Annual Review 2014–15

03 Chairman’s Message 04 Chief Executive and Artistic Director’s Message 06 Highlights 2014–15 08 Working with Artists 10 Producing and Presenting Great Dance 22 Touring Locations 23 Sadler’s Wells Touring 2014–15 24 Nurturing Talent 26 Artist Development 26 National Youth Dance Company 29 New Wave Associates 31 Summer University 32 Wild Card34 Engaging Audiences 37 Creative Learning and Community Engagement 38 Reaching our Audience 40 Making it Happen 42 Fundraising 46 Visitor Services and Operations 48 How we are Funded 49 Financial Performance50 Sadler’s Wells Trust and Foundation,

Artists and Companies, Co-producers51 Support 52 Sadler’s Wells Staff 54 Photography Credits

Contents

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The last year has been a remarkable one at Sadler’s Wells for many reasons.

We celebrated the 10th anniversary of Alistair Spalding’s tenure as Chief Executive and Artistic Director — a period that has seen Alistair lead his dedicated staff and our associate artists and companies to transform Sadler’s Wells into a producing, as well as a receiving, theatre where talent is nurtured and audiences are inspired and informed. A decade later, Sadler’s Wells has become the UK’s leading dance house and a thriving place where artists come to train, collaborate, create and present innovative work for the public to enjoy.

We commissioned, produced and presented a vast array of productions across our three London venues and toured many of our shows in the UK and abroad. I would like to highlight a special occasion we marked on 14 September, when one of our very first productions, PUSH, choreographed by Russell Maliphant and danced by him and Sylvie Guillem, ended its 10-year tour with a final performance in Taipei, Taiwan. The show travelled to four continents — Europe, North America, Asia and Australia — playing sell-out seasons and reaching an international audience of over 161,500.

We continued to meet our commitment to artist development through our hosting of the National Youth Dance Company, programming of the Wild Card series, supporting of six New Wave Associates and running of Summer University. The fact that, in what remains a challenging economic climate within the arts sector and beyond, we managed to foster creativity and innovation in dance and, at the same time, offer an artistic programme that is both critically acclaimed and attractive to a wide public, is a testament to both the hard work of all staff and artists involved and the ongoing, enthusiastic support of our audiences, friends and partners. I want to extend a personal thanks to all of you for sustaining Sadler’s Wells as a world-leading creative powerhouse for dance.

Sir David Bell

Chairman’s Message

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Sadler’s Wells was buzzing with excitement and activity throughout 2014–15. We were busy commissioning and producing new work, forging new relationships and engaging new and existing audiences with dance through performances as well as talks, workshops and events.

Independently or with co-production partners, we commissioned 21 dance works, most of which were created by our Associate Artists or New Wave Associates. These brought the number of new works Sadler’s Wells has helped bring to the stage in the last 10 years to well over 100.

Our major production was Thomas Adès: See the Music, Hear the Dance, featuring short pieces by Wayne McGregor, Karole Armitage, Alexander Whitley and Crystal Pite. The composer-led evening was as much a showcase for the choreography of the dance-makers as it was for the powerful music of Adès, whose absolute commitment to the project saw him on stage throughout the performance, either playing the piano or conducting the Britten Sinfonia live.

We appointed English National Ballet as our first Associate Company; together, we aim to develop contemporary ballet. As part of our partnership, the company now presents a programme of work in two annual seasons at Sadler’s Wells, in the spring and autumn of each year; we will also co-produce original work.

As part of our ongoing commitment to promote diversity in dance, in September we launched the biennial Elixir Festival, focused on lifelong creativity. Featuring a one-day conference and six performances, the event triggered debate on the issue of age in dance, examining the contribution to the art form made by the older dancer and advocating the creation of more work for them.

Another highlight of the year was the record number of audiences that saw our productions on tour: a total of 166,854 people (a 27.5% increase compared to 2013–14), who attended one of 216 performances given in 78 cities or towns in the UK and overseas.

We managed to do all of this and to reach our audience and financial targets for the year, which took into account a six-week dark period to allow essential refurbishment work to be carried out.

Chief Executive and Artistic Director’s Message

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Our plans to open a new mid-scale theatre in east London moved one step closer to being realised with two key developments. In December 2014, the government confirmed funding in support of the Olympicopolis project in the Queen Elizabeth Olympic Park, where our new space will be part of the Cultural and Education Quarter. In May this year, the London Legacy Development Corporation (LLDC) announced the winners of the competition to design the Stratford Waterfront site, which will house our venue and premises for the Victoria and Albert Museum, the London College of Fashion and a fourth partner, most likely the Smithsonian Institution.

We are now working with the appointed design team, including architecture firms Allies and Morrison and O’Donnell + Tuomey, LLDC and our partners to finalise the masterplan for the project. It is the ideal opportunity for us to respond to the public’s increasing appetite for dance and to place the art form at the heart of both a vibrant local community and a global cultural hub.

None of what we do would be possible without the passion and hard work of our staff and trustees, the backing of our loyal audiences and the generosity of Arts Council England and many individuals, trusts, foundations and companies that support our work. My sincere thanks go to all of you. I look forward to another year of achievements for us to share.

Alistair Spalding CBE

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708 performances to audiences of 471,519 in London

166,854 people saw 216 performances of 15 Sadler’s Wells’ productions that toured to 78 cities in the UK and overseas

208 artists, performers and technicians engaged over the year through producing and touring work

11,213 tickets sold when the Spring/ Summer 2015 Season went on sale on 10 November 2014 — the highest number of tickets ever sold by Sadler’s Wells in one day

65,803 people came to see New Adventures’ Edward Scissorhands, with the theatre reaching 90% capacity. Many of Sadler’s Wells’ other associate artists and companies also attracted large audiences, with over 90% attendance for performances by Akram Khan, BalletBoyz, Sylvie Guillem and Wayne McGregor l Random Dance

2,400people attended the first Elixir festival celebrating lifelong creativity. The event included performances, talks, workshops, professional development opportunities and an international conference

15dance artists graduated from the first Summer University, 2010–14. Sadler’s Wells also continued to support artist development through two important initiatives, New Wave Associates and Wild Card

Highlights 2014 – 15

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16,400 attendances to Creative Learning activities and events

11,000people saw the National Youth Dance Company perform Akram Khan’s The Rashomon Effect/ Vertical Road across the UK

196,364 tickets sold at a discounted rate, i.e. 41.6% of all tickets sold. Sadler’s Wells also continued to offer 10% of tickets for most main house performances at £12

3,888 people enjoyed the 11th edition of Breakin’ Convention at Sadler’s Wells and 2,800 people joined the second, free Park Jam in Spa Fields, Islington

13,000 people saw Breakin’ Convention on tour in nine venues across the country. 44 UK companies and 142 regional artists took part. The hip hop festival connected to a further 20,700 people through its lead-up activities

1,513,919 views of Sadler’s Wells’ videos throughout the year: 702,308 on the website and 811,611 on YouTube

19% reduction in electricity usage achieved following Sadler’s Wells’ completion of the first phase of its capital refurbishment to increase its resilience and sustainability

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Working with Artists

As ever, Sadler’s Wells’ artistic programme in 2014–15 was a direct reflection of our ongoing commitment to present the best dance from around the world, in addition to our own productions and co–productions, the majority of which involve our Associate Artists.

We supported and co–commissioned the work of many choreographers and presented new work by Akram Khan, BalletBoyz, Russell Maliphant and Sidi Larbi Cherkaoui. In February, we celebrated the special relationship we enjoy with our artists by staging The Associates, a triple bill featuring new works by Hofesh Shechter and Kate Prince and Tommy Franzén, as well as the UK premiere of duet A Picture of You Falling by Crystal Pite.

The most significant producing achievement of the year was creating Thomas Adès: See the Music, Hear the Dance, the second show in our Composer series. The mixed bill included two revivals and two original pieces: the European premiere of Outlier by Associate Artist Wayne McGregor, Karole Armitage’s duet Life Story, New Wave Associate Alexander Whitley’s new commission The Grit in the Oyster and the world premiere of the epic Polaris by Associate Artist Crystal Pite. The programme saw Adès playing the piano and conducting the chamber orchestra Britten Sinfonia, and over 150 dancers and musicians performing on stage during the evening.

Producing and Presenting Great Dance

“Exactly what, in a better world where creativity is the result of serious thought rather than witless opportunism, danced innovation should admirably be.” Clement Crisp, Financial Times, on Thomas Adès: See the Music, Hear the Dance

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We were delighted that Crystal Pite went on to win the Outstanding Achievement in Dance Award at the 2015 Laurence Olivier Awards ceremony for her choreography of The Tempest Replica, presented in April 2014, A Picture of You Falling and Polaris at Sadler’s Wells.

In its first season as our Associate Company in March this year, English National Ballet performed Modern Masters: Icons of 20th Century Choreography, a new triple bill featuring works by William Forsythe, John Neumeier and Jiří Kylián.We continued to bring important contemporary works from Europe to our stage: throughout 2014–15, our audiences were treated to the thought–provoking work of Olivier Dubois, Alain Platel, Jérôme Bel, François Chaignaud and Cecilia Bengolea and Anne Teresa De Keersmaeker.

In autumn 2014, we hosted Northern Light, a festival of outstanding dance work from Nordic countries. As well as featuring one of the giants of dance, Mats Ek, with his major production of Juliet & Romeo — created for the Royal Swedish Ballet and winner of the Best New Dance Production award at the 2015 Laurence Olivier Awards — we presented leading choreographers and companies from Denmark, Finland, Iceland, Sweden and Norway.

A new initiative running throughout the year was =dance, a programme showcasing innovative work created and performed by deaf and disabled artists and inclusive companies. Stopgap, Candoco and Magpie Dance were among the artists we presented.

“A shot of pure adrenalin.”

Mark Monahan, The Telegraph, on Modern Masters

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Productions that brought families to watch and explore dance together this year included balletLORENT’s Rapunzel and London Children’s Ballet’s Nanny McPhee. Arthur Pita’s charming The Little Match Girl won the hearts of young Christmas audiences, who also came to the theatre in large numbers to enjoy Matthew Bourne’s Edward Scissorhands and evergreen production The Snowman.

The Peacock’s varied programme, including Bollywood, hip hop, circus and salsa, continued to attract wide audiences: 197,433 people, 42% of our total London audiences, visited the theatre in 2014–15. Argentinian dance company Tango Fire won Theatre Production of the Year at the Latin UK Awards (LUKAS) ceremony in May for their popular show Flames of Desire, presented at The Peacock earlier in the year. Working with partners and other venues is a crucial part of our engagement in the broader national arts community. In summer 2014, we curated the dance programme at the Latitude festival in Suffolk for the seventh year running, while throughout the year we programmed shows at the London Coliseum and the Platform Theatre, and co–presented work with London International Mime Festival, Spitalfields Music Festival and LIFT.

We continued to build partnerships with regional venues in order to reach as broad a range of UK audiences as possible. We toured Fabulous Beast’s The Rite of Spring & Petrushka, m¡longa, Still Current, 6000 Miles Away, National Youth Dance Company’s The Rashomon Effect / Vertical Road and Breakin’ Convention, which went to nine regional venues thanks to a Strategic Touring grant from Arts Council England. This international festival of hip hop dance theatre engaged an audience of 13,000 — including 44 UK companies and 142 regional artists who participated in the tour — and connected to a further 20,700 people through its lead–up activities.

“Some of our bigger houses should look to the example of Sadler’s Wells, which has started to build a programme of commissioned work for children and family audiences that runs throughout the year and not just at Christmas. […] The fact that Sadler’s Wells is commissioning is important because it means that artists are genuinely invested in the work they are making. ” Lyn Gardner, The Guardian

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Sadler’s Wells’ national touring programme was recognised in September 2014, when it won the Renee Stepham Award for Best Presentation of Touring Theatre for “its wide diversity of touring work and range of venue partnerships” at the UK Theatre Awards.

Our international touring went from strength to strength. m¡longa had its most prolific touring year to date with 53 performances given in 10 different countries, including the prestigious Sydney Opera House. Cuban dance production Havana Rakatan reached a historic milestone by making its US debut in New York. Seven years since it was first performed, Sutra made a stop in St Petersburg and Taiwan, where it was performed to huge acclaim. Still Current undertook major tours in Russia and the Middle East. Russell Maliphant Company represented British dance at the UK Trade & Industry’s GREAT campaign conference in Shanghai; and 10 more of our productions toured to some of the most prestigious art houses and festivals across the globe.

The year ended with the world premiere of Life in Progress, Associate Artist Sylvie Guillem’s final programme, at Teatro Comunale di Modena, Italy, on 31 March. Featuring new work by Akram Khan and Russell Maliphant alongside existing work by William Forsythe and Mats Ek, the production marks Guillem’s farewell to the stage following an illustrious dancing career spanning 35 years.

UK & Ireland Ballina, Ireland Belfast, Northern IrelandBirmingham, EnglandBlackpool, EnglandBournemouth, EnglandBrighton, EnglandBristol, EnglandCardiff, WalesCarrick–on–Shannon, Ireland Cork, Ireland Cornwall, EnglandCoventry, EnglandDoncaster, EnglandDublin, Ireland Eastleigh, EnglandEnnis, Ireland

Touring Locations

EuropeArcachon, France Annemasse, Switzerland Bern, SwitzerlandCarcassonne, France Chalon–en–Champagne, France Clemont–Ferrand, France Dusseldorf, Germany Frankfurt, Germany Freiburg, Germany Fribourg, SwitzerlandIstanbul, TurkeyKaserne, SwitzerlandKazan, RussiaKoln, GermanyLeipzig, GermanyLuxembourg City, Belgium

Rest of WorldAmman, JordanBeirut, LebanonHouston, USAKaohsiung, TaiwanMontreal, CanadaNew York City, USAOttawa, CanadaPortland, USA Quebec City, CanadaRamallah, Palestine Sydney, AustraliaTaipei, TaiwanWashington DC, USA

Inverness, ScotlandIpswich, EnglandKing’s Lynn, EnglandLetterkenny, IrelandLimerick, Ireland London, England Navan, IrelandNottingham, EnglandNewcastle, EnglandOxford, EnglandPlymouth, EnglandPortlaoise, Ireland Salford, EnglandSligo, Ireland Surrey, EnglandWhitley Bay, England

Modena, ItalyMontbeliard, FranceMoscow, Russia Munich, GermanyParma, ItalySainte–Clotilde, FranceSt–Petersburg, RussiaSt. Pollen, Austria Stockholm, Sweden Vaison–la–Romaine, FranceVoronezh, RussiaWolfsburg, GermanyYekateringburg, RussiaZug, SwitzerlandZurich, Switzerland

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Sadler’s Wells Touring 2014–15

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Nurturing Talent

We believe that the future of dance as an art form relies on nurturing the new and emerging artists of today. This is why Sadler’s Wells offers young and early-career performers and dance makers training, support for creative projects and valuable networking and professional development opportunities with peers, established artists and industry mentors.

National Youth Dance Company Sadler’s Wells’ work preparing the next generation of dance talent continued throughout 2014–15. Following an intensive training and development programme the previous year, the National Youth Dance Company’s 2013–14 cohort premiered Akram Khan’s The Rashomon Effect / Vertical Road on Sadler’s Wells’ main stage in April 2014, before embarking on a successful national tour.

The young dancers performed in 10 different venues in the UK to an audience of over 11,000. Highlights included performances at the Commonwealth Youth Dance Festival in Glasgow and the Latitude festival in Southwold, Suffolk, as well as a speech given by the dancers to members of the All–Party Parliamentary Dance Group at their Annual General Meeting at the Houses of Parliament. Their talk focused on their experience in the company and what they had learned through their participation in the programme.

At the same time, Sadler’s Wells was on the hunt for NYDC’s third cohort. To find suitable candidates, we led 22 experience workshops for 500 participants in 14 towns and cities across the country. The incoming Guest Artistic Director, choreographer Sidi Larbi Cherkaoui, selected 30 new dancers to join the company and worked with them during three intensive residencies to create a new production, Frame[d], to premiere in April 2015.

Artist Development

“Working with all these incredible people has given me more opportunity to explore myself within dance and in everyday life.”

Lloyd Lovell, dancer, NYDC 2014–15

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New Wave Associates

The New Wave Associates programme supports promising artists in the early stages of their career by providing them with tailored support and commissioning them to create new work to be performed at Sadler’s Wells. Supported by the Esmée Fairbairn Foundation, the scheme offers research time, professional guidance and networking opportunities, as well as rehearsal space and technical resources.

For the first two years since its launch, the scheme supported three UK-based and three international dance artists. In December 2014, the second phase of the programme began, focusing on enhanced support for the three UK artists, Wilkie Branson, Hetain Patel and Alexander Whitley, for an additional three years. We continue to develop the relationship with the international artists in a variety of other ways: China’s TAO Dance Theatre performed their work 4 & 5 in the Lilian Baylis Studio in June 2014 and we co-presented their production 6 & 7 on Sadler’s Wells’ main stage in October, in partnership with Dance Umbrella.

Hetain Patel’s solo American Boy premiered in May and was well received by critics and audiences alike; it subsequently toured in the UK. Wilkie Branson reworked his children’s production Varmints, a collaboration with theatre director Sally Cookson based on Helen Ward’s award-winning book, for our Family Weekend. We supported Alexander Whitley in his research for The Grit in the Oyster, his contribution to the Thomas Adès: See the Music, Hear the Dance programme, which premiered in autumn 2014.

“As a dancer that had limited connections to the industry, the value of this relationship is great to me. I feel as if being a New Wave Associate gives me something of a home at Sadler’s Wells and the value of this extends beyond the production and mentoring support it gives. I have never felt truly endorsed as a part of the dance sector, but this position gives me the feeling that I belong to something.”

Wilkie Branson, New Wave Associate

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Summer University

Launched in 2010 through an open call, Sadler’s Wells’ Summer University aids the development of professional dance artists eager to further their practice. Directed by choreographer Jonathan Burrows, the programme offers 15 dance professionals the opportunity to take part in a four-year project delivered over two weeks each year, when participants share work, hear talks, explore methodologies and philosophies of performance making and extend their own practice through self-study and focused interventions.

Supported by the Jerwood Charitable Trust and the Leverhulme Trust, the course is free to join and is designed for dance makers and artists involved in the performing arts, who are interested in choreographic practice and the possibilities of dance as an art form. They must be based in the UK and have up to five years of professional experience.

Summer 2014 saw the first group of artists attend the final two weeks of the programme. To mark the end of the course, the 15 artists went together to ImPulsTanz - Vienna International Dance Festival in Austria, where they had the chance to see cutting-edge work and take part in a week of workshops across different styles and choreographic practices, organised by DanceWEB as part of their Scholarship Programme.

The Summer University graduates (2010–2014) are: Amy Bell, Wilkie Branson, Valentina Golfieri, Danya Hammoud, Vicki Igbokwe, Melanie Ingram, Jamila Johnson-Small, Gillie Kleiman, Cameron McMillan, Hemabharathy Palani, Hetain Patel, Efrosini Protopapa, Lorena Randi, Matthias Sperling and Alexander Whitley.

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Wild Card

Since January 2013, Wild Card has opened the doors of the Lilian Baylis Studio to a new generation of dance makers and producers, offering fresh perspectives on the art form to Sadler’s Wells’ audiences and a platform for lesser known dance styles and artists who are working in innovative ways. Presenting two shows each season, the initiative enables artists to curate an evening from scratch, showcasing work that excites them alongside their own, fully supported by our professional teams. Backed by the Andrew Lloyd Webber Foundation, the Eranda Foundation and the Garrick Charitable Trust, Wild Card has proved increasingly popular with both artists and audiences since its inception.

In September 2014, dancer and choreographer Seeta Patel brought dance from South India to our stage with Something Then, Something Now, an intimate Bharatanatyam solo performance set to the music of a live Carnatic orchestra. In November, choreographer Neil Callaghan curated an evening of experimental European dance focused on transformation, with contributions from choreographers Mette Ingvartsen and Jeremy Wade. Spring 2015 saw Tim Casson & friends present a playful evening of exciting collaborations, including Fiend, a creation inspired by Nijinsky’s ballet Afternoon of a Faun and employing digital manipulation of live video to allow Casson to dance with multiple digital replicas of himself. Finally, Katye Coe’s Preparation placed improvisation and philosophy centre stage in a carefully curated experiment with dance artist Charlie Morrissey and sound artist Graeme Miller.

“What was most helpful was to have someone trust in your ability. When I accepted I didn’t know what I was going to do but that was okay. I liked the trust the team at Sadler’s Wells gave me.”

Vicki Igbokwe, Wild Card dance artist

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Engaging Audiences

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The Creative Learning department offered a varied range of opportunities to over 10,000 people, who were able to watch, take part in and critically explore Sadler’s Wells’ programme.

Notable projects in 2014–15 included the final year of DanceQuest, a three-year project running in north London secondary schools, and Lord of the Flies, a unique collaboration with Matthew Bourne’s New Adventures. We led an extensive outreach programme in connection with the production, involving 950 boys and young men across London; out of this group, a 22-strong cast of 10 to 23 year-olds from all backgrounds was selected to perform alongside professional dancers in Bourne’s acclaimed dance drama based on William Golding’s novel.

Our community engagement projects continued to extend our reach to diverse, under-represented local audiences in Islington. In September 2014, we launched a new Associate Schools programme to support five of the borough’s schools that have the least access to high-quality arts. The scheme offers opportunities for pupils and their families to discover Sadler’s Wells through workshops and performance visits, and begin to connect with the vibrant cultural landscape in London. We designed a bespoke programme in collaboration with staff in each school to stretch pupils’ skills and link to classroom learning.

As part of our efforts to champion public engagement in dance, in summer 2014 we took part in the biennial Big Dance festival. Our Big Dance Week 2014 events programme included a Big Dance Pledge flash mob that animated Sadler’s Wells’ foyers on 16 May. It also featured The Arts Picnic, a family-friendly, free event in Spa Fields in Islington, organised in partnership with Cubitt Art Gallery, Islington Council and Wayne McGregor | Random Dance on 12 July, which involved over 2,000 local people.

The first Elixir festival, which ran from 12 to 15 September 2014, celebrated older dancers and creativity in later life. Supported by The Baring Foundation, the event featured performances by iconic dancers such as Mats Ek, Ana Laguna, Dominique Mercy and Sadler’s Wells’ Company of Elders, as well as a specially commissioned piece by acclaimed choreographer Jonathan Burrows. Complementing the main stage performances was a tailored learning programme including talks, workshops, professional development opportunities and an international conference. Fifty older artists and community companies applied to perform, resulting in studio theatre performances representing work from across the UK and abroad. Over 2,400 people attended the festival in all.

During the year we presented a number of post-show talks, learning and professional development opportunities to accompany =dance, a strand of work highlighting outstanding productions from deaf and disabled artists and inclusive companies. The events attracted young dancers, emerging artists and new audiences.

As an Arts Council’s Associate Bridge organisation, we worked with the Mayor of London’s Education team to develop an accessible and inspiring online dance resource for the London Curriculum; we conducted a research project to interrogate the impact of dance initiatives in five east London primary schools; brokered a new children and young people’s dance strategy with the Pan-London Dance Partnership; and test-drove imaginative approaches to the delivery of Arts Award qualifications.

Creative Learning and Community Engagement

“So many of the pupils just don’t get the opportunity to come to any kind of theatre like this and experience top quality dance, so their excitement is 100% real.”

Sonia Bardouille, Deputy Head teacher, Gladesmore Community School

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In November 2014, an announcement at our annual press conference grabbed front-page headlines: our Associate Artist Sylvie Guillem announced that she would present a new dance programme, Life in Progress, at Sadler’s Wells in May 2015, as part of a farewell tour around the world before hanging up her shoes after her 35-year career. The response from our audiences was phenomenal: when our Spring/ Summer 2015 season went on sale, we sold our highest ever number of tickets in one day, breaking all previous records. We were equally pleased with the popularity of our Christmas season, which saw the festive shows in our three theatres delight audiences of all ages.

Things have changed immeasurably at Sadler’s Wells since Sylvie first arrived on our stage in 2004. To reflect these changes, and especially the close creative relationship we have developed through the years with the artists we support and promote, we refreshed our brand. Following thorough consultation, the values and vision of Sadler’s Wells were embodied in a new visual identity, which conveys a strong sense of who we are today with simplicity and immediacy.

Our style is to be direct and honest about what people will experience at Sadler’s Wells and the introduction of a new Customer Relationship Management (CRM) system is allowing us to develop ever more personalised communications with our audiences.

We also reach people through the online content we present relating to our artistic programme, which is available for everyone to enjoy and share. This includes backstage photos, trailers and short documentaries featuring the creative teams.

In 2014–15, we increased the number of videos on our YouTube channel by 162%. By curating this channel and enhancing it with constantly updated videos and playlists, we are able to convey different aspects of each production. Our playlists have proved so popular that the number of their views has increased by 794% in the last year. The video views on our website have also increased by 30%. On our social media platforms, we saw equally significant increases, with 13% and 28% increases in followers on our Twitter and Facebook accounts respectively.

Reaching our Audience

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Making it Happen

Sadler’s Wells has a committed and enthusiastic group of supporters and partners, including individual donors, companies, trusts and foundations. Thanks to their generosity, in 2014–15 we raised over £1.4 million, which went towards supporting our work on and off the stage – from presenting new productions to developing talent and delivering education projects.

Help from our supporters is critical to our ability to produce original work, so we were delighted that The Monument Trust renewed its commitment to support our new commissions by pledging a further three years of investment. Among the new creations the trust helped to bring to our stage in 2014–15 are TOROBAKA, a collaboration between Associate Artist Akram Khan and flamenco dancer and choreographer Israel Galván, and Young Men by BalletBoyz, a moving production exploring the brutality of war and its effects on young soldiers.

The Contemporary Ballet Circle continued to raise important funds towards the presentation of contemporary ballet that pushes the form’s classical boundaries. Their donations supported the Royal Swedish Ballet’s performances of Juliet & Romeo choreographed by Mats Ek and Sadler’s Wells’ main production, Thomas Adès: See the Music, Hear the Dance, which featured works created by Karole Armitage, Wayne McGregor, Crystal Pite and Alexander Whitley.

Fundraising

“We are proud to support Sadler’s Wells’ work to encourage audiences to experience dance through Sadler’s Sampled. The opportunity offered by the festival to attend performances by world-class artists and companies at low prices sends the clear, inclusive message that dance is for everyone. It is a brilliant way to engage new audiences and invite existing ones to try something different from what they would normally come and see.”

Dorothée Irving, Grants Manager, Paul Hamlyn Foundation

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Many of our individual donors joined the new Sylvie Guillem Circle to support the creation and tour of our Associate Artist Sylvie Guillem’s final programme, Life in Progress. The Deborah Loeb Brice Foundation also backed the production with a substantial amount. Our hotel partner Radisson Edwardian Group supported Life in Progress’s run at Sadler’s Wells.

A highlight among our events this year was the Gala performance in November 2014 of Sacred Monsters, the acclaimed collaboration between Akram Khan and Sylvie Guillem. The evening included a private dinner with the artists in one of our studios after the performance. The event raised vital funds towards our investment in artists and new commissions.

The Esmée Fairbairn Foundation continued to support us in nurturing the next generation of dance artists by confirming they will back our New Wave Associates programme for three more years, while the Jerwood Charitable Foundation, who supported Sadler’s Wells’ Summer University in 2010–14, pledged funds towards the first year of the course’s second edition in 2015–16. Our Wild Card initiative, focused on emerging and early-career dance artists, was backed for a second year by the Andrew Lloyd Webber Foundation, while The Baring Foundation committed to supporting the Elixir festival for three years.

Among our valued long-term partners, we were delighted Bloomberg renewed their support as corporate members, Clifford Chance continued to kindly provide us with legal advice and American Express confirmed their support for Sadler’s Sampled, our festival of world-class dance at affordable prices, in 2016–17.

Finally, as a National Portfolio Organisation, funding from Arts Council England remains fundamental to the health of our business model. Their grant in 2014–15 represented 10% of our annual income. We are grateful to them and all of our supporters.

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Since the present theatre building in Rosebery Avenue opened in 1998, Sadler’s Wells has welcomed over 4.5 million audience members and many hundreds of dance companies. In summer 2014, we closed for six weeks to undertake the first phase in our repairs and refurbishment programme, which had become necessary after 16 years of year-round operation. We are grateful to Arts Council England, the Fidelity UK Foundation, the JP Getty Jnr Charitable Trust, The Linbury Trust and The Wolfson Foundation, who made this work possible through major support.

Overall, the programme of works focused on building our resilience: we replaced worn equipment and fabric; improved sustainability by installing more energy-efficient equipment; enhanced our marketing and audience development through the installation and implementation of a new Customer Relationship Management system and online interface; and made improvements to access.

Our main entrance was redesigned: a more prominent, accessible and energy-efficient entrance replaced the old sliding doors. Our foyers were spruced up and energy-efficient lighting was installed. We re-upholstered seats in the stalls and first circle of the main auditorium and replaced the carpet. The induction loop in these areas was significantly upgraded. Many mechanical and electrical plant items were replaced and new photovoltaic panels installed, enabling us to generate electricity.

Visitor Services and Operations

There were also significant improvements to our technical infrastructure. The power-flying system’s controls and drives were replaced, a fibre optic network was installed and electrical dimmers controlling theatrical, auditorium and foyer lights were replaced. A new, energy-efficient LED house light system now illuminates Sadler’s Wells’ main auditorium.

Following completion of this first phase of work, initial measurements have shown a reduction in electricity usage of 19% compared with the same period the previous year, well above our target of 12%.

The Technical team managed an extremely busy year of productions in all three theatre spaces. Commercial income through catering, events and front-of-house sales brought a £1.3 million net contribution, an especially strong performance considering the six-week closure period and well above our budgeted target.

“Today I booked some tickets over the phone and, not for the first time, your staff were unfailingly helpful, polite and patient as I dithered about what seats to choose. […] Your staff, across the whole experience — box office, ushers, bar staff etc. — are consistently delightful.”

Melissande, Sadler’s Wells’ visitor

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How we are Funded

Sadler’s Wells’ income 2014–15

Theatre presentationsTrading Arts Council England Fundraising

5.8 %

15.4 %

10.1 %

68.7 %

Our principal source of funding is the income generated from ticket sales and other show-related income. Our annual funding from Arts Council England is important to our long-term financial sustainability and in 2014–15 represented 10% of our income; this amounts to around £5 per seat.

The other sources of income are voluntary donations from individuals, corporate bodies, trusts and foundations, together with trading income derived from hiring out the spaces in the theatre complex. Income from presentations accounted for almost 69% of our revenue, with over 21% generated from trading and fundraising.

Our unrestricted activities showed a net break even position, after transferring £306,000 to designated reserves for artistic projects in 2015–16. The theatre was closed for six weeks in summer 2014 for major refurbishment, leading to the drop in income and expenditure on presentations. We expect this income and expenditure to rise again in 2015–16.

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2013–14 2014–15

(£’000) (£’000)

Income

Theatre presentations 19,425 15,765

Trading and other 2,997 3,516

Unrestricted fundraising 1,325 1,322

Arts Council England 2,320 2,332

26,067 22,935

Expenditure

Theatre presentations 18,862 16,233

Theatre overhead 4,335 4,471

Trading and other 1,706 1,629

Fundraising 315 296

25,218 22,629

Gross Reserves Transfer 699 306

Net Surplus to General Reserve 150 0

Financial Performance

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Sadler’s Wells Trust Ltd

Chairman Sir David Bell

DirectorsJules BurnsSue ButcherMarco CompagnoniRobert GlickCarol LakeHarry MacAuslanTim MarlowRobin SaundersSandi UlrichSanoke Viswanathan

Sadler’s Wells Foundation

President Lady Solti Honorary Vice PresidentIan AlberyIan Hay Davison CBE

ChairmanSir David Bell

DirectorsRab Bennetts OBE Josè BreñaCeleste FenichelLesley MacDonaghCelia Rodrigues

Honorary MembersValerie ColganRobert KahnMartin Klute Honorary ClerkKathy Honeywood Clerk to the FoundationAlistair Spalding CBE

Sadler’s Wells Trust and Foundation

Sadler’s Wells Co-producers Sadler’s Wells would like to thank its UK and international co-producing partners, whose collaboration made it possible to create and tour work across the globe:

Sadler’s Wells Artists and Companies

Associate ArtistsBalletBoyz®Matthew BourneSidi Larbi CherkaouiJonzi DSylvie GuillemMichael HullsMichael Keegan-DolanAkram KhanRussell MaliphantWayne McGregorCrystal PiteKate PrinceNitin SawhneyHofesh ShechterJasmin VardimonChristopher Wheeldon

Resident CompaniesNew AdventuresWayne McGregor I Random DanceZooNation Dance Company

Associate Company English National Ballet

Arts Council England’s Grants for the arts and Strategic touring programmeAthens FestivalBB ProductionsBeijing Morning Star Ballet FoundationBrisbane FestivalChina Shanghai International Arts FestivalCongas ProductionsDance ConsortiumDance Festival StepsDance Touring PartnershipDanceEastDell’ArtedeSingel International Arts CampusEastmanEsplanade – Theatres on the Bay, SingaporeFestival D’AvignonFestival de Barcelona GrecFestspielhaus St PöltenFondazione Musica per RomaFondazione Musica per RomaGalway Arts FestivalGrand Theatre LuxembourgLa Monnaie BrusselsLes Nuits de Fourvière/

Départment du RhôneLes Nuits de Fourvière/ Départment du RhôneLes Théâtres de la Ville de LuxembourgMelbourne FestivalMigros Culture PercentageMovimentos Festwochen der AutostadtNational Centre for Performing Arts, BeijingShaolin Cultural Communications CompanyThéâtre du Jorat, MézièresThéâtre Vidy-Lausanne

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Individuals

Avant-GuardiansAnonymous David and Primrose BellAngela Bernstein CBESue ButcherMarco CompagnoniRobin SaundersAnn and Martin SmithThe Ulrich familySamuel and Nina Wisnia

Major Project Support The Deborah Loeb Brice FoundationAud JebsenSimon and Virginia Robertson

Artistic Director’s CircleAnonymousDavid and Torunn BanksWilliam and Judith BollingerJules and Cheryl BurnsLloyd and Sarah DorfmanFameed KhaliqueKarim and Julie Saddi

Season PatronsPaola Bergamaschi-Broyd and Richard BroydLauren and Michael ClancyJack and Linda KeenanHugues and Emmanuelle LepicRobin PauleyDenis ShafranikJonathan and Lucy Wood

Sylvie Guillem Farewell Supporters CircleDavid and Torunn BanksCeleste FenichelMichael and Claire FranciesJacques and Stephanie GabillonAbel Halpern and Helen Chung-HalpernRick and Janeen HaythornthwaiteJack and Linda KeenanStéphane LapiquonneHugues and Emmanuelle LepicJan and Michael TophamVanni and Angela Treves

Contemporary Ballet Supporters Circle David and Torunn BanksSue ButcherKathleen Crook and James PenturnCeleste FenichelCharles GlanvilleMellissa A. Smith

New Production Patrons AKAAlain AirthEnders AnalysisJose and Meg BrenaThe Robert Gavron Charitable TrustThe Medici Terzaghi FamilyFrank and Helen NealeSimon and Midge PalleyThe Porter Foundation, SwitzerlandHelmut SchusterJan and Michael Topham

Support Sadler’s Wells would like to thank all those who generously supported the theatre’s activities in 2013–14

Kristina RoggeHis Excellency Ghassan I ShakarKaveh and Cora SheibaniAmanda Sieff Daniela SieffWendy Sigle-RushtonClaire SohnPlev SpineChristopher and Fiona SteaneAllen ThomasE.G TomsettGeoff Westmore and Paula Clemett

Opening Night PatronsAnonymous François AguerreSeverine BalickWilma BastaJames BibbyJoanne BlackJenny BrendPeter and Isabel BristoweAlison Brodie Jennifer BrophyHelen and Martin BuckMaria BukhtoyarovaGay ChristieGeoffrey CollensSean CrossAmanda CupplesMindy DavidowskiAngela DochertyMaryam EislerSarah and Louis ElsonKarine GiannamoreRobert GlickEdward GrievesElodie GruitS HendryDominic Houlder and Lukas KroulikMike and Caroline HowesRita HughesMr Sajid F. HusseinEsther IsaacsMichael JohnsonLinda KahanFaizal KhanBrendan and KatarzynaKoszut WalshSybil and Herbert Kretzmer OBEMaxine LangeKim LavelyHarry and Fiona MacAuslanChantelle MacKayAlessandra MasoeroDavid MathewJoanna McDwyerKoji MoriyaJennifer Noe-NordbergJohn NugentDave Plummer and Lesley WhitbyPeter B ReaMarc RobertsPatricia RothmanTanya RousellAnoush Sarkissian-KatzAlastair SharpDavid and Dee Dee SimpsonAlistair Spalding CBEStuart StanleyJames StevensonPaula SwiftTorsten ThieleAnna Valentine and Jonathan Berger

Margarita VlahopoulouKevin Walker and Jay FoleyRichard WallerLinda and Stephen WaterhouseDaniel Wood

The American Friends David and Melissa BernsteinMatthew and Elissa BernsteinCaroline CronsonColin and Deirdre McKechnie (Deputy President)Celia Rodrigues (President) and Mark RodriguesMonica Voldstad

Performance MembersAnonymous Andrew BarnettJemma CowleyKendall DuesburyMajor Dafydd EdwardsBruce HardieSandrine JensenEugene Leahy and Helmert RobbertsenGerald LidstoneJuliette MorrisHelen MundyAnthony and Alison NathanSally PasmoreAndrew PollardGeraldine RavetIsla SmithAlison SmythDavid Taylor

Trusts And Foundations

Major Supporters and Partners Anonymous The Andrew Lloyd Webber FoundationThe Baring FoundationBBC Children in NeedDame Hilda Bracket TrustThe Edwin Fox Foundation in memory of Michele FoxEsmée Fairbairn FoundationThe Foyle FoundationGarfield Weston FoundationJP Getty Jnr Charitable TrustJerwood Charitable FoundationJohn Lyon’s CharityThe Leverhulme TrustThe Linbury TrustThe Mirisch and Lebenheim Charitable FoundationThe Monument TrustPaul Hamlyn FoundationQuercus TrustThe Sackler TrustSir Siegmund Warburg’s Voluntary SettlementTony Oakley EstateThe Wolfson Foundation

Supporters and PartnersAustin and Hope Pilkington TrustChildren & the ArtsCHK Charities LimitedThe D’Oyly Carte Charitable TrustThe Garrick Charitable TrustGoethe-Institut LondonJapan FoundationMillichope FoundationThe Royal Victoria Hall FoundationThe Worshipful Company of Grocers

Corporate

Corporate PartnersAmerican ExpressBloomberg

Corporate SponsorsBennetts AssociatesClifford ChanceCriterion Ices LimitedERMAK GroupRadisson Blu EdwardianWeil, Gotshal & Manges

Local Business MembersFrederick’sGreen & FortuneMoroOttolenghi

Embassies / Government Agencies Anglo-Chilean SocietyEmbassy of DenmarkEmbassy of FinlandEmbassy of IcelandEmbassy of the Kingdom of the NetherlandsEmbassy of SwedenEmbassy of SpainFlanders HouseInstitute Français du Royaume-UniNordic Culture FundQuébec Government OfficeRoyal Norwegian Embassy

If you would like to know more about supporting Sadler’s Wells, please contact the Development Office on 020 7863 8134 or development@sadlerswells.com

Founding Patrons of the Pina Bausch RoomAndrew DavenportCeleste FenichelFrederick’sAbel Halpern and Helen Chung-HalpernFameed KhaliqueStéphane LapiquonneSimon and Midge PalleyAlan RickmanAnn and Martin SmithConstanze von Unruh and Mark GoldmanRichard Wilson OBE

Project SupportersAspect Charitable TrustJennifer BrophyJoyce KanCarol LakeJohn and Susan LazarThe Mactaggart Third FundMark and Celia RodriguesSeat Appeal SupportersKaveh and Cora SheibaniPaul Slawson-PriceJonathan and Lucy Wood

Legacy CircleKlara BlochDavid and Deborah BottenMike and Caroline HowesTony Oakley EstateRoss Roberts

Commissioning PatronsAnonymousIan AndersonJane AttiasG.P. and J.M. BatchelarJustin BickleKristina Borsy and Nick TurdeanWilliam BoyceJocelyn BroughtonHelen and Martin BuckNica Burns OBEAndrew CracknellAud CunibertiDavid Davenport-FirthCas DonaldJohn DrewittJuliana Farha and Kit MalthouseStephanie GabillonMina Gerowin Herrman and Jeffrey HerrmanChristopher Gorman-EvansPiers Fallowfield-CooperThe Richard Grand FoundationNeil Griffiths-LambethLettie HartJoyce KanAnne KauderLatifa KostaBarrie LeggAlison LeMaireKit MalthouseLindy MasonNancy Miller and Glen IrelandFrances Murphy and Andrew ArendsMajella Murphy AltschulerJohn NicollMr and Mrs C NortonGeorgia OetkerDr Elizabeth ParkerDan PlevKerri Ratcliffe and Doug HendersonRoss Roberts

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Chief Executive and Artistic DirectorAlistair Spalding CBE

Chief Operating OfficerBritannia Morton

Director of External Affairs & Deputy to the CEOGeorgie Shields

Director of Artistic ProgrammeKaty Arnander

Finance DirectorMark Rhodes

Executive ProducerSuzanne Walker

Director of Technical & ProductionEmma Wilson

Director of DevelopmentTim Burley

Director of Marketing & SalesSebastian Cheswright

Artistic Programmer and Producer, Creative LearningJane Hackett

Director of Community and EngagementFiona Ross

Executive AssistantAmanda Joy

Programming & Creative Learning

Director of Artistic ProgrammeKaty Arnander

Artistic Programmer & Artist DevelopmentEva Martinez

Head of ProgrammeAnneliese Graham

Projects ManagerRobyn Cabaret

Programming Co-ordinatorRichard Cross

Programming AssistantAmy Welch

Programming InternInka Romani Escriva

Sadler’s Wells Staff

Production AccountantNanette Daniels

Assistant ProducersFanny Bannet Sandra Castell-Garcia

Producing & Touring CoordinatorIsabelle Drummond

Producing & Touring InternGeorgia Kersh

Marketing, Sales, Press & Development

Director of Marketing & SalesSebastian Cheswright

Senior Marketing ManagerSammie Squire

Marketing Manager, TouringLucy White

Marketing OfficersSally Daniels Ben Stanley

Publications, Digital and Social Media CoordinatorRita Chowdhury

Marketing AssistantLaura Haynes

Digital

Digital ManagerMark Doerfel

Digital Media OfficerRobin Clark

Web Editor, LondonDance.comCarmel Smith

Digital Information AssistantClare Evans

Ticket Office

Ticket Sales & Services ManagerZahir Jaffer

Ticketing Services Support SpecialistBruce Moore

Ticket Office SupervisorsBarbara BirchMark HammondAbigail Parker

Memberships & Ticketing Services AdministratorRitchie Dach

Ticket Sales AssistantsVirginia AparicioNaomi BowenClare BracewellStephanie BrotchieRichard CrossRyan EppsBrandon ForceJames HameedElspeth HarrisonJack HudsonTim HudsonPaula JonesWesley JonesErika LeonaviciuteKayleigh LlewellynIan MarshallIsabelle MasonAmie McByeGrace NyandoroPaula PatrittiMatt PhillipsAine PullanRosalind ReederSamuel RickettsNicola SaltCaitriona ShoobridgeJohn SinclairCameron SlaterBen StanleyKate TelferTom Walczak

Press

Head of PressAbigail Desch

Press ManagerCaroline Ansdell

Press OfficersJolene DykeAgnish Ray

Press Office CoordinatorEugénie Dunster

Corporate Communications

Corporate Communications ManagerGiulia Ascoli

Development

Director of DevelopmentTim Burley

Development Manager, Trusts & FoundationsTerrie McCann

Capital Campaigns ManagerMiranda Schnitger

Manager, Corporate PartnershipsDavid Milsom

Individual Giving ManagerAnna Clark

Development Coordinator, Individual GivingSamuel Doyle

Development Coordinator, Capital and Corporate PartnershipsChris Powell

Finance & IT

Finance DirectorMark Rhodes

Finance

Financial ControllerPaul WarrenManagement AccountantBen Dart

Show AccountantLorne Cuthbert

Finance OfficerMonisola Samuel

Finance AssistantSheena Patel

IT

Head of ITKieron Mohindra

IT Systems & Network ManagerRaymond Neequaye

IT Systems AdministratorRay Wei Long Ho

IT AssistantRyan Chhangur

Visitor Services & Operations

Chief Operating OfficerBritannia Morton

Human Resources

Head of HRClair Kelly

HR ManagerLesley Owusu

HR CoordinatorRosalind Glass

Administrative ApprenticeBraham Lyons

Stage

Director of Technical & ProductionEmma Wilson

Breakin’ Convention

Artistic Director, Breakin’ ConventionJonzi D

General Manager, Breakin’ ConventionEmma Ponsford

Projects Manager, Breakin’ ConventionPeter Maniam

Assistant Producer, Breakin’ ConventionMichelle Norton

Digital Communications Officer, Breakin’ ConventionDave Barros

Creative Learning

Artistic Programmer and Producer, Creative LearningJane Hackett

NYDC Company ManagerHannah Kirkpatrick

Assistant Producer, Creative LearningZara Rush

Projects Manager, Creative LearningLucy Clarke

Director of Community and EngagementFiona Ross

Community and Engagement ManagerNatasha Anderson

Access OfficerSarah Howard

Youth and Community CoordinatorFleur Taylor-Sutton

Producing & Touring

Executive ProducerSuzanne Walker

Head of TouringDawn Prentice

ProducerGhislaine Granger

Russell Maliphant Company ProducerEleanor Hartwell

Technical Production ManagerAdam Carrée

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Sadler’s Wells Theatre

Technical ManagerChristian Wallace

Technical Co-ordinatorTom Hares

Senior TechniciansGraham CuttingSam McLeodColin Wilson

TechniciansMatthew CoombesCraig TyeBen Walker

Wardrobe SupervisorMiwa Mitsuhashi

The Peacock

Technical Manager, The Peacock & Special EventsChris Booth

TechniciansJames KazwiniAdam Washbourne

Lilian Baylis Studio

Technical ManagerRoman Bezdyk

TechnicianFraser Thompson-NobleEmily Holmden

Estates

Building Services ManagerRussell Lynch

Operations and Projects SpecialistCharlotte Meyer

Project CoordinatorRoger Spence

Building Services TechniciansYassine ChenafRichard EmmettMark HobsonWayne LawrenceGhion Mekonnen

Maintenance Technician, The Peacock Daniel Knapton

Catering & Events

Head of Catering & EventsZuzana Galikova

Development Head ChefKenny Warren

Senior Chef de PartieKrisztian Kvala

Chef de PartieAndrea Zamboni

Kitchen AssistantLouis Vinet

Catering Operations ManagerJustin Rogers

Catering AdministratorJanet Elliott Bars SupervisorsAlessio ColandreaJolanta Petrauskaite

Catering Team LeadersLaura RobertsNick Swanson

General Catering AssistantsKarolina BaublyteNatalie BealeConor BrooksSean BrooksCristina Castro MaiaFatima Conde PorteroSonya CrèmeAlexander De CairesPaige Dehaarte-WisemanColin DevaneyAmandine FaugerePaulo GuilhenmeMatthew HallRosalind JamesEgija KaveckaJames McAndrewFiona MischelMaria Victoria Moragas AuladellJodie Ann NicholsonMisha PatelLouis Prier TisdallLucy RaffoManuela SarconeRaffaella Scotto Di ClementeMiranda SheehyTyriquee SolomonSonia Teape

Events ManagerGeorgie Smith

Events Executive, CorporateKelly McGibney

Events ExecutiveAlessio Romani

Events AssistantPascha Rix

Front of House

Senior House ManagerMarguerite Bullard

House ManagerHaroula Lountzi

Deputy House ManagersDara BrooksLarry Harrison-MateebaJanine Kaufman

Front of House Sales AdministratorChris Harmer

Performance CashiersDara BrooksRobert ChurchillChris HarmerLarry Harrison-MateebaAlex Wood

Front of House AssistantsMarie-Claire AdriaenessensJosiane Adriaenessens-GardesMakiko AoyamaKeilah AshbourneMarta BarszcLisa BeckDominic BerryHarry BlainLachlan BondEmma BracewellJack BullLorea BurgeBecky ByersJane ChanJoel CottrellHelen DoyleFrancesca EllisBarney Evans-DoranEvie FordhamHannah ForresterLindsey FraserSarah GalbraithGigi GiannellaLucy GloverLuca GuarnieriSally HackingJacob HallAnna HarrisonGeber Sandoval Heredia Elisabeth KerseyAlice KilkennyEwa LamondLiesbet LefebureLjiljana LemajicVivien LohOn Yee LoClaire MartyKaty MasonLeo MatesJames McAndrewRobert McDonnell BondDaniel McFarlandRhiannon Montagu-Harrison Thomas Montagu-HarrisonJoel O’DonoghueAndreas PapadopoulosPaula PatrittiThomas PeacockGeorgia RedgraveThomas ReidRowan RobertsAlessandro SanteseDorit SchwartzSarah StanleyCaroline TopleyLily TranNu TranCalvert WatsonKat WieszczekMagda WieszczekRobert WilkesFlorence WrightJairo Zaldua

Cultural Venue Operations ApprenticesLeke CelajMaurice Rowan Bishop

Stage Door

ReceptionistJoann Peek

Stage Door KeepersClaudia AdamsonMarie-Claire Adriaenessens Mark DuffIda HanselaerIan MarshallTina RamdeenRosannah Smith

Housekeeping & Security

Support Services ManagerHoward Clark

Cleaning & Housekeeping SupervisorsFabian AriasKen Debidin

Cleaning Supervisor, The PeacockKatarzyna Rogulska

CleanersJoshua AquiJeffrey BalighotMarino BathanFortunato CarianKelly DagoJesiel Da SilvaAkissi KouassiJose Lary LegarioAnthony OsagiedeOumar-Florent SamMercan SahinThayaparan Eliyathamby SinnathambyZiegfredo TanilonCelestin TrahAntonio VillanuevaAmani Yoboue

Security

Security OfficersMarn SinghMohammed MullaKatie TorbettAbdul KhanChristian EgbeBarney NetherwoodArmend RetkoceriNii LarteyDarryl Nelson

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Photography Credits

CoverDancers in Crystal Pite’s Polaris. Photo: Andrew Lang

Page 3Sir David Bell. Photo: Bill Knight

Page 4Alistair Spalding CBE. Photo: Hugo Glendinning

Pages 8–9Israel Galván and Akram Khan in TOROBAKA. Photo: Jean Louis Fernandez

Page 11Dancers in Wayne McGregor’s Outlier. Photo: Andrew Lang

Page 12Dancers in Young Men by BalletBoyz. Photo: Hugo Glendinning

Page 13Carys Staton and Russell Maliphant in Maliphant’s Still Current. Photo: Hugo Glendinning

Page 14English National Ballet, Crystal Costa and Barry Drummond in In The Middle, Somewhat Elevated by William Forsythe. Photo: ASH

Page 16Dominic North in New Adventures’ Edward Scissorhands. Photo: Johan Persson

Page 17Wanted Posse performing at Breakin’ Convention 2014. Photo: Belinda Lawley

Page 19German Cornejo and Gisela Galeassi in Flames of Desire. Photo: Tango Fire

Page 20Jasmin Vardimon Company’s PARK. Photo: Ben Harries

Page 21The cast and crew of Havana Rakatan on tour in New York. Photo: Andrew Lang

Pages 24–25 and 27The 2013–14 National Youth Dance Company in Akram Khan’s Vertical Road. Photo: Tony Nandi

Page 29Hetain Patel in American Boy. Photo: Hetain Patel

Page 30Alexander Whitley’s The Grit in the Oyster. Photo: Andrew Lang

Page 33Seeta Patel in Something Then, Something Now. Photo: Stephen Berkeley White

Pages 34–35Jeru the Damaja performing at the Breakin’ Convention Park Jam 2014. Photo: Paul Hampartsoumian

Page 36Dancers in New Adventures’ Lord of the Flies. Photo: Simon Turtle

Page 39NYDC dancers rehearsing Akram Khan’s The Rashomon Effect. Photo: Tony Nandi

Pages 40–41Sadler’s Wells’ building. Photo: James Newton

Page 43Ruka Hatua-Saar and Emily Wagner in Karole Armitage’s Life Story. Photo: Andrew Lang

Page 44Akram Khan and Sylvie Guillem in Sacred Monsters. Photo: Tristram Kenton

Page 47Sadler’s Well’s foyer

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Edited by Giulia Ascoli

Designed by Red&White Design Ltd

Printed by Pureprint Group