Choreographics 2015: Digital Programme

19 - 20 JUN 2015

#ENBChoreo

CHOREOGRAPHICS

ballet.org.uk/choreographics

LILIAN BAYLIS STUDIO, SADLER’S WELLS

DIGITAL PROGRAMME

RUNNING ORDER CREDITS

BabelJoshua LeggeEnglish National Ballet School

A Touch for EternityJames StreeterMemory of What Could Have Been Renato Paroni de Castro

Give My Love to The Sunrise Morgann Runacre-Temple

traumA Fabian ReimairFractured MemoryMax WestwellA Room in New YorkStina Quagebeur

INTERVAL

Choreographic MentorKerry Nicholls

Choreographic AdvisorRussell Maliphant

Lighting DesignDavid Richardson

Dye WorkSymone FrostClaire Nicolas

Hair & Make-UpAbigail GargasRosanna Woods

Costume SupervisorSam Gilsenan

Artistic DirectorTamara Rojo

Associate ArtistGeorge Williamson

Stage ManagerKerry Lewis

RUNNING ORDER AND CREDITS

Costume Design Louie Whitemore

IntroductionGeorge Williamson

Costume Makers Claire NicolasCarrie WatkinsFritha Ross Serena FusaiThomas Petraccaro

Music DirectorGavin Sutherland

Assistant Stage ManagerHélène Davis

Film and PhotographyLaurent Liotardo

I am thrillied to present this year’s Choreographics at the Lilian Baylis Studio following on from last year’s sell-out performances at The Pit, Barbican.

Once again, we’ve given emerging and developing dance makers the opportunity to advance their professional choreographic skill set by creating new work for a professional setting, inspired by the theme of post war America.

English National Ballet artists Fabian Reimair, James Streeter and Stina Quagebeur have continued their professional development following last year’s involvement and will once again present works. Max Westwell joins the programme making his choreographic debut in a professional setting.

For the first time, Choreographics was open to artists outside of English National Ballet, and this year the programme includes work presented by Morgann Runacre-Temple, choreographer in residence at Ballet Ireland since 2009 and Renato Paroni de Castro, who has previously choreographed works for Sarasota Ballet and Images of Dance (London Studio Centre).

Each choreographer has also been mentored by international dance artist and choreographer Kerry Nicholls as well as received choreographic advice in a series of creative workshops with the renowned choreographer and dancer Russell Maliphant. Furthermore, to ensure each choreographer experiences the full production development life-cycle, taking work from studio to stage, they have worked collaboratively with designer Louie Whitemore and our technical production team to light and stage their work.

I am also delighted to welcome English National Ballet School’s 2015 Choreographic competition winner Joshua Legge who will open the programme with his winning work Babel.

I would like to take this opportunity to thank you for your continued support which enables English National Ballet to showcase and nurture up-and-coming talent.

George WilliamsonAssociate Artist, English National Ballet

INTRODUCTION

ENGLISH NATIONAL BALLET SCHOOL

Title: Babel Choreographer: Joshua Legge (3rd Year Student) Music: Venetian Snares IntergrationDancers: Jonathan Milton, Timothée Mochamps,Stefano Nappo and Archie Sullivan Synopsis: Babel explores the challenges of conversation through insurmountable language barriers.

Photo: George Williamson. © Sian Trenberth

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A Touch for Eternity

PROFILE

SYNOPSISBirthplaceRochford, UK

TrainingEnglish National Ballet School

English National BalletJoined 2004, First Artist 2007, Junior Soloist 2011

Choreographic HistoryA Triangle Without a Shape (English National Ballet Choreographic Evening, 2011)Face to Face (Tate Britain, 2012)ContraVersus (Opera Holland Park, 2013)Untouchable Void (Royal Society, 2013). Re-worked for Beijing Competition and Tring Park School for the Performing Arts in 2015.Refraction (DanceEast Gala, 2013)Anonymous English National Ballet/Brent Council, 2013) A Soldiers Tale (Music@Malling and Royal College of Music, 2013) In Living Memory (Choreographs, The Pit, Barbican, 2014)Judgment of Paris, in the Opera: Adriana Lecouvreur (Opera Holland Park, 2014)A Moment in Time (English National Ballet School Graduation Showcase, 2014) Unify (West London School of Dance, 2014)

“Dearest Julie, They’ll be putting out the lights soon and then I’ll be alone with you. So I pretend, anyway. Oh, how I miss you and long to be in your arms where I belong. Good night darling.”

On March 29th, 1951-Julius and Ethel Rosenberg were found guilty of conspiracy of wartime espionage and sentenced to death. As they waited for that inevitable day, their love and strength for one another grew far beyond anything that could be imagined in those circumstances. They remained loyal and truly passionate to each other, in what was now purely a relationship through correspondence. There was, however, one last opportunity for physical contact, albeit a painful one.

On the evening of the execution 19th June 1953, 62 years to this very day, at 7:20, a mere 40 minutes before Julius’s scheduled execution, Julius and Ethel were permitted to sit on opposite sides of a mesh screen and allowed to converse privately.

As the guard placed his hand on Julius’ shoulder, Julius touched his fingers to his lips, and then pushed his fingers through the mesh screen entwining them with Ethel’s. Blood trickled down the screen as they finger kissed each other goodbye.

Julius Rosenberg (May 12, 1918 -June 19, 1953)Ethel Greenglass Rosenberg (September 25,1915 -June 19, 1953)

Adela Ramírez Juan Rodríguez

Max RichterNovember

JAMES STREETER

DANCERS MUSIC


Costume DesignLouie Whitemore

Costume MakersClaire NicolasCarrie WatkinsFritha Ross Serena Fusai

LIGHTING COSTUME / HAIR & MAKE-UP

Dye Work Symone FrostClaire Nicolas


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Memory of What Could Have Been

PROFILE SYNOPSIS

BirthplaceSão Paulo, Brazil

TrainingCentre de Danse International (Cannes)under Rossella Hightower

Choreographic HistoryPoint Counterpoint (The Place, London, 2001)Shostakovsky Cello and Piano Sonata (Thalia Theater, Budapest, 2006)Tchaykovsky Rococo Variations (Sarasota Ballet, 2008) Dvořak Seranade for Strings (Images of Dance, Peackock Theatre London, 2008)Mozarts Flute and Harp Concerto (Images of Dance, Peacock Theatre London, 2009)Four Kodaly pieces and a Laugh (Artelier, Saint Bride’s Theatre, 2008)Mozart Allegro (English National Ballet School, Wimbledon Theatre, 2014)Mephisto Waltz and Liszt Sonata in Min (MUPA Theatre Budapest, 2010)Mozart or Architecture of Joy (Ballet im Revier, Gelsenkirchen, Germany, 2015)Extra-vinsky! (English National Ballet School, 2015)

San Diego, California 1945. Two brothers from the US Navy court the same girl.

She ends up marrying one of them just to see them off to the pacific war. Only one of them (his brother-in-law) comes back alive.

She is now a widow of war and her only solace is to let her mind go into painful reminiscences of what could have been between her and her dead husband.

Sarah Kundi Vitor Menezes Guilherme Menezes

Clifton WilliamsSymphonic Dance #3

Frank MartinEtudes for String Orchestra

RENATO PARONI DE CASTRO

DANCERS MUSIC


LIGHTING



COSTUME / HAIR & MAKE-UP



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Give My Love to The Sunrise

PROFILE SYNOPSIS

BirthplaceLondon, UK

TrainingCentral School of Ballet and London Contemporary Dance School

Choreographic History Morgann is choreographer in residence at Ballet Ireland and has created full-length works including Romeo and Juliet, Shéhérazade, Carmen and Coppélia (Autumn 2015).

She has also made work for The Print Room and Royal Ballet Education.

Morgann directs dance film together with Jessica Wright. Their films have been shown on Channel 4, presented at film festivals worldwide and as installations at Sadler’s Wells, on pop-up screens in Trafalgar Square and on London’s Southbank.

www.morgannrunacre-temple.com

In 1947 Orson Welles directed classic film noir The Lady From Shanghai starring in it opposite his wife at the time, Rita Hayworth. The plot itself is famously complex, but I have drawn from the two central characters; Elsa Bannister, dangerous ‘femme fatale’ and Michael O’Hara, the hero with a shady past.

Three snapshots are seen in retrospect from the scene of Elsa’s death, a chance meeting, a romance and a deadly betrayal. Rather than an illustrative narrative, Give My Love to The Sunrise is an attempt to capture something of the “electric current of doom and desire” (Peter Bradshaw film review) that drives the film forwards.

Many thanks to Laura Stevens, Kerry Nicholls, Jane Burn and Jenny Runacre.

Tiffany Hedman Daniel Kraus

Laura StevensOriginal Composition

MORGANN RUNACRE-TEMPLE

DANCERS MUSIC


LIGHTING






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traumA

PROFILE

BirthplaceVienna, Austria

TrainingVienna State Opera Ballet School, Marika Besobrasova in Monte Carlo

English National BalletJoined 2002, Soloist 2003, First Soloist 2007

Choreographic History[co][hes][ion] (Choreographics, The Place, London, 2013)We Are Free (Choreographics, The Pit, Barbican, 2014)Frankenstein (A solo for Music@Malling, 2014)

(‘Traum’ - German for ‘Dream’)

A woman in grief. Depressed since her husband didn’t return, she’s unable to move on. His image is haunting her. Is it a dream?

Time to strip off the past. One last dance, an embrace, before it’s time to let go...

DANCERS

Anjuli Hudson Ken Saruhashi Barry Drummond Shevelle Dynott

Valgeir Sigurðsson [Architecture of Loss]Gone Not Forgotten World Without Ground Big Reveal

Volker Bertelmann (synonym Hauschka)Craco

FABIAN REIMAIR

MUSIC


LIGHTING

SYNOPSIS






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Fractured Memory

PROFILE

BirthplaceLondon, UK

TrainingArts Educational School Tring, Hertfordshire

English National BalletJoined 2004, First Artist 2009, Junior Soloist 2011

Choreographic History Lucid Dream pas de deux (Serpentine Galleries, London, 2012)]

Money, Hold me Forever [Music Video] (Pitchfork.tv 2013)

Fractured Memory is a look into a relationship as if we are viewing it on a drive through cinema screen.

It looks at the various levels of how we remember people from different perspectives. Other thoughts drift in and out of our awareness when we are reflecting on someone. Memories of a first meeting, a disagreement or sense of completeness compete for attention. One emotional memory of another person normally wins out in the end ultimately defining how we feel about that individual.

Laurretta Summerscales Madison Keesler Katja Khaniukova Jinhao Zhang Daniele Silingardi Junor Souza

Olafur Arnalds Tomorrows Song

Nils Frahm Said and Done

Max Richter Spring 2

MAX WESTWELL

DANCERS MUSIC


LIGHTING

SYNOPSIS






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A Room in New York

PROFILE

BirthplaceSint Lievens Houtem, Belgium

TrainingIngrid Lootvoet, Royal Ballet School, English National Ballet School

English National BalletJoined 2003

Choreographic History

Design Perspectives (V&A Live Performance and Directed for film, 2011)Conformity (Choreographics, 2011) The Death of Carlos and Ramon (Tate, May 2012)Après uni lecture de Dance (English National Ballet School, June 2012) Domna (The Place, London, April, 2013)Vera (Choreographics, The Pit, Barbican, April 2014). Vera selected for the Breaking Glass Project performed in New York July 2014 and awarded a year long artistic mentorship. Dance Journeys: Perfect Disorder (Sadler’s Well’s Theatre, April 2015)

www.stinachoreographyer.com

Edward Hopper (1882 -1967)

Edward was married to Josephine Nivision for forty-three years. They had a love-hate relationship that was passionate, at times violent and yet utterly symbiotic. Deeply divided by temperament - Jo was as vivacious, outgoing and talkative as Edward was dour and repressed - they drove each other mad.

The intensity of their relationship led ultimately to profound suffering and inner loneliness. “If you could say it in words, there’d be no reason to paint” - Edward Hopper

Crystal CostaJames Forbat

STINA QUAGEBEUR

DANCERS MUSIC

Alexander Scriabin Piano Sonata no.1 in F Minor and Prelude in C Sharp Minor


LIGHTING

SYNOPSIS






Documents

Choreographics 2015: Digital Programme