Choreographics 2015: Digital Programme

LILIAN BAYLIS STUDIO, SADLER’S WELLS

CHOREOGRAPHICS DIGITALPROGRAMME 19 - 20 JUN 2015

#ENBChoreo

ballet.org.uk/choreographics

RUNNING ORDER AND CREDITS RUNNING ORDER

CREDITS

Introduction George Williamson

Artistic Director Tamara Rojo

Associate Artist George Williamson

Babel Joshua Legge English National Ballet School

Music Director Gavin Sutherland

Choreographic Mentor Kerry Nicholls

Choreographic Advisor Russell Maliphant

Costume Design Louie Whitemore

Lighting Design David Richardson

Stage Manager Kerry Lewis

Costume Makers Claire Nicolas Carrie Watkins Fritha Ross Serena Fusai Thomas Petraccaro

Assistant Stage Manager Hélène Davis

Costume Supervisor Sam Gilsenan

Hair & Make-Up Abigail Gargas Rosanna Woods

A Touch for Eternity James Streeter Memory of What Could Have Been Renato Paroni de Castro Give My Love to The Sunrise Morgann Runacre-Temple INTERVAL traumA Fabian Reimair Fractured Memory Max Westwell A Room in New York Stina Quagebeur

Film and Photography Laurent Liotardo

Dye Work Symone Frost Claire Nicolas

INTRODUCTION 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 Williamson Associate Artist, English National Ballet

Photo: George Williamson. © Sian Trenberth

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

Photo: James Streeter. Š Laurent Liotardo.

JAMES STREETER A Touch for Eternity PROFILE Birthplace Rochford, UK

SYNOPSIS

Training English National Ballet School English National Ballet Joined 2004, First Artist 2007, Junior Soloist 2011 Choreographic History A 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)

DANCERS

MUSIC

LIGHTING

COSTUME / HAIR & MAKE-UP

Adela Ramírez Juan Rodríguez

Max Richter November

Lighting Design David Richardson

Costume Design Louie Whitemore Costume Makers Claire Nicolas Carrie Watkins Fritha Ross Serena Fusai

Dye Work Symone Frost Claire Nicolas Hair & Make-Up Abigail Gargas Rosanna Woods

Photo: Renato Paroni de Castro. Š Laurent Liotardo.

RENATO PARONI DE CASTRO Memory of What Could Have Been PROFILE

SYNOPSIS

Birthplace São Paulo, Brazil

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

Training Centre de Danse International (Cannes) under Rossella Hightower

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.

Choreographic History Point 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)

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.

DANCERS

MUSIC

LIGHTING

COSTUME / HAIR & MAKE-UP

Sarah Kundi Vitor Menezes Guilherme Menezes

Clifton Williams Symphonic Dance #3

Lighting Design David Richardson

Costume Design Louie Whitemore

Frank Martin Etudes for String Orchestra

Costume Makers Claire Nicolas Carrie Watkins Fritha Ross Serena Fusai

Dye Work Symone Frost Claire Nicolas Hair & Make-Up Abigail Gargas Rosanna Woods

Photo: Morgann Runacre-Temple. Š Laurent Liotardo.

MORGANN RUNACRE-TEMPLE Give My Love to The Sunrise PROFILE

SYNOPSIS

Birthplace London, UK

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.

Training Central 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).

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.

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

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

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

DANCERS

MUSIC

LIGHTING

COSTUME / HAIR & MAKE-UP

Tiffany Hedman Daniel Kraus

Laura Stevens Original Composition

Lighting Design David Richardson

Costume Design Louie Whitemore Costume Makers Claire Nicolas Carrie Watkins Fritha Ross Serena Fusai

Dye Work Symone Frost Claire Nicolas Hair & Make-Up Abigail Gargas Rosanna Woods

Photo: Fabian Reimair. Š Laurent Liotardo.

FABIAN REIMAIR traumA PROFILE

SYNOPSIS

Birthplace Vienna, Austria

(‘Traum’ - German for ‘Dream’)

Training Vienna State Opera Ballet School, Marika Besobrasova in Monte Carlo

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...

English National Ballet Joined 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)

DANCERS

MUSIC

LIGHTING

COSTUME / HAIR & MAKE-UP

Anjuli Hudson Ken Saruhashi Barry Drummond Shevelle Dynott

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

Lighting Design David Richardson

Costume Design Louie Whitemore

Volker Bertelmann (synonym Hauschka) Craco

Costume Makers Claire Nicolas Carrie Watkins Fritha Ross Serena Fusai

Dye Work Symone Frost Claire Nicolas Hair & Make-Up Abigail Gargas Rosanna Woods

Photo: Max Westwell. Š Laurent Liotardo.

MAX WESTWELL Fractured Memory PROFILE

SYNOPSIS

Birthplace London, UK

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

Training Arts Educational School Tring, Hertfordshire

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.

English National Ballet Joined 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)

DANCERS

MUSIC

LIGHTING

COSTUME / HAIR & MAKE-UP

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

Olafur Arnalds Tomorrows Song

Lighting Design David Richardson

Costume Design Louie Whitemore

Nils Frahm Said and Done Max Richter Spring 2

Costume Makers Claire Nicolas Carrie Watkins Fritha Ross Serena Fusai

Dye Work Symone Frost Claire Nicolas Hair & Make-Up Abigail Gargas Rosanna Woods

Photo: Stina Quagebeur. Š Laurent Liotardo.

STINA QUAGEBEUR A Room in New York PROFILE

SYNOPSIS

Birthplace Sint Lievens Houtem, Belgium

Edward Hopper (1882 -1967)

Training Ingrid Lootvoet, Royal Ballet School, English National Ballet School English National Ballet Joined 2003

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

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

DANCERS

MUSIC

LIGHTING

COSTUME / HAIR & MAKE-UP

Crystal Costa James Forbat

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

Lighting Design David Richardson

Costume Design Louie Whitemore Costume Makers Claire Nicolas Carrie Watkins Fritha Ross Serena Fusai

Dye Work Symone Frost Claire Nicolas Hair & Make-Up Abigail Gargas Rosanna Woods