Dance

WELL SEASONED DIGITAL STAGE

Sadler’s Wells Digital Stage celebrates Black dance online, with a specially-curated programme of films, documentaries, podcasts and special guest features, for the Well Seasoned strand of programming.  

Launched in January 2022, Well Seasoned was designed by Sadler’s Wells Artistic Director Alistair Spalding, Jonzi D and Michelle Norton, respectively Artistic Director and Director of Breakin’ Convention, to platform work by both UK-based and international Black dance makers.  

After a number of sell-out stage performances in the spring, the focus turns to the new online programme over the summer.  

National Youth Dance Company (NYDC) & Guest Artistic Director Alesandra Seutin: Speak Volumes  

Speak Volumes is a short dance film made for camera. It follows on from the live performance created by the 29 dancers of the National Youth Dance Company (NYDC), in collaboration with Guest Artistic Director Alesandra Seutin. Set in a disused school building, Speak Volumes is an open floor for the voices of the younger ones of these times, a space for their existence and truth to be heard, acknowledged and experienced. 

A film by Ben Williams, cinematography by Zeta Spyraki.  

Alesandra Seutin, Guest Artistic Director of National Youth Dance Company (NYDC) said: ‘It’s great and not surprising that Sadler’s Wells is turning up the spotlight on Black artists this year with Well Seasoned. For me, it’s a necessity, because too many UK Black artists especially have been thriving here and not always acknowledged by main houses such as Sadler’s Wells and others. I am hoping this is only the seed to Black artists blooming and being acknowledged for being amazing beyond measure and their inspiring contribution to the world’. 

National Youth Dance Company & Alesandra Seutin – Speak Volumes Film Trailer. © Ben Williams, Zeta Spyraki. 

Moving Around The World – 6 International Short Films  

A selection of films by international artists tell extraordinary dance stories from around the world, including mini documentaries and dance made for screen.  

Each unique film represents Black dance artists from across the globe, from countries including South Africa, Democratic Republic of Congo, U.S.A and the Netherlands. 

Artists include: Rauf ‘RubberLegz’ Yasit, Christian Boley and Stéphanie Mwamba, Freddy Dojo, Roderick George, Breakin’ Convention (Colours and The Skeleton Mover).  

Collectively, these films show the power of dance to change lives, bring us closer together and create a universal language that speaks to us all. 

Breakin’ Convention, The Skeleton Movers (Soweto Skeleton Movers). © Ben Wachenje.

World Premieres – New Film Commissions  

From June to October 2022, Sadler’s Wells presents the world premieres of seven new short-film commissions, by the UK’s most exciting Black artists working in dance and film. They include Jonzi D, L’atisse Rhoden, House of Absolute, Ivan Michael Blackstock, Akeim Toussaint Buck, Alethia Antonia and Fubunation

They will be free to access for a limited period on Sadler’s Wells Digital Stage and YouTube channel. 

Ivan Michael Blackstock. © Ben Wachenje.

In Conversation With… Jonzi D 

Co-creator of Well Seasoned, an MC, dancer, spoken word artist and director, Jonzi D is the foremost advocate for hip hop, who has changed the profile and influenced the development of the UK British hip hop dance and theatre scene over the last two decades. Jonzi D is also an Associate Artist of Sadler’s Wells and is based at the theatre, with Breakin’ Convention.  

We speak to Jonzi D about his upcoming short film premieres and the key message he would like people to take away from the Well Seasoned Digital Stage programme.  

Can you tell us a little more about the short films you’ve created? 

Jonzi D: The first is OUR BODIES BACK. Featuring three Black women, filmed in different cities around the world. Choreographed to the soundscape of Soweto Kinch and the emotionally intense poetry of jessica Care moore. Ben Williams edited the material flawlessly. I made this during the height of the plandemic. My resistance to the lockdown, and then the murder of George Floyd made me determined to create and collaborate in earnest. I had never made a film before, but my iPhone shoots in 4K, so why not? 
 
AUTOCORRECT is the second instalment of a series of choreopoetry films. AUTOCORRECT follows a similar stylistic approach. Monochrome solos to the sounds of Soweto Kinch, but this time featuring three Black men interpreting the cerebral text of Saul Williams. Themes around patriarchy and power, sickness and social media. Saul’s work poses questions too devastating to answer. The dancers use their bodies to amplify the arguments. 
 
Drew in New York uses flexing, a technique from Brooklyn that explores dislocation and has roots in dancehall. Abdul in Entebbe fuses contemporary Ugandan dance with breaking. Theo in London specialises in Krump technique.

What key message do you want people to take after engaging in Well Seasoned? 

Jonzi D: We intend to normalise work from the African diaspora throughout our programming at Sadler’s Wells. Well Seasoned is highlighting the future vision of our brand, presenting world class arts and culture for the whole community.

Guests Select Online Series  

Sadler’s Wells hands over the mic in a new series called Guests Select. We ask leading Black UK-based artists to share the online works they’re passionate about and tell us what they mean to them. 

From new and innovative digital creations, to familiar movie masterpieces, Guests Select invites you into a specially-curated online space to discover, explore and feel inspired. 

Afrobeats dancer and choreographer Patience J; events curator, DJ and UK vogueing artist Jay Jay Revlon; and ballet dancer Precious Adams, share their selections. A further three artists share their top picks in the summer.   

Patience J. © Ben Wachenje.

Well Seasoned Podcast Series  

In July, a six-part new podcast series hosted by Brenda Emmanus, featuring conversation with Black creatives, explores how Black culture influences contemporary life, through conversations on dance, visual art, fashion, TV & film, theatre and music.  

Brenda Emmanus. © Rahil Ahmad.

In Conversation With… Brenda Emmanus OBE 

Brenda Emmanus has had a long and consistent career on national television. Her warm and versatile style has seen her switch comfortably between genres and broadcasters – from lifestyle, fashion, interior design and the arts, and she is the new podcast host for Sadler’s Wells’ Well Seasoned Podcast.  

We speak to Brenda about why the podcast is important to her to host, key messages she would like people to take away after listening and what she is most excited to see from the Well Seasoned Digital Stage programme.  

Can you tell us a little about yourself and what you do? 

Brenda: 

I have been a Journalist and Broadcaster for my entire career. Majority of the time was spent working for the BBC; first as a Researcher and Reporter and gradually working my way up to becoming an Arts, Culture and Entertainment Correspondent, working for BBC News and making arts documentaries for BBC 2, BBC 4 and BBC World. Since leaving the BBC, I have carved out a portfolio career. 

I now have a production company and consultancy: Free Spirit Productions Ltd. I am Chair of the Board for Sir Matthew Bourne’s New Adventures Company, on the Editorial Board for the Royal Academy Magazine, a Non-Executive Director at Faber Publishers, work as a Creative Content and Editorial Consultant on the West End Production of ‘To Kill A Mockingbird’ for Sonia Friedman Productions, and currently making a programme on African Fashion for the BBC, in collaboration with the V&A. 

Why is the Well Seasoned podcast important for you to host? 

Brenda: 

I have always loved my work, and I feel utterly privileged to spend my time amongst the world’s great creatives and minds. I am fascinated by discovering the process and craft of artists, dancers, painters, architects, authors – anyone who creates. Having said this, I also recognise that there are many areas of the arts where diversity and inclusion are still a challenge. Any Black or Brown person that reaches a high level of achievement, has had to overcome significant personal and professional challenges. I know this, having spent my time around so many and talking to them. 

I have also been inspired by those that have had an impact on the mainstream. I see the Well Seasoned podcast as an opportunity for everyone to discover more about this broad range of diverse talent and hear about their journeys, their opinions on their area of the arts, and those that have inspired them. This is a chance to hear about the arts from a Black perspective – it’s not divisive – it is an opportunity to share stories with everyone, to give a platform to some formidable talent and to celebrate the arts.  We also have some wonderful, specially-commissioned spoken word tributes to each area of the arts that we cover, from some extraordinary poets and spoken word artists. 

What key message do you want people to take away after listening to the podcast episodes? 

Brenda: That the arts are an essential part of all our lives. That the arts are for everyone. That there are some brilliant Black creatives, artists and performers who have some inspiring, insightful, and profound things to share, with not just their fans, but with the world. The creatives featured are Black and have all attracted a broad audience who love their work. All have excelled at what they do, and we all collectively want to see the arts scene, both practitioners and audiences, reflect the world that we live in.

What are you most excited to see in the Well Seasoned Digital Stage programme?  

Brenda: Obviously, I am biased as I am presenting the podcast, but I am deeply excited to view the next generation of choreographers. Moving Around The World is genius and Guests Select has me jumping for joy and is complimentary to what we are doing with Kiss My Black Side; giving Black UK-based artists a platform to share the works they are passionate about. To be honest, what’s not to like about the whole of the Well Seasoned Digital Stage programme.

‘Exploring Black Dance with Well Seasoned’ Film.

Key Dates What’s On 
Available now  National Youth Dance Company (NYDC) Speak Volumes Film  
Available now, and more in the summer   Guests Select Online Series  
Available from 6 June, for 2 years   World Premieres – New Film Commissions  
Available now, until 31 October  Moving Around The World – 6 International Short Films  
Available from July  Well Seasoned Podcast Series

All content is free to access.  

https://www.sadlerswells.com/well-seasoned-celebrating-black-dance/well-seasoned-on-digital-stage/

 

OUR RE-OPENING YEAR WAS A ROLLERCOASTER!

One year ago today, Sadler’s Wells opened its doors again after lockdown.

Sadler’s Wells’ one year re-opening anniversary since the COVID lockdown

For many of us, art was a chance to escape the everyday and celebrate human creativity and resilience.  

Sadler’s Wells Artistic Director & Chief Executive Alistair Spalding and Executive Director Britannia Morton share a letter:  

Dear Sadler’s Wells audience, 

Remember lockdown?  

A year ago today, Sadler’s Wells re-opened after the pandemic which impacted our industry, our artists and our audiences. What a year! 

This week, we went on sale for 27 amazingly diverse new shows and we take a pause and give thanks to all our teams, the companies, artists, audiences and supporters. It’s a signal that we made it through the toughest challenges we’ve faced in our long history, that we are back at full strength on all our stages, and that more than ever, we believe in dance and the power of live performance to celebrate the magic of humanity. And to give us a great night out!  

On behalf of all of us at Sadler’s Wells – thank YOU. It’s not always easy in these uncertain times, but if you had any doubt… we’re really back! 

Best wishes 

Alistair & Britannia 

Sadler’s Wells Artistic Director & Chief Executive Sir Alistair Spalding and Executive Director Britannia Morton on site at the Sadler’s Well’s fourth venue Sadler’s Wells East, May 2022
Sadler’s Wells Artistic Director & Chief Executive Sir Alistair Spalding and Executive Director Britannia Morton on site at the Sadler’s Well’s fourth venue Sadler’s Wells East, May 2022

We hope that you will come and make new memories with us this year. Without you, we would not be able to celebrate our new season of 27 shows.  

Sadler’s Wells’ summer & autumn season – new shows on sale now

Discover your next favourite show here: www.sadlerswells.com/autumn-season-22/  

TAKE PART: TASTER DANCE WORKSHOPS

Do you ever feel the urge to dance but don’t know where to start? Don’t worry, we’ve got you covered with a series of dance workshops that guide you through the basics in 5-minute sessions – no experience required.  

Sadler’s Wells is proud to announce the launch of our Taster Dance Workshops. This series of workshops introduces you to dance, allows you to experience different dance styles and get creative.  

During the Taster Dance Workshops, a range of creative and experienced artists will whiz you through some key moves to give you a flavour of different dance styles. 

Breaking 

Level: Beginners – Advanced 

Breaking might look intimidating, but when you start slow and break it down, you’d be amazed at what you can do with a bit of practice. We’re taking you on a crash course in some key breaking moves!  

This series of workshops is led by Roy, Niek, Stepper and Lee, also known as The Ruggeds; a breakdance crew from The Netherlands, who compete in battles and appear on stages all over world. You might recognise them from Justin Bieber’s Where Are Ü Now music video. 

Breaking Workshop – Knee Drop & Corkscrew

Breaking is a form of hip hop dance that includes acrobatics, freezes, floor moves, fast footwork and power moves. It grew from the African American and Latino communities, rooted in the funk, soul, R&B and disco music of the 1970s, but has been adapted to many musical genres, often performed with a DJ to an up-tempo beat.  

Contemporary  

Level: Beginners 

In this series, Liam, who has been a dancer with one of the UK’s leading contemporary dance companies, Rambert, is joined by participants Soraya and Betsy to explore some key aspects of contemporary dance – curving, arching, spiralling and balance. There’s also a chance to use your creativity and imagination through guided improvisation! 

Contemporary Workshop – Improvisation

Contemporary dance is an art form that encourages creative freedom and artistic expression. It’s an interpretative style that can sometimes focus on conveying a feeling, a mood or an abstract concept. Contemporary dance covers a wide range of approaches and techniques and can look very different depending on the dancer or choreographer. 

Flamenco

Level: Beginners

Magdalena and Noemí from Dotdotdot Dance give us a taste of flamenco, accompanied by participants Ghazal, Kate and Omena. 

We encourage you to enjoy the movement and have fun, without worrying about copying the moves perfectly. All of these workshops are suitable for beginners, and some can be done standing or seated. 

Flamenco Workshop – Arm Movements

With its origins in Gypsy culture of southern Spain, flamenco is a deeply passionate dance style, known for its hand clapping (Palmas) and foot stamping (Zapateado), with live singers and Spanish guitar often accompanying the dancers. 

Kathak  

Level: Beginners 

Our workshop leader Anuradha from Drishti Dance will give you a speedy introduction to some of the key techniques involved in kathak dance, including the footwork, hand movements and spins, plus you can try out a short sequence of choreography. She is joined by Stephen, from our Company of Elders, to help demonstrate the moves. 

Kathak Workshop – Hands

Kathak is a north Indian classical dance form that is rooted in the ancient art of storytelling in temples by bards, called Kathakars. It is often performed to percussion or string instruments. The dance style can be used to tell stories through movement, with hand gestures carrying many meanings. Elegant footwork and spins are key characteristics of this dance style. 

Coming soon… 

There will be four new genres of dance workshops being launched mid March: Ballet, Afrofusion, Vogue and Commercial. Be sure to come back and check out the new workshops!

We hope you have a great time with these workshops! Happy dancing!  

www.sadlerswells.com/take-part/online-workshops/taster-dance-workshops/ 

These workshops are designed to ensure something for all ages and abilities. Whether you’re taking part alone or with others, just make sure you warm up your body, do some stretches first and find the joy in movement. 

Some workshops involve floorwork, or a higher level of physical fitness, so have a browse at the link above and choose the ones that feel most comfortable for you.  

WELL SEASONED, CELEBRATING BLACK DANCE

Happy 2022! We’re extremely excited for this year at Sadler’s Wells, where we continue to showcase wonderful projects and productions, build relationships and bring joy to our visitors, participants, artists, communities and audience members, in our venues, on tour and abroad. 

Kicking off 2022, Sadler’s Wells is proud to announce Well Seasoned, Celebrating Black Dance. 

Well Seasoned was designed by Sadler’s Wells’ Artistic Director and Chief Executive Alistair Spalding and Artistic Director of Breakin’ Convention Jonzi D, to platform work by both UK-based and international Black dancemakers. 

Jonzi D said: ‘Well Seasoned is a flava full celebration of work from the African diaspora and beyond. As a statement of intent, we want to present the artistic diversity of People of Colour, particularly from the Black community. Our programme will reflect London’s cultural melting pot. A nourishing blend of local and global dance theatre makers, presenting work that is vibrant, challenging and delicious!’ 

Alistair Spalding said: ‘We wanted to highlight dance made by Black artists to celebrate them and to share with our existing and new audiences that this is happening at Sadler’s Wells. This is not a one off but an indication of a direction of travel for our venues and you will see more of the work of these amazing performers and choreographers in future seasons. We hope this selection of works in Well Seasoned gives a taste of the wonderful variety of dance being created by Black artists in the UK and beyond’. 

Well Seasoned includes work by Anthony and Kel Matsena, L’atisse Rhoden, Johannes Radebe and Breakin’ Convention, as well as Sadler’s Wells Production TRAPLORD by Ivan Michael Blackstock, and Botis Seva’s BLKDOG on tour, co-produced by Sadler’s Wells. 

Botis Seva said: ‘It’s great to see Sadler’s Wells upholding its promise to platform and champion more artists of colour in its programming, it finally reflects the breadth of ideas and artists in the UK and beyond! The artists featured as part of Well Seasoned are not just change makers of colour but they are change makers full stop! We’ve still got a way to go, but Well Seasoned is certainly a huge acknowledgement of the need for inclusivity and better visibility’. 

L’atisse Rhoden said: ‘Shining a light on Black dance artists allows new audiences to experience their work. It also acts as a much-needed voice in theatre when sharing opportunities can be limited for Black creatives’. 

Wild Card: Akeim Toussaint Buck – Radical Visions  

Wild Card returns with more offerings from a new generation of artists, invited to curate their own night. This January, Sadler’s Wells welcomes Akeim Toussaint Buck to the Lilian Baylis Studio to present his Wild Card, Radical Visions, featuring live music, film and powerful performance.   

Co-produced by Sadler’s Wells and Akeim Toussaint Buck.

In front of an altar and stained glass window, Akeim Toussaint Buck leaps towards us, left leg lifted straight in front, right arm extended in a high diagonal. His long locks fly straight up above his head. His chest and feet are bare and he wears loose, layered white trousers with intricate black embroidery that echoes the rich patterns of the church interior.
Wild Card: Akeim Toussaint Buck – Radical Visions. © Ashley Karrell

Dance Consortium presents Acosta Danza – 100% Cuban 

International ballet superstar Carlos Acosta’s critically acclaimed Cuban company Acosta Danza has garnered an unrivalled reputation for creating work that combines both classical and contemporary genres effortlessly, infused with Cuba’s rich musical and dance influences.  

Acosta Danza is a Sadler’s Wells International Associate Company.

A young black woman with a shaved head wears a sky-blue sleeveless dress with a full skirt that falls to the floor. Her body forms a dynamic zigzag: balancing on the ball of her left foot, with the knee bent, right hip swung out as she twists upwards to look at her right hand, palm to the sky above her head.
Dance Consortium presents Acosta Danza – 100% Cuban. © Manuel Vason

Ivan Michael Blackstock – TRAPLORD  

Award-winning dance artist and cultural innovator Ivan Michael Blackstock’s TRAPLORD is an immersive dance performance meditating on life, death and rebirth. Wandering between dreams and reality, TRAPLORD takes us on a new heroic journey to self-actualisation. 

Sadler’s Wells x 180 Studios. A co-production with The Factory and ALTRUVIOLET. Supported by Cockayne – Grants for the Arts and the Maria Bjornson Memorial Fund. Supported using public funding by Arts Council England.

Seven young men are gathered around a black car which sits on a bed of pink and white flowers, like a tribute for a funeral. The men wear black hoodies, combat trousers and puffa jackets. One, with large rabbit ears coming from his hood, has a wide, relaxed smile; another holds a latex pig mask. The men’s faces are painted a dark, metallic black, contrasting with the warm brown tones of the skin on their necks and hands.
Ivan Michael Blackstock – TRAPLORD. © Glodi Miessi 

Phoenix Dance Theatre – 40 Years of Phoenix 

Sadler’s Wells National Partner Company Phoenix Dance Theatre celebrates its 40th birthday with a range of work from across its illustrious history. The programme features five pieces by internationally acclaimed, award-winning choreographers, including former Artistic Directors and collaborators.  

Featuring Pave Up Paradise from Lost Dog (Ben Duke and Raquel Meseguer); Darshan Singh Bhuller’s Heart of Chaos; Signal by Henri Oguike; Jane Dudley’s 1938 masterpiece, Harmonica Breakdown; and Family, choreographed by Shapiro & Smith.  

Phoenix Dance Theatre is a Sadler’s Wells National Partner Company.

Phoenix Dance Theatre – 40 Years of Phoenix. © Foteini Christofilopoulou 

Johannes Radebe – Freedom  

Strictly Come Dancing sensation and international champion, Johannes Radebe, comes to the Peacock Theatre for the London premiere of his debut tour, Freedom.  

This is a celebration of the dances that you love, with Johannes’ signature flair and energy. From ballroom to Latin, the company will perform to classic dance arrangements, South African rhythms and party anthems. Johannes will take you on his journey from growing up in South Africa, to travelling the world, winning competitions and starring in Strictly’s most memorable numbers.

A dancer leaps towards us in mid-air, against a sandy background spattered with red and brown pigment. His legs and midriff are bare, and he wears a loincloth and large collarpiece, both of leopardskin decorated with triangles of coloured beads. A matching beaded headband has long feathers sprouting from the top. He holds a staff topped with a large knob decorated with beads and feathers.
Johannes Radebe – Freedom.

Breakin’ Convention 22 International Festival of Hip Hop Dance Theatre 

Sadler’s Wells’ annual festival of hip hop dance theatre is back for its 19th year, platforming cutting-edge dance rooted in the streets and presented on stage. 

Expect bright lights, loud music and colourful costumes coming together in an annual Sadler’s Wells event that will excite and entertain the whole family. 

Breakin’ Convention is far more than just a show – arrive early for activities in the foyers, including live DJs, dance circles, have-a-go graffiti, popular improvisation-based warm-up show Freestyle Funk Forum, workshops with the artists and much more. 

Line-up to be announced spring 2022. For more information, see breakinconvention.com. 

Breakin’ Convention 22 International Festival of Hip Hop Dance Theatre. © Belinda Lawley 

Matsena Productions / House of Absolute – Shades of Blue / Warrior Queens 

Experience first-hand the next generation of leading London choreographers in this double bill which touches on both a social movement and cultural heritage.  

Shades of Blue is a work from Matsena Productions that beats to the tune of change, lasting change, systematic change - in which performance and protest clash and mould together.   

The work combines thunderous choreography, powerful text and a slick score that will not only make you rethink your position in society but celebrate a stronger future which we all have a part in building.   

Matsena Productions / House of Absolute – Shades of Blue / Warrior Queens.

L’atisse Rhoden – L CASA 

Sadler’s Wells New Wave Associate L’atisse Rhoden presents a night of new digital works. 

Inspired by personal narratives and shifting perspectives, Bom Dia! and Dutopia both explore the contrast between reality and dream-like surrealist worlds.  

As part of the evening, L’atisse invites NAVA LDN to curate NAVA Café. Designed by Russell Royer, this pop-up brings communities together in a comfortable and collaborative environment, through a shared love of hip hop and neo soul. L’atisse is co-founder of NAVA LDN alongside Stefan X.   

Expect beats, moves and good vibes.  

L’atisse Rhoden – L CASA.

Impact Dance – Chapter 25+1 

Impact Dance returns to the Peacock Theatre for Chapters 25+1. Join one of the UK’s most innovative dance organisations in celebrating their 26-year journey with a night of bite-sized extracts of excellence inspired by hip hop culture.   

Featuring: ACE Youth, BOP Jazz Theatre Company, Boy Blue, Far From The Norm, FFI of Impact Dance, Fusions Elite, Impact Youth, Myself UK Dance, REDO (HOL), Reading School of Dance, The Urdang ACS, and ZooNation Youth Company.   

Impact Dance – Chapter 25+1. © Gorm Ashurst Photography

On tour… Botis Seva’s BLKDOG  

BLKDOG is Botis Seva’s Olivier award-winning haunting commentary on surviving adulthood as a childlike artist. A genre-defying blend of hip hop dance and free form antics, BLKDOG explores the inner battlefield of an ageing artist trying to retain his youth.    

With music from long standing collaborator Torben Lars Sylvest and performed by Botis’ powerhouse company Far From The Norm, BLKDOG searches for coping mechanisms in the ultimate hunt for acceptance.

A Sadler’s Well’s Co-production. BLKDOG is touring internationally with dates in the USA as well as the UK, including dates in Nottingham, Oxford, Poole, Saffron Walden and Guildford.

In a white-painted, institutional corridor with barred windows, a dancer spirals in mid air, both feet off the ground, one leg and one arm extended straight behind him. He wears loose trousers and his chest is bare. A quilted hood is drawn up tightly around his face and his expression is strained.
Botis Seva’s BLKDOG. © Camilla Greenwell

Coming soon… NYDC 2022 – Alesandra Seutin 

Following the success of 2021’s Speak Volumes, National Youth Dance Company (NYDC) once again collaborates with internationally renowned choreographer Alesandra Seutin. 

33 outstanding young dancers present a new contemporary work, exploring the relationship between movement, voice and music. 

NYDC has established a reputation for producing high-quality, critically acclaimed productions by leading choreographers including Botis Seva, Russell Maliphant, Sidi Larbi Cherkaoui, Sharon Eyal, Damien Jalet, Michael Keegan-Dolan, Akram Khan and Jasmin Vardimon

National Youth Dance Company is run by Sadler’s Wells and supported using public funding by Department for Education and Arts Council England.

NYDC 2022 – Alesandra Seutin. © Stephen Wright Photography.

Akeim Toussaint Buck, Acosta Danza, TRAPLORD, Phoenix Dance Theatre, BLKDOG and Johannes Radebe are already on sale. 

Breakin’ Convention, Matsena Productions / House of Absolute, L’atisse Rhoden and Impact Dance are on sale from Monday 31 January at 10 am via www.sadlerswells.com

NYDC will be on sale at a later date, to be confirmed. 

Sadler’s Wells Digital Stage will feature exclusive commissions and world premieres celebrating and profiling Black dance in an exciting programme online. Details to be announced. 

KNIGHTHOOD FOR ARTISTIC DIRECTOR OF SADLER’S WELLS

Alistair Spalding CBE, Artistic Director and Chief Executive of Sadler’s Wells, has been awarded a Knighthood for Services to Dance in the New Year Honours. 

Alistair Spalding has been the Artistic Director and Chief Executive of Sadler’s Wells Theatre since 2004 and is currently overseeing the construction of a fourth venue, Sadler’s Wells East, opening in 2023.  

Under Alistair Spalding’s leadership, Sadler’s Wells has become one of the most respected dance institutions in the world, presenting an ambitious programme of cutting-edge dance in all its forms and hosting world-class national and international companies and artists. 

Sir Matthew Bourne:

‘Sir Alistair is the UK’s foremost champion of dance in its many forms. As Artistic Director of Sadler’s Wells – one of the world’s foremost dance organisations – he has overseen a golden age of exciting developments in contemporary dance in particular and has served as a mentor to several generations of world class choreographers whose work has been commissioned and brought to prominence under his inspired leadership. My own collaboration with Alistair has been a mainstay of his time at Sadler’s Wells and I’m proud to have been part of the ongoing success story of this beloved theatre – Bravo Sir Alistair! A much-deserved honour! Long may you continue at The Wells!’

With its historic Islington base and a West End platform at Peacock Theatre, Sadler’s Wells’ London theatres attract audiences of over half a million each year, with many more visiting its internationally touring productions or exploring its digital platforms. 

Spalding’s vision and commitment has always been to discover and nurture new talent. In 2005, he created the Associate Artists programme which represents some the most exciting artists working in dance today. 

Botis Seva: 

‘Alistair is such an ambitious and inclusive leader; he takes the risks without knowing if they will pay off but undoubtedly believes in either the artist or the work. I can’t thank him enough for the support and encouragement he has shown me during my career; because of him, Sadler’s Wells feels more like a homecoming than a building – congratulations Alistair, here is to the next chapter’. 

Alistair Spalding, sitting on Sadler’s Wells Theatre stage.

He has also launched projects such as the international festival of hip-hop dance theatre, Breakin’ Convention, and the Flamenco Festival London, as well as inviting New Adventures, Company Wayne McGregor and ZooNation: The Kate Prince Company to become Sadler’s Wells’ Resident Companies and English National Ballet Sadler’s Wells’ Associate Company. He was instrumental in initiating Sadler’s Wells and Universal Music UK’s production of Sting’s Message In A Bottle, created by Kate Prince, for the West End and plans an ambitious international tour for 2022/3.  

Under Spalding’s direction, Sadler’s Wells has now embarked on the most significant development in its history: the creation of Sadler’s Wells East to support the next generation of artist development and training, and the creation of dynamic new work. Opening in London’s Queen Elizabeth Olympic Park in 2023, the new venue is part of the East Bank development along with the BBC, University of the Arts London College of Fashion, University College London and V&A East. 

Sadler’s Wells East will be permanent home to the Hip Hop Theatre Academy and Choreographic School and will build the infrastructure for dance to make it accessible to more people. Community will be at the heart of the new development, with a large open foyer that can be used by everyone, as a meeting or performance space. There will also be dance studios and world-class dance facilities for dancemakers to train, create and rehearse productions. The project will touch the lives of everyone living on, working in and visiting the Queen Elizabeth Olympic Park. 

Tamara Rojo, Artistic Director, English National Ballet: 

‘The impact of Alistair in the UK dance scene cannot be underestimated. His foresight in recognising chorographic talent and determination in supporting creativity and risk taking has been unparalleled and will leave a legacy for decades to come. Thank you, Alistair and congratulations Sir!!’ 

Alistair Spalding on the set of Matthew Bourne’s Nutcracker!, currently playing at Sadler’s Wells.

Nigel Higgins, Chair, Sadler’s Wells said: 

‘Alistair is that rare character – a genuine visionary in the performing arts world. Thanks to his leadership and creativity Sadler’s Wells has become a British beacon of the thriving home and international dance community. In a couple of years, the opening of our new venue in Stratford, East London will further underline his tireless efforts to build new audiences and encourage the dance talent of tomorrow. This honour is more than deserved’. 

Alistair Spalding CBE said: 

‘It is a great honour to have the work of Sadler’s Wells recognised in this way. It has presented and invested in more new dance than any other theatre in the world. Dance is now one of the most popular art forms in this country. I believe this award is an indication that our vibrant dance culture goes from strength to strength, and that our ambitious plans for Sadler’s Wells East will inspire and nurture a new generation. Dance is, of course a team effort, and the honour is very much shared with my wonderful team at Sadler’s and our artists and collaborators’. 

From everyone at Sadler’s Wells, we would like to say a huge congratulations to Alistair Spalding on his Knighthood.  

Alina Cojocaru’s Best Ballet Moments

Alina Cojocaru is one of ballet’s most remarkable talents. The Romanian born dancer is famed for her rapid rise through the ranks of The Royal Ballet; she became a Principal of the company after two years, aged just 19 years old. After 10 years she moved to English National Ballet, where she remains a Lead Principal and is also a Guest Artist at Hamburg Ballet. In a career filled with awards, acclaim and awe-inspiring performances, we’ve picked just a few highlights from her journey so far…

WORKING WITH CHOREOGRAPHER ALEXEI RATMANSKY

Alina Cojocaru and Steven McRae in Alexei Ratmansky’s 24 Preludes; The Royal Ballet
Credit : Nigel Norrington / ArenaPAL

It would be any ballet dancer’s dream to work with Ratmansky. The Russian choreographer and former director of the Bolshoi is widely considered to be ballet royalty. While at The Royal Ballet, Alina danced in his first ever creation for a British ballet company, 24 Preludes. The music of Chopin provided the inspiration for this dazzling piece of choreography for eight dancers in equally resplendent metallic costumes. Each fragment of the ballet evoked a different mood and unique characteristics of the dancers, in a series of solos, duets and trios.

HER FAREWELL PERFORMANCE WITH JOHAN KOBBORG IN MAYERLING

Alina Cojocaru and Johan Kobborg in The Royal Ballet’s production of Mayerling
Credit: Bill Cooper / ArenaPAL

Their partnership has been compared to that of Margot Fonteyn and Rudolf Nureyev. As a fellow Principal of The Royal Ballet, Alina met her partner Johan Kobborg in 2001 when the couple danced together in Romeo & Juliet. The pair said a final farewell to The Royal Ballet in 2013 with a memorable performance in Sir Kenneth MacMillan’s ballet Mayerling, as the leading roles of Crown Prince Rudolf and his young lover Mary Vetsera. This dark tale of death and desire was perfectly executed with extraordinary synchronicity from the esteemed couple. For many ballet fans, the news of their departure marked the end of an era.

HER DEBUT WITH ENGLISH NATIONAL BALLET

Alina Cojacaru in English National Ballet’s Le Corsaire
Photography by ASH

Alina’s first performance with English National Ballet was the company’s restaging of Le Corsaire: a thrilling pirate adventure, in which she danced the role of the heroine Medora. It was a show-stopping debut, made all the more special with a spectacular set by Hollywood designer, Bob Ringwood (the creator of Batman’s iconic Batsuit!). The Independent described it as a “radiant performance.”

WHEN SHE REINVENTED GISELLE

Alina Cojocaru and Isaac Hernandez in Akram Khan’s Giselle for English National Ballet
Credit : Laurent Liotardo

Alina is no stranger to the role of Giselle. She cited it as one of her favourite roles to dance from the classical ballet canon. In 2016, she was challenged by choreographer Akram Khan to reinvent the role for English National Ballet, drawing from influences from the Indian classical dance style of kathak. Her curiosity was a driving force in the creative process, which she admits was unlike rehearsing previous versions of the Romantic ballet. She told the Financial Times, “when I was trying to just find the movement, I always failed and it never looked right — but the moment we started talking about emotions, I felt at home.” The resulting performance was revered by audiences and critics as one of the most emotionally powerful productions of Giselle you will ever see.

Alina Cojocaru curates and performs a new programme of classical and contemporary dance at Sadler’s Wells from 20 – 23 Feb. Tickets are available here.

Maxine Meets… Peregrine the Pony

As Birmingham Royal Ballet brings La Fille mal gardée to the Sadler’s Wells stage, our Publications Officer Maxine fulfils her dream of meeting a very special star of the show… Peregrine the pony.

Before we get started, let me make this very clear: I am not obsessed with this pony. Definitely not. I may have chased him down the street once (more on that later), and even bought him a bouquet. Twice (more on that later too), but that doesn’t mean I’m obsessed. Sure, I like him. But obsessed? No. Never. Not me.

That’s not to say that there are other people who aren’t.

There is a small corner of the internet that is very jealous of me right now. A dedicated fandom, lurking within the larger ballet-loving community. A group of balletomanes (pun very much intended) who have been following the career of this pony with all the ardour of a teenage girl at a One Direction concert circa 2012.

Peregrine (like all the best ballet stars, he’s dropped his first name: Formakin) stormed onto the ballet scene nearly a decade ago in a performance of La Fille mal gardée, pulling the tiny trap that carries Lise (the Fille of the title) and her mother from their farmhouse out to greet the workers in the fields.

Along the way he is led by one of the more junior (two-legged) members of the company, while to his rear he is trailed by another dancer, carrying a trug that, under the cover of a cheerful looking cloth, contains a… well, let’s be blunt here, a not-so theatrical pooper-scooper, to be whipped out should any accidents occur.

And oh boy, do accidents occur, necessitating hasty clean-up and even hastier footwork as the ballerinas shift their pink satin pointe shoes away from the slippy patch.

Since then he has claimed the role as his own, touring it to stages all around the country with such regularity that his name is now pretty much synonymous with the ballet.

Caught on the hoof

I first saw Fille back in 2012. As a former devotee to the more histrionic storytelling of MacMillan, I was initially a little sneery at the thought of this schmaltzy Ashton ballet, where chickens dance, true love reigns supreme, and there’s no need for poison, swords or any weaponry beyond a few cheekily thrown cabbages (even the promising looking sickles are only used to fell wheat, which struck me as a waste).

Which is why it is somewhat surprising that, on a sunny evening in 2015, I found myself sprinting out of Pret, a half-eaten sandwich stuffed into my bag, and popcorn flying everywhere, in a scene that could only match Beatle-mania for sheer enthusiasm and adoration. Because there, trotting down St Martin’s Lane, his white coat gleaming in the evening sun as he headed towards the Royal Opera House for that night’s performance, was Peregrine.

A few second later, very red in the face and filled with regrets about my regular gym non-attendance, I caught up with him. I don’t exactly remember what happened next. It was all a bit of a blur. But I came away feeling like I could pull off even the grandest of jetés.

So, when I found out that Fille (and, more importantly, Peregrine) was heading to Sadler’s Wells with Birmingham Royal Ballet, I acted with both grace and decorum. I absolutely did not start my campaign to interview him the second it was announced.

I waited a full day. At least.

So how do you interview a pony? Enter Tom Davis, farm manager of Peregrine’s current London digs at Mudchute Park and Farm, who has known the equine star for more than eight years and was happy to act as intermediary.

I started with the basics: how old is he? “21.” Old for a pony. “He’s a more mature gentleman,” was Tom’s no-nonsense statement on the matter. “He’s not quite in his twilight years, but he’s doing alright.” But nearing retirement, surely? “What Peregrine does isn’t very taxing,” Tom assured me, noting the panic in my voice. “It’s not a very long stint. It would be entirely up to his owner when he retires, but he’s doing well. He’s still fit and healthy, and until anything shows to the contrary then he’ll carry on doing it, I imagine.”

His owner, George Gold, agrees. Peregrine’s predecessor kept on going until she was 30.

My little pony

Peregrine comes from a long line of hoofers stretching back to the 1920s. They’ve been performing in Fille for over 20 years (Superstar took over from the appropriately-named Lise in 1996). And matters, it seems, are in hand for the next trap-puller. “He’s been running with some mares, so hopefully there’ll be the pitter patter of tiny Peregrine hooves…” says Tom, ever so casually, as if he’s not giving me the journalistic scoop of a lifetime. “…in eleven or twelve months’ time.”

Oh. My. God.

It takes me a moment to recover from this bombshell. Have you ever seen a Shetland pony foal? I haven’t, but a quick Google image search tells me everything I need to know. I recommend you give it a go if you’re having a bad day. I really do.

One day a Peregrine Junior might end up pooping on the Sadler’s Wells stage. What a thought.

Tom hesitates. “If they are as good as he is,” he says. “Ponies, with the nature that Peregrine has, especially from an entire stallion, are very, very hard to come by.” Ah, yes. Shetlands have a bit of a… shall we say a ‘reputation’? “Shetland ponies are known worldwide to suffer from small man syndrome. But Peregrine is a chip off the old block, and I think they did break the mold when it came to him.”

“But, we can live in hope that he’s got a son and heir cooking, in Scotland, inside one of these mares he’s been running with. Hopefully he’s left her with more than just pleasant memories and he’s got a little baby in there that’s going to be as good as he is.”

Tom, as you can probably tell by now, has a way with words that leans towards the romantic.

I can see why though. Peregrine begs for poetry.

When I spot him inside his trailer, the sight of his familiar shape clamps down hard on my heart.

The stubby stockiness of his legs. The rotund fullness of his belly. His gentle eyes fringed with the palest of lashes.

And let’s not insult his colouring by calling him a ‘grey.’

He’s white. Very white. As white as snow. Or paper. Or the White Witch, Jadis herself. Looking at Peregrine, metaphors utterly fail me.

The fact of the matter is, he’s so white that there have even been rumours that he gets powdered down before going on stage. But they’re not true. Right? “Absolutely!” agrees Tom, sounding rather shocked. “No, no, no, goodness me. He might powder his nose but that’s about it.”

“He’s like the miniaturised version of the stallion in Shrek,” he continues, warming to the theme. “When the donkey gets turned into the horse, that’s him in miniature. He’s a poor man’s unicorn.”

Mane appeal

While we’re on the subject, we have another rumour to dispel: Pantene. He doesn’t really use that… does he?

“Well, he has done in the past. For that kind of hair, you use anything. He’s been known to use a bit of L’Oreal.

“Because he’s worth it,” Tom adds, deadpan.

Peregrine’s fulsome fringe is as soft and voluminous as it looks, falling in enviable Veronica Lake fashion over his eyes. As a Mane ‘n Tail girl myself, I’m taking notes.

A stable performer

Peregrine on the farm, image credit: Tom Davis

Apart from being a stunner, and a nice chap to boot, Peregrine is also annoyingly talented. A true triple-threat.

No one who has seen him in action can forget the pawing motion he does with his hoof when his convoy comes to a halt in front of the drop cloth. “Sometimes when Peregrine’s impatient, he’ll paw the ground, because he knows the cues, he knows how long he should be stood in a certain place. There are a few behaviours that he’s learnt to do over the years, and that is one of them. Usually that’s him wanting to hurry everyone along a little bit.”

I’ve always wondered about the cues. What is it that Peregrine is responding to? “The dancers,” says Tom. “The music. Where he’s standing. They all add up, to give him his cue of when he should be doing what he’s doing.”

And he remembers it all? Sometimes years pass before a ballet company revives Fille. “He’s like a seasoned West End performer. To be honest, he knows a lot of it. And remembers a lot of it. Because it’s something that he’s done for many years. He knows when the harness goes on, what he’s meant to be doing.”

He’s certainly well behaved when I’m left holding his lead rope. He stands obligingly as we pose for photos on Rosebery Avenue, with a patience born of the utmost professionalism.

But what I really want to know is, what happens before the harness goes on. What’s his process? Is he method?

“On the days when he’s not there, he’ll be out in the field. But we have to make sure that he’s got a rug on, because of his colour. Because one of the first things he’ll do when you turn him out into the field is to roll. When the ground’s quite damp, he will go from being a nice whiteish-grey pony to being a very dark brown, dirty pony. It’ll be brushing him, giving him a brush off, and making sure he looks well. You might put a bit of hoof oil on his hooves to shine them up a little bit.”

And on the days when there isn’t time? When he’s expected to strut his stuff for the matinee and evening show? “He’ll have an area. It’ll probably be in the lorry, which is the size of a large stable on wheels. He’ll have hay nets and water buckets and a bed to lay down in, or the floor if he wants to. So he’ll relax how all ponies do. Eat a bit of hay, have a little drop of water, and maybe lay down and have a snooze.”

Bliss.

Celebrity stallion

It’s probably for the best that neither Peregrine, nor his owner, indulges in social media. A quick glance through the #NaughtyPeregrine hashtag on Twitter will give you a glimpse into the collective love for this adorable pony. However, the #PeregrinesBouquet takes matters to an entirely different level.

In 2015, cinema goers around the world were treated to the sight of Darcey Bussell presenting an edible bouquet to Peregrine during the live stream of The Royal Ballet’s production of La Fille mal gardée. Paid for by the fans (Ahem…) the pink ribboned basket was put together and delivered by the ballet-bouquet specialists at Bloomsbury Flowers (only the best for this pony).

“It wasn’t until he’d done the last stint at the Royal Opera House and was presented with an edible bouquet, and his owner George came back to the farm with an entire bag of fan-mail, that I realised Peregrine had the following that he did. But then again, he’s a seasoned pro, very professional in what he does, and he’s quite an endearing pony. When people see him they do like him.”

“I have to admit, I did write one of those letters,” I say tentatively, wondering what sort of reaction I’ll get from Tom.

“Well, I imagine up in Scotland he’s got them over his stable wall or something like that,” he says sweetly.

So there. You see. Not obsessed at all.

I’m not the only one. “I was never a fan of Shetland ponies, and then I met Peregrine,” says Tom. “I think he’s a once in a lifetime pony, to be fair.”

Birmingham Royal Ballet’s La Fille mal gardée runs from 1 – 3 Nov. Tickets are available now priced from £12. To book, call the Ticket Office on 020 7862 8000 or book online.

Jefta van Dinther: “It was a very beautiful but estranging experience, seeing my living body”

Choreographer and dancer Jefta van Dinther is known for creating striking sensorial illusions. Ahead of the UK premiere of his new work, Dark Field Analysis, we caught up with Jefta in Gothenburg to find out more about the creation of this intimate and voyeuristic piece.

What inspired you to create Dark Field Analysis?
There were two main starting points. One was the title of the piece which is a term I borrowed from a method within alternative medicine. It’s a way of taking a blood sample – a drop of blood from your ear – and placing it under a special microscope to invert the structures and colours, which means you can see the blood living as you watch it. I had this analysis, and for me it was a very beautiful and profound but also an estranging experience of looking in to myself and seeing my living body. I had a very existential experience, and I became interested in how you could be so distant to yourself at the same time as looking at yourself. The term, dark field analysis, struck me as something very beautiful and poetic, a mix between something scientific and something very philosophical.

This starting point came with another: at that moment in my life I was having a lot of strong encounters, meeting people for the first time, and I had very powerful exchanges with people through words. I became interested in the materiality of the spoken word and how there was a feeling of profundity in that exchange. This inspired me to make a piece that had spoken word between two people as the main motor.

How did you use this scientific approach to influence your creative work?
In the end there’s very little science left. The performance is an experiential journey of perceptions and colours, but also of stories, a kind of staging of two people whose relationship you don’t really understand. The piece starts as a kind of anatomical theatre, a laboratory space, as an aesthetic expression of this science, but slowly things start to dissolve. The audience is sitting on four sides of the stage looking on to the performance area, and something that starts off as shared ends up becoming something that is yours, as one dives into a black hole with very low levels of light illuminating the bodies. It’s almost like a dream; a distorted inner landscape. I think the piece enables a journey from this public, scientific, open space where everything is presented, to something much more mysterious, poetic and internal.

Dark Field Analysis centres on an intimate exchange between two men, beautifully performed by Juan Pablo Cámara and Roger Sala Reyner. What inspired you to focus on a duet relationship? How collaborative has the making process been?
When I first asked them to join the process, I asked if they were willing to sit on the carpet naked and talk for one hour surrounded by the audience. This point of departure had to do with my personal story of meeting and falling in love with a new person, and the kind of conversational mode that takes place in the early stages of a relationship when you’re diving in to each other, through which you also dive in to yourself – there’s a kind of re-configuration of who you are through somebody else. Those conversations often take place when you’re in bed, in the park, or on the carpet of your home. It’s accompanied with that unassuming, lazy space.

My work in general is very collaborative, but in this case the performance unfolded specifically in relation to the performers. The qualities they have became very directive. I think it has to do with their use of voices, which are very present in the piece. The voice is an extension of the body and it carries a lot of personality. They are also naked throughout the performance which is a very personal exposure of who you are.

Can you tell us about your use of text, which plays an important role in this work?
In the end, the piece became much more of a complex assemblage between music, light, voice, body, choreography and material than I had thought. But from the very beginning I approached it as a textual and sonic piece. I was really interested in the idea of conversation.

We didn’t know how to stage this conversation. I had the blue carpet and the audience on four sides in mind, but I didn’t know what the performers were going to do, or if they were even going to move. So we spent the first five weeks just generating texts and dialogue that we would record, transcribe, repeat and it was only when we actually put ourselves on that carpet that these bodies started to move. The text gave rise to a way of becoming. We ended up working around the idea of what it is to be a human body, through a juxtaposition of the human in relation to other forms of life. We’re exploring an animal quality, but also a synthetic or cyborgian quality, something that is not sentient.

What would you like audiences to take away from this work?
What I understand when I hear people share their experience of this performance is that it can enable a kind of journey in to yourself – in a similar way to how I dived into myself through that microscope, you can dive in to certain areas of yourself that are not so clear and that you don’t visit very often. To areas that you don’t necessarily know how to label. It stirs something in you and creates an intensity, even becomes emotional. What I would love is for people to allow themselves to be in this state without having to do something with it or without having to name it – maybe not even make sense of it through talking. It’s not about grasping, it’s about being.

Dark Field Analysis comes to the Lilian Baylis Studio on 12–14 Sep. Tickets are £17. To book, call the Ticket Office on 020 7863 8000 or book online.

Sadler’s Wells celebrates Design Business Association Award win

Sadler’s Wells’ visual identity and communications materials, created by design studio Red&White, won Silver in the Media category of the Design Business Association’s Design Effectiveness Awards 2018, held in London last week.

The brand refresh integrated Sadler’s Wells’ visual identity with the striking dance imagery of our productions and presentations, and have helped cement our reputation as a leading force in the world of contemporary dance.

The brief for the new identity was to embody the spirit of Sadler’s Wells’ bold and daring artistic programme. Since Alistair Spalding took over as Artistic Director and Chief Executive in 2004 and transformed Sadler’s Wells into a thriving producing house, we have helped bring over 150 works by cutting-edge international artists and companies to the stage.

Following the work by Red&White, Sadler’s Wells has seen a positive impact in how its brand is perceived by audiences, with 78% saying that it now feels more contemporary. This has also led to an improvement in our customer loyalty, and 39% of audiences choosing more adventurous shows.

We are delighted by the results of the project and to have been recognised alongside Red&White in these prestigious awards.

Image: (L to R) Alanna Clear, Strategy Director, Sebastian Cheswright Cater, Director of Marketing & Sales at Sadler’s Wells, Paul Franklin, Creative Director at Red&White, Ry Coleman, Design Director and Magdalen Fisher, Sadler’s Wells’ Executive Director, with our Media Silver award.

American Express renews support of Sampled

We are delighted to announce that the American Express Foundation has renewed their commitment to Sadler’s Wells, with a grant supporting our Sampled festival for the next two years.

American Express are long-term partners of Sadler’s Wells. Their ongoing support of Sampled ensures we can continue to give audiences the chance to experience a wide range of world-class dance at an accessible price. It is also enabling us to deliver two new engagement programmes for school children and members of our local community, as part of this year’s festival.

Robert Glick, Vice President of Corporate Communications & Head of International Government Affairs at American Express said, “At American Express we are thrilled to continue our support of Sadler’s Wells. We believe that access to world class dance should be without barriers and remain proud of our association with an organisation which works continuously to encourage all to experience the joy of live performance.”

Sadler’s Wells relies on contributions from individuals and partner organisations to help us reach new audiences and continue to transform lives through dance, and this renewed support from American Express is a valued part of our family of supporters.