Jan McNulty

Tanztheater Wuppertal Pina Bausch Auf dem Gebirge hat man ein Geschrei gehört & Ahnen UK PREMIERE Wednesday 15 - Sunday 26 April 2015 Tickets: £12 - £60 Ticket Office: 0844 412 4300 or www.sadlerswells.com Tanztheater Wuppertal Pina Bausch returns to Sadler’s Wells from Wednesday 15 - Sunday 26 April 2015, presenting the UK premieres of Auf dem Gebirge hat man ein Geschrei gehört (On the Mountain A Cry Was Heard) and Ahnen. The two works the company performs for this visit are both from the 1980s and capture Bausch at the height of her powers.1984’s Auf dem Gebirge hat man ein Geschrei gehört (On the Mountain A Cry Was Heard) is set upon a soil-strewn stage and features music from Billie Holiday, Edith Piaf and Henry Purcell. Ahnen, first performed in 1987, has a similarly diverse score, and takes place in a thorny desert-scape. Peter Pabst’s incredible set designs for these productions include 40 fir trees, 20 cubic metres of potting soil, a large aquarium and real snow on stage. Pina Bausch was born in Solingen in 1940. She received her dance training at the Folkwang School in Essen under Kurt Jooss, where she achieved technical excellence. Beginning her work as a choreographer in 1968, Pina Bausch invented tanztheater as it is known today. Bausch’s initially controversial fusion of radical theatre, surreal art, drama and danced body language, gradually achieved international recognition for the company. Her original approach to theatre and dance influenced the international development of dance and inspired not only a generation of choreographers, but also theatre makers, visual artists and filmmakers. Awarded some of the greatest prizes and honours world-wide, Pina Bausch is one of the most significant choreographers of our time. During 36 years as Artistic Director of Tanztheater Wuppertal Pina Bausch, she nurtured an ensemble of vivid imagination and grand scale and developed an artistic canon renowned for its diverse cultural influences and rich visual style. Since her death in 2009, the company continues to tour all over the world and presents between 12 and 14 different pieces by Pina Bausch each season. Tanztheater Wuppertal Pina Bausch is now under the artistic directorship of Lutz Förster, a close colleague of Pina Bausch and long-term ensemble member who first performed with Bausch in her 1975 production Sacre du Printemps. From 1978 he became a permanent member of the ensemble and soon emerged as one of its most outstanding dancers and performers. Förster became artistic director of Tanztheater Wuppertal in April 2013. Peter Pabst is a highly respected set and costume designer who has worked in theatre, opera, dance, film and television. His first set for Pina Bausch was in 1980 (for the production 1980), and over the course of their close collaborative relationship Pabst designed and realised 25 "play-rooms" for Bausch. He was awarded the Kainz Medal of the City of Vienna, was appointed Chevalier des Arts et des Lettres in France, and awarded the title of Professor by the Minister President of NRW. About Sadler’s Wells Sadler's Wells is a world leader in contemporary dance, committed to producing, commissioning and presenting new works and to bringing the very best international and UK dance to London and worldwide audiences. Under the Artistic Directorship of Alistair Spalding the theatre’s acclaimed year-round programme spans dance of every kind, fromcontemporary to flamenco, Bollywood to ballet, salsa to street dance and tango to tap. Since 2005 it has helped to bring over 90 new dance works to the stage and its international award-winning commissions and collaborative productions regularly tour the world. Sadler’s Wells supports 16 appointed world class Associate Artists, three Resident Companiesand an Associate Company and nurtures the next generation of talent through its National Youth Dance Company, Summer University programme, Wild Card initiative and its New Wave Associates. Located in Islington in north London, the current theatre is the sixth to have stood on the site since it was first built by Richard Sadler 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 all having started at Sadler’s Wells. Sadler’s Wells is an Arts Council National Portfolio Organisation and currently receives approximately 9% of its revenue from Arts Council England.

Hello Live4ballet and welcome to the Forum! Given you age, will you please make sure that your parents are happy with you being a member of the Forum? I can't give you any advice but I am sure many of our other members can offer support. Good luck with your quest!

Northern Ballet has published a photo gallery from the gala, taken by Emma Kuldhaur (editor of Dance Europe): http://northernballet.com/?q=sapphire-gala-photo-gallery

I think it depends on the type of cactus. I've got one in a 2 inch pot that my nieces bought me about 10 years ago. From about two inches high it is now about 5 inches high and usually flowers once a year. I have never repotted it and hardly ever water it!

Hello Biscuit and welcome to the Forum. Do let us know how you get on.

I think it is just yet another money making scheme myself!

Belated Happy Saint David's Day to all out members. I'm not sure why Saint Patrick has the monopoly on patron saint celebrations!

There is one substantial piece of scenery at the back for Carmina in the final moments (the big flashing thing) otherwise IIRC not too much.

Matthew Topliss is a current NB favourite who went through the CAT scheme and Matthew Koon, another NB favourite, was a CAT associate. I don't think it is compulsory to be called Matthew!

We really need to see how this US year is made up before any assumptions can be even thought about. The daughter of a colleague was at a lower school (not WL) and soon realised she did not want to dance ballet professionally. She went to an MT US.

Posted at same time as Aileen!

ENBS is Upper School only (as is Central). NB has taken in 5 or 6 dancers from ENBS in the last couple of years and they have all been terrific and 3 whom I think are spectacular!

As I have just been booking Autumn season tickets for BRB and NB I can say that I have been truly shocked at the increased ticket prices in all theatres!!! Birmingham prices are less than those at the Coli and even more rasonae if you buy a subscription.

Sadler’s Wells Switches out the Lights for Earth Hour, 28 March 2015 Sadler’s Wells will take part in Earth Hour on Saturday 28 March 2015, a symbolic lights out event organised by WWF, uniting individuals, schools, businesses, landmarks and public buildings across the globe to focus attention on protecting the planet. The theatre - a world leader in contemporary dance - will switch off all external lights, including external architectural lighting of the building and signage, between 8.30pm and 9.30pm, joining forces with thousands of iconic landmarks around the world. Earth Hour has become a global event since it began in 2007, and last year 162 countries and 7000 towns and cities participated. Joining Earth Hour is one of many initiatives undertaken by Sadler’s Wells in a drive to increase the sustainability of the building and its operations. Sadler's Wells is committed to reducing its energy demand, CO2 emissions and waste consumption across all departments. Emma Wilson, Sadler’s Wells’ Director of Technical and Production and Chair of the theatre’s Sustainability Committee, said: “We are very pleased to be taking part in Earth Hour. It is an important gesture and it reflects our endeavour as an organisation to reduce our energy use and commit to sustainable working practices. We will continue to strive to make further changes in the foreseeable future.” In 2014, the theatre carried out a number of technical refurbishments, with support from Arts Council England, designed to reduce energy demand and CO2 emissions. Electricity at Sadler's Wells is now purchased from 100% renewable sources. A switch to low energy dimmable LED house lights in the main auditorium and increased use of LED units in stage production lighting is one of the venue’s largest energy saving initiatives. Sample data comparing 2013/14 and 2014/ 15 Christmas seasons shows a 19.5% reduction in electricity use year on year. Working in partnership with Islington Council, Sadler's Wells has a waste management system to monitor general and recyclable waste. Additionally, 95% of staff at Sadler’s Wells travel to and from work by public transport, and the theatre has a Cycle to Work scheme to encourage employees to cycle if possible. Later this month, photovoltaic cells will be fitted to the roof of the building to generate energy. Other works planned for Spring/ Summer 2015 include ventilation upgrades to the Lilian Baylis Studio, and replacement of boilers and the Building Management System. Notes to editors: About Earth Hour Earth Hour, organised by WWF, is a worldwide grassroots movement uniting people to protect the planet. Last year was the biggest yet, with hundreds of millions of people taking part across a record 162 countries and 7,000 towns and cities alongside world famous landmarks from the Sydney Opera House to Times Square in New York. This year Earth Hour will be held on 28 March 2015 between 8.30pm and 9.30pm. wwf.org.uk/earthhour About WWF WWF is one of the world’s largest independent conservation organisations, with more than five million supporters and a global network active in more than one hundred countries. Through engagement with the public, businesses and government, the organisation focuses on safeguarding the natural world, creating solutions to the most serious environmental issues facing our planet, so that people and nature thrive. wwf.org.uk. About Sadler’s Wells Sadler's Wells is a world leader in contemporary dance, committed to producing, commissioning and presenting new works and to bringing the very best international and UK dance to London and worldwide audiences. Under the Artistic Directorship of Alistair Spalding the theatre’s acclaimed year-round programme spans dance of every kind, from contemporary to flamenco, Bollywood to ballet, salsa to street dance and tango to tap. Since 2005 it has helped to bring over 90 new dance works to the stage and its international award-winning commissions and collaborative productions regularly tour the world. Sadler’s Wells supports 16 appointed world class Associate Artists, three Resident Companies and an Associate Company and nurtures the next generation of talent through its National Youth Dance Company, Summer University programme, Wild Card initiative and its New Wave Associates. Located in Islington in north London, the current theatre is the sixth to have stood on the site since it was first built by Richard Sadler 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 all having started at Sadler’s Wells. Sadler’s Wells is an Arts Council National Portfolio Organisation and currently receives approximately 9% of its revenue from Arts Council England.

Boris Charmatz / Musée de la danse manger and Aatt enen tionon Sunday 17, Tuesday 19 and Wednesday 20 May Performances at 7.30pm Sadler’s Wells, EC1R Tickets: £15 - £20 Ticket office: 0844 412 4300 or www.sadlerswells.com In a major collaboration Sadler’s Wells and Tate Modern present Musée de la danse in London from Friday 15 – Wednesday 20 May, an unprecedented series of performances, installations and provocations by French choreographer and dancer Boris Charmatz. As part of an important new focus on the work of Charmatz, Sadler’s Wells presents two works: the London premiere of Aatt enen tionon on Sunday 17 May and the UK premiere of manger on Tuesday 19 and Wednesday 20 May. Also part of Musée de la danse in London are Charmatz’s activities at Tate Modern on Friday 15 and Saturday 16 May. Charmatz has been director of the ground-breaking National Choreographic Centre in Rennes since 2009, which he provocatively renamed Musée de la danse, reframing the traditional dance organisation as a new kind of museum. Thisdancing museum, what Charmatz refers to as “a culture which largely remains to be invented”, opens up the boundaries of what is considered choreography and dance and looks to creating new physical spaces and situations to redefine them. Following Charmatz’s debut at Sadler’s Wells in 2014 with the thought-provoking piece enfant, the theatre now breaks its boundary between stage and spectator in order to fully showcase the nature of Charmatz’s combination of dance, installation and performance art. This re-thinking of the traditional performance space of the Sadler’s Wells theatre sees an intimate audience of approximately 200 people invited onto the main stage to be a part of Aatt enen tionon and manger. Alistair Spalding, Sadler’s Wells Artistic Director and Chief Executive said: “Boris Charmatz is one of the most radical and important dance artists working today and our collaboration with Tate Modern enables him to present his work to the London audience in a truly unique way, in both theatrical and gallery settings. We have re-worked our theatre’s usual performance space in response to the artistic needs of his work and are excited to be challenging the possibilities of how dance is experienced.” Created in 1996, Aatt enen tionon (Sunday 17 May) takes place within a structure built like a tower on three levels and invites the audience to examine dance from top to bottom. These seemingly impossible conditions question the existing structure of dance as performance. One solitary half-nude dancer occupies each of the three levels as the audience moves around the structure, viewing the piece from different points, near or far. Closer to an art installation than a traditional dance piece, Aatt enen tionon explores what Charmatz terms “strict disorder”, and how one can be full of life but isolated and solitary. In his new work manger (Tuesday 19 and Wednesday 20 May) Charmatz examines and challenges the role that the mouth and eating play in choreography, dance and performance. The piece, performed in two manifestations between Tate Modern and Sadler’s Wells, sees dancers’ bodies set in motion with the mouth. The mouth is figured as the point where food, voices, breath and words meet, acting as a space where the self and the other engage with and ingest each other. Charmatz uses this metaphor as the vehicle for his choreography. Standing at the boundaries between a mobile installation and a performance piece, manger offers its audience what Charmatz terms a “swallowed reality”: a slow digestion of the world. Boris Charmatz said, about Musee de la danse: “I want to modify both preconceived ideas about museums and one’s ideas about dance. Dance and its actors are often defined in opposition to the arts that are said to be perennial, lasting, static, for which the museum would be the favourite place; but a museum can be alive and inhabited as much as a theatre and offer a contact with dance that can be at the same time practical, aesthetic and spectacular.” The Sadler’s Wells focus on Boris Charmatz continues with his performance in the UK premiere of Partita 2, a work by Anne Teresa De Keersmaeker, performed by Charmatz, De Keersmaeker and violinist Amandine Beyer on Friday 22 and Saturday 23 May. This Rosas production sees De Keersmaeker depart from her usual meticulous construction of dance, embracing the improvisatory instincts and whimsical flair of Charmatz. Before Charmatz’s performances at Sadler’s Wells, Musée de la danse will take over Tate Modern for a special weekend (Friday 15-Saturday 16 May) with If Tate Modern was Musée de la danse?, a series of events and performances part of the BMW Tate Live. More than inviting dance into the museum, the weekend is a chance to consider how the museum could be transformed by dance altogether. The activities at Tate Modern include a dispersed version of Charmatz’s manger, prior to its full UK premiere at Sadler’s Wells. Pre-show Director’s Conversation with Boris Charmatz on Wednesday 20 May at 6pm in the Lilian Baylis Studio (£4) Musée de la danse in London is presented by Sadler’s Wells and Tate Modern. For more information about Musée de la danse, please visit www.museedeladanse.org Notes to editors: About Sadler’s Wells Sadler's Wells is a world leader in contemporary dance, committed to producing, commissioning and presenting new works and to bringing the very best international and UK dance to London and worldwide audiences. Under the Artistic Directorship of Alistair Spalding the theatre’s acclaimed year-round programme spans dance of every kind, from contemporary to flamenco, Bollywood to ballet, salsa to street dance and tango to tap. Since 2005 it has helped to bring over 90 new dance works to the stage and its international award-winning commissions and collaborative productions regularly tour the world. Sadler’s Wells supports 16 appointed world class Associate Artists, three Resident Companies and an Associate Company and nurtures the next generation of talent through its National Youth Dance Company, Summer University programme, Wild Card initiative and its New Wave Associates. Located in Islington in north London, the current theatre is the sixth to have stood on the site since it was first built by Richard Sadler 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 all having started at Sadler’s Wells. Sadler’s Wells is an Arts Council National Portfolio Organisation and currently receives approximately 9% of its revenue from Arts Council England. About BMW Tate Live BMW Tate Live is a long-term partnership between BMW and Tate that features innovative live performances and events including live web broadcast, in-gallery performance, seminars and workshops. BMW Tate Live aims to reach an international audience through new forms of art, addressing audiences changing needs, tastes and interests in art. The initiative creates a new space for collaboration and a programme that encompasses performance, film, sound, installation and learning – areas where artists can take greater risks and experiment freely. The programme investigates transformation in all its guises and aims to provoke debate on how art can affect intellectual, social and physical change. More information at www.tate.org.uk/bmwtatelive

Some people need to have some water with them and maybe something to soothe a throat/cough but other than that I agree that food and drink should be banned. It does my head in that some theatres allow drinks in containers other than lidded bottles. I have seen glasses knocked over before now and it is a real hazard for people getting in and out of rows.

Well Northern Ballet, as I said earlier, certainly know how to party! The evening opened with the orchestra playing the overture from Ruslan and Ludmila and jolly fine they sounded too, in both that piece and throughout the evening. Then we went straight into Sapphire, choreographed by David Nixon to show off the younger male contingent in the company. The piece looked as thought it was starting with a class and got more and more virtuoso as it went along. It certainly showed off the talented young men of the company and the audience was suitably appreciative! It is most certainly worthy of more outings… Then David Nixon made a short speech explaining that the gala was not only about celebrating 45 years of Northern Ballet but also about looking to the future. He told us who the guest artists were and what we could expect. Ballet Master Daniel de Andrade created Fatal Kiss on Lucia Solari and Javier Torres to Autumn from Piazzola's Four Seasons. According to the programme note this duet is about a man meeting his death in the form of a final kiss. I loved the Argentine Tango feeling to the choreography and Lucia and Javier had such a great rapport that the stage was on the verge of spontaneous combustion! The dancers were accompanied live on stage by Susan Urschitz (violin), Sasha Volpov (cello) and Andrew Dunlop (piano). This piece must surely have a life beyond this gala! The musicians stayed on stage to accompany the first guests of the evening. Phoenix Dance Theatre performed Christopher Bruce’s Shift, which could be interpreted as factory workers and their lives. It contains all Mr Bruce’s signature moves and Phoenix looked absolutely terrific. It was good to see ex-NB favourite Ben Mitchell looking as wonderful as ever. Jonathan Watkins is choreographing 1984 for Northern Ballet in the Autumn so I was really interested to see his Northern Trilogy performed to three monologues recited by Stanley Holloway. His choreography was lyrical and gorgeous and very witty. His movements really fitted in with lilt of the monologues and he brought the expressiveness out of Northern Ballet’s dancers that we have become used to. I do hope we get an opportunity to see this quirky, fun piece again before too long. Next up was Javier Torres dancing Michel Descombey’s Dying Swan. His was a very powerful and moving performance. Javier’s arms were just amazing. I have seen this piece on YouTube and am so glad I have now seen it live and so beautifully performed by Javier. The first half of the evening, which seemed to have absolutely flown by, ended with a duet from Alexei Ratmansky’s Cinderella performed by Lana Jones and Adam Bull of Australian Ballet. It was lovely! After the interval Martha Leebolt and Toby Batley treated us to the Act 1 duet from Gatsby. They have such a wonderful on-stage rapport that they are always a joy to watch. It was a super way to start Act 2. BTW if anyone wants to see Gatsby at the Wells but hasn’t booked I’m very much afraid you will be looking for returns! Great news for Northern Ballet! This led on to Little Monsters choreographed by Demis Volpi and danced to the music of Elvis Presley. This quirky and original piece is featuring as part of the mixed programme in May. Dreda Blow and Joseph Taylor were magnificent in this and I am looking forward to seeing it again. Next up Lucia Solari and Alexandr Trusch (from Hamburg Ballet) performed the gpdd from John Neumeier’s Nutcracker. They looked fabulous together and Lucia was every inch the classical ballerina showing her versatility. Kenneth Tindall’s latest work We never said is a sensuous, sinuous duet for Martha and Toby. They were wearing very slinky costumes by Diesel and it made me think that Diesel could do no better than use Martha and Toby in this piece for their next advertising campaign. As I said earlier Martha and Toby have a magical on stage partnership and this piece set the stage alight. A real highlight and, again, something I want to see again soon! Xander Parish performed Ballet 101 which was enormous fun. It started off with a voice explaining the ballet positions and then repeating this with the dancer performing them (all 100 of them!!). It got more and more frenetic and funny as it went along. Xander has terrific stage presence and looked as though he was having a ball performing this piece. Next we had such a treat – Daria Klimentova and Vadim Muntagirov performing the White Swan adagio from Swan Lake. There is a completeness about them when they dance together that is a real privilege to watch. It was sublime. Then on to the finale – an extended Charleston section from Gatsby and oh did Northern’s dancers look like they were having a ball! It was terrific fun to watch and I never wanted it to end. It was a brilliant way to end the evening! One of the nicest things about this gala was that it was a real celebration of Northern Ballet’s present and future and it was great to see the dancers performing new and exciting works that took them out of their comfort zone. The future is looking great…. The only trouble is that I want them to perform this gala all over again … NOW!!! Just to say that I didn’t notice anything other than the odd empty seat and perhaps a block could have been released by a group booking. The audience was most appreciative and the front row (and I’m sure many people behind us) were all on their feet cheering at the end. Unlike Terpsichore I saw a lot of NB regulars whom I know.

There's a lovely interview with David Nixon in the Yorkshire Post: http://www.yorkshirepost.co.uk/yorkshire-living/arts/theatre-and-tv/dancing-to-music-of-time-1-7148209

Well Northern Ballet and their fans certainly know how to enjoy themselves! Tonight's gala was enormous fun and fabulous entertainment. More later...

Hello Elizabethlahav and welcome to the Forum. Good luck with funding. Please let us know how you get on!

BREAKIN’ CONVENTION ‘15 International Festival of Hip Hop Dance Theatre Sadler’s Wells & Lilian Baylis Studio Friday 1 - Monday 4 May 2015 Performances: Friday 8pm, Sat & Sun doors open 4pm, Show 6pm Tickets: Friday 1 May: £20 | Saturday 2 & Sunday 3 May: £15 – £20 Ticket Office: 0844 412 4300 or www.sadlerswells.com Breakin’ Convention offers reserved seating so early booking is strongly advised "This annual festival of hip hop dance theatre remains one of the highlights on the British dance calendar" The Times Sadler’s Wells’ critically acclaimed international festival of hip hop dance theatre, Breakin’ Convention, is back, with high energy performances from UK and international companies over the May Bank Holiday Weekend (Friday 1 – Monday 4 May 2015). Now in its 12th year, this hugely popular Sadler's Wells production is hosted and curated by pre-eminent UK hip hop theatre artist Jonzi D. Breakin’ Convention showcases the best of international and home-grown hip hop talent and continues to offer a unique platform for young artists, with youth companies being able to present work on the main stage alongside more established acts. This year the 2015 line-up includes three sets of twins; international duo Les Twins, famous for touring the world with superstar Beyoncé; London’s identical b-boy twins Twin Peak; and America’s first generation b-boys The Legendary Twins. Many acts in the 2015 line-up developed work as part of Breakin’ Convention initiatives Open Art Surgery and Back To The Lab. While Breakin’ Convention is an event for the whole family, for the first time this year there will be an adult-only evening of entertainment in the Lilian Baylis Studio, WorX. The evening features titillating tales of desire and temptation through dance, circus and poetry. Featuring live jazz from award-winning alto-saxophonist and MC Soweto Kinch, the evening is hosted by singer, songwriter and poet Floetic Lara. There will be a free cocktail on arrival at this cabaret style event which has a smart dress code and is for strictly over 21s only. Full line-up of acts to be announced shortly. The main festival on Saturday 2 & Sunday 3 May sees Sadler’s Wells’ foyer transformed with live DJs, freestyle dance jams, graffiti exhibitions, workshops from top international artists and live aerosol art. The participatory activities take place pre-show and during the interval. For the third year running Breakin’ Convention goes back to the roots of hip hop on Bank Holiday Monday with Park Jam,an outdoor party suitable for all the family in Spa Fields Park. UK acts in this year’s Main Stage line-up: Boy Blue Entertainment – East London's leading street dance crew featuring choreography from Kenrick 'H2O' Sandy. This company comes from a lineage of Boy Blue Entertainment youth dance development, and performed at Breakin’ Conventionlast year. Buckness Personified – One of London's leading krump crew returns to Breakin' Convention with a new piece choreographed by Duwane Taylor and Claire Hough. GOP – Patience James and Fumy Opeyemi explore an energetic blend of n'dombolo, azonto and powerful Afro-funk styles. GOP have been at the forefront of the emerging Afro house dance scene in London. This is their first time performing atBreakin’ Convention. Jade and Shango – Mixing lindy hop with modern hip hop, Jade and Shango present a period piece set in America around the time of the assassination of Martin Luther King Jr. Protocol Dance Company – Formed in 2008 by choreographers Jared Garfield and Lanre Malaolu, Protocol's foundation of movement stems from a wide range of styles such as hip hop, popping and krump. An intense exploration of masculinity, the work sits on the knife edge between mischievous playtime and aggressive initiation. Protocol Dance Company explore power shifts within dynamic krump duets. Developed at Breakin’ Convention’s Open Art Surgery and recently seen at Resolution! 2015 at The Place, London. Saran Kohli – Choreographer and fashion designer Saran Kohli approaches Queen's Bohemian Rhapsody with a slick, witty, street dance routine. Soul Footwork Collective – A collective of dancers from across the UK featuring work choreographed by Wanted Posse and Serial Stepperz' Mamson. The Company – Lee Griffiths leads a collective of krump dancers exploring the male perspective within a woman's world, an abstract piece based upon the text of Isabel Allende. Twin Peak – Identical b-boy twins Jay and Perry of Rain Crew work together for the first time on a piece which explores the conflict between the ego and the inner self. The pair have also danced with Boy Blue Entertainment. Developed at Breakin’ Convention’s Open Art Surgery. Unity – Festival regulars known for their rugged, synchronised 'Unistyle' ensemble choreography, this is a stripped down Unity expressing what happens when boundaries push back. Developed at Breakin’ Convention’s Back To The Lab. International acts featuring on the Main Stage: Antoinette Gomis (France) – An original member of the sassy Zamounda crew premieres a brand new solo featuring music by Nina Simone and incorporating waacking and house dance. Gator (Cie Philippe Almedia) (France) – Well known on the battle circuit, current reigning UK B-Boy Championships popper, Gator has previously performed at Breakin' Convention with Pro Phenomen. A powerful presence on stage, Gator performs the solo Explicit. Gianna G (Australia) – A delicate fusion of balletic lines and isolated popping techniques, Australian performer Gianna G presents her multi-style approach with aplomb. Flockey (Germany) – This cool and charismatic locker has won numerous battles including the final of annual dance competition Juste Debout in 2011. His style echoes the funky footwork of James Brown. Iron Skulls (Spain) – Navigating an apocalyptic world merging b-boy and contemporary language, Iron Skulls explore a place where humans and animals become one. Sinestesia won 1st prize at Festival HOP in Barcelona. Les Twins (France) – The idiosyncratic style of these French superstars has been seen by millions around the world touring with Beyoncé and Missy Elliott. These identical twins from the northern Paris suburb of Sarcelles excel in new style hip hop and freestyle. Breakin’ Convention marks Les Twins UK premiere. Lloyd's Company (Netherlands) – Lloyd Marengo returns after his successful Breakin' Convention premiere last year withDon't Hit Mama. Tag features b-boys Rabbani Sayed and Xisco Riboch who speak to each other through sparse, intricate breaking technique. Sigh (France/UK) – A mesmerising duet taking influence from Japanese kabuki, new style hip hop and lunar infatuation. Developed at Breakin’ Convention’s Open Art Surgery. The Ruggeds (Netherlands) – Formerly known as Rugged Solution, this eight strong crew from Eindhoven won the UK B-Boy Championships world final last year. The Ruggeds perform Adrenaline, a world premiere. The Legendry Twins (USA) – First generation b-boys who danced at DJ Kool Herc's Bronx parties in the early 70s and are credited as the first dance crew to go down to the floor with footwork and vertical moves. Breakin' Convention presents The Twins’ European premiere. Acts in this year’s Studio line-up: In addition to the main stage acts, there will be performances in Sadler’s Wells’ Lilian Baylis Studio by six UK acts. Berkavitch and Ed Spoons – Is it a boy or a girl? A collaboration between Ghetlow Pirates' b-boy Ed Spoons and one of Leicester's most respected spoken word artists, the duo display a touching and humourous look at the preparation prior to fatherhood. Developed at Breakin’ Convention’s Back To The Lab. Cindy Claes – A woman must choose between love and romance or her personal career goals. A solo piece using dancehall, hip hop and krump styles that raises questions about the status of romance in society today. Myself UK Dance Company – Kloe Dean's all-female hip hop dance company examines female identity and acceptance with a seamless blend of movement and spoken word. Developed at Breakin’ Convention’s Back To The Lab. Realitie – A troubled teenager reveals hidden scars during a therapy session. This hard-hitting spoken word theatre piece looks at broken relations in a broken household. Developed at Breakin’ Convention’s Open Art Surgery. The Rebirth Network – Rebirth presents a latent spirituality in its emotionally charged work about the psychological struggle of an individual, prising his fragmented identities onstage via dancers sporadic choreographic phrases. Developed at Breakin’ Convention’s Open Art Surgery. Xena Gusthart – A sensitively performed spoken word and movement piece about relationships between siblings, love, guilt, blame, and deferred responsibility. The work was originally developed at Breakin’ Convention’s Open Art Surgery. Check www.breakinconvention.com for further updates. Strictly 21+ on Friday 1 May, under 5s admitted from Saturday 2 – Monday 4 May. A Sadler’s Wells Production Notes to Editors: Listings information Breakin’ Convention ‘15 International Festival of Hip Hop Dance Theatre Sadler’s Wells, EC1R Friday 1 - Monday 4 May 2015 Performances: Friday 1 May at 8pm, Saturday 2 & Sunday 3 May at 6pm (doors open at 4pm) Tickets: Friday 1 May: £20 | Saturday 2 & Sunday 3 May: £15 - £20 Ticket office: 0844 412 4300 / www.sadlerswells.com Friday 1 May Lilian Baylis Studio, Sadler’s Wells: WorX featuring live jazz from Soweto Kinch and hosted by Floetic Lara. Full line-up to be confirmed. Saturday 2 May Sadler’s Wells Main Stage: GOP (UK) Jade and Shango (UK) The Company (UK) Twin Peak (UK) Unity (UK) Antoinette Gomis (France) Gator (Cie Philippe Almedia) (France) Gianna G (Australia) Flockey (Germany) Iron Skulls (Spain) Les Twins (France) The Ruggeds (Netherlands) The Legendry Twins (USA) Lilian Baylis Studio, Sadler’s Wells: Cindy Claes (UK) Myself UK Dance Company (UK) The Rebirth Network (UK) Sunday 3 May Sadler’s Wells Main Stage: Boy Blue Entertainment (UK) Buckness Personified (UK) Protocol Dance Company (UK) Saran Kohli (UK) Soul Footwork Collective (UK) Antoinette Gomis (France) Gator (Cie Philippe Almedia) (France) Flockey (Germany) Lloyd's Company (Netherlands) Sigh (France/UK) The Ruggeds (Netherlands) Lilian Baylis Studio, Sadler’s Wells: Berkavitch and Ed Spoons (UK) Realitie (UK) Xena Gusthart (UK) About Breakin’ Convention Breakin’ Convention is committed to celebrating, elevating and supporting hip hop dance theatre. Spearheaded by Jonzi D, the company works with the most respected, innovative and inspirational hip hop artists in the industry. Through its world-renowned international festival, professional development, youth projects and educational programme, Breakin’ Conventionseeks to position hip hop dance alongside more historically established artforms. Breakin’ Convention is a resident company at Sadler’s Wells and Jonzi D is based at the theatre. In addition to the annual festival, Breakin’ Convention also hosts year-round activities to aid artist development. Breakin’ Convention’s Artist Development Open Art Surgery offers hip hop theatre performers and companies (dancers, musicians, emcees and visual artists) the opportunity to develop and experiment with new ideas, share new work publicly and receive mentorship from Jonzi D and other hip hop theatre aficionados. This popular event in the Breakin' Convention calendar showcases work developed in the space of one week to a live audience who are invited to give feedback on how later culminations of the work can be improved. For more established hip hop choreographers Breakin' Convention offers a unique opportunity to go Back To The Lab where specially invited participants will work with Jonzi D and one other dance or theatre heavyweight over two exciting weeks of learning, experimenting and devising. Work presented after this fortnight of development has been programmed at dance festivals across the UK. About Sadler’s Wells Sadler's Wells is a world leader in contemporary dance, committed to producing, commissioning and presenting new works and to bringing the very best international and UK dance to London and worldwide audiences. Under the Artistic Directorship of Alistair Spalding the theatre’s acclaimed year-round programme spans dance of every kind, from contemporary to flamenco, Bollywood to ballet, salsa to street dance and tango to tap. Since 2005 it has helped to bring over 90 new dance works to the stage and its international award-winning commissions and collaborative productions regularly tour the world. Sadler’s Wells supports 16 appointed world class Associate Artists, three Resident Companies and an Associate Company and nurtures the next generation of talent through its National Youth Dance Company, Summer University programme, Wild Card initiative and its New Wave Associates. Located in Islington in north London, the current theatre is the sixth to have stood on the site since it was first built by Richard Sadler 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 all having started at Sadler’s Wells. Sadler’s Wells is an Arts Council National Portfolio Organisation and currently receives approximately 9% of its revenue from Arts Council England.

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Some obituaries: Guardian Telegraph BBC

Such sad news. Rest in Peace.

Rojas and Rodríguez Titanium The Peacock Tuesday 5 – Saturday 23 May Tues – Sat at 7.30pm / Sat matinee at 2.30pm / Sun at 2pm / Sun 17 at 2pm and 6pm Tickets: £15 - £38 Ticket Office: 0844 412 4322 or www.sadlerswells.com VIDEO TRAILER “A true and excellently crafted exercise in fusing the forms and styles of today” – El País Flamenco duo Ángel Rojas and Carlos Rodríguez present the UK premiere of an unprecedented fusion between flamenco and street dance at The Peacock on Tuesday 5 - Saturday 23 May. Titanium sees a troop of 13 men take to the stage, dancers and musicians, fusing the rich dance heritage of flamenco with the rawness of hip hop and break dance culture. The show has won a National Dance Award in Spain and received high praise in a tour across Europe. Titanium features a multi-talented dance cast of three flamenco dancers, three hip hop dancers and three break dancers including Elihú Vázquez. Elihú is the nine-fold winner of the b-boy championship of Andalucía, and was part of Spain’s winning team in Battle of the Year 2005, the most important annual international b-boy competition. The dancers are accompanied by a live band of four, mixing flamenco with hip hop beats. This is Rojas and Rodríguez’s most ambitious production to date and aims to offer audiences a new perspective on the commonality between the cultures of flamenco and break dancing. Both styles share a history of improvised movement, dance battles, live music and communality. The show therefore acts as a homage to two vibrant and historically rich dance traditions both born and lived in the streets. Rojas and Rodríguez, co-founders and directors of the Nuevo Ballet Español, have in the last two decades developed a reputation for creating pioneering flamenco work infused with contemporary disciplines and different cultural influences. Between them they have trained and developed under great flamenco masters such as José Granero, Luisillo, Rafael Aguilar and José Antonio Ruiz. In 1994 Rojas and Rodríguez jointly won the outstanding male dancer award in Spain’s National Choreography Competition. Both artists featured in the Gala Flamenca of this year’s London Flamenco Festival at Sadler’s Wells, Rojas as director and Rodriguez as performer. Ángel Rojas said: “Both of us have had the honour of bringing work to the London Flamenco Festival at Sadler’s Wells in the past. But we are delighted to be presenting a completely new and different project to the UK audience, maintaining our flamenco roots, but also challenging the expectations of the kind of work flamenco artists can or should perform and illustrating that flamenco is an avant-garde art form.” Carlos Rodríguez said: “Both flamenco and urban dance were born in the streets as a form of raw self-expression and community; but both are also highly stylised and technically complex art forms. Flamenco is a tradition that is constantly evolving, and is enriched by mixing with other disciplines; the synergies that these disciplines create together have the power to awaken the excitement of our souls.” Click here to see the video trailer of Titanium