Russell Maliphant’s AfterLight. Part of Sadler’s Wells’ major production for

09/10, In the Spirit of Diaghilev.

Sadler’s Wells Annual Report 09/10

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Contents

Foreword by Sir David Bell 3

Foreword by Alistair Spalding 4

Artistic Programme 5

Developing Audiences 14

Our Supporters 20

Commercial Activity 21

Financial Position 22

Supporters 23

Staff 24

References 25

Sir David BellChairman

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I joined Sadler’s Wells as Chairman of the Board latein 2005; Alistair had only recently been appointed asArtistic Director and there were major questions beingasked about the future direction of Sadler’s Wells.

Looking back now, almost half a decade later, I amincredibly proud of the journey on which Alistairembarked. Under his leadership – and with the helpof a very fine team – Sadler’s Wells has firmlyestablished itself as a dance house on a global stage,with some of the world’s finest choreographersworking as Associate Artists and over 40commissions and productions under its belt.

Despite the difficult current economic climate, thepast year has seen audience figures continue to riseand the theatre’s activity continue to expand – over850 performances to an audience of over 600,000 in12 months is a remarkable number for any venue.70% of our turnover comes from ticket sales and sowe are incredibly grateful to our audiences whocontinue to support us and enjoy our diverse andcritically-acclaimed programme.

I would like to thank the Board and the wide range ofsupporters who ensure that Sadler’s Wells thrives.This year we were delighted to welcome two newBoard members – Marco Compagnoni and ArlenePhillips – both of whom bring a vast amount ofexperience in their respective fields. Chrissy Sharp,our General Manager, left us to return to her nativeAustralia and we were sorry to see her go. But we aredelighted that Laura Stevenson, who was previouslyDeputy Director at the Hayward Gallery, hassucceeded her. We were also sad to say goodbye toJanet Reeve who has been involved with theDevelopment team of Sadler’s Wells for many years,most recently as its leader, and has gone to NewZealand with her family. We are delighted to welcomeGeorgie Shields into this role.

We have a very exciting programme for the comingyear and forward bookings are encouragingly strong.Even so we have no illusions about the challengesahead as the government makes cuts in every areaincluding, of course, the arts. But our finances arestrong, our support is excellent and our team superb,which gives us huge confidence for the future.

When I first envisioned Sadler’s Wells as a producinghouse I hoped to support and commission worksthat brought in artists from other disciplines, whocould exploit the form’s incredible versatility. Thepast year has really seen that vision come to fruitionwith more of our productions on the Sadler’s Wellsstage and touring the world than ever before.

It felt absolutely right that our celebration of LesBallets Russes, In the Spirit of Diaghilev, should beabout seeking new ideas, so it was a thrill to ask fourof today’s most groundbreaking choreographers tocreate new work, rather than to restage existingpieces by Diaghilev’s company. Together with aremarkable range of artists from different disciplinesthey created a superb evening of work, which hascontinued to tour around the world. I’m certainDiaghilev would approve.

It was a privilege to present our Focus on Forsytheseason. Forsythe is an artist whose work I admirehugely and it has been a long-standing ambition ofmine to present his work to as wide an audience aspossible. It is important to reflect on the body of workof an important artist and we will continue the serieswith a retrospective on Anne Teresa deKeersmaeker’s Rosas in 2011.

Our offsite projects continue to grow in scale andambition and I am pleased that we have once againbeen able to work with a wonderfully diverse range ofartists and venues to take the Sadler’s Wells namebeyond the walls of the theatre, and into spaceswhere people can engage with dance in a completelydifferent way. From the wild-abandon of the Latitudemud to the white-walled calm of Tate Modern, we’vecovered a whole spectrum of performance spacesand each time the reaction has been the same – more!

It is a difficult time for all businesses; impending cutsto the arts are going to force all venues to rethinkhow they operate and where their priorities shouldlie. Sadler’s Wells has worked hard to grow anddevelop our audience to ensure we are able to thrivedespite a low government subsidy, and we recogniseand are grateful for the loyalty of our supporters andaudiences. We will continue to commission andproduce new work and bring the very best dance toLondon because we believe it is a vital part of theUK’s cultural life.

Alistair SpaldingArtistic Director & Chief Executive

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“The Wells has become a busy creative hub,buzzing with vibrant premieres, exciting foreignattractions and trendy young audiences. FromSylvie Guillem to Matthew Bourne, from RussellMaliphant to Christopher Wheeldon, fromAkram Khan to Hofesh Shechter, from Sidi LarbiCherkaoui to Wayne McGregor: Spalding hascommissioned and facilitated more newcontemporary dance than anyone else workingin Britain today.” THE TIMESii

ARTISTIC PROGRAMMEMedia and public perceptions of dance have changed radically in recent years and Sadler’s Wellshas responded to this growth with an increasingly diverse programme, which has attracted a multi-generational, multi-cultural audience. In 2009/10 we presented performances at our mainRosebery Avenue site, our West End venue the Peacock Theatre, the Lilian Baylis Studio and ateleven offsite venues.

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In 2009 / 2010…

We took£13 millionat our box office

There were 872 performances on our stages and on tour

More than 50,000 tickets were sold as part of

our multibuy offer 39% of our tickets were priced under £20

We presented 136 productions†

We sold

618,501tickets

We sold over 40,000access tickets

Our website had almost 3million visitors

The Sadler’s Wells e-mailing list reached

140,000members

In 09/10 we presented 22 new Sadler’s Wellsproductions. We firmly believe that one of the mostpowerful contributions Sadler’s Wells can make tothe dance sector is the commissioning of new workthat crosses artistic and cultural boundaries andappeals to diverse audiences. Some of our highlightsof the past year include:

Svapnagata Festival ofIndian Dance and Music

Svapnagata, curated by Sadler’s Wells AssociateArtists Akram Khan and Nitin Sawhney, was a two-week celebration of Indian arts. It featured danceevents, music concerts and theatre, including newcommissions from Akram Khan, Nitin Sawhney,Aakash Odedra, Yuko Inoue, Sidi Larbi Cherkaoui,Shantala Shivalingappa and Riz MC. The programmeplayed to packed houses and very diverseaudiences, many of whom had not visited the theatrein the past.

The festival culminated in a brand new collaborativework from Akram and Nitin, commissioned bySadler’s Wells, entitled Confluence. This newproduction featured an ensemble of dancers andmusicians, and looked back at Khan and Sawhney’sunique collaborative partnership. It was performedfor three nights in November 2009, with futuretouring currently planned.

In the Spirit of Diaghilev

A major Sadler’s Wells production for 09/10 was Inthe Spirit of Diaghilev. To celebrate the centenaryof Les Ballets Russes, Alistair Spalding invited SidiLarbi Cherkaoui, Javier De Frutos, Russell Maliphantand Wayne McGregor to create new works, inspiredby Diaghilev’s legendary company. The productionwas a critical and commercial success and touredinternationally during 09/10, with Russell Maliphant’spiece (AfterLight) picking up an Olivier nominationfor Best New Dance Production.

NEW COMMISSIONS ANDPRODUCTIONS

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In the Spirit of Diaghilev was filmed and shown onBBC Three as part of the BBC’s schedule of Christmasviewing. It drew some controversy due to the nature ofJavier De Frutos’ piece, prompting a media debateabout television’s censorship of the arts.

“It’s 1909 all over again. Boos rang out,shocked patrons walked out. Never mindFrieze, the most provocative art event thisweek is Sadler’s Wells’ In the Spirit ofDiaghilev…This is absolutely the way dancetheatre should go”EVENING STANDARDiii

Russell Maliphant will bring AfterLight back toSadler’s Wells, expanded as a full-length eveningpiece for three dancers.

Focus on Forsythe

We presented a major survey of recent works byseminal choreographer William Forsythe, at Sadler’sWells and offsite venues including Tate Modern,nightclub Fabric and a goods shed on the KingsCross industrial estate. The events drew excellentaudiences and reviews. Telegraph critic SarahCrompton gave it five stars and described theretrospective as “a stimulating season, which hasprompted me to think about how we watchdance”.iv

Forsythe gave a fascinating series of interviewsabout each of the works featured in theretrospective, which can be seen on Sadler’s WellsScreen at www.sadlerswellsisdance.com

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Sutra

2009 and 2010 also saw the return of Sidi LarbiCherkaoui’s Sutra, which once again played to sell-out houses and drew critical praise. The productionhas succeeded in crossing over to a non-dancespecialist audience and in May 2009 Sunday TimesCulture ran a two-page cover feature on the show,with the headline: “You must jump, spin andkung-fu kick for a ticket”. We are continuing totour the production and in July 2010 it was shown onSky Arts 2 in its entirety.

Eonnagata

A major collaboration between Sylvie Guillem,Russell Maliphant & Robert Lepage, this Sadler’sWells production returned in June 2009 due tophenomenal demand for tickets, and touredinternationally throughout 09/10 (see touring map,over the page).

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Breakin’ Convention

Our annual festival of hip hop dance theatre,Breakin’ Convention, sold out its sixth consecutiveyear at Sadler’s Wells. In May 2009 Breakin’Convention toured the UK, presenting 14performances in eight venues. Each venue’s line upwas different, with international artists VII Gems RockDance Division featuring Ken Swift (USA), Salah(France) and MyoSung (South Korea) performingalongside local acts, plus DJs, workshops and filmscreenings.

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AwardsWe had a very successful year, with nominations andawards going to five of our Associates plus aprestigious Walpole Award for British CulturalExcellence.

• 2009 South Bank Show Award WINNER:

Wayne McGregor for Entity and Infra.

• 2009 South Bank Show AwardNOMINATIONS:

The Gate at Sadler’s Wells for I Am FallingAkram Khan for Bahok

• Ballettanz Production of the Year AwardWINNER:

Sidi Larbi Cherkaoui & Antony Gormley for Sutra

• 2010 Olivier Award NOMINATIONS:

Russell Maliphant’s AfterLight at Sadler’s Wells.

Birmingham Royal Ballet’s E=MC² at Sadler’sWells.

Rambert Dance Company’s A Linha Curva atSadler’s Wells.

Michael Hulls for his lighting designs for RussellMaliphant’s Two:Four:Ten at the LondonColiseum (as part of Sadler’s Wells’ Spring Danceseason); and for AfterLight and Eonnagata atSadler’s Wells.

Associate Artist Matthew Bourne for Oliver! at theTheatre Royal, Drury Lane.

• Walpole Award for British Cultural ExcellenceWINNER:

Sadler’s Wells

Breakin’ Convention• May 09 High Wycombe, UK• May 09 Nottingham, UK• May 09 Birmingham, UK • May 09 Bradford, UK• May 09 Edinburgh, UK• May 09 Plymouth, UK• May 09 Newcastle, UK• May 09 Salford, UK

Eonnagata• Jun 09 Place des Arts, Montreal, Canada• Jun 09 Grand Théâtre, Quebec, Canada• Jul 09 Les Nuits des Fourvières, Lyon, France• Jul 09 Teatre Nacional de Catalunya, Barcelona, Spain• Nov 09 Berliner Festpiele, Berlin, Germany• Nov 09, La Comète, Châlons en Champagne,

France

In the Spirit of Diaghilev• Nov 09 Teatre Nacional de Catalunya, Barcelona,

Spain• Nov 09 Théâtre National de Chaillot, Paris, France• Nov 09 Opera de Dijon, France • Dec 09 Monaco Dance Forum• Jan 10 Grand Theatre, Luxembourg

10INTERNATIONALTOURING

During 09/10 we toured five Sadler’s Wells productionsnationally and internationally, to almost 100 venues.

PUSH• Apr 09 Sydney Opera House, Australia • Apr 09 St James’ Theatre, Wellington, New

Zealand • Apr 09 The Edge Festival, Aotea Centre, Auckland,

New Zealand• Jan 10 Forum Am Schlosspark, Ludwigsburg,

Germany

Sutra• May 09 Macau Cultural Centre • May 09 Grand Theatre, Luxembourg • May 09 Singapore Festival, Singapore • Jun 09 Ludwigsburger Schlossfestspiele, Germany • Jun 09 Opera de Lille, France• Jun 09 Théâtre National de Chaillot, Paris, France

• Jul 09 Stadsschouwburg, Amsterdam, Holland • Jul 09 Ravenna Festival, Italy • Jul 09 Cividale Festival, Italy• Aug 09 Helsinki Festival, Finland • Sep 09 Norrlandsoperan, Umea, Sweden• Sep 09 BITE Festival Belgrade, Serbia • Sep 09 Cankarjev dom, Ljubljana, Slovenia • Sep 09 Altstadtherbst Festival, Dusseldorf, Germany• Oct 09 Kampnagel, Hamburg, Germany• Oct 09 Shanghai Contemporary Arts Centre, China• Nov 09 Danse Danse, Montreal, Canada• Nov 09 National Arts Centre, Ottawa, Canada• Nov 09 Grand Theatre de Quebec, Canada• Jan 10 Centro Cultural de Belem, Portugal • Feb 10 New Zealand International Festival

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Presenting LeadingCompanies from Aroundthe World

Matthew Bourne’s company New Adventuresreturned to Sadler’s Wells for Christmas 2009 with itsiconic production of Swan Lake. Over 80,000people saw the show, which grossed over£2.5million, of which 62% was from first-timeSadler’s Wells visitors. Matthew presented the worldpremiere of Swan Lake at Sadler’s Wells in 1995 soit was extremely satisfying for us to see the show intoits 15th year.

The international dance scene was well presentedwith productions by Flemish company Rosas,transatlantic ballet company Morphoses, MarkMorris Dance Group from the US and DanzaContemporanea de Cuba.

Sadler’s Wells in the West End

Sadler’s Wells’ West End venue, the PeacockTheatre, continues to thrive as a home to longer-running dance shows and draws a very mixedaudience with a strong youth following. Recentsuccesses were Havana Rakatan, which returnedfor a fourth visit after enormous demand, and ran forsix weeks. Brand new street dance show Blazemade its world premiere at the Peacock Theatre,gathering excellent reviews.

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Introducing New Work to London

Our 180-seat Lilian Baylis Studio has developed astrong reputation for presenting cutting-edge,smaller-scale works. In 09/10 these includedperformances by Lotte van den Berg, Ivana Müllerand Pierre Rigal’s Press, which was described bythe Sunday Telegraph as “one of the mostextraordinary dance-theatre shows you’relikely to see on a British stage this year”.v

Sadler’s Wells Off Site

We believe that dance has the power to speak to anextremely broad audience. In the past 12 monthsSadler’s Wells has presented dance performances atmore offsite locations than in any other year. Theserange from performance art collective The ClodEnsemble’s week-long run at Village Underground (aVictorian warehouse in Shoreditch), to festivalappearances at Latitude in Suffolk, and the TowerFestival at the Tower of London.

We continued to work with Askonas Holt andRaymond Gubbay Limited to bring large-scale worksto the London Coliseum. The period 1 April 2009 –31 March 2010 saw visits from Ballet Nacional deCuba with Carlos Acosta, American Ballet Theatre,Russell Maliphant and Birmingham Royal Ballet.

Jerwood Studio atSadler’s Wells

Now in its fifth year, the Jerwood Studio atSadler’s Wells allows artists the freedom to exploreideas outside of a tightly scheduled productionprocess, in studios, in short courses, in talks andeven over a meal. Of nine studio-based researchprojects in 09/10, seven have gone, or are going oninto, the Sadler’s Wells programme. These include:

• Choreographer Frauke Requardt and theatredirector Daniel Kramer, who developed ideas fortheir Young Vic / Sadler’s Wells commissionPictures from an Exhibition.

• Visual artist Martin Creed was given time to workon ideas with five classically trained dancers,which has recently toured to Edinburgh and won aHerald Angel Award.

• Associate Artist Russell Maliphant, who testedprojections with Es Devlin and onedotzero, whichbecame an integral part of his Olivier-nominatedAfterLight.

• The Pet Shop Boys and Javier De Frutos had twoweeks of exploration with collaborators for theirnew Sadler’s Wells commission The MostIncredible Thing.

About Our Audience

The diversity of our artistic programme attracts abroad audience, from those who enjoy dance as agenre, to more specialist audiences interested inspecific artists or styles. As visitor numbers increase,we have successfully developed a diverse and loyalaudience who trust the quality of the shows on offer. Sadler’s Wells generates 70% of its incomethrough ticket sales, so the public’s belief in our work is vital.

Our multibuy offer allows visitors to book for morethan one show and receive a 20% discount. This hasbeen extremely successful in encouragingcustomers to book for a show they might notordinarily see, broadening tastes and developingnew audiences for different dance genres. In 09/10multibuy tickets accounted for almost 50,000 sales.

As an arts organisation we are at the forefront ofdigital marketing and online activity. In 09/10 onlineticket sales accounted for 75% of our total box

DEVELOPING AUDIENCES14

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office, compared to 47% in 2006. We have an activepresence on social networking sites includingFacebook and Twitter, plus a YouTube channel whichworks in conjunction with the video elements of ourmain website, and Sadler’s Wells Screen. OurGlobal Dance Contest uses YouTube to reach aninternational audience who may not have visitedSadler’s Wells, but are aware of its reputation as oneof the world’s leading dance houses.

At the Peacock Theatre in October 2009 we beganto show cinema-style trailers for our forthcomingproductions, as well as dance clips from our videosite, before the shows and during the intervals. Thisis modelled on the cinema experience that themajority of theatre-goers are familiar with.

In addition to the main artistic programme we have arange of talks, exhibitions, debates, installations,classes, summer-schools and courses, which comeunder the banner MORE from Sadler’s Wells.

Our education and outreach projects aims toconnect the widest possible range of people with thework of the theatre, focusing particularly on thetheatre’s local communities in Islington and NorthLondon, and London-wide for our Youth Danceprogramme. More information about the work ofSadler’s Wells’ Creative Learning department,Connect, is detailed on page 18.

Sadler’s Wells Local

Sadler’s Wells Local is an audience development ticketscheme offering good seats for performances at a costof £6. The aim is to attract local people to the theatrewho genuinely cannot afford to buy theatre tickets atfull price, or who may have never experienced livetheatre before. It targets local residents, charities,children centres, youth and voluntary groups, as wellas community and housing organisations.

In 2009 the scheme was allocated tickets to 31different shows at both Sadler’s Wells and thePeacock Theatre, and was accessed by a total of2,938 people, an increase of almost 50% from theprevious year. We will continue to build on this successin the coming years.

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Sadler’s Wellswww.sadlerswells.com

The Sadler’s Wells website is a vital part of our digitalstrategy, acting as the primary source of onlineinformation for all of our activities. 09/10 saw a 43%increase in visitor numbers to the site from theprevious year and over three-quarters of our ticketsales occurred online.

London Dancewww.londondance.com

Operated through a partnership between ArtsCouncil England and Sadler’s Wells, London Danceprovides dance information for the capital. In 09/10the site had over 500,000 visits and almost twomillion page views, and also expanded its activity toestablish a presence on Facebook and Twitter(currently 4,800+ friends on Facebook, 2000+followers on Twitter). The site currently has around17,000+ active subscribers, sending monthlyupdates to around 10,000 subscribers worldwideand regular emails to 3,000+ London-basedsubscribers.

Breakin Conventionwww.breakinconvention.com

The new Breakin’ Convention website launched inApril 2009 and features information about Breakin’Convention’s activities across the UK as well as asocial network which enables users to create theirown profile. In 09/10 the site received 112,278 visitsand currently hosts over 650 members in its onlinecommunity.

Sadler’s Wells Screenwww.sadlerswellsisdance.com

Sadler’s Wells Screen launched in spring 09. It is anonline forum where we share and archive all thevideo content that we produce, including show clips,interviews and behind-the-scenes footage. The sitealso features Sadler’s Wells-produced Guides toDance, and a selection of dance films which look athow dance can exist beyond the stage. In February2010 Paul Hamlyn Foundation pledged its supportfor Sadler’s Wells’ online activity, specifically Sadler’sWells Screen. Funding from the Foundation hasallowed us to generate more online content anddevelop the site as an invaluable resource.

DIGITAL STRATEGY16

• In 09/10 online ticket sales accounted for 75% of our total box office• sadlerswells.com had 2,779,393 visitors in 09/10 – 837,470 more than the previous year

Global Dance Contestwww.globaldancecontest.com

Our first Global Dance Contest was very successful,drawing 170 applications from 34 different countries.The contest offers the opportunity for bothprofessional and non professional dancers around theworld to submit a short dance clip via YouTube, whichis judged by a panel of experts. The winner, Shu-YiChou from Taiwan received £2000 plus an expensespaid trip to London to perform at Sadler’s WellsSampled. Critical reaction to the piece was extremelypositive. The second Global Dance Contest waslaunched in February 2010 and the winner will performat Sadler’s Wells in January 2011. Sadler’s Wells alsooffers support and guidance to the winner, to helpthem transfer their work on to a large stage.

“Arts initiatives can look calculating andinsincere: exercises in box-ticking to satisfyfunding bodies. But you never get that feelingwith Sadler’s Wells, which constantly restatesits belief in the power of dance to changelives. Programmes like the Global DanceContest take us to the places where thatchange is actually occurring, demonstratingthat it’s the attention you pay to human valuesthat keeps you ahead of the curve” THE OBSERVERvi

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Access

Sadler’s Wells has an unparalleled reputation for theaccessibility of its theatre and related activities which iscomplemented by a supporting programme ofparticipatory projects and an assisted performanceprogramme (BSL interpretation, captioned and audio-described performances). In 09/10 we presentedseven BSL, captioned and audio-described shows.

The Peacock Theatre, which had previously sufferedfrom restricted wheelchair access due to the layoutof the building, was fitted with wheelchair lifts inautumn 2009.

“This renowned theatre offers abewildering array of facilities and a visithere can be an inspirational experience, ifonly to see what is achievable” THE ROUGH GUIDE TO ACCESSIBLE BRITAINvii

Connect

Connect continues to deliver in its new role as LondonRegional Partner Office for the new Youth DanceEngland scheme, and in 09/10 it also won the role of BigDance hub for north London.

During the year Connect delivered 1065workshops/events which directly engaged 21,156people – an impressive threefold increase on theprevious year. 10% of the work took place within formaleducation settings, inspiring and introducing youngpeople to dance, many for the first time.

272 artists and 324 educators were involved in thedelivery of Connect’s work and the increasedprogramme of continuing professional developmentwas warmly welcomed. These pages give an overviewof some of the highlights from Connect’s year.

1. Company of EldersConnect’s over 60s dance group Company ofElders was the focus of a BBC Imaginedocumentary in June 2009, attracting widemedia and public interest. The classes becamegreatly oversubscribed as a result –demonstrating the need for this type of activity.

2. EncountersConnect’s major performance project for2009/10 was Encounters, a collaboration withEnglish National Ballet, Sadler’s Wells AssociateArtists and five community groups, schools andyouth groups, drawing inspiration and themesfrom ENB’s Ballets Russes programme on themain stage, and culminating in a performance atThe Peacock Theatre.

SADLER’S WELLS IN THE COMMUNITY

• 10% of Connect’s work took place within formal education settings• Over 21,000 people attended Connect’s workshops and events

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3. Connect FestivalThe annual Connect Festival in March provideda snapshot of the range of work undertaken,offering around 2000 emerging artists andmembers of the local community a chance toperform or watch dance in the Lilian BaylisStudio. This year’s programme includedperformances by the over 60s, young peoplefrom local estates (funded by Homes ForIslington), disabled artists and a new commissionfor Corali and New Adventures.

Other continuing Connect activities range frompost-show talks, lecture-demonstrations, theover 60s arts appreciation club, weekly BabyGroovers classes for toddlers and their carers,termly dance development projects in primaryand secondary schools and large-scalecommunity events.

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IndividualsIn 09/10 we saw a 20% increase in patrons andmembers across the board. We honoured a smallnumber of these patrons by naming them Avant-Guardians in recognition of their long-standing andsignificant support of the Theatre

Syndicates of individual patrons provided criticalsupport for Sadler’s Wells’ ongoing investment intwo Associate Artists – Christopher Wheeldon andRussell Maliphant – as well as funding for Focus onForsythe and Rufus Wainwright’s debut opera,Prima Donna.

Trusts

The Garfield Weston Foundationmade asubstantial grant to enable planned future growth forSadler’s Wells.

The Jerwood Charitable Foundation continuedits support of The Jerwood Studio at Sadler'sWells which began in 2006 and provides funding fornew research and cross art form collaborations for arange of artists making work in dance.

The Paul Hamlyn Foundation provided significantfunding for our growing digital strategy, specificallysupporting Sadler’s Wells Screen.

The Foyle Foundation provided invaluable supportfor In the Spirit of Diaghilev for which wecommissioned four new works.

29th May 1961 Charitable Trust continued supportof the Sadler’s Wells Local programme for a secondyear, enabling us to provide 5000 £6 tickets to localresidents who cannot afford full-price theatre ticketsand have not experienced live theatre before.

The John Ellerman Foundation supported ourcore artistic programme and the commissioning ofnew work; the second tranche of a two yearcommitment.

Corporate

Bloomberg provided major supportfor our pop-up dance theatre project -

Electric Hotel. Bloomberg funding also enabledtickets to be priced at just £15 in order to extend ourreach to new audiences.

The American Express Foundationcontinued its partnership with Sadler’s Wellswith production support for Confluence – a

Sadler’s Wells commission and collaborative workbetween Akram Khan and Nitin Sawhney.

Rolex continued support of theinternational tour of Eonnagata, a Sadler’s

Wells production which brings together three of theworld’s foremost creative minds: Sylvie Guillem,Robert Lepage and Russell Maliphant.

OUR SUPPORTERS

• Income raised through fundraising accounted for over 12% of our annual turnover• Our patrons and members grew by 20% across the board

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Trading and other income made up 9.1% of turnoverin 2009/10, up from 5% in the previous year. Themajority of this is trading income and is an area weare seeking to expand.

Sadler’s Wells trades by leasing out spaces aroundthe theatre complex to commercial clients. Thisranges from a single meeting room hire, to rehearsalspaces, and conference hires of the front of houseareas and auditoria. This is operating at a highutilization level.

During 2009/10 Sadler’s Wells moved from havingan outsourced catering operation for which wereceived a portion of the caterers income, to takingthe bar and catering operation in-house. This is thetrading area where we are seeking to increase bothturnover and margin, through a more attractive offerto both patrons and event clients.

In August 2009 we started a new sales initiative withour show programmes, offering customers theopportunity to purchase a programme at the sametime as their tickets, for a reduced rate of £3.This hasbeen extremely successful, generating over 4,500online sales in the eight month period from August –March.

Sustainability

In the three years up to December 2009 we havereduced gas consumption by 62% and electricity by16%. This has resulted in CO2 savings of 510 tonnes(23.8%) – equivalent to driving from London toEdinburgh around 3825 times.

COMMERCIAL ACTIVITY

• Commercial hire of the theatre and event spaces • Programme and other merchandise sales • Income from catering and the theatre bars

2009/10 was a very challenging financialenvironment for any business. As we have seenacross London’s theatres, our box office has held upwell. Development income came in just under target.The unrestricted surplus was £465,000, principallyresulting from the Sustain grant, which has beenreserved for future commissions and new media.The remaining element of the surplus has beenreserved to support an artistic project in 2010/11.

A balanced budget is in place for 2010/11 providingthat box office and Development income targets canbe met in the current economic climate.

Our total turnover for the year ending 31st March2010 was £19.8 million, with a net surplus of £0.3million. This was made up as follows:

FINANCIAL POSITION

Arts Council England 2.7million

Fundraising2.3million

Box Office 13million

Artistic Programme15million

Theatre running3.3million

Fundraising0.3million

Trading and other0.9million

Trading and Other1.8million

Sadler’s Wells TurnoverEarned income represents 88.4% of income, with 13.6% a grant from Arts Council England.

Sadler’s Wells Expenditure

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Corporate Partners American ExpressBloomberg Man Group plc Rolex

Corporate Sponsors Alfa-Bank Bennetts Associates Clifford Chance DLA Piper Madrid Tourism Board

Corporate Supporters Criterion Ices Limited La Porchetta Wildbore & Gibbons William Norris & Company The Zetter Hotel and Restaurant

Individuals

Avant-GuardiansAnonymous Guardians Ann and Martin Smith The Ulrich Family

Major Supporters David and Primrose BellThe Deborah Loeb Brice FoundationMarco CompagnoniFocus on Forsythe Benefactors Barbara and Karsten Moller The London Morphoses Syndicate Simon and Virginia RobertsonAnn and Martin Smith Lady Solti David and Hannele TillesThe Ulrich Family

Artistic Director’s CircleAngela Bernstein CBEThe Deborah Loeb Brice FoundationLloyd and Sarah Dorfman Marina HobsonBarbara and Karsten MollerTony OakleySir Christopher OndaatjeSupportersAmerican Friends of Sadlers Wells Rab Bennetts Charles and Leonie Booth-Clibborn Robert Borzello and the Camden Trust Lauren and Michael Clancy Joachim Fleury Robert Gavron Charitable Trust Charles Glanville Sara Naudi Friends of New Adventures Harald Orneberg

Dominic Palfreyman Robin Pauley Robert and Felicity Waley-Cohen Richard Wilson OBE Melanie and Keith Young

Creative CircleLauren and Michael Clancy The Robert Gavron Charitable TrustJack and Linda Keenan

Stage Circle Spindrift Al Swaidi Peter and Sally CadburyCeleste FenichelJuliette GafsenFrank and Helen NealeJan & Michael TophamRichard Wilson OBE

Studio CircleMr and Mrs Sekhar BahadurG.P. and J.M. BatchelarKristina Borsy and Nick TurdeanMrs Pamela Brand-FieldJosé and Meg BreñaMichael Buckingham Jules and Cheryl BurnsNica Burns Dorothy Marie BurwellSarah and Philippe ChappatteToni Cupal and Michelangelo VolpiGenevieve and Peter Davies Sylvia and Gary EabornSarah and Louis ElsonPiers Fallowfield-CooperJuliana Farha and Kit MalthouseCharles GlanvilleThe Richard Grand FoundationJan GrandisonGary HalkyardAbel Halpern and Helen Chung-HalpernSarah Havens and Gregg Sando Rick and Janeen HaythornthwaiteJoyce KanRosemary Lancaster - WoolacombeBay HotelJohn and Susan LazarAlison LeMaireDavid Lloyd Lindy MasonArela NatasAnthony and Alison NathanMr and Mrs C NortonDr Elizabeth ParkerThe Porter FoundationKerri Ratcliffe and Doug Henderson David Reynolds Ross RobertsJill and Paul Ruddock

Alastair Sharp Henrietta Shields Lesley ShoebridgeClaire Sohn Tanya SteynPaula and David SwiftTorsten ThieleE. G. TomsettBonnie J Ward

Circle PatronsAnonymousJane Attias Helga Baitenmann Nancy and Richard BalabanR Borzello and The Camden TrustJenny BrendJennifer Brophy Sue Butcher Denise Cohen Charitable TrustGeoffrey CollensJohn CrispAndrew and Deborah CullenAmanda CupplesIan and Morny DavisonRobert and Diana Gore Domonic Green Neil Griffiths-LambethJohn E HainesStephen and Jennifer HarperGarth KimberMarina KleinwortLady Lever Mr and Mrs George LoudonStuart LucasHarry and Fiona MacAuslanJane MillerGeorgia OetkerMaria Osten-SackenMidge and Simon PalleyRobin PauleyMrs Madeleine PlautDave Plummer and Lesley WhitbyPeter B ReaNigel Roberts David and Dee Dee SimpsonConstance SlaughterBrian D SmithAlistair SpaldingStuart and Louise SpenceStuart StanleyChristopher and Fiona SteaneLaura Stevenson Allen Thomas and Jane SimpsonAnna Valentine and Jonathan BergerJohn Voss Graham Watts OBEGerry and Ruth Weiss

Performance MembersAnonymousSeverine BalickCarol Brigstocke Jennifer BrophyAnnunziata CelentanoCaroline DugganPaola Ferretti-Johnson Peter and Judith FoyRobert GlickSarah Griffin Sue Hammerson Michael HolterSandrine JensenAnne Kauder Nida KhayrallahEugene Leahy and Helmert RobbertsenGerald LidstoneEric Longstaff Dr Patrick MaherElizabeth McPhillips Henderson MurraySally Pasmore Geraldine Ravet Isla Smith Tonnvane Wiswell

Trusts and Foundations

29th May 1961 Charitable Trust Calouste Gulbenkian Foundation Charles P. Russell II Foundation City Bridge Trust City Parochial Foundation The Clore Duffield FoundationDame Hilda Bracket Trust The Deborah Loeb Brice Foundation The D’Oyly Carte Foundation The Duis Charitable TrustDr. Scholl Foundation The Edwin Fox Foundation The Foyle Foundation The Garfield Weston Foundation Helen Hamlyn Foundation Jack Petchey Foundation Jerwood Charitable Foundation The John Ellerman Foundation The Kobler TrustThe Leche Trust Mactaggart Third FundThe Mercers’ Company The Mirisch and Lebenheim CharitableFoundation The Monument Trust The National Deaf Children’s Society The Paul Hamlyn Foundation Peter Moores Foundation Quercus Trust The Rayne FoundationThe Rayne Trust The Robert Gavron Charitable Trust

Sadler’s Wells Supporters

We would like to thank all those who generously support the theatre’s activities

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

Sadler’s Wells Foundation

PresidentLady Solti

Vice PresidentIan Hay Davidson

ChairmanSir David Bell

GovernorsCllr George AllanJennette ArnoldMonique BahadurRab BennettsKristina BorsyJosé BreñaNica BurnsValerie Colgan

Celeste FenichelJoachim FleuryIan JentleBarbara MollerHarry MacAuslanAnnie NortonLady PanufnikDr Maggie Semple OBECllr Barbara Smith

Honorary ClerkKathy Honeywood

Clerk to the FoundationAlistair Spalding

DirectorsRab Bennetts OBEMarco CompagnoniJoachim FleuryHarry MacAuslanRobin PauleyArlene PhillipsTony SarinLady SoltiSandi Ulrich

Sadler’s Wells Foundation and Trust

as at 31 March 2010

23

Chief Executive/Artistic DirectorAlistair Spalding

General ManagerLaura Stevenson

Finance DirectorMark Rhodes

Director of Marketing &CommunicationsKingsley Jayasekera

Director of ProgrammingSuzanne Walker

Director of Technical & ProductionEmma Wilson

Director of Creative LearningFiona Ross

Jane Hackett (Maternity Cover)

Director of DevelopmentGeorgina Shields

Executive AssistantNadine Pain

PROGRAMMINGProducerEmma Gladstone

Programming ManagerMai Komoriya

Programming Manager - PeacockTheatreEmma Dowden

Programming Co-ordinatorLisa Marie Bowler

Sutra Tour ManagerDawn Prentice

Opera AdvisorNicholas Payne

Breakin’ ConventionArtistic DirectorJonzi D

General ManagerEmma Dowden

Projects ManagerKate Scanlan

AdministratorMichelle Norton

Assistant Claire Haynes

CONNECTCreative Learning ManagerRachel Evans

Creative Learning ProjectsManagerSarah Baker

Access OfficerSarah Howard

Youth Dance Strategy ManagerMelanie Precious

Connect & London Youth Dance Co-ordinatorHannah Dye

Youth Zone Co-ordinatorSarah Smith

Connect Co-ordinator Molly Sanders

MARKETINGMarketing Campaigns ManagerSammie Squire

Marketing OfficerLucy White & Benjamin Lalague

Marketing AssistantSarah Barnett

Audience DevelopmentBid Mosaku

Publications OfficerSally Harper

Editorial OfficerGeorge Acock

Press ManagerAbigail Desch

Press OfficersAlice Evans, Jenny Lee, Ciaran

McKenna, Sally Partridge

Press Office Co-ordinatorEugénie Dunster

Web ManagerMark Doerfel

Multimedia OfficerAndrew O’Regan

Web Editor (LondonDance.com)Carmel Smith

Web Assistant (LondonDance.com)Sarah Golding

DEVELOPMENTConsultant – Trusts andFoundationsJane Lenton

Head of Individual Giving and TrustsTamzin Robertson

Manager, Corporate Fundraising Svetlana Semenchuk

Development Co-ordinator,Individual Giving and TrustsLauren Burles

Development Co-ordinator,Corporate FundraisingMartha Heiland-Allen

CATERING & EVENTSHead of Catering and Events Judith Blinkhorn

Events ManagerMisha Agzarian

Events Co-ordinatorAlessio Romani

Events AssistantNu Tran

Office ManagerJanet Sutton

Head ChefWayne Reffell

Operations SupervisorDavid Neild

Duty SupervisorLoretano Cerro, Jane Noonan

Bars SupervisorMichelle Houston

Events SupervisorNicholas Clarke, Ruben Sarralde-Garcia

Café SupervisorElizabeth Giles

General AssistantsAfiya Allison, Faye Blackman-Davor,

Rosaria Dell’uomo D’arme, Luther Dyer,

Nicholas Rainsford

Anna Walton

PERSONNELPersonnel ManagerClair Kelly

Personnel OfficerSirena Wilson

AdministratorHannah Nicholson

FINANCEFinancial ControllerPaul Warren

Show AccountantLorne Cuthbert

Finance OfficerMonisola Samuel

Finance AssistantSheena Patel

STAGEChief TechnicansLiam Fahey, Andrew Gorman

Technical Manager Lilian BaylisStudioRoman Bezdyk

TechniciansTom Hares, Paul Howard, Dave Judd,

Ali Low, Neil McGovern, Michael

Rodgers, Sam McLeod, Christian

Wallace, Laura Wareham, Tony White

OPERATIONSEngineering ManagerAshley Hard

Facilities Manager - The PlaceRoy Adkins

Maintenance Technician - The PlaceBarry Daley

Maintenance Technician – PeacockTheatreDaniel Knapton

Senior Building Services TechnicianIlia Constantinides

Building Services TechniciansRichard Emmett, Wayne Lawrence,

Ghion Mekonnen, Win Tun

Chief Security OfficerRoger Owen

Security OfficersDavid Grant, Emmanuel Yaokumah,

Beverley Dixon

Operations ManagerLynda Nichol

Operations AdministratorJabena Butt (Maternity Cover)

House ManagersMarguerite Bullard, Hannah Sless

Deputy House ManagersDara Brooks, Larry Harrison, Janine

Kaufman, Marcella Santese

Front of House Sales AdministratorChris Harmer

Performance CashiersRobert Churchill, Larry Harrison

Front of House Sales AssistantsLisa Beck, Anna Booth, Roisin Butters,

Sandra Castell, Hanna Cevik, Adina

Chereqi, Gisela Creus, Nansi Davies,

Federico Di Pace, Renee Driessen, Polly

Frame, Gigi Giannella, Amera Haider,

Anna Harrison, Vera Hochkofler, Amy

Hyde, Katsura Isobe, Luke Kearney, Ian

Lambert, Ljiljana Lemajic, Wing Li,

Vivien Loh, On Yee Loh, Takeshi

Matsumoto, Tim Mays, Robert

Mennear, Manuela Mocanu, Rhiannon

Montagu-Harrison, Thomas Montagu-

Harrison, Frouke Mooij, Albukhari

Muda, Agata Paradnia, Elizabeth Peck,

Aleksandra Podsiadlik, Thomas Reid,

Anna Riessner, Molly Sanders,

Alessandro Santese, Marcella Santese,

Dorit Schwartz, Bishwo Shahi, Neeraj

Singh, Prabin Tamang, Noreen

Townsend, Alexandra Ursache, Calvert

Watson, Kat Wieszczek, Magda

Wieszczek, Jairo Zaldua

ReceptionistJoann Peek

Stage Door KeepersMarie-Claire Adriaenessens, Brandon

Force, Nicholas Garwolinski, Lee

Knight, Tina Ramdeen, Jemma

Robinson, Ludmila Rusiecka, Neeraj

Singh, Rosannah Smith

IT ManagerAlec Cuffy

IT Systems EngineerRaymond Neequaye

IT AssistantRay Wei Long Ho

HousekeeperMuriel Vaughan-Williams

Deputy HousekeeperAlberto De Antoni

HousekeepingFabian Arias, Jeffrey Balighot, Fortunato

Carian, Kelly Dago, Jesiel Da Silva, Irene

Hall, Akissi Kouassi, Abe Lambert, Jose

Lary Legario, Louis Ricafort, Oumar-

Florent Sam, Mercan Sahin, Celestin

Trah, Amani Yoboue

TICKET OFFICETicket Sales ManagerZahir Jaffer

Ticket Office Systems ManagerBrian Kearney

Ticket Office SupervisorsBarbara Birch, Mark Hammond, Abigail

Parker

Memberships and TicketingServices AdministratorRitchie Dach

Ticket Office ClerksRamzan Ali, Robert Allen, Clare

Bracewell, Hugh Brady, Marguerite

Bullard, Felicity Coupland, Richard

Cross, Sara Gilbert, Kim Graham, Jake

Harders, Elspeth Harrison, Tim Hudson,

Paula Jones, Rosa Maugher, Cinzia

Moretti, Ros Moore, Paula Patritti, Matt

Phillips, Alpesh Rajani, Jemma

Robinson, Nicola Salt, Mark Saxton,

Pauline Scullion, Cameron Slater, Ben

Stanley, Sandra Wellstead,

Sadler’s Wells Associate Artists

Balletboyz

Matthew Bourne

Sidi Larbi Cherkaoui

Jonzi D

Javier De Frutos

Sylvie Guillem

Akram Khan

Russell Maliphant

Hofesh Shechter

Jasmin Vardimon

Christopher Wheeldon

Resident Companies

Wayne McGregor I Random Dance

New Adventures

Sadler’s Wells Staff

as at 31 March 2010

24

i This figure is based on the total number of performancespresented at Sadler’s Wells theatre, the Lilian Baylis Studioand the Peacock Theatre (including schools performances)plus offsite performances. It does not include touringproductions.

ii December 2009, The Times T2 arts supplement review of thedecade. Debra Craine highlights Sadler’s Wells’ achievementsand lists Alistair Spalding as the ‘Face of the Decade’

iii Hoggard, L.; 2009; The arts should shock us out of ourcomfort zone; Evening Standard; 16 October

iv Crompton, S.; 2009; Focus on Forsythe: a study infragility; Daily Telegraph; 13 May

v Monahan, M.; 2009; Living in a Box; Daily Telegraph; 22 May

vi Jennings, L.; 2009; Two giant leaps out of Africa; The Observer; 22 March

vii The Rough Guide to Accessible Britain; 2nd Edition;London; Motability; 2008

Production Image Credits

PAGE 4Akram Khan and Nitin Sawhney in Confluence at Sadler’s Wells,photo: Elliott Franks

James O’Hara in Sidi Larbi Cherkaoui’s Faun (part of In theSpirit of Diaghilev) at Sadler’s Wells, photo: Hugo Glendinning

PAGE 5Yoko Ando in William Forsythe’s Nowhere and Everywhere atthe Same Time at Tate Modern, photo: Sheila Burnett

PAGE 6Monks from the Shaolin Temple in Sidi Larbi Cherkaoui’s Sutraat Sadler’s Wells, photo: Hugo Glendinning

Sylvie Guillem in Eonnagata at Sadler’s Wells, photo: Erick Labbé

PAGE 7MyoSung in Breakin’ Convention at Sadler’s Wells, photo: Paul Hampartsoumian

PAGE 10Sam Archer and Jonathan Olliver in Matthew Bourne’s SwanLake at Sadler’s Wells, photo: Hugo Glendinning

Carlos Neto in Blaze at the Peacock Theatre, photo: Michiel van Wijngaarden

PAGE 14Shu-Yi Chou’s Ravel and Bolero at Sadler’s Wells

PAGE 15Geoff McGarry and Betsy Field of the Company of Elders, photo: Pau Ros

References25

www.sadlerswells.comEnquiries: +44 (0)20 7863 8198

Sadler’s Wells & Lilian Baylis Studio, Rosebery Avenue, London EC1R 4TNTicket Office: 0844 871 0090 Angel

Peacock Theatre, Portgual Street, London EC2A 2HTTicket Office: 0844 871 0091 Holborn

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