In autumn, Sadler’s Wells will present a new digital season and the first live performances at the venue since lockdown.
The online season begins with a new series of collaborations, Digital Stage In Focus, created in partnership with Hofesh Shechter Company, ZooNation: The Kate Prince Company and Candoco Dance Company, each taking over the Sadler’s Wells Digital Stage for two-weeks, free for all audiences with content released via the Sadler’s Wells web site, Facebook page and YouTube channel.
Each collaboration will include a digital screening of a full-length performance available for 7 days on YouTube and Facebook, a Get Into Dance Workshop featuring a 30-minute introductory level dance workshop and a bespoke piece of digital content devised in collaboration with each company.
The series, running from Monday 14 to Friday 25 September, launches with Sadler’s Wells x Hofesh Shechter Company, featuring Grand Finale and two company-devised workshops, available from Thursday 17 September. The company's workshop will be hosted by Associate Artistic Director Bruno Guillore from Monday 14 September. In Moving Through Hofesh Shechter’s Grand Finale viewers can access two films to learn the "Rave" and "Russian Passion" sections of the piece.
Sadler’s Wells x ZooNation: The Kate Prince Company will take place from Monday 19 to Friday 30 October, with Some Like It Hip Hop available from Thursday 22 October.
Sadler’s Wells x Candoco runs from Monday 23 November to Friday 4 December with Let's Talk About Dis, available from Thursday 26 November, an exploration of identity and political correctness choreographed by Sadler’s Wells New Wave Associate Hetain Patel, originally created in 2015 and performed at Sadler’s Wells in 2018.
The first public performances staged at the theatre since March will be by Birmingham Royal Ballet, who will bring a new mixed bill, Lazuli Sky, for four performances from Thursday 29 to Saturday 31 October including Will Tuckett’s new ballet of the same name set to John Adam’s Shaker Loops, alongside Valery Panov’s Liebestod, a solo for the company’s male principals with music from Wagner’s Tristan and Isolde, and Our Waltzes by Venezuelan choreographer Vicente Nebrada danced to a collection of Latin-infused waltzes.