Closed 23 June 96 to October 98 for a £48million refurbishment. On 3 Jun 1683 a Mr Sadler opened a pleasure garden at a country spring, this became known as Sadler's Wells. A wooden stage, later enclosed, there was known as Miles' Musik House. Theatre started in 1753. In 1765 a new theatre was opened. For a period it was the Aquatic Theatre with a floodable tank on stage, reverting to its current name in 1844. Closed in 1878 (had been a skating rink and a boxing ring). Re-opened 1879. Closed in 1906. Lilian Baylis opened a theatre there in 1931. Lilian Baylis was the niece of Emma Cons, the first woman member of the LCC and the freeholder of the Royal Victoria Hall and Coffee Tavern (now the Old Vic). Became a solely ballet and opera venue in 1934. Sadler's Wells was the original home of the Royal Ballet (then the Sadler's Wells Ballet) and the opera company from here moved on to the Coliseum. 1500 seats. Now has its own well back in use for the cooling system and bottled water. Very major refurbishment completed in 1998. Society of London Theatre member.
World-class Cuban ensemble Danza Contemporanea de Cuba celebrates 50 years of dance excellence with its first ever major UK tour. Rarely seen outside its native country, this company of 21 dancers brings the heat and passion of Cuba to the stage with an eclectic mix of contemporary and classical dance fused with Afro-Caribbean and Spanish styles. With some of the world's finest dancers and international guest choreographers in the mix - including dance superstar Rafael Bonachela - from the heat of Cuba comes the heart of dance! Danza Contemporanea de Cuba returns following its first hugely popular visit in 2010. For these performances audiences will be treated to a triple bill of works including a rare opportunity to see the stand-out hit of 2010's programme, George Cespedes' Mambo 3XXI, and the world premiere of a piece by renowned choreographer Itzik Galili. In 2010, Mambo 3XXI was nominated for both an Olivier Award and a TMA Award, while critics compared C?spedes to a young Twyla Tharp and declared the piece to be "an exhilarating, large-scale triumph" (The Times).
The International Dance Festival Birmingham is always a strong season in the Hippodrome’s calendar and Danza Contemporanea De Cuba certainly entertained with their creative and energetic dance show. Playing for the first time in Birmingham, however, they are no stranger to British audiences; their previous UK achievements include their coveted nominations in 2010 from the Olivier Awards, the TMA Awards and the National Dance Awards, all for ‘Mambo 3XXI’.
The dance style of the troupe ranges from a blend of Afro Caribbean rhythms and beats, American modernism jazz and influences from European ballet; no wonder DCC have became their nations most popular contemporary dance troupe. The night was split into three ‘acts’, each with a different choreographer that allowed for the outline of their own creative minds to be interpreted by the incredibly agile and disciplined cast.
Act 1: ‘Sombrisa’ by Itzik Galili an infusion of ballet and native traditional dance to a very simple drum beat gave the piece a simplistic and minimalist feeling that worked to perfection. Including the cast pretty much in their entirety, the piece remains busy and visually exciting whilst reaming the feminine feel and simplicity that Galili sets out to achieve. Act 2: ‘Carmen?!’ by Kenneth Kvarnstorm, a chance for the male dancers to shine. Seven leading males take the piece and charge through with a confident masculine ability.
Act 3: ‘Mambo 3XXI’ by George Cespedes, the troupe’s crowd pleasing signature piece that gained their critical acclaim back in 2010 certainly does not disappoint. Cespedes comments ‘My intention was to break the cliché of what Cuba is in music and dance and to present mambo in a way that maybe a new generation would like to see it. This is evolution.’ He certainly achieves this. His interpretation of a ‘new generation’ mambo contains all the important distinctions of the native Cuban dance: turns, combs, cross body leans, hand throws & drops and, of course, the sombrero. It’s his modern take that keeps the audience gripped and entertained along with the big, bouncy beats of the mambo.
The tour continues until June 9 with a week at London’s Sadler’s Wells Theatre from 29 May – 1 June.
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