Monthly Archives: March 2017

Meet Mark Murphy’s Out Of This World Team

This May acclaimed writer and director Mark Murphy brings his psychological thriller Out Of This World to The Peacock stage. This extraordinary show combines Murphy’s signature mix of groundbreaking aerial choreography, explosive special effects and intense storytelling.

An action packed show like this requires an incredibly skilled team. Here we talked to the people who are helping turn Mark Murphy’s imagination into a realty.

Out Of This World is at The Peacock 1 – 3 May 2017. Click here to learn more.

Sadler’s Wells celebrates Earth Hour

Sadler’s Wells will be joining millions of people, landmarks and businesses around the globe in support of Earth Hour, the world’s largest demonstration of support for action on climate change, by switching off our external lights on 25 March 2017, 8.30-9.30pm.

A global movement organised by WWF, Earth Hour has been working since 2007 to achieve positive environmental impact through a number of initiatives, such as pushing for climate-friendly policy changes and lighting up homes and lives with renewable energy.

Join us in marking Earth Hour by turning off non-essential lights for an hour. Find out more on how to take part at

Explore Sadler’s Wells on Google Street View

Visiting Sadler’s Wells has just become even easier – in fact, you don’t even have to get out of your room.

Our building has been mapped with Google Street View cameras and you can now see the images using this link, or access them directly from Google Maps. You simply need to zoom in on Sadler’s Wells and drop the yellow peg man, in the lower right corner, on any of the blue lines that appear inside the building, which indicate the routes that have been captured.

Enjoy having a look around!

Miriam Levy on life in National Youth Dance Company

Miriam Levy, a current dancer in National Youth Dance Company (NYDC), reflects on her first residency with the company, which took place in October at DanceEast, Ipswich. The cohort worked with NYDC Associate Artist Neil Fleming Brown to bond as a company and to learn the the unique movement style of the company’s latest Guest Artistic Director Sharon Eyal, who they will begin rehearsals with in December.

My first residency with NYDC was a truly amazing experience and one I think will stick with me for a very long time. Some of my friends from the CAT scheme (Centre for Advanced Training Programme) were joining NYDC with me and before the residency they asked me if I was nervous to which I surprised myself by realising that I wasn’t. Getting into NYDC had been a big goal of mine so once I achieved it I was really excited to start and ready to start a totally new creative process. Once I arrived, we were really well taken care of and our parents were introduced to NYDC by the staff and returning dancers, who gave us some last minute advice. After this we travelled to Dance East where we went straight from the coach to the studio. We then started by improvising as a whole group to warm up, which was one of the highlights of the residency for me.

We were encouraged to watch each other for inspiration as we were moving and I found the other 40 dancers completely inspiring. In that moment and over the course of the residency I would find myself wanting to watch the other dancers more and more as everyone was so talented in different ways. The individuality of the other company members shone through even as we were trying to master Sharon’s very specific style. Trying to understand how her choreographic style would feel on my body was one of the biggest challenges of the residency for me, as watching videos of her moving reminded me just how different her style is to what I usually encounter in my training. We used to these videos as the start of creative tasks as individuals and in pairs and you could definitely see the progression of the material we made over the three days.

Starting to feel like I’m getting to grips with her style made me even more excited for the December residency, where Sharon is coming to start the creation process officially. This residency felt like a taster of the creation process and definitely left me excited for more. Something that surprised me about NYDC was the intensity of the schedule, and the level of professionalism expected of you as an NYDC member was a new experience for me. NYDC is designed to give you a taste of life in a professional company and one of the key parts of the experience is being in the studio all day every day whilst on residency. This was only a short residency (meaning we only had one complete day in the studio), but the sessions were very physically demanding and it was sometimes hard to maintain your creativity at the end of the long days. Despite this, the atmosphere in the studio was amazingly positive, everyone was completely committed to the tasks we were given and to dancing as best as we could.

One of the amazing things about NYDC is that it brings together people who are just as passionate about dance as each other from all around the country. I feel really grateful to have met people from the other side of the country, who I would never have had the opportunity to dance with otherwise. By the second day, my roommate and I were having a slightly surreal conversation where we couldn’t believe that we’d only met the day before because we already felt like we knew each other so well! The 40 dancers on the coach journey back had a very different dynamic to the 40 dancers who met each other at Sadler’s Wells. Everyone’s nerves had completely evaporated and we were chatting and literally singing together the entire journey home. I think we all felt the same sense of satisfaction of the connection we had made over the three days, as well as the dancing we achieved together.

Company of Elders takes the stage for end-of-year performance

On its last day of term, our resident over 60s dance company performed Seeta Patel’s Fragments, Not Forgotten at Sadler’s Wells. Established in 1989, our Company of Elders meets every Friday to rehearse and work with professional dance artists. Dancer and choreographer Seeta Patel, who presented a Wild Card evening in September 2014 and most recently performed at Darbar Festival in November 2017, originally worked with the company during autumn 2015 to create the piece. Fragments, Not Forgotten offers a glimpse into new and old memories that are never really left behind. Incorporating voice recordings from members of the company, Seeta used the words of the elders to create a delicate work that conjures haunting moments and fleeting images. The company previously performed the piece as part of the Art of Age programme, an evening of work presented in the Lilian Baylis Studio in spring 2016. It has since been reworked and extended to include new members who joined the company earlier this year. Next term, the company will work with choreographer Adrienne Hart, a participant in our Summer University programme. We are committed to highlighting the valuable contribution to the art form made by older dancers, and to offer a platform for work created and performed by them to be shared with wide audiences.

The Movement – Kyle Abraham Social Mover Review

Evelyn Francourt is one of four London-based Social Movers for The Movement – an Arts Council funded partnership among three of the country’s leading dance venues; Sadler’s Wells, Birmingham Hippodrome and The Lowry, which aims to promote dance across the UK. Here Evelyn tells us about her experience of attending Pavement, the debut performance of Kyle Abraham’s company Abraham.In.Motion on the Sadler’s Wells stage.

The stage is brightly lit and starkly adorned with a metal fence and a lone basketball hoop. The audience is reminded to switch off their phones and the usual pre theatre mantra at the start of a performance commences. However, as the lights have not dimmed there’s no visual cue that the performance is starting. In fact, the audience are still talking and bustling about when the first dancer enters the stage. The male dancer walks with attitude. To say he saunters or walks with ‘swag’ underplays the first of many gestural and pedestrian motions and motifs that authentically captures a people and a mood. Abraham’s choreographic style weaves colloquialisms seamlessly into ballet, contemporary and street dance to create a multi layered and nuanced dance vocabulary. The opening duet begins as a tentative greeting, moving into a body-locking sequence that becomes a friendly exchange.

The movement changes into a beautifully fluid ballet and undulating contemporary dance hybrid accompanied by a bluesy score. It halts jarringly as one male dancer is apprehended and restrained by the other. Here, Abraham introduces another recurring motif; the male lying face down, hands behind his back as though handcuffed – profoundly affecting, and instantly recognisable.

Pavement is inspired by the 1991 award winning film, Boyz N The Hood however it also feels personal. At the after-show talk Abraham spoke of how he drew from experiences attending school in Pittsburgh, culturally renowned for the rich Jazz heritage of the 1950’s however over the decades going into decline. Themes of community, identity, racial inequality and injustice are explored in Pavement. The movement vocabulary is exceptional, yes the dancers are interdisciplinary, mastering Ballet, Contemporary and Street dance style, however it is the motifs and gestures that intelligently add context and authenticity.

The quality of dance is exceptional; natural and human, also technical and graceful. Through the eclectic score Abraham’s adds even more layering to this work. Classic blues, opera, classical music with dialogue from the film, Boyz N The Hood creates a poignant collage. The close of Pavement is a lament; the stage lights are brightly lit again and the audience is shown an uncomfortably long, unflinchingly stark tableau of lifeless bodies piled on top of one another hands restrained. I have always marveled at art’s ability to make one think as well as entertain. Abraham shines a light on society with exquisite dance mastery.

Sadler’s Wells’ Voices: HR Coordinator Braham Lyons

Sadler’s Wells offers a number of apprenticeships, giving young people the opportunity to access practical training and develop crucial knowledge and skills across different areas of the creative industries. Braham Lyons is a member of our Human Resources team, who joined Sadler’s Wells in October 2014 as an Administrative Apprentice, moving up the ranks to HR Assistant before becoming HR Coordinator in June 2016. We spoke to Braham about what he learned from his apprenticeship, further study and his advice for future Sadler’s Wells apprentices. What is your background? I left school and started an English Literature degree at university, but within the first year I knew it wasn’t right for me and I ended up withdrawing from the course entirely. Fjallraven Kanken Mini I’ve always loved theatre and the arts so knew I wanted to work in some way in the industry, but I had no idea what to do to get in! I spent a few years working as a freelance writer, where I undertook a theatre’s writers programme, staged my own play at a fringe theatre, and had a children’s play published but I was still struggling to find regular work and it was really stressful trying to live and work that way, I really needed to find an option for a career rather than odd jobs! You started out at Sadler’s Wells doing an apprenticeship in HR. How did you find out about this and why did you want to apply for it? I found the opportunity on Arts Jobs, at the time I was looking for a way to get in to an arts organisation and gain some solid experience to build on, but I had very little relevant experience, so the apprenticeship looked the perfect way to build my experience while learning about the industry. To be honest, I really didn’t know that arts administration or HR roles existed within the arts industry, so it was refreshing to find an entry level opportunity that was open to me and that I had a real chance of getting. What was your experience of the apprenticeship, for instance the kind of day-to-day tasks and projects you worked on? The great thing about being an apprentice here was that I was treated exactly as any other member of permanent staff, I was given responsibility and control over my own workload which is something I wasn’t expecting. My main focus was recruitment so assisting with everything from job creation through to coordinating interviews, and job offers which is great because you get to deliver good news, and so many people are genuinely excited to come and work at Sadler’s Wells. I also worked across the administrative functions, so helping staff with benefits, and keeping track of annual leave. blade and soul gold As our department is quite small, I got a lot of exposure to wider HR issues and projects as well, so I had a fantastic oversight of HR over the course of the year. ugg pour homme pas cher All of the academic work was linked into the day to day work I was doing as well, so it felt like I got to apply my learning on a continuous basis. How do you think that this apprenticeship was helpful in helping you pursue your career? I really wouldn’t have even known that this was a viable career for me without completing the apprenticeship. It gave me a year of solid work experience, and confidence with a qualification to back it up. I was lucky in that a role within the department became available for me to apply for, but if it hadn’t, I felt that I would have been in a strong position to apply for entry level HR roles in other organisations. With the range of experience I built up, it transformed my confidence and how I felt about my employability and career options. You went from being an Administrative Apprentice and you’re now the HR Coordinator. What would you say you particularly enjoy about your job and working in HR? In HR you’re always looking at how things can be improved, and I have a lot of freedom in pursuing projects and initiatives that will help Sadler’s Wells as a whole, it’s great to have that freedom and also the confidence from my Head of Department to work in that way. With recruitment, I also get to represent Sadler’s Wells which is something I’m really proud of, and the interactions I have with people are often their first impression of the organisation so it’s great when I can help them join in a really positive way. adidas zx pas cher What have you learnt so far in your time here? I gained a lot of confidence in myself and my ability, but I have also learned that you can’t do everything by yourself. You need to use other people’s expertise and skills, and really work together to perform at your best. Another key thing is to not assume and to go for opportunities that intrigue you. Before doing my apprenticeship I thought studying wasn’t for me, but now after completing my apprenticeship and working within HR, I’ve gone back to university as a part time student to obtain a CIPD qualification and I’ve absolutely loved it (couldn’t be more different to the abandoned English degree!), I can’t wait to be qualified, which is something I never thought would happen! What advice would you give to other young people doing an apprenticeship at Sadler’s Wells? You will get out whatever you put into your time here, so if you’re interested in something, speak up and get involved with as many different areas as you can.

Second Hand Dance – Getting Dressed

Second Hand Dance’s choreographer Rosie Heafford writes about the inspiration and development process for children’s show Getting Dressed, coming to the Lilian Baylis Studio 18 and 19 February. “Getting Dressed is a work that started from me watching other shows, well, the pre & post show. I watched the acrobatic sketches revealed when audiences were asked to take their shoes and socks off, and the meticulous ordering when school groups arranged taking their coats on and off. adidas nmd It reminded me that when I was small I had to learn how to get dressed, that as an adult I take for granted this simple act of choosing and wearing clothes every day. Through these observations of others, I also noticed quite a few things that I thought would make a good show. Kånken Rucksäcke So that was my starting point; how many ways are there to take clothes on and off? This initial idea quickly developed, as ideas like these do. I was intrigued by fabric, worlds of textures and clothes; the sculptures of Derick Melander and countless other artist-designers; the sounds of zips and ripping fabrics; the gendering of clothes and how we present part of our identity through them; the world of children’s garments and the commercial split between girls (pink) and boys (blue); the online campaign of Let Clothes Be Clothes, and the multiple throwing, sliding, and jumping games that can be found with clothes. timberland pas cher Getting dressed by yourself is a huge milestone as a child; it shows independence, technical capability, maturity and the identity we choose to present to the wider world. nike flyknit lunar Made for 4–7 year olds and their families Getting Dressed subtly challenges the conventions, peer pressures and popular culture influences children encounter when starting school. new balance I would like to encourage everyone, big and small to be playful with the clothes they wear. Getting Dressed is approximately 40 minutes long (no interval) and will be performed by 3 dancers. These live performers are gradually joined by a colourful array of clothes and fabrics that slowly fill the stage to create textured shapes and sculptures.