec, Canada • Jun 09 Ludwigsburger Schlossfestspiele, Germany • Jan 10 Centro Cultural de Belem, Portugal • Jun 09 Opera de Lille, France • Feb 10 New Zealand International Festival • Jun 09 Théâtre National de Chaillot, Paris, France 12

Presenting Leading Companies from Around the World

Matthew Bourne’s company New Adventures returned to Sadler’s Wells for Christmas 2009 with its iconic production of Swan Lake . Over 80,000 people saw the show, which grossed over £2.5million, of which 62% was from first-time Sadler’s Wells visitors. Matthew presented the world premiere of Swan Lake at Sadler’s Wells in 1995 so it was extremely satisfying for us to see the show into its 15th year.

The international dance scene was well presented with productions by Flemish company Rosas, transatlantic ballet company Morphoses, Mark Morris Dance Group from the US and Danza Contemporanea de Cuba.

Sadler’s Wells in the West End

Sadler’s Wells’ West End venue, the Peacock Theatre, continues to thrive as a home to longer- running dance shows and draws a very mixed audience with a strong youth following. Recent successes were Havana Rakatan , which returned for a fourth visit after enormous demand, and ran for six weeks. Brand new street dance show Blaze made its world premiere at the Peacock Theatre, gathering excellent reviews. 13

Introducing New Work Jerwood Studio at to London Sadler’s Wells

Our 180-seat Lilian Baylis Studio has developed a Now in its fifth year, the Jerwood Studio at strong reputation for presenting cutting-edge, Sadler’s Wells allows artists the freedom to explore smaller-scale works. In 09/10 these included ideas outside of a tightly scheduled production performances by Lotte van den Berg, Ivana Müller process, in studios, in short courses, in talks and and Pierre Rigal’s Press , which was described by even over a meal. Of nine studio-based research the Sunday Telegraph as “one of the most projects in 09/10, seven have gone, or are going on extraordinary dance-theatre shows you’re into, the Sadler’s Wells programme. These include: likely to see on a British stage this year” .v • Choreographer Frauke Requardt and theatre director Daniel Kramer, who developed ideas for their Young Vic / Sadler’s Wells commission Sadler’s Wells Off Site Pictures from an Exhibition . • Visual artist Martin Creed was given time to work We believe that dance has the power to speak to an on ideas with five classically trained dancers, extremely broad audience. In the past 12 months which has recently toured to Edinburgh and won a Sadler’s Wells has presented dance performances at Herald Angel Award. more offsite locations than in any other year. These • Associate Artist Russell Maliphant, who tested range from performance art collective The Clod projections with Es Devlin and onedotzero, which Ensemble’s week-long run at Village Underground (a became an integral part of his Olivier-nominated Victorian warehouse in Shoreditch), to festival AfterLight . appearances at Latitude in Suffolk, and the Tower • The Pet Shop Boys and Javier De Frutos had two Festival at the Tower of London. weeks of exploration with collaborators for their new Sadler’s Wells commission The Most We continued to work with Askonas Holt and Incredible Thing . Raymond Gubbay Limited to bring large-scale works to the London Coliseum. The period 1 April 2009 – 31 March 2010 saw visits from Ballet Nacional de Cuba with Carlos Acosta, American Ballet Theatre, Russell Maliphant and Birmingham Royal Ballet. 14 DEVELOPING AUDIENCES

Our multibuy offer allows visitors to book for more About Our Audience than one show and receive a 20% discount. This has been extremely successful in encouraging The diversity of our artistic programme attracts a customers to book for a show they might not broad audience, from those who enjoy dance as a ordinarily see, broadening tastes and developing genre, to more specialist audiences interested in new audiences for different dance genres. In 09/10 specific artists or styles. As visitor numbers increase, multibuy tickets accounted for almost 50,000 sales. we have successfully developed a diverse and loyal audience who trust the quality of the shows on As an arts organisation we are at the forefront of offer. Sadler’s Wells generates 70% of its income digital marketing and online activity. In 09/10 online through ticket sales, so the public’s belief in our ticket sales accounted for 75% of our total box work is vital. y e l w a L a d n i l e B

: o t o h P 15 P h office, compared to 47% in 2006. We have an active o t o :

D

presence on social networking sites including e r e k

Facebook and Twitter, plus a YouTube channel which K e n d

works in conjunction with the video elements of our a l main website, and Sadler’s Wells Screen. Our l Global Dance Contest uses YouTube to reach an international audience who may not have visited Sadler’s Wells, but are aware of its reputation as one of the world’s leading dance houses.

At the Peacock Theatre in October 2009 we began to show cinema-style trailers for our forthcoming productions, as well as dance clips from our video site, before the shows and during the intervals. This is modelled on the cinema experience that the majority of theatre-goers are familiar with.

In addition to the main artistic programme we have a range of talks, exhibitions, debates, installations, classes, summer-schools and courses, which come under the banner MORE from Sadler’s Wells.

Our education and outreach projects aims to connect the widest possible range of people with the work of the theatre, focusing particularly on the theatre’s local communities in Islington and North London, and London-wide for our Youth Dance programme. More information about the work of Sadler’s Wells’ Creative Learning department, Connect, is detailed on page 18.

Sadler’s Wells Local

Sadler’s Wells Local is an audience development ticket scheme offering good seats for performances at a cost of £6. The aim is to attract local people to the theatre In 2009 the scheme was allocated tickets to 31 who genuinely cannot afford to buy theatre tickets at different shows at both Sadler’s Wells and the full price, or who may have never experienced live Peacock Theatre, and was accessed by a total of theatre before. It targets local residents, charities, 2,938 people, an increase of almost 50% from the children centres, youth and voluntary groups, as well previous year. We will continue to build on this success as community and housing organisations. in the coming years. 16 DIGITAL STRATEGY

• In 09/10 online ticket sales accounted for 75% of our total box office • sadlerswells.com had 2,779,393 visitors in 09/10 – 837,470 more than the previous year

Sadler’s Wells www.sadlerswells.com

The Sadler’s Wells website is a vital part of our digital strategy, acting as the primary source of online information for all of our activities. 09/10 saw a 43% increase in visitor numbers to the site from the previous year and over three-quarters of our ticket sales occurred online.

London Dance www.londondance.com

Operated through a partnership between Arts Council England and Sadler’s Wells, London Dance Sadler’s Wells Screen provides dance information for the capital. In 09/10 the site had over 500,000 visits and almost two www.sadlerswellsisdance.com million page views, and also expanded its activity to establish a presence on Facebook and Twitter Sadler’s Wells Screen launched in spring 09. It is an (currently 4,800+ friends on Facebook, 2000+ online forum where we share and archive all the followers on Twitter). The site currently has around video content that we produce, including show clips, 17,000+ active subscribers, sending monthly interviews and behind-the-scenes footage. The site updates to around 10,000 subscribers worldwide also features Sadler’s Wells-produced Guides to and regular emails to 3,000+ London-based Dance, and a selection of dance films which look at subscribers. how dance can exist beyond the stage. In February 2010 Paul Hamlyn Foundation pledged its support for Sadler’s Wells’ online activity, specifically Sadler’s Breakin Convention Wells Screen. Funding from the Foundation has allowed us to generate more online content and www.breakinconvention.com develop the site as an invaluable resource.

The new Breakin’ Convention website launched in April 2009 and features information about Breakin’ Convention’s activities across the UK as well as a social network which enables users to create their own profile. In 09/10 the site received 112,278 visits and currently hosts over 650 members in its online community. 17

Global Dance Contest “Arts initiatives can look calculating and insincere: exercises in box-ticking to satisfy www.globaldancecontest.com funding bodies. But you never get that feeling with Sadler’s Wells, which constantly restates Our first Global Dance Contest was very successful, its belief in the power of dance to change drawing 170 applications from 34 different countries. lives. Programmes like the Global Dance The contest offers the opportunity for both Contest take us to the places where that professional and non professional dancers around the change is actually occurring, demonstrating world to submit a short dance clip via YouTube, which that it’s the attention you pay to human values is judged by a panel of experts. The winner, Shu-Yi that keeps you ahead of the curve” Chou from Taiwan received £2000 plus an expenses vi paid trip to London to perform at Sadler’s Wells THE OBSERVER Sampled . Critical reaction to the piece was extremely positive. The second Global Dance Contest was launched in February 2010 and the winner will perform at Sadler’s Wells in January 2011. Sadler’s Wells also offers support and guidance to the winner, to help them transfer their work on to a large stage. 18 SADLER’S WELLS IN THE COMMUNITY

• 10% of Connect’s work took place within formal education settings • Over 21,000 people attended Connect’s workshops and events

Access 1. Company of Elders Connect’s over 60s dance group Company of Elders was the focus of a BBC Imagine Sadler’s Wells has an unparalleled reputation for the documentary in June 2009, attracting wide accessibility of its theatre and related activities which is media and public interest. The classes became complemented by a supporting programme of greatly oversubscribed as a result – participatory projects and an assisted performance demonstrating the need for this type of activity. programme (BSL interpretation, captioned and audio- described performances). In 09/10 we presented seven BSL, captioned and audio-described shows.

The Peacock Theatre, which had previously suffered from restricted wheelchair access due to the layout of the building, was fitted with wheelchair lifts in autumn 2009.

“This renowned theatre offers a bewildering array of facilities and a visit here can be an inspirational experience, if only to see what is achievable” THE ROUGH GUIDE TO ACCESSIBLE BRITAIN vii

Connect

Connect continues to deliver in its new role as London Regional Partner Office for the new Youth Dance England scheme, and in 09/10 it also won the role of Big Dance hub for north London. 2. Encounters During the year Connect delivered 1065 Connect’s major performance project for workshops/events which directly engaged 21,156 2009/10 was Encounters , a collaboration with people – an impressive threefold increase on the English National Ballet, Sadler’s Wells Associate previous year. 10% of the work took place within formal Artists and five community groups, schools and education settings, inspiring and introducing young youth groups, drawing inspiration and themes people to dance, many for the first time. from ENB’s Ballets Russes programme on the main stage, and culminating in a performance at 272 artists and 324 educators were involved in the The Peacock Theatre. delivery of Connect’s work and the increased programme of continuing professional development was warmly welcomed. These pages give an overview of some of the highlights from Connect’s year. 19

3. Connect Festival Other continuing Connect activities range from The annual Connect Festival in March provided post-show talks, lecture-demonstrations, the a snapshot of the range of work undertaken, over 60s arts appreciation club, weekly Baby offering around 2000 emerging artists and Groovers classes for toddlers and their carers, members of the local community a chance to termly dance development projects in primary perform or watch dance in the Lilian Baylis and secondary schools and large-scale Studio. This year’s programme included community events. performances by the over 60s, young people from local estates (funded by Homes For Islington), disabled artists and a new commission for Corali and New Adventures. 20 OUR SUPPORTERS

• Income raised through fundraising accounted for over 12% of our annual turnover • Our patrons and members grew by 20% across the board

29 th May 1961 Charitable Trust continued support Individuals of the Sadler’s Wells Local programme for a second year, enabling us to provide 5000 £6 tickets to local In 09/10 we saw a 20% increase in patrons and residents who cannot afford full-price theatre tickets members across the board. We honoured a small and have not experienced live theatre before. number of these patrons by naming them Avant- Guardians in recognition of their long-standing and The John Ellerman Foundation supported our significant support of the Theatre core artistic programme and the commissioning of new work; the second tranche of a two year Syndicates of individual patrons provided critical commitment. support for Sadler’s Wells’ ongoing investment in two Associate Artists – Christopher Wheeldon and Russell Maliphant – as well as funding for Focus on Corporate Forsythe and Rufus Wainwright’s debut opera, Prima Donna . Bloomberg provided major support for our pop-up dance theatre project - Electric Hotel. Bloomberg funding also enabled Trusts tickets to be priced at just £15 in order to extend our reach to new audiences.

The Garfield Weston Foundation made a The American Express Foundation substantial grant to enable planned future growth for continued its partnership with Sadler’s Wells Sadler’s Wells. with production support for Confluence – a Sadler’s Wells commission and collaborative work The Jerwood Charitable Foundation continued between Akram Khan and Nitin Sawhney. its support of The Jerwood Studio at Sadler's Wells which began in 2006 and provides funding for Rolex continued support of the new research and cross art form collaborations for a international tour of Eonnagata , a Sadler’s range of artists making work in dance. Wells production which brings together three of the world’s foremost creative minds: Sylvie Guillem, The Paul Hamlyn Foundation provided significant Robert Lepage and Russell Maliphant. funding for our growing digital strategy, specifically supporting Sadler’s Wells Screen.

The Foyle Foundation provided invaluable support for In the Spirit of Diaghilev for which we commissioned four new works. 21 COMMERCIAL ACTIVITY

• Commercial hire of the theatre and event spaces • Programme and other merchandise sales • Income from catering and the theatre bars

Trading and other income made up 9.1% of turnover in 2009/10, up from 5% in the previous year. The majority of this is trading income and is an area we are seeking to expand.

Sadler’s Wells trades by leasing out spaces around the theatre complex to commercial clients. This ranges from a single meeting room hire, to rehearsal spaces, and conference hires of the front of house areas and auditoria. This is operating at a high utilization level.

During 2009/10 Sadler’s Wells moved from having an outsourced catering operation for which we received a portion of the caterers income, to taking the bar and catering operation in-house. This is the trading area where we are seeking to increase both turnover and margin, through a more attractive offer to both patrons and event clients.

In August 2009 we started a new sales initiative with Sustainability our show programmes, offering customers the opportunity to purchase a programme at the same In the three years up to December 2009 we have time as their tickets, for a reduced rate of £3. This has reduced gas consumption by 62% and electricity by been extremely successful, generating over 4,500 16%. This has resulted in CO2 savings of 510 tonnes online sales in the eight month period from August – (23.8%) – equivalent to driving from London to March. Edinburgh around 3825 times. 22 FINANCIAL POSITION

2009/10 was a very challenging financial A balanced budget is in place for 2010/11 providing environment for any business. As we have seen that box office and Development income targets can across London’s theatres, our box office has held up be met in the current economic climate. well. Development income came in just under target. The unrestricted surplus was £465,000, principally Our total turnover for the year ending 31 st March resulting from the Sustain grant, which has been 2010 was £19.8 million, with a net surplus of £0.3 reserved for future commissions and new media. million. This was made up as follows: The remaining element of the surplus has been reserved to support an artistic project in 2010/11.

Trading and Other 1.8million Box Office 13million Fundraising 2.3million

Sadler’s Wells Turnover Arts Council England Earned income represents 88.4% of income, 2.7million with 13.6% a grant from Arts Council England.

Artistic Programme 15million

Sadler’s Wells Expenditure

Theatre running 3.3million Trading and other Fundraising 0.9million 0.3million 23

Sadler’s Wells Supporters

We would like to thank all those who generously support the theatre’s activities

Corporate Partners Dominic Palfreyman Alastair Sharp Performance Members American Express Robin Pauley Henrietta Shields Anonymous Bloomberg Robert and Felicity Waley-Cohen Lesley Shoebridge Severine Balick Man Group plc Richard Wilson OBE Claire Sohn Carol Brigstocke Rolex Melanie and Keith Young Tanya Steyn Jennifer Brophy Paula and David Swift Annunziata Celentano Corporate Sponsors Creative Circle Torsten Thiele Caroline Duggan Alfa-Bank Lauren and Michael Clancy E. G. Tomsett Paola Ferretti-Johnson Bennetts Associates The Robert Gavron Charitable Trust Bonnie J Ward Peter and Judith Foy Clifford Chance Jack and Linda Keenan Robert Glick DLA Piper Circle Patrons Sarah Griffin Madrid Tourism Board Stage Circle Anonymous Sue Hammerson Spindrift Al Swaidi Jane Attias Michael Holter Corporate Supporters Peter and Sally Cadbury Helga Baitenmann Sandrine Jensen Criterion Ices Limited Celeste Fenichel Nancy and Richard Balaban Anne Kauder La Porchetta Juliette Gafsen R Borzello and The Camden Trust Nida Khayrallah Wildbore & Gibbons Frank and Helen Neale Jenny Brend Eugene Leahy and Helmert Robbertsen William Norris & Company Jan & Michael Topham Jennifer Brophy Gerald Lidstone The Zetter Hotel and Restaurant Richard Wilson OBE Sue Butcher Eric Longstaff Denise Cohen Charitable Trust Dr Patrick Maher Individuals Studio Circle Geoffrey Collens Elizabeth McPhillips Mr and Mrs Sekhar Bahadur John Crisp Henderson Murray Avant-Guardians G.P. and J.M. Batchelar Andrew and Deborah Cullen Sally Pasmore Anonymous Guardians Kristina Borsy and Nick Turdean Amanda Cupples Geraldine Ravet Ann and Martin Smith Mrs Pamela Brand-Field Ian and Morny Davison Isla Smith The Ulrich Family José and Meg Breña Robert and Diana Gore Tonnvane Wiswell Michael Buckingham Domonic Green Major Supporters Jules and Cheryl Burns Neil Griffiths-Lambeth Trusts and Foundations David and Primrose Bell Nica Burns John E Haines The Deborah Loeb Brice Foundation Dorothy Marie Burwell Stephen and Jennifer Harper 29 th May 1961 Charitable Trust Marco Compagnoni Sarah and Philippe Chappatte Garth Kimber Calouste Gulbenkian Foundation Focus on Forsythe Benefactors Toni Cupal and Michelangelo Volpi Marina Kleinwort Charles P. Russell II Foundation Barbara and Karsten Moller Genevieve and Peter Davies Lady Lever City Bridge Trust The London Morphoses Syndicate Sylvia and Gary Eaborn Mr and Mrs George Loudon City Parochial Foundation Simon and Virginia Robertson Sarah and Louis Elson Stuart Lucas The Clore Duffield Foundation Ann and Martin Smith Piers Fallowfield-Cooper Harry and Fiona MacAuslan Dame Hilda Bracket Trust Lady Solti Juliana Farha and Kit Malthouse Jane Miller The Deborah Loeb Brice Foundation David and Hannele Tilles Charles Glanville Georgia Oetker The D’Oyly Carte Foundation The Ulrich Family The Richard Grand Foundation Maria Osten-Sacken The Duis Charitable Trust Jan Grandison Midge and Simon Palley Dr. Scholl Foundation Artistic Director’s Circle Gary Halkyard Robin Pauley The Edwin Fox Foundation Angela Bernstein CBE Abel Halpern and Helen Chung-Halpern Mrs Madeleine Plaut The Foyle Foundation The Deborah Loeb Brice Foundation Sarah Havens and Gregg Sando Dave Plummer and Lesley Whitby The Garfield Weston Foundation Lloyd and Sarah Dorfman Rick and Janeen Haythornthwaite Peter B Rea Helen Hamlyn Foundation Marina Hobson Joyce Kan Nigel Roberts Jack Petchey Foundation Barbara and Karsten Moller Rosemary Lancaster - Woolacombe David and Dee Dee Simpson Jerwood Charitable Foundation Tony Oakley Bay Hotel Constance Slaughter The John Ellerman Foundation Sir Christopher Ondaatje John and Susan Lazar Brian D Smith The Kobler Trust Supporters Alison LeMaire Alistair Spalding The Leche Trust American Friends of Sadlers Wells David Lloyd Stuart and Louise Spence Mactaggart Third Fund Rab Bennetts Lindy Mason Stuart Stanley The Mercers’ Company Charles and Leonie Booth-Clibborn Arela Natas Christopher and Fiona Steane The Mirisch and Lebenheim Charitable Robert Borzello and the Camden Trust Anthony and Alison Nathan Laura Stevenson Foundation Lauren and Michael Clancy Mr and Mrs C Norton Allen Thomas and Jane Simpson The Monument Trust Joachim Fleury Dr Elizabeth Parker Anna Valentine and Jonathan Berger The National Deaf Children’s Society Robert Gavron Charitable Trust The Porter Foundation John Voss The Paul Hamlyn Foundation Charles Glanville Kerri Ratcliffe and Doug Henderson Graham Watts OBE Peter Moores Foundation Sara Naudi David Reynolds Gerry and Ruth Weiss Quercus Trust Friends of New Adventures Ross Roberts The Rayne Foundation Harald Orneberg Jill and Paul Ruddock The Rayne Trust The Robert Gavron Charitable Trust

Sadler’s Wells Foundation and Trust

Sadler’s Wells Foundation Governors Celeste Fenichel Honorary Clerk Directors Cllr George Allan Joachim Fleury Kathy Honeywood Rab Bennetts OBE President Jennette Arnold Ian Jentle Marco Compagnoni Lady Solti Monique Bahadur Barbara Moller Clerk to the Foundation Joachim Fleury Rab Bennetts Harry MacAuslan Alistair Spalding Harry MacAuslan Vice President Kristina Borsy Annie Norton Robin Pauley Ian Hay Davidson José Breña Lady Panufnik Arlene Phillips Nica Burns Dr Maggie Semple OBE Tony Sarin Chairman Valerie Colgan Cllr Barbara Smith Lady Solti Sir David Bell Sandi Ulrich

If you would like to know more about supporting Sadler’s Wells, please contact the Development Office on 020 7863 8134 or [email protected]

as at 31 March 2010 24

Sadler’s Wells Staff

Chief Executive/Artistic Director Publications Officer Show Accountant Receptionist Alistair Spalding Sally Harper Lorne Cuthbert Joann Peek General Manager Editorial Officer Finance Officer Stage Door Keepers Laura Stevenson George Acock Monisola Samuel Marie-Claire Adriaenessens, Brandon Finance Director Press Manager Finance Assistant Force, Nicholas Garwolinski , Lee Mark Rhodes Abigail Desch Sheena Patel Knight, Tina Ramdeen, Jemma Director of Marketing & Press Officers Robinson, Ludmila Rusiecka, Neeraj Communications Alice Evans, Jenny Lee, Ciaran STAGE Singh, Rosannah Smith Kingsley Jayasekera McKenna, Sally Partridge Chief Technicans Director of Programming Press Office Co-ordinator Liam Fahey, Andrew Gorman IT Manager Suzanne Walker Eugénie Dunster Technical Manager Lilian Baylis Alec Cuffy Director of Technical & Production Web Manager Studio IT Systems Engineer Emma Wilson Mark Doerfel Roman Bezdyk Raymond Neequaye Director of Creative Learning Multimedia Officer Technicians IT Assistant Fiona Ross Andrew O’Regan Tom Hares, Paul Howard, Dave Judd, Ray Wei Long Ho Jane Hackett (Maternity Cover) Web Editor (LondonDance.com) Ali Low, Neil McGovern, Michael Housekeeper Director of Development Carmel Smith Rodgers, Sam McLeod, Christian Muriel Vaughan-Williams Georgina Shields Web Assistant (LondonDance.com) Wallace, Laura Wareham, Tony White Deputy Housekeeper Executive Assistant Sarah Golding Alberto De Antoni Nadine Pain OPERATIONS Housekeeping DEVELOPMENT Engineering Manager Fabian Arias, Jeffrey Balighot, Fortunato PROGRAMMING Consultant – Trusts and Ashley Hard Carian, Kelly Dago, Jesiel Da Silva, Irene Producer Foundations Facilities Manager - The Place Hall, Akissi Kouassi, Abe Lambert, Jose Emma Gladstone Jane Lenton Roy Adkins Lary Legario, Louis Ricafort, Oumar- Programming Manager Head of Individual Giving and Trusts Maintenance Technician - The Place Florent Sam, Mercan Sahin, Celestin Mai Komoriya Tamzin Robertson Barry Daley Trah, Amani Yoboue Programming Manager - Peacock Manager, Corporate Fundraising Maintenance Technician – Peacock Theatre Svetlana Semenchuk Theatre TICKET OFFICE Emma Dowden Development Co-ordinator, Daniel Knapton Ticket Sales Manager Programming Co-ordinator Individual Giving and Trusts Senior Building Services Technician Zahir Jaffer Lisa Marie Bowler Lauren Burles Ilia Constantinides Ticket Office Systems Manager Sutra Tour Manager Development Co-ordinator, Building Services Technicians Brian Kearney Dawn Prentice Corporate Fundraising Richard Emmett, Wayne Lawrence, Ticket Office Supervisors Opera Advisor Martha Heiland-Allen Ghion Mekonnen, Win Tun Barbara Birch, Mark Hammond, Abigail Nicholas Payne Chief Security Officer Parker CATERING & EVENTS Roger Owen Memberships and Ticketing Breakin’ Convention Head of Catering and Events Security Officers Services Administrator Artistic Director Judith Blinkhorn David Grant, Emmanuel Yaokumah, Ritchie Dach Jonzi D Events Manager Beverley Dixon Ticket Office Clerks General Manager Misha Agzarian Operations Manager Ramzan Ali, Robert Allen, Clare Emma Dowden Events Co-ordinator Lynda Nichol Bracewell, Hugh Brady, Marguerite Projects Manager Alessio Romani Operations Administrator Bullard, Felicity Coupland, Richard Kate Scanlan Events Assistant Jabena Butt (Maternity Cover) Cross, Sara Gilbert, Kim Graham, Jake Administrator Nu Tran House Managers Harders, Elspeth Harrison, Tim Hudson, Michelle Norton Office Manager Marguerite Bullard, Hannah Sless Paula Jones, Rosa Maugher, Cinzia Assistant Janet Sutton Deputy House Managers Moretti, Ros Moore, Paula Patritti, Matt Claire Haynes Head Chef Dara Brooks, Larry Harrison, Janine Phillips, Alpesh Rajani, Jemma Wayne Reffell Kaufman, Marcella Santese Robinson, Nicola Salt, Mark Saxton, CONNECT Operations Supervisor Front of House Sales Administrator Pauline Scullion, Cameron Slater, Ben Creative Learning Manager David Neild Chris Harmer Stanley, Sandra Wellstead, Rachel Evans Duty Supervisor Performance Cashiers Creative Learning Projects Loretano Cerro, Jane Noonan Robert Churchill, Larry Harrison Sadler’s Wells Associate Artists Manager Bars Supervisor Front of House Sales Assistants Balletboyz Sarah Baker Michelle Houston Lisa Beck, Anna Booth, Roisin Butters, Matthew Bourne Access Officer Events Supervisor Sandra Castell, Hanna Cevik, Adina Sidi Larbi Cherkaoui Sarah Howard Nicholas Clarke, Ruben Sarralde-Garcia Chereqi, Gisela Creus, Nansi Davies, Jonzi D Youth Dance Strategy Manager Café Supervisor Federico Di Pace, Renee Driessen, Polly Javier De Frutos Melanie Precious Elizabeth Giles Frame, Gigi Giannella, Amera Haider, Sylvie Guillem Connect & London Youth Dance Co- General Assistants Anna Harrison, Vera Hochkofler, Amy Akram Khan ordinator Afiya Allison, Faye Blackman-Davor, Hyde, Katsura Isobe, Luke Kearney, Ian Russell Maliphant Hannah Dye Rosaria Dell’uomo D’arme, Luther Dyer, Lambert, Ljiljana Lemajic, Wing Li, Hofesh Shechter Youth Zone Co-ordinator Nicholas Rainsford Vivien Loh, On Yee Loh, Takeshi Jasmin Vardimon Sarah Smith Anna Walton Matsumoto, Tim Mays, Robert Christopher Wheeldon Connect Co-ordinator Mennear, Manuela Mocanu, Rhiannon Molly Sanders PERSONNEL Montagu-Harrison, Thomas Montagu- Resident Companies Personnel Manager Harrison, Frouke Mooij, Albukhari Wayne McGregor I Random Dance MARKETING Clair Kelly Muda, Agata Paradnia, Elizabeth Peck, New Adventures Marketing Campaigns Manager Personnel Officer Aleksandra Podsiadlik, Thomas Reid, Sammie Squire Sirena Wilson Anna Riessner, Molly Sanders, Marketing Officer Administrator Alessandro Santese, Marcella Santese, Lucy White & Benjamin Lalague Hannah Nicholson Dorit Schwartz, Bishwo Shahi, Neeraj Marketing Assistant Singh, Prabin Tamang, Noreen Sarah Barnett FINANCE Townsend, Alexandra Ursache, Calvert Audience Development Financial Controller Watson, Kat Wieszczek, Magda Bid Mosaku Paul Warren Wieszczek, Jairo Zaldua

as at 31 March 2010 25 References

i This figure is based on the total number of performances Production Image Credits presented at Sadler’s Wells theatre, the Lilian Baylis Studio and the Peacock Theatre (including schools performances) PAGE 4 plus offsite performances. It does not include touring Akram Khan and Nitin Sawhney in Confluence at productions. Sadler’s Wells, photo: Elliott Franks ii December 2009, The Times T2 arts supplement review of the decade. Debra Craine highlights Sadler’s Wells’ achievements James O’Hara in Sidi Larbi Cherkaoui’s Faun (part of In the and lists Alistair Spalding as the ‘Face of the Decade’ Spirit of Diaghilev ) at Sadler’s Wells, photo: Hugo Glendinning iii Hoggard, L.; 2009; The arts should shock us out of our comfort zone ; Evening Standard; 16 October PAGE 5 Yoko Ando in William Forsythe’s Nowhere and Everywhere at iv Crompton, S.; 2009; Focus on Forsythe: a study in the Same Time at Tate Modern, fragility ; Daily Telegraph; 13 May photo: Sheila Burnett v Monahan, M.; 2009; Living in a Box ; Daily Telegraph; 22 May PAGE 6 Monks from the Shaolin Temple in Sidi Larbi Cherkaoui’s Sutra vi Jennings, L.; 2009; Two giant leaps out of Africa ; at Sadler’s Wells, The Observer; 22 March photo: Hugo Glendinning vii The Rough Guide to Accessible Britain ; 2nd Edition; Sylvie Guillem in Eonnagata at Sadler’s Wells, London; Motability; 2008 photo: Erick Labbé

PAGE 7 MyoSung in Breakin’ Convention at Sadler’s Wells, photo: Paul Hampartsoumian

PAGE 10 Sam Archer and Jonathan Olliver in Matthew Bourne’s Swan Lake at Sadler’s Wells, photo: Hugo Glendinning

Carlos Neto in Blaze at the Peacock Theatre, photo: Michiel van Wijngaarden

PAGE 14 Shu-Yi Chou’s Ravel and Bolero at Sadler’s Wells

PAGE 15 Geoff McGarry and Betsy Field of the Company of Elders, photo: Pau Ros www.sadlerswells.com Enquiries: +44 (0)20 7863 8198

Sadler’s Wells & Lilian Baylis Studio, Rosebery Avenue, London EC1R 4TN Ticket Office: 0844 871 0090 Angel

Peacock Theatre, Portgual Street, London EC2A 2HT Ticket Office: 0844 871 0091 Holborn 27