Jumping into the saddle - Alistair Spalding and Sadler’s Wells

Published Friday 11 March 2005 at 17:20 by David Blewitt

Since taking up the reins at Sadler’s Wells, Alistair Spalding has worked on giving the company a clearer shape and direction. As a result, it is finally providing a stable environment in which contemporary dance can prosper, argues David Blewitt

Many were sad to see the old Sadler’s Wells closed, a much-loved and friendly venue where legion folk grew to know their opera in productions which, if at times precarious, were never less than full-blooded. Never let it be forgotten that Britten’s Peter Grimes premiered there. The old Wells was home to what became English National Opera before the company moved into the Coliseum. The new Wells, until recently very much a receiving house, offered a seemingly random selection of shows chosen to no discernible policy. Even the building felt anonymous. Some still feel the glacial glass and metal structure lacks the welcoming warmth of its predecessor. However, things are changing thanks to Alastair Spalding, confirmed as chief executive and artistic director in October 2004.

Spalding’s five years with the company means he has experienced its latter-day uncertainties and difficulties, so his goals and vision are practical. He knows what can and should be achieved. “The new building was principally funded to be a dance house. That’s what the arts council intended. And it makes complete sense - with a bit of opera thrown in.”

He emphasises the Wells is not in competition with the Barbican, where dance is only one element of a wide range of arts events. “Our niche”, Spalding explains, “which is proving very successful, is predominantly dance, contemporary dance in fact,” for which there is, according to Spalding, more of an audience than ever. “Sadler’s Wells has been helpful in introducing people to the form. We have increased our average audience from 65% to 78% of late”.

Even so, Spalding knows he and his team need to make it much clearer what the Wells is about.

“Financial considerations make it difficult to do, because 11% of our turnover is in grant, so we’re 89% from earned income. We have to pay for the main mission of the Wells with other things now and then.”

Hence the inclusion of opera in past programming and such popular shows as Stomp. Spalding says there will now be a more consistent approach to opera programming.

“I’ve got Nicholas Payne to help me with the opera side. We will plan ahead and make it more regular, create a through focus on opera. We’re thinking of, say, three operas a year. We’re also working closely with Opera North because they create work which suits our stage on the right scale. They’re coming back in the autumn with Weill’s One Touch of Venus, and we’re talking with them about future projects.”

However, dance remains the prime focus. Spalding confirms that international companies and more popular dance forms will continue as the mainstay of the dance programme. This year has got off to a cracking start with the Flamenco Festival and Pina Bausch. But the exciting new element in the mix is the decision to commission new work and take on new artistic associates.

“It is time for us to invest back a bit, to co-produce and commission work within the dance field - large scale work - and to provide opportunities for people to develop pieces here,” Spalding insists. “We have three wonderful rehearsal studios, the Lilian Bayliss, all these fantastic facilities.”

Random Dance and Rambert Dance Company are already closely associated with the venue. Joining them will be Matthew Bourne with New Adventures, who returned to the Wells three years ago with his version of the Nutcracker, George Piper Dances - Ballet Boyz Michael Nunn and William Trevitt - and Jonzi D, who did so much to make the 2004 Hip Hop dance festival Breakin’ Convention so successful. They will contribute towards each season and present commissioned work. Spalding also intends to set up a Sadler’s Wells Studio, where people can come in to try out ideas, “say like William Tuckett and Kathy Marsden, who have ambitions to choreograph large-scale works”.

“They can experiment in a safe situation, then make the leap to presenting the finished piece. It’s all about encouraging choreographers and companies to mount big works. There are stages out there in the UK hungry for them, like The Lowry in Manchester.”

He has already presented companies that are quite radical. “One produced a piece with 14 dogs on stage.”

Spalding also has in mind a slight digression from the company’s main purpose, by occasionally producing or presenting dance-led musical theatre in the summer months. He would have liked very much to take up Paul Kerryson’s Haymarket, Leicester, On Your Toes starring and choreographed by Adam Cooper, but there was no calendar availability at the time. And then there is the valuable educational work within the community, which remains ongoing.

Alastair Spalding exudes the kind of confidence and enthusiasm tempered by sound common sense which augurs well for the Wells’ future. God knows dance in all its variety deserves and needs a stable environment within which to grow and flourish. Spalding seems able to provide it.