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Starting this thread for ENB's new acquisition: Johan Inger's version of Carmen (originally created for Compaña Nacional de Danza) set to Rodion Shchedrin's Carmen Suite based on themes by Georges Bizet, with additional music by Marc Álvarez. Costume design is by David Delfin, sets by Curt Allen Wilmer and Leticia Ganan, lighting by Tom Visser. Minju Kang, Emily Suzuki, Erina Takahashi and Ivana Bueno are scheduled to make their debuts as Carmen.

This could well turn out to be a topic with no replies (haha) but anyway, Wayne McGregor brings the next two iterations of his Autobiography series to Sadler's Wells this month. Exploring the merging of DNA, AI and dance, v95 of Autobiography was presented last night, v96 will be presented tonight. On Friday and Saturday evenings (no matinées), the company reprise his UniVerse: A Dark Crystal Odyssey which was premiered at the Linbury Theatre in May last year- a production employing digital technology effects and sploen word as well as dance, a meditation on the climate crisis, exploring the inseparability of humanity and nature. Both productions are approximately 1h 20 minutes long with no interval- useful if you want an early night or have plans after 9pm! I can't attend Autobiography but might be considering UniVerse if my schedule allows. Wayne McGregor is also in the next instalment of Choreographer Conversations in the Lillian Baylis Studio on Friday at 6.15pm -the event is sold out. (Choreographers appearing later on include Crystal Pite.) The conversation will be BSL interpreted and filmed for Sadler's Wells' Digital Stage. Feel free to comment on the Choreographer Conversation on this thread too, if you are attending. There are currently still some tickets for Autobiography but UniVerse is selling quickly.

New York City Ballet's long awaited return to Britain after 16 years is finally here! Their flying visit opens tomorrow with a matinee (some tickets still available at several price ranges from £38 to £75 ; a few returns for tomorrow night and Friday night currently available at the time of typing). There's already some discussion of the programme - consisting of Rotunda by Justin Peck, Duo Concertant by Balanchine, Gustave le Gray no 1 by Pam Tanowitz and Love Letter (On Shuffle) by Kyle Abraham - on the News thread and NYCB Winter Season 2024 thread but for future searches and to avoid confusion with the discussions about New York performances I've started this one here. Merde to all the dancers, musicians and staff coming and looking forward to meeting the new talents and seeing familiar faces! Also looking forward to reading members' reactions after watching our visitors from across the Atlantic.

   Press Release: Tuesday 24 October 2023 Sadler’s Wells Launches New Productions for 2024 Sadler’s Wells today announces new shows for the first half of 2024, including the return of the Elixir and Breakin’ Convention festivals, and new work by Sadler’s Wells Associate Artist Crystal Pite. The season features contemporary, flamenco, hip hop, kathak, Latin, ballet and dance theatre productions, including three world premieres, seven UK premieres and six Sadler’s Wells co-productions. On the Sadler’s Wells stage, Dimitris Papaioannou returns with the UK premiere of INK, a hyper-visual dance theatre piece taking place in an enigmatic water world, featuring hundreds of litres of water, a golden field of wheat and an octopus. São Paulo Dance Company makes its UK debut in a mixed bill that fuses the elegance of classical ballet with the sensuality of Latin American dance. Innovative technology and revolutionary choreography bring to life two works by Sadler’s Wells Associate Artist Wayne McGregor, with Autobiography (v95 and v96) and UniVerse: A Dark Crystal Odyssey. Following the award-winning Betroffenheit and Revisor, Kidd Pivot returns with Assembly Hall, the newest creation by Sadler’s Wells Associate Artist Crystal Pite and Jonathon Young. Elixir festival challenges perceptions around dance and age with performances, films and talks in Sadler’s Wells Theatre and the Lilian Baylis Studio. This year’s programme includes a mixed bill featuring common ground[s] by Germaine Acogny and Malou Airaudo and Louise Lecavalier’s Blue. Hosted and curated by Sadler’s Wells Associate Artist Jonzi D, Breakin’ Convention features hip hop’s freshest works from world-renowned artists. Aakash Odedra and Aditi Mangaldas, two of the finest Kathak contemporary dancers of their generations, give voice to an unspoken and overlooked love story in Mehek. Celebrated flamenco guitarist Paco Peña’s Solera returns. French choreographer Maguy Marin presents a piece of dance theatre inspired by the writings of Samuel Beckett in May B. A co-presentation with LIFT, Marlene Monteiro Freitas’s award-winning Bacchae: Prelude to a Purge creates a raucous and absurd carnival to the sounds of Brazilian funk, clown antics, pop, and Ravel’s Boléro. Sadler’s Wells Associate Company English National Ballet presents Johan Inger’s Carmen. Scottish Ballet’s award-winning production of Tennessee Williams’ A Streetcar Named Desire returns to London for the first time since 2015. Northern Ballet brings one of its most beloved productions, Romeo and Juliet. Birmingham Royal Ballet returns with Sir Peter Wright’s acclaimed The Sleeping Beauty. The critically-acclaimed revival of Broadway musical A Chorus Line comes to Sadler's Wells in summer 2024 with Adam Cooper and Carly Mercedes Dyer reprising their roles as Zach and Cassie. The show is set in New York City in 1975, and unfolds on an empty stage where 17 performers face the gruelling final audition for a new Broadway musical. At the Peacock Theatre, Sadler’s Wells’ home in the West End, Ockham’s Razor presents Tess, a bold adaptation of Thomas Hardy’s classic novel Tess of the D’Urbervilles. Following his sixth consecutive year on the hit BBC show, Strictly Come Dancing, Graziano Di Prima and his wife Giada Lini take to the stage in a new show, Believe - My Life On Stage. Following their critically-acclaimed debut tour, Strictly Come Dancing’s Nadiya and Kai are back with their new show, Behind the Magic. Gandini Juggling presents Smashed, taking a witty look at forbidden fruit and the fraying relationship between seven men and two women. In the Lilian Baylis Studio, Sadler’s Wells National Partner Company balletLORENT celebrates its 30th anniversary with new family show The Velveteen Rabbit, inspired by Margery Williams’ book of the same name. Ray Young’s award-winning duet OUT challenges homophobia and transphobia, while reclaiming dancehall and celebrating vogue culture. Tickets for newly announced events are on public sale from Friday 3 November at 10 am via www.sadlerswells.com. Booking opens to members on Wednesday 1 November. Ockham’s Razor produced by Turtle Key Arts (in association with Mime London) PEACOCK THEATRE Tess Wednesday 31 January – Saturday 3 February Tickets: £18 – £45   Ockham’s Razor’s Tess is a bold adaptation of Thomas Hardy’s classic novel Tess of the D’Urbervilles. An ensemble of performers weave together Hardy’s words and the extreme physicality of circus to tell this tale of power, loss and endurance, focusing on the strong, heroic and powerful eponymous character.   A regular feature of the London International Mime Festival (LIMF), Ockham’s Razor is a contemporary circus company who combine circus and visual theatre to make work that is arresting and entertaining.   Contains sensitive scenes of a sexual nature and suggested rape Recommended age guidance 12+  BSL Interpreted Post Show Talk on Thursday 1 February Dance Consortium presents: SADLER’S WELLS THEATRE São Paulo Dance Company – Mixed Bill UK PREMIERE Friday 9 & Saturday 10 February Tickets: £15 - £45 São Paulo Dance Company makes its UK debut in a mixed bill that fuses the elegance of classical ballet with the sensuality of Latin American dance.  Goyo Montero, resident choreographer with Carlos Acosta’s company Acosta Danza, explores the idea of collective identities in Anthem, an epic and emotionally-charged ensemble piece for 14 dancers. Gnawa, by Artistic Director of the Berlin State Ballet Nacho Duato, draws on the Mediterranean colours and flavours of Valencia, powered by the hypnotic, ritualistic music of North Africa. For the finale, Brazilian choreographer Cassi Abranches’ flirtatious Agora sculpts the movement of each dancer’s body with the percussive beats and bass grooves of Afro-Brazilian fusion.   BSL Interpreted Post Show Talk on Friday 9 February Dimitris Papaioannou SADLER’S WELLS THEATRE INK UK PREMIERE Wednesday 28 February- Saturday 2 March Tickets: £15 - £65 Dimitris Papaioannou returns following sell-out runs of The Great Tamer and Transverse Orientation with the UK premiere of INK. Papaioannou's hyper-visual dance theatre is a succession of dream images at breakneck speed. INK takes place in an enigmatic water world in which a duet transforms into a duel under the influence of mythical primal forces. Papaioannou's visual spectacle features hundreds of litres of water, a golden field of wheat and an octopus. No animals were harmed in the creation of this performance.  This performance contains full nudity and scenes of a disturbing nature.  Co-produced by Sadler's Wells BSL Interpreted Post Show Talk on Friday 1 March Company Wayne McGregor SADLER’S WELLS THEATRE Wayne McGregor’s Autobiography (v95 and v96) and UniVerse: A Dark Crystal Odyssey Tuesday 12 March – Saturday 16 March Tickets: £15 – £55 Innovative technology and revolutionary choreography bring to life two works by choreographer and director Wayne McGregor, performed by Company Wayne McGregor. In the most recent iteration of Wayne McGregor's Autobiography (v95 and v96), genetic code, AI and choreography merge in a work that re-imagines and remakes itself anew for every performance. AISOMA - a new AI tool developed with Google Arts and Culture utilising machine-learning trained on 100s of hours of McGregor’s choreographic archive - overwrites the configurations of its initial state to present fresh movement options to the performers. UniVerse: A Dark Crystal Odyssey is a moving and startling meditation on the climate crisis. Inspired by the Jim Henson cult classic The Dark Crystal about an ailing planet and a divided race, UniVerse depicts an earth torn apart by extremes and urgently in need of healing.  The performance features haze effects and strobe lighting   Wayne McGregor is a Sadler’s Wells Associate Artist and Company Wayne McGregor is Resident Company at Sadler's Wells The original production of Autobiography was co-produced by Sadler’s Wells Kidd Pivot (created by Crystal Pite & Jonathon Young) SADLER’S WELLS THEATRE Assembly Hall UK PREMIERE Wednesday 20 - Saturday 23 March Tickets: £15 - £75 Following the award-winning Betroffenheit and Revisor, Kidd Pivot returns to Sadler’s Wells with their latest creation, Assembly Hall, created by Crystal Pite and Jonathon Young. A group of medieval re-enactors have come together for an Annual General Meeting in their local community hall. "Quest Fest" has fallen on hard times: membership is dwindling, debt is mounting, and the hall is falling apart. The Board of Directors must take action. As the meeting progresses, the line between real and re-enactment begins to blur, and it becomes apparent there is something more at stake here than a mock-medieval tournament.   Crystal Pite is a Sadler’s Wells Associate Artist English National Ballet SADLER’S WELLS THEATRE Johan Inger’s Carmen UK PREMIERE Wednesday 27 March - Saturday 6 April Tickets: £15 - £75 Award-winning Swedish choreographer Johan Inger combines contemporary and classical movement in a reimagined version of Carmen. Inger explores the passions and dark undercurrents of this classic tale of seduction and obsession. Menace and foreboding loom over the stage, thanks to additional music by Marc Alvarez which complements Bizet and Shchedrin’s classic score, performed live by English National Ballet Philharmonic.   Johan Inger has created works for major companies around the world, including Nederlands Dans Theater and Spain’s National Dance Company, and he won the Prix Benois de la Danse for Carmen. Now English National Ballet brings this hotly-anticipated production to the UK for the first time. Recommended age guidance 12+ English National Ballet is a Sadler’s Wells Associate Company Audio described performance on Saturday 6 April at 2.30 pm with accompanying Touch Tour at 1 pm Paul Morrissey Ltd PEACOCK THEATRE Graziano di Prima’s Believe Saturday 30 March Tickets: £25 - £65 Following his sixth consecutive year on the hit BBC show, Strictly Come Dancing, Graziano Di Prima and his wife, Dancing with the Stars professional Giada Lini, take to the stage in a new show.  Believe - My Life On Stage is an electrifying evening of Latin and ballroom dance as Graziano pays tribute to his Italian heritage and honours the unwavering support of his family. English National Ballet School                    PEACOCK THEATRE  My First Ballet: Swan Lake  Thursday 4 - Saturday 13 April  Tickets: £15 - £37    English National Ballet’s My First Ballet series returns to the Peacock Theatre with My First Ballet: Swan Lake, a specially adapted version of the world’s most famous ballet for children aged three upwards. Featuring choreography by Antonio Castilla, English National Ballet’s Repetiteur, this version follows the familiar story from a different point of view.  With a narrator to help follow the story, a shortened version of Tchaikovsky’s music, beautiful dancing and elegant costumes, this is the perfect introduction to the joy of live ballet. Since its creation in 2012, over 320,000 people have enjoyed English National Ballet’s My First Ballet series. Family friendly and Age Guidance 3+ balletLORENT LILIAN BAYLIS STUDIO The Velveteen Rabbit Friday 5 & Saturday 6 April Tickets: £12 - £18 balletLORENT marks its 30th anniversary with a new dance theatre show retold for family audiences. Inspired by the book of the same name by Margery Williams, The Velveteen Rabbit brings toys to life through the magic of storytelling, music and dance. In this heartwarming show, a stuffed rabbit and a grown-up boy both wonder about the reality of getting older, and question what it means to be loved. balletLORENT is a Sadler’s Wells National Partner Company Recommended Age Guidance 4 – to 10-year-olds Supported by the Mohn Westlake Foundation ELIXIR FESTIVAL Elixir Festival asks the question how do we express our changing bodies and minds as we grow and age? Elixir Festival challenges perceptions around dance and age with works by iconic artists from around the world alongside enlivening performances from dancers drawn from our local communities in north and east London. The festival spans two weeks including performances, films and talks in Sadler’s Wells Theatre and the Lilian Baylis Studio. Audiences can take part in workshops to experience new dance styles and learn from inspirational artists. Germaine Acogny & Malou Airaudo/ Louise Lecavalier SADLER’S WELLS THEATRE Mixed Bill - common ground[s] / Blue UK PREMIERE Wednesday 10 April Tickets: £15 - £45 The festival begins with a mixed bill including performances by Germaine Acogny & Malou Airaudo, and Louise Lecavalier. common ground[s] is performed and inspired by the lives of two renowned dancers and, above all, women, mothers and grandmothers. Germaine Acogny, “the mother of contemporary African dance” and founder of École des Sables comes together with Malou Airaudo, who worked closely with Pina Bausch, performing leading roles in many of her early works. This duet has travelled the world in a double bill with the Pina Bausch Foundation, École des Sables and Sadler’s Wells Production of Bausch’s The Rite of Spring, and now performs in London for the first time after being cancelled due to the covid pandemic. Louise Lecavalier, former principal dancer of the Montreal-based company La La La Human Steps in the 1980s-90s, presents Blue – a solo adapted from selected sections of her work, So Blue. common ground[s] is a Pina Bausch Foundation, École des Sables and Sadler’s Wells Production Audio Described performance on Wednesday 10 April Christopher Matthews SADLER’S WELLS FOYER & THE KAHN Act 3 Wednesday 10 April – Mezzanine Wood Thursday 11 April – Kahn Tickets: Free admission Act 3 is the final instalment in a trilogy of works by choreographer, performer and visual artist Christopher Matthews. Continuing his studies of intimacy between two figures, Act 3 is an exploration of queer desire in later life, and considers queer masculinity in dance, desire, body image and working-class dance histories. Working with a cast of collaborators aged 60 and above - whose desire was forbidden in their youth - Act 3 considers what it means for these feelings to be hidden. Referencing Kenneth Macmillan’s Bedroom Pas de deux from Romeo and Juliet, the performance unfolds on a mattress, combining surreal visuals with an everyday setting to blur the lines between fantasy and reality. Act 3 is inspired by queer modernism and the work of photography collective PaJaMa. This collective created scenes of magical realism, featuring New York’s young bisexual or gay artists, dancers, and writers in the 1930s and 1940s. A Sadler’s Wells Co-commission Elixir Festival: Mohamed Toukabri LILIAN BAYLIS STUDIO The Power (of) The Fragile Thursday 11 April Tickets: £15 In The Power (of) The Fragile Mohamed Toukabri invites Latifa, his mother, with him on stage. After being apart for several years, they find each other again in the theatre. Latifa always dreamt of being a dancer; Mohamed made it his profession. The Power (of) The Fragile reflects on what a mother and son relationship can look like, on what it means to be home and to go away. Elixir Festival: Susan Kempster & Charlotta Öfverholm LILIAN BAYLIS STUDIO Double Bill: MOTHER & In A Cage Of Light WORLD PREMIERE Friday 12 April Tickets: £15 Susan Kempster and Charlotta Öfverholm explore the physicality of different bodies, and how we view our own bodies as we age in an intimate double bill. MOTHER MOTHER is an intergenerational duet that invites the audience to question intimacy and who we are to each other. Susan Kempster explores the intimate physical connection that two very different bodies can create on stage. In A Cage Of Light Charlotta Öfverholm looks at our relationship with our own bodies through the lens of a mature dancer, featuring live music, powerful movement and bold characters. MOTHER is a Sadler’s Wells Co-commission Company of Elders & ZooNation Youth Company LILIAN BAYLIS STUDIO The Exchange WORLD PREMIERE Saturday 13 April Tickets: £15 The Exchange explores evolving perspectives, telling stories of our past, present and future selves through dance styles influenced by hip hop culture. Made up of older adults aged 60+ from the local community, Sadler’s Wells Company of Elders comes together with the groundbreaking storytellers of ZooNation Youth Company, made up of young dancers aged between 10 and 20 years. Directed by ZooNation Youth Company’s Artistic Director Chaldon Williams, this performance will be accompanied by a chance to join the dancers on stage in a post-performance jam. Supported by the Mohn Westlake Foundation Dance On Ensemble LILIAN BAYLIS STUDIO Story, A Re-Imagining & Never ending (Story) Wednesday 17 April Tickets: £20 Berlin’s Dance On Ensemble brings together dancers over the age of 40 with internationally-renowned choreographers to create work that presents their diverse and rich lived experience on stage. Here they recreate an iconic work by Merce Cunningham with Story, a Re-Imagining and present Mathilde Monnier's Never ending (Story), a direct response to Cunningham's work. Originally choreographed in 1963, Merce Cunningham’s Story was never the same show twice. The dancers were able to make choices about their movements, while a new set was constructed for each performance using material found in or near the theatre. Dance On Ensemble draws from archival materials to re-imagine the piece for a new generation with Story, a Re-Imagining. As a further exploration of Cunningham’s Story, Dance On Ensemble asked poet David Antin to respond to the work with an improvised poem Never ending (Story). This poem is the starting point for a piece that explores how movement and thought come together. Co-funded by the Creative Europe programme of the European Union as part of DANCE ON, PASS ON, DREAM ON Aakash Odedra & Aditi Mangaldas SADLER’S WELLS THEATRE Mehek Friday 12 & Saturday 13 April Tickets: £15 - £35 Aakash Odedra and Aditi Mangaldas, two of the finest Kathak contemporary dancers of their generations, give voice to an unspoken and overlooked love story in Mehek. Centred around a mature woman and a younger man, the dance delves deep into their intricate characters, challenging norms and redefining the essence of love. Mehek marks the return of Aakash Odedra following the critically-acclaimed Samsara in 2022 and is the first duet of Aditi Mangaldas’ illustrious 50-year career. The original score by Nicki Wells is sung and played by the composer and three musicians live on stage. A Sadler’s Wells Co-production BSL interpreted post-show talk on Friday 12 April Paco Peña Flamenco Dance Company SADLER’S WELLS THEATRE Solera Wednesday 17 – Saturday 20 April Tickets: £15 - £55   In his latest show Solera, which premiered at Sadler’s Wells last year, world-renowned flamenco guitarist Paco Peña and long-term collaborator Jude Kelly bring together young flamenco artists and the expertise of more mature exponents of the artform. Flamenco is not a written tradition, but one handed down from one generation to the next. The best performances incorporate part of what has been created before by the great practitioners of the past as well as the vibrancy and innovation of the next generation of artists. Solera is an intimate exploration of artistic wisdom and the fearlessness of youth in the search for new expression. Birmingham Royal Ballet SADLER’S WELLS THEATRE The Sleeping Beauty Wednesday 24 – Saturday 27 April Tickets: £15 - £75 Birmingham Royal Ballet returns with Sir Peter Wright’s The Sleeping Beauty in the production’s 40th anniversary year. The acclaimed Royal Ballet and English National Ballet Principal, Alina Cojocaru will return to the London stage for select performances. Featuring BRB's sparkling virtuoso dancers, fairy-tale characters, dazzling spectacle, and Tchaikovsky's classical score played live by the Royal Ballet Sinfonia.   Audio described performance on Saturday 27 April with Touch Tour and meet and greet at 11.30 am Ray Young LILIAN BAYLIS STUDIO OUT Thursday 25 & Friday 26 April Tickets: £17 OUT is an award-winning duet that challenges homophobia and transphobia, reclaims dancehall and celebrates social dance culture. Bravely embracing personal, political and cultural dissonance, OUT carves out a new kind of space from which to reimagine, reclaim and celebrate aspects of Caribbean culture from a queer perspective.   Created by performance maker Ray Young, OUT won the 2017 South East Dance “A Space to Dance” Brighton Fringe Award and was nominated for the 2017 Total Theatre & The Place Award for Dance.   Relaxed and audio described performance with accompanying Touch Tour on Friday 26 April Breakin’ Convention SADLER’S WELLS THEATRE Breakin’ Convention 2024 WORLD & UK PREMIERES Saturday 4 & Sunday 5 May Tickets: £15 - £40 Hosted and curated by Jonzi D, the festival features hip hop’s freshest works from world-renowned artists – presenting multigenerational dance theatre icons. Performances on stage, in the Lilian Baylis Studio and in the foyers, live DJ’s, dance workshops, graffiti, emcees and spontaneous cyphers are taking place in every corner of Sadler’s Wells for the Bank Holiday weekend. After marking 50 years since the birth of hip hop, this year the form is bigger and bolder than ever, with Breaking GB competing in the Paris 2024 Olympics and Academy Breakin’ Convention opening the doors of the UK’s first accredited course in hip hop theatre. Jonzi D is a Sadler’s Wells Associate Artist Scottish Ballet SADLER’S WELLS THEATRE A Streetcar Named Desire Thursday 16 – Sunday 19 May Tickets: £15 - £65 Scottish Ballet’s award-winning production of A Streetcar Named Desire returns to London for the first time since 2015, following their sold-out run of Coppelia at Sadler’s Wells in 2023. Hot on the heels of winning Outstanding Achievement In Dance at the UK Theatre Awards 2023 and Outstanding Company at the National Dance Awards 2023, Scottish Ballet breathes new life into Tennessee Williams’ classic tale.    Directed by Nancy Meckler and choreographed by Annabelle Lopez Ochoa, with set and costume designs by Nicola Turner, and score by Peter Salem performed live by members of the Scottish Ballet Orchestra. A Streetcar Named Desire is presented through special arrangement with the University of the South, Sewanee, Tennessee and is supported by Tour Partner Rathbones Investment Management. This production depicts suicide, addiction, and domestic and sexual violence. Recommended age guidance 15+ Maguy Marin SADLER’S WELLS THEATRE May B Tuesday 21 & Wednesday 22 May Tickets: £22 - £27 Inspired by the writings of Samuel Beckett, May B is an arresting piece of dance theatre by French choreographer Maguy Marin. Beckett unexpectedly offered his blessing to the then largely unknown French choreographer to adapt his work. May B is set to the romantic music of Franz Schubert and Gavin Bryars’ contemporary musical genius. Maguy Marin uses one single line from Beckett's play Endgame: “Finished, it’s finished, nearly finished, it must be nearly finished" to give a pulse to her choreography.   Northern Ballet SADLER’S WELLS THEATRE Romeo & Juliet Tuesday 28 May – Saturday 1 June Tickets: £15 - £75 Adapted by Christopher Gable and Massimo Moricone from Shakespeare’s masterpiece, Romeo & Juliet is one of Northern Ballet’s most beloved and critically-acclaimed productions. With glorious dancers, eye-catching sets and Prokofiev’s timeless music performed live by Northern Ballet Sinfonia, this is ballet at its most dramatic, romantic and intense.   Audio Described Performance on Saturday 1 June at 2.30pm with accompanying Touch Tour at 12 pm Gandini Juggling PEACOCK THEATRE Smashed Friday 31 May & Saturday 1 June Tickets: £18 - £45 Smashed takes a witty look at forbidden fruit and the fraying relationship between seven men and two women. Traditional juggling meets contemporary circus in a series of nostalgic, cinematic scenes that explore conflict, tense relationships, lost love, and afternoon tea. Inspired by the work of the great choreographer, Pina Bausch, director Sean Gandini and Kati Ylä-Hokkala have borrowed elements of her distinct choreography and combined them with the intricate patterns and cascades of solo and ensemble juggling. Set against a soundtrack featuring popular songs ranging from Tammy Wynette to Music Hall and Bach.   LIFT and Sadler’s Wells present SADLER’S WELLS THEATRE Marlene Monteiro Freitas’s Bacchae: Prelude to a Purge   UK PREMIERE Tuesday 18 & Wednesday 19 June Tickets: £22 - £27 Cape Verde-born, Lisbon-based choreographer and performance artist Marlene Monteiro Freitas creates a raucous and absurd carnival to the sounds of Brazilian funk, clown antics, pop, and Ravel’s Boléro. In 2018, Marlene was awarded a Silver Lion by the Venice Biennale and in 2020, Bacchae was awarded the Prize for the Best International Performance by Les Prémis de la Critica d’Arts Escèniques of Barcelona. In 2022 she was awarded the Chanel Next Prize and the Evens Arts Prize.   BSL interpreted post-show talk on Tuesday 18 June, with Kris Nelson artistic director of LIFT and Marlene Monteiro Freitas Senbla Ltd PEACOCK THEATRE Nadiya and Kai: Behind the Magic Sunday 23 June Tickets: £18 - £65 Following their previous critically-acclaimed debut tour, Strictly Come Dancing’s Nadiya and Kai are back with new show Behind the Magic. Nadiya and Kai invite audiences behind the lens to catch a rare insider’s glimpse into how all ‘the magic’ comes together. Alongside their talented cast they highlight the influence of some of the greatest legends, creatives, and artists of the 20th century. Sadler’s Wells & Jonathan Church SADLER’S WELLS THEATRE A Chorus Line Wednesday 31 July – Sunday 25 August Tickets: £15 - £110 The critically-acclaimed revival of Broadway musical A Chorus Line comes to London, with Adam Cooper and Carly Mercedes Dyer reprising their roles as Zach and Cassie. Created by Michael Bennett, A Chorus Line is set in New York City in 1975, and unfolds on an empty Broadway stage where 17 performers face the gruelling final audition for a new Broadway musical. Originally produced at Curve and Directed by Nikolai Foster, with a book by James Kirkwood and Nicholas Dante, music by Marvin Hamlisch and lyrics by Edward Kleban, A Chorus Line features iconic songs including One, I Hope I Get It, Nothing and the hit ballad What I Did For Love. A Sadler’s Wells Co-production About Sadler’s Wells     Sadler's Wells is a world-leading dance organisation. We strive to make and share dance that inspires us all. Our acclaimed year-round programme spans dance of every kind, from contemporary to flamenco, Bollywood to ballet, salsa to street dance and tango to tap.   We commission, produce and present more dance than any other organisation in the world. Since 2005, we have helped to bring more than 200 new dance works to the stage, embracing both the popular and the unknown. Our acclaimed productions tour the world. Since 2005 we’ve produced 64 new full-length works and performed to audiences of more than two million, touring to 51 countries.   Each year, over half a million people visit our three London theatres - Sadler’s Wells Theatre, Lilian Baylis Studio and Peacock Theatre. Millions more attend our touring productions nationally and internationally or explore our digital platforms, including Sadler’s Wells Digital Stage. Sadler’s Wells East In 2024 we’re opening a fourth London venue in Stratford’s Queen Elizabeth Olympic Park. Sadler’s Wells East will house a 550-seat mid-scale theatre, as well as facilities for the new Rose Choreographic School and the hip hop theatre training centre, Academy Breakin’ Convention. Sadler’s Wells East joins the rich cultural heritage of Stratford, opening in London’s Queen Elizabeth Olympic Park as part of the East Bank development alongside the BBC, UAL’s London College of Fashion, UCL and the V&A. Sadler’s Wells East will support artist development and training, and the creation of new work. It will build the infrastructure for dance and make it accessible to more people. Sadler’s Wells East will house a flexible theatre presenting a wide variety of dance performances. Community will be at the heart of Sadler’s Wells East 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. Supporting artists Supporting artists is at the heart of our work. We have associate artists and companies, which nurture some of the most exciting talent working in dance today. We host the National Youth Dance Company, which draws together some of the brightest young dancers from across the country. Sadler’s Wells Breakin' Convention runs professional development programmes to champion and develop the world’s best hip hop artists, as well as producing, programming and touring groundbreaking hip hop performances.   Learning and community links Around 30,000 people take part in our learning and engagement programmes every year. We support schools local to our theatres in Islington and Stratford, designing experiences for children and young people to watch, explore and critically engage with the arts. We also run Company of Elders, a resident performance company of dancers aged over 60 who rehearse with renowned artists to make new work for public performances locally, nationally and internationally.   Sadler’s Wells is an Arts Council England National Portfolio Organisation.   www.sadlerswells.com   Stay up to date with everything Sadler’s Wells on social media    Facebook: @SadlersWells    Twitter: @Sadlers_Wells    Instagram: @sadlers_wells    YouTube: Sadler’s Wells Theatre   

For either Thu 19 Oct 19:30 or Sat 21 Oct 14:00 or 19:30 performances

Indeed. Just wondering, does anyone know which are the 'good' seats in Sadler's Wells? I know that there are different definitions of the term. For me I like to be as close to the stage as possible, ideally in the stalls or at the side, so not in first or second circle. I notice that there are 2 rows at the front of the stalls in Sadler's Wells that are described as 'restricted/near to the stage' (DD/CC). Does that mean a significant part of the dancer's feet are cut off? Would be grateful for any advice! I have not been to Sadler's Wells very much before so am quite unaware of the different views from each level. Can't find a separate thread about Sadler's Wells seating so hoping I can ask here.

Ive just noticed that TodayTix is offering discounts of up to 52% on Créature ad part of London Theatre week. I think today may be the last day of the offer.

Dance Me - Music By Leonard Cohen 7 - 11 & 14 February Sadler's Wells Theatre in Angel This mesmerizing jazz ballet 'Dance Me - Music By Leonard Cohen' comes to the UK for the very first time. Now offering 2-4-1 on tickets for 7th & 8th February shows or 25% off other select tickets with code: TIMEOUT25

This gala is happening onSunday 15 May. Plenty of tickets available from £15 if you are able to go along and support. Unite for Ukraine is a project spearheaded by Viviana Durante, Artistic Director of English National Ballet School. Yuriy Yurchuk, Ukrainian baritone and Principal of the Royal Opera will make a special guest appearance. Net proceeds raised from the gala will go directly to the Disasters Emergency Committee Ukraine Humanitarian Appeal. Central School of Ballet Bolero Choreographer: Sherrill Wexler Excerpt from Twice Removed Choreographer: Ashley Page Elmhurst Ballet School Four Scottish Dances Choreographer: Sir David Bintley Being Choreographer: Peter Leung English National Ballet School Sleeping Beauty Pas de Deux Choreographer: Sir Kenneth McMillan Dead Game of Time Choreographer: Lana Klemen Excerpt from Grace and Gravity Choreographer: Andrew McNicol Northern Ballet School Sonata Choreographer: Joanne Pirrie inspired by Sir Robert Cohan Mantle Choreographer: Ryan Upton Rise Choreographer: Sarah Dickinson, Ryan Upton Rambert School of Ballet and Contemporary Dance Being Choreographer – Darren Ellis The Royal Ballet School Swan Lake Pas de Douze Choreographer: Marius Petipa and Lev Ivanov with additional choreography by Frederick Ashton Franz’s solo from Coppélia Act lll Choreographer: Ninette De Valois for The Royal Ballet Fremd Choreographer: Jack Easton The Bridesmaid solo from Don Quixote Choreographer: Marius Petipa

Sadler's Wells have been adding new shows into their offerings for this year. I think a number of forum members have previously seen Ballet Cymru who are there for just one performance https://www.sadlerswells.com/whats-on/ballet-cymru/ There are other shows which I hadn't spotted there before - Rambert2, and, quite new to me, on 31 Oct GB Trials 2021 - "The event brings together the very best, all aiming to establish themselves as National Champions and go on to challenge the greatest breaking athletes from around the World. The winning breakers will represent Great Britain at the WDSF World Breaking Championships on December 4 2021 at the Theatre de Chatelet in Paris, France. This prestigious event is part of the Road to the 2024 Paris Olympics which will stage the inaugural appearance of Breaking at the Olympic Games in just over three years’ time." https://www.sadlerswells.com/whats-on/gb-trials-2021/ (Some of these are venue hires rather than Sadler's shows, so no member discount).

Not sure if this was mentioned elsewhere but I just received an email from Sadlers Wells announcing a free virtual Global Gala on 5 December. The email itself mentioned some of the participants (Osipova & Acosta included). Registration link: https://www.sadlerswells.com/receive-updates-about-sadlers-wells-global-gala/

SADLER’S WELLS ANNOUNCES NEXT DANCE PERFORMANCE AND WORKSHOPS ON ITS DIGITAL STAGE DURING COVID-19 CANCELLATIONS Today Sadler’s Wells announced this week’s additions to its Digital Stage programme – a special matinee screening of balletLORENT’S Rumpelstiltskin this Friday 3 April, and the first dance at home workshops for families and older audiences. Rumpelstiltskin is the next production available to watch via Sadler’s Wells’ Facebook Premieres, part of its free online performance platform, Digital Stage. It will be available on Friday 3 April at 3pm UK time, in a special day time screening for families, via this link and then available to watch for seven days thereafter. Director Liv Lorent joins forces with poet Carol Ann Duffy to retell the story of Rumpelstiltskin, an outsider shunned for being different. Stunningly beautiful, heart-warming and set in a spellbinding world of spinning wheels, kings and queens, Rumpelstiltskin is a mesmerising tale of love, loss and magical powers. With a score by Doctor Who composer Murray Gold, costumes designed by Michele Clapton (Game of Thrones), and narration by actor Ben Crompton, Rumpelstiltskin is the perfect treat for families. BalletLORENT had originally been due to perform as part of Sadler’s Wells’ Family Weekend this Easter. The first of Sadler’s Wells’ new workshop series for audiences to dance along to at home is also available this week, from tomorrow Wednesday 1 April, with five workshops created to connect with younger children, and one workshop for older people. Five family workshops created by Cherie Coleman, who runs Family Friday sessions at Sadler’s Wells, will be available to watch on the Sadler’s Wells YouTube channel from midday on Wednesday 1 April with more to be added in coming weeks. Aimed at children aged 2 to 6 years, the activities include balancing, jumping, rhythm, colours and animals to follow at home. The family workshops can be found online from midday tomorrow here. There will also be workshops for older people aged over 60, inspired by Sadler’s Wells’ Company of Elders programme, with the first in the series available tomorrow, Wednesday 1 April. It is inspired by the Indian classical dance form bharatanatyam and hosted by choreographer Seeta Patel. The workshop can be found online from tomorrow afternoon here. New dance content on Sadler’s Wells’ Digital Stage has been created in response to the cancellation of shows across its theatres as part of efforts to curb the spread of Covid-19, and aims to continue bringing dance to audiences through digital channels. The first in a series of Sadler’s Wells Facebook Premieres was Deluxe by BalletBoyz, which was made available on Friday 27 March at 7:30pm, the same time the work was due to be performed live at Sadler’s Wells. This work is available until Friday 3 April via the Sadler’s Wells official Facebook page. Upcoming performances include a new version of Wilkie Branson’s dance for camera installation TOM, which would have formed part of Sadler’s Wells’ Digital Edition in April. Further details, including all titles, dates and screening times, will be announced via Sadler’s Wells’ social media channels, and updated via this link on the Sadler’s Wells website: https://www.sadlerswells.com/whats-on/2020/digital-stage/. Sadler’s Wells social media handles: Facebook: @SadlersWells Twitter: @Sadlers_Wells Instagram: @sadlers_wells YouTube: Sadler’s Wells Theatre About Sadler’s Wells Sadler’s Wells is a world-leading creative organisation dedicated to dance in all its forms. With a rich theatrical heritage of over three centuries, it offers a year-round programme of performances and learning activities. Its mission is to make and share dance that inspires us all. Its vision is to create, through dance, a depth of connection beyond borders, cultures and languages, so we see ourselves in each other. Audiences of over half a million come to Sadler’s Wells’ three London theatres each year, with many more enjoying its touring productions at venues across the UK and around the world and accessing its content through digital channels. Sadler's Wells commissions, produces and presents more dance than any other theatre in the world, embracing the popular and the unknown. Since 2005, it has helped to bring over 180 new dance works to the stage, many of them involving its 16 Associate Artists, three Resident Companies and four Associate Companies – the most exciting talents working in dance today. Sadler’s Wells nurtures the next generation of talent through a range of artist development initiatives and reaches over 30,000 annually through its learning and engagement programmes. Located in Islington, north London, Sadler’s Wells’ current building is the sixth to have stood on site since entrepreneur Richard Sadler first established the theatre in 1683. The venue has played an illustrious role in the history of theatre ever since, with The Royal Ballet, Birmingham Royal Ballet and English National Opera having all started at Sadler's Wells. Sadler’s Wells is to open an additional mid-scale venue in east London in 2022. The new space will be at the heart of the East Bank project, a new cultural and education district in Queen Elizabeth Olympic Park in Stratford, which will also include BBC, UAL’s London College of Fashion, UCL and the V&A including a partnership with the Smithsonian Institution. As well as a 550-seat auditorium, Sadler’s Wells’ new venue will include a choreographic centre and a hip hop theatre academy, the first of their kind in the world to be run by a theatre. www.sadlerswells.com

Oh, my - I have never seen anything like this in my life - just awesome and moving in many ways. And in these times poignant. What does happen when the music stops?

Natalia Osipova: Pure Dance. Opening Night, Tuesday 22nd Oct, 2019 As I walked along Rosebery Ave towards the Sadlers Wells main entrance, I saw a man sat on the steps of one of the adjacent terraced houses, engrossed in his phone. It was only David Hallberg! I couldn't resist interrupting to say hello and talk briefly about Manon, but at least I managed to stop myself asking for a photo! For an opening night featuring two world-famous classical dancers and two amazing contemporary dancers, the fact the auditorium only seemed about two-thirds full was a bit disappointing. Perhaps this was partly because the majority of the dance pieces were those from last year; there was one new piece (Left behind) and one that had been extended (Six Years Later). The Leaves are Fading (Antony Tudor). I've never seen the original, but the programme notes say this is an arrangement of the main PDD. It provided a wonderful introductory showpiece for the partnership of Osipova and Hallberg - that they have a definite affinity for each other was left in no doubt. Their billowing, pastel pink/white costumes added to sense of fluidity in their movements. Left behind: This was an intriguing piece, choreographed by Kittelberger and danced by him and Osipova. As a contemporary piece, he was dressed in a green shirt and trousers, she in black pants and a long brown t-shirt. The music was Rachmaninov's Elegie. The only prop on stage was a regular door, set in a frame, placed to the left of centre and at an angle. This formed a physical and metaphorical device to separate the dancers from each other but also allow them to join each other, for the piece (according to the programme) deals with the lingering impact of people that are no longer there (and relationships that are over?). The choreography played to their respective strengths; Kittelberger doing a fair amount of floor-level moves and partnering Osipova with total confidence (at one point she leapt from her perch on top of the door into his arms), and Osipova repeatedly crossing the contemporary boundary by throwing in her signature classical spins. Like much contemporary dance, there was a lot of latitude for interpretation. As such, I was quite engaged by it, but didn't get that much from it - though for the upcoming Friday and Saturday performances I'm fairly confident it will grow on me. That confidence didn't extend to the next piece, Flutter. I've seen it a number of times now, and I remain rather flummoxed by it. In trying to 'get' something from a piece, I need something to grab hold of to help extract some sort of meaning. The programme notes suggest Flutter is an exploration of the unknown; that's fine by me, but successful exploration of the unknown means it then becomes known - this piece just seemed to remain 'unknown' (to me, at least). This may well have been deliberate, in which case the piece does have a meaning/message - albeit a frustrating one - that it's hard to understand things that lack substance/structure, though it's something we still try to do (there! I've just tried to do that myself! QED!). The unstructured/insubstantial nature of the piece was reflected in the costumes, choreography and music. The costumes were white, gauze-like, almost transparent shirts and trousers; they were hardly there (underwear, thankfully, was). The choreography gave the impression of frenetic, ad hoc, 'half-moves'; the main 'structure' to the choreography was the use of the dimly-lit back of the stage to 'hide', followed by Osipova and Jonathan Goddard running to the brightly-lit front. The music was mainly based around the sung/spoken word - in this case 'random' numbers - along with synthesiser. Perhaps this is what Philip Glass' Knee Play 3 ( https://www.youtube.com/watch?v=PL9Rjn7EiRw ) would sound like after taking LSD? Well, as has happened to me before, trying to explain something has helped me understand it! I now think the chaotic, fractured, insubstantial nature of the piece is what it's all about. I guess the clue was in the name all along; the piece flitters and flutters along, defying attempts to pin it down. In fact, just like a butterfly, pinning it down will ruin it. I will now go to the next performance armed with a different viewpoint! As an aside, it was great to see Jonathan Goddard on stage with Osipova again, but he has such a distinctive look that I couldn't help but think back to the 'ferryman' sequence in The Mother.😱 After the interval, Hallberg did his solo piece - In Absentia. The staging is minimal but superbly effective. He is sat on a chair to the left, looking at what seems to be a TV between him and us. The light from the TV bathes him and cast a huge shadow of him on the back wall of the stage. When he gets up and moves around the stage, exploring and testing various ballet moves, his shadow acts in concert - growing and shrinking according to where he is. I always thought the piece was about his enforced absence from the stage due to injury, with him passing the time (unsatisfactorily) by watching TV and trying to both remember and look forward to returning to the stage. The programme notes suggest not, but I like the poignancy of my interpretation, so I'm sticking to it! If I see him on the street on Friday I will ask him! This was followed by Six Years Later, danced by Osipova and Kittelberger to the Moonlight Sonata and the old pop song Reflections of My Life. I really liked this piece when I saw it last year. It's supposedly about the relationship between two people six years after some sort of 'event' in their lives. It's a puzzle-piece that has no answer, but it has enough substance to hook one's imagination into. I just loved the bit where, in time to the music, they are facing each other, very close together, moving alternate shoulders, 'hitting' each other as they move around the stage. Is it an argument? Is it playful? Who knows? And does it really matter? That ambiguity extends to another interaction where Kittelberger is stood back, facing off to Osipova, talking at her, a smile on his face. But was it friendly or taunting? What was he saying? (and, yes, he was actually speaking) The ending last year only added to the ambiguity, to the lack of resolution. There is a lyric in Reflections of My Life that goes 'Feel I'm dying'; last year at that point the lights went out, the music stopped and the piece was over - very effective. This year, the song continued until the end and the piece segued into a song by Handel. This was accompanied by slower, more intimate choreography (with a lot of intertwined hands/arms) until the finish. Personally, I liked the version that finished abruptly, but that might change with repeated viewing. The penultimate piece was Osipova's solo, Ave Maria. This ended the show last year, and is perhaps the most personal piece I have seen her do. I have never seen her give a performance of anything where she has not tried to be 100% honest with herself, the piece itself or the audience. Here, to use the old football cliche, she is 110% 'honest'. For me, that's what makes her the superlative dance-actress she is. The final piece was Valse Triste, choregraphed by Ratmansky and danced by Osipova and Hallberg. Putting this at the end instead of Ave Maria worked for me. Solo pieces are fine, but dance is at its best when it explores relationships. That she has special professional and personal relationships with the other three men in the show adds an extra dimension. To bookend the evening with Osipova/Hallberg pieces underlined the special relationship they have, and I was overjoyed not only by their wonderful timing/musicality, but also when he did a huge and prolonged lift of Osipova over his head towards the end of Valse Triste - the very lift he was having problems with recently. When Osipova, Hallberg, Kittelberger and Goddard appeared at the end of the evening, they appeared as friends who had spent the evening in the company of other friends - us, the audience, who rightly gave them a rapturous reception.

Could anyone please tell me if there are any view issues at the Lilian Baylis Studio (apart from those at the very back marked as restricted view)? In particular, do the front row seats afford a good view and can you see the dancers’ feet? For the performance I am hoping to see, many/most seats are booked but the front row is completely free which is making me think those in the know know something I don’t! 😉 TIA

Just wondering if anyone has seen a special offer anywhere given that there are still hundreds of seats available?

Details are out now. Includes a new programme from Alina Cojocaru, new work from Crystal Pite, Ballet Boyz, final Richard Alston performances, new Khan for ENB, Northern Ballet, Rambert with DV8's Enter Achilles and lots more.

I have booked tickets for the Ballet Cymru triple bill at the Lilian Baylis Studio, Sadler's Wells in November. I'm not familiar with the area and wondered if anyone could suggest somewhere decent, but not too pricey to eat before or after the performance. Also, I'll be staying in Bermondsey, any tips regarding public transport would be welcome. Thank you !

I’ve just seen that the TodayTix App has a 24 hour offer of stalls and first circle tickets from £15 for all 3 Alvin Ailey programmes at Sadlers Wells for the rest of the run.

Sadler's Wells Wednesday, May 29, 2019 – 7:30 pm Program A Shostakovich Trilogy Choreography: Alexei Ratmansky Music: Dmitri Shostakovich Conductor: Martin West Symphony #9 Jennifer Stahl, Aaron Robison Dores Andre, Joseph Walsh Wei Wang Chamber Symphony Ulrik Birkkjer Sasha De Sola Mathilde Froustey Yuan Yuan Tan Piano Concerto No. 1 Sofiane Sylve, Carlo Di Lanno Wona Park, Angelo Greco Learn More Buy Tickets Thursday, May 30, 2019 – 7:30 pm Program A Shostakovich Trilogy Choreography: Alexei Ratmansky Music: Dmitri Shostakovich Conductor: Martin West Symphony #9 Mathilde Froustey, Luke Ingham Sasha De Sola, Esteban Hernandez Hansuke Yamamoto Chamber Symphony Aaron Robison Jahna Frantziskonis Dores Andre Jennifer Stahl Piano Concerto No. 1 Yuan Yuan Tan, Tiit Helimets Isabella DeVivo, Vitor Luiz Learn More Buy Tickets Friday, May 31, 2019 – 7:30 pm Program B Conductor: Martin West The Infinite Ocean Choreography: Edwaard Liang Music: Oliver Davis Violinist: Cordula Merks Sofiane Sylve, Tiit Helimets Yuan Yuan Tan, Vitor Luiz Snowblind Choreography: Cathy Marston Music: Amy Beach, Philip Feeney, Arthur Foote, and Arvo Pärt Piano: Mungunchimeg Buriad Ethan Frome: Ulrik Birkkjaer Zeena Frome: Jennifer Stahl Mattie Silver: Mathilde Froustey Björk Ballet Choreography: Arthur Pita Music: Björk Gudmundsdottir, Alejandro Ghersi, and Sjón Carmela Mayo Dores Andre Elizabeth Powell Joseph Walsh Luke Ingham Ulrik Birkkjaer Learn More Buy Tickets Saturday, June 1, 2019 – 2:30 pm Program B The Infinite Ocean Choreography: Edwaard Liang Music: Oliver Davis Conductor: Martin West Violinist: Cordula Merks Sofiane Sylve, Tiit Helimets Yuan Yuan Tan, Vitor Luiz Snowblind Choreography: Cathy Marston Music: Amy Beach, Philip Feeney, Arthur Foote, and Arvo Pärt Conductor: Ming Luke Piano: Mungunchimeg Buriad Ethan Frome: Ulrik Birkkjaer Zeena Frome: Jennifer Stahl Mattie Silver: Mathilde Froustey Björk Ballet Choreography: Arthur Pita Music: Björk Gudmundsdottir, Alejandro Ghersi, and Sjón Conductor: Ming Luke Miranda Silveira Dores Andre Elizabeth Powell Joseph Walsh Luke Ingham Ulrik Birkkjaer Learn More Buy Tickets Saturday, June 1, 2019 – 7:30 pm Program B Conductor: Martin West The Infinite Ocean Choreography: Edwaard Liang Music: Oliver Davis Violinist: Cordula Merks Sofiane Sylve, Tiit Helimets Yuan Yuan Tan, Vitor Luiz Snowblind Choreography: Cathy Marston Music: Amy Beach, Philip Feeney, Arthur Foote, and Arvo Pärt Piano: Mungunchimeg Buriad Ethan Frome: Ulrik Birkkjaer Zeena Frome: Jennifer Stahl Mattie Silver: Mathilde Froustey Björk Ballet Choreography: Arthur Pita Music: Björk Gudmundsdottir, Alejandro Ghersi, and Sjón Carmela Mayo Dores Andre Elizabeth Powell Wei Wang Luke Ingham Ulrik Birkkjaer Learn More Buy Tickets Sunday, June 2, 2019 – 4:00 pm Program A Shostakovich Trilogy Choreography: Alexei Ratmansky Music: Dmitri Shostakovich Conductor: Martin West Symphony #9 Jennifer Stahl, Aaron Robison Dores Andre, Max Cauthorn Lonnie Weeks Chamber Symphony Joseph Walsh Isabella DeVivo Elizabeth Powell Sasha De Sola Piano Concerto No. 1 WanTing Zhao, Vladislav Kozlov Wona Park, Angelo Greco Learn More Buy Tickets Wednesday, June 5, 2019 – 7:30 pm Program C Bespoke Choreography: Stanton Welch Music: J.S. Bach Conductor: Martin West Violinist: Cordula Merks Mathilde Froustey, Sasha De Sola, Jennifer Stahl Wona Park, Isabella DeVivo, Ellen Rose Hummel Angelo Greco, Carlo Di Lanno, Jaime Garcia Castilla Esteban Hernandez, Alexandre Cagnat, Lonnie Weeks Hummingbird Choreography: Liam Scarlett Music: Philip Glass Conductor: Martin West Piano: Natasha Feygina Sasha De Sola, Angelo Greco Yuan Yuan Tan, Luke Ingham Dores Andre, Joseph Walsh Hurry Up, We're Dreaming Choreography: Justin Peck Music: M83 Dores Andre, Joseph Walsh Elizabeth Powell, Luke Ingham Gabriela Gonzalez, Ulrik Birkkjaer Learn More Buy Tickets Thursday, June 6, 2019 – 7:30 pm Program D Your Flesh Shall Be a Great Poem Choreography: Trey McIntyre Music: Chris Garneau Benjamin Freemantle Isabella DeVivo, Sasha De Sola, Jennifer Stahl Steven Morse, Jaime Garcia Castilla, Alexandre Cagnat, Esteban Hernandez, Lonnie Weeks Bound To Choreography: Christopher Wheeldon Music: Keaton Henson Conductor: Martin West Dores Andre, Jennifer Stahl, Yuan Yuan Tan, Sasha De Sola, Isabella DeVivo Jaime Garcia Castilla, Lonnie Weeks, Carlo Di Lanno, Angelo Greco, Benjamin Freemantle Anima Animus Choreography: David Dawson Music: Ezio Bosso Conductor: Martin West Violinist: Cordula Merks Wona Park, Sofiane Sylve Joseph Walsh, Carlo Di Lanno, Luke Ingham, Wei Wang Elizabeth Powell, Skyla Schreter, Kamryn Baldwin, Elizabeth Mateer Learn More Buy Tickets Friday, June 7, 2019 – 7:30 pm Program D Your Flesh Shall Be a Great Poem Choreography: Trey McIntyre Music: Chris Garneau Benjamin Freemantle Isabella DeVivo, Sasha De Sola, Jennifer Stahl Steven Morse, Jaime Garcia Castilla, Alexandre Cagnat, Esteban Hernandez, Lonnie Weeks Bound To Choreography: Christopher Wheeldon Music: Keaton Henson Conductor: Martin West Dores Andre, Jennifer Stahl, Yuan Yuan Tan, Sasha De Sola, Isabella DeVivo Jaime Garcia Castilla, Lonnie Weeks, Carlo Di Lanno, Angelo Greco, Benjamin Freemantle Anima Animus Choreography: David Dawson Music: Ezio Bosso Conductor: Martin West Violinist: Cordula Merks Wona Park, Sofiane Sylve Joseph Walsh, Carlo Di Lanno, Luke Ingham, Wei Wang Elizabeth Powell, Skyla Schreter, Kamryn Baldwin, Elizabeth Mateer Learn More Buy Tickets Saturday, June 8, 2019 – 2:00 pm Program C Bespoke Choreography: Stanton Welch Music: J.S. Bach Conductor: Ming Luke Violinist: Cordula Merks WanTing Zhao, Sasha De Sola, Jennifer Stahl Wona Park, Thamires Chuvas, Ellen Rose Hummel Esteban Hernandez, Steven Morse, Jaime Garcia Castilla Wei Wang, Alexandre Cagnat, Lonnie Weeks Hummingbird Choreography: Liam Scarlett Music: Philip Glass Conductor: Ming Luke Piano: Natasha Feygina Jasmine Jimison, Steven Morse Lauren Strongin,Vitor Luiz Isabella DeVivo, Jaime Garcia Castilla Hurry Up, We're Dreaming Choreography: Justin Peck Music: M83 Ellen Rose Hummel, Wei Wang Isabella DeVivo, Henry Sidford Norika Matsuyama, Hansuke Yamamoto Learn More Buy Tickets Saturday, June 8, 2019 – 7:30 pm Program C Bespoke Choreography: Stanton Welch Music: J.S. Bach Conductor: Ming Luke Violinist: Cordula Merks Mathilde Froustey, Sasha De Sola, Jennifer Stahl Wona Park, Isabella DeVivo, Ellen Rose Hummel Angelo Greco, Carlo Di Lanno, Jaime Garcia Castilla Esteban Hernandez, Alexandre Cagnat, Lonnie Weeks Hummingbird Choreography: Liam Scarlett Music: Philip Glass Conductor: Ming Luke Piano: Natasha Feygina Sasha De Sola, Angelo Greco Yuan Yuan Tan, Luke Ingham Dores Andre, Joseph Walsh Hurry Up, We're Dreaming Choreography: Justin Peck Music: M83 Dores Andre, Joseph Walsh Elizabeth Powell, Luke Ingham Gabriela Gonzalez, Ulrik Birkkjaer

As well as San Francisco Ballet, lots of other ballet and dance performances for Spring 2019 have been announced by Sadler's Wells: http://newseason.sadlerswells.com/?utm_source=wordfly&utm_medium=email&utm_campaign=MKTEB181016&utm_content=version_A&sourceNumber=2560

Casting is now up for BRB's Romeo and Juliet at Sadler's Wells next week https://www.brb.org.uk/whats-on/venue/sadlers-wells Tuesday June 12 Juliet Momoko Hirata Romeo César Morales Mercutio Tzu-Chao Chou Tybalt Rory Mackay Benvolio Yasuo Atsuji Wednesday June 13 mat Juliet Nao Sakuma Romeo Chi Cao Mercutio Lachlan Monaghan Tybalt Valentin Olovyannikov Benvolio Edivaldo Souza da Silva Wednesday June 13 eve Juliet Jenna Roberts Romeo Tyrone Singleton Mercutio Max Maslen Tybalt Yasuo Atsuji Benvolio Brandon Lawrence

Casting just announced: https://www.ballet.org.uk/production/voices-of-america/#cast-section

This has been going on for a while already, apparently, but just be aware that buses to Sadler's Wells from Islington are on diversion: https://tfl.gov.uk/status-updates/major-works-and-events/upper-street-works?cid=upper-street-works That means that you can't hop on one outside Angel tube, and nor can you pick up a southbound one outside the theatre at the moment.

Birmingham Royal Ballet and Sadler's Wells are joining forces for a major new development programme for classical choreographers. The scheme will support large-scale commissions by emerging choreographers as well as offer mentoring from major ballet companies. Ballet Now is specifically for choreographers who have taken a classical route but have not had the opportunity to work on the largest scale. It will also work with composers and designers. The programme is being funded by £1.1 million from Oak Foundation, with BRB looking to match fund the same amount again. Ballet Now will support two commissions each year, helping a total of six artists – one choreographer, composer and designer for each commission. They will create work that will premiere at either BRB or Sadler's Wells in London. BRB currently performs at Sadler's Wells for one week a year, but this will be doubled to accommodate the commissions created for Ballet Now. The programme will also offer the selected artists mentoring from BRB director David Bintley and the company’s music director Koen Kessels. Bintley, who is behind the plans, said the idea had come from a realisation that there is choreographic talent being nurtured through a classical background that is not being used. "If you work in a classical vein it is very hard, if you are not permanently allied with a company, to get work,” he said. Sadler's Wells artistic director Alistair Spalding added: "There seems to be an issue particularly with the development of new talent coming from ballet itself. There is a big trend for contemporary choreographers to go into the ballet situation, and this is trying to address the fact that it needs to also come through ballet itself." The programme will also have an international element, with BRB partnering with ballet companies across the globe to seek out the talent chosen for Ballet Now. This process will be overseen by a creative consortium, made up of experts from across world ballet. They will also provide mentoring opportunities for the selected artists. The programme begins later this year and is planned to run over five years, allowing the work created by Ballet Now to become the "artistic calling cards" needed to forge careers around the world. Bintley went on to describe international collaboration as "very much the way forward" for ballet companies such as BRB, adding that it would be an important element of ballet's future. The creative consortium met for the first time on April 27. https://www.brb.org.uk/post/ballet-now