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Sadler’s Wells announces Spring 2011 season

Posted on October 26, 2010


Alastair Spalding, artistic director and chief executive of Sadler’s Wells, announced the highlights of its Spring 2011 season at a press conference on October 26.

Despite an extensive programme, Sadler’s Wells is faced with an Arts Council cut of 15 per cent over the next four years, of which 80 per cent will have to be implemented within the first two years. As a consequence, in 2011 Sadler’s Wells will concentrate its activities within its own venues (Sadler’s Wells, the Peacock Theatre and the Lilian Baylis Studio), although there are plans to visit next summer’s Latitude Festival. Spalding was positive, however, that Sadler’s Wells will keep moving forward: over the past five years, it has seen an increase in audiences of 50 per cent, enabling it to plough money into new works, which also tour internationally (20 per cent of people who see a Sadler’s Wells production sees it outside of the UK). Spalding, in the spirit of Lilian Baylis, was insistent that at every performance at Sadler’s Wells there would be 170 seats available daily for £10.

Kicking off the Spring season on January 28 and 29 is Sadler’s Wells Sampled, the popular dance showcase that includes dance of all styles and which welcomes the winner of the 2010 Sadler’s Wells Global Dance Contest. Following this will be the annual Flamenco Festival London (Feb 8–19), and appearances by The Forsythe Company in I don’t believe in outer space (February 22–23); Bartabus – Ko Murobushi in The Centaur and the Animal (March 1–6); the Pet Shop Boys and Javier De Frutos’ The Most Incredible Thing, starring Ivan Putrov (March 17–26), Balletboyz The Talent (March 29–April 2); Russell Maliphant Company in AfterLight (April 4–5); a Rosas retrospective (April 10–16); Breakin’ Convention ’11 (April 30–May 2); Maria Pagés and Sidi Larbi Cherkaoui in Dunas (May 5–7), Dutch National Ballet in a season of works by Hans van Manen (May 12–14); Northern Ballet in David Nixon’s new Cleopatra (May 17–21); Rambert Dance Company in a programme that includes Paul Taylor’s Roses and Tim Rushton’s Monolith (May 24–28); the Dave St-Pierre Company in Un peu de tendresse bordel de merde! (June 2–4), Jasmin Vardimon Company in Yesterday (June 9–10); Martin Creed’s Work No. 1020 (June 21); Saburo Teshigawara/KARAS in Mirror and Music (June 15–16); Sol Pícó Dance Company in El Llac de les Mosques (June 23–24); les ballets C de la B in Gardenia (June 29–July 2); and the return of Hofesh Shechter’s Political Mother (July 12–16).

The Peacock Theatre will see an eight-week run of the show Shoes (February 8–April 3); Tango Fire in Flames of Desire (April 12–23); Tap Olé (May 3–7); and The Merchants of Bollywood (May 31–July 3). During the Spring season, the Lilan Baylis Studio will present Antonia Behr in Laugh (January 26–27); Daniel Linehan in Montage for Three and Not About Everything (April 6–7); les ballets C de la B in Pénombre (May 5–7); and Nats Nus Dansa in Momentari (June 4).

Tickets are on sale on from November 15, or call the box office from the same date on 0844 412 4300.


The picture above for The Most Incredible Thing is by Gavin Evans.

Jonathan Gray is editor of Dancing Times. He studied at The Royal Ballet School, Leicester Polytechnic, and Wimbledon School of Art where he graduated with a BA Hons in Theatre Design. For 16 years he was a member of the curatorial department of the Theatre Museum, London, assisting on a number of dance-related exhibitions, and helping with the recreation of original designs for a number of The Royal Ballet’s productions including Danses concertantes, Daphnis and Chloë, and The Sleeping Beauty. He has also contributed to the Financial Times, written programme articles for The Royal Ballet and Birmingham Royal Ballet, and is co-author of the book Unleashing Britain: Theatre gets real 1955-64, published in 2005.

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