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© Morley von Sternberg

Sadler's Wells

This Islington venue is synonymous with cutting edge dance of every flavour
  • Theatre
  • Clerkenwell
  • Recommended
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Time Out says

Tucked away on the streets behind Angel station, Sadler's Wells is a sizeable purpose-built 1998 studio complex built on the site of the original seventeenth-century theatre of the same name. And it's the place to go for dance fans, drawing an impressive line-up of local and international talent.

Artistic director Alastair Spalding presides over a varied line-up of in house and touring shows, which take in modern and experimental dance, tango, flamenco (watch out for the annual Flamenco Festival), hip hop, classical and contemporary ballet as well as Matthew Bourne's crowd-pleasing brand of witty dance theatre. There's typically a family-friendly ballet classic at Christmas, as well as annual festivals like Breakin' Convention, a massive celebration of hip hop dance. Main house shows take place in the comfortable, 1,500 seater auditorium, while the smaller Lilian Baylis Studio houses smaller-scale new works and works in progress. And the Peacock Theatre (on Portugal Street in Holborn) operates as a satellite venue for big commercial dance spectacles.

Sadler's Wells is the sixth theatre to stand on its Islington site, and famous producer Lilian Baylis and dancer Ninette de Valois were both instrumental in its multi-stage 20th century transition from crumbling music hall to state-of-the-art dance venue. Its name dates back to the 1680s, when the theatre discovered a medicinal well whose water was said to have health-giving properties. You can still look down the well today, though the days of taking a quick dip before a show are long gone. 

Details

Address
Rosebery Avenue
London
EC1R 4TN
Transport:
Tube: Angel
Price:
Prices vary
Opening hours:
10am-8pm Mon-Sat
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What’s on

The Car Man

5 out of 5 stars
It’s been unspeakably hot in London for weeks, but it seems the temperature is about to cranked up even more. Matthew Bourne’s sultry dance reinvention of Carmen has returned to Sadler’s Wells in all its sweaty, grimy glory after a decade off-stage, and its timing couldn’t be more apt.  Set in the 1950s in the fictional town of Harmony – a midwestern Italian-American community where the residents appear to be permanently horny – The Car Man’s plot mashes up Bizet’s passionate opera (it uses the Rodion Shchedrin score with additional music by Terry Davies) with the erotic noir The Postman Always Rings Twice. We meet Luca (the formidable Will Bozier), a drifter who arrives in the dusty enclave looking for work. Upon his arrival, Luca causes quite the stir as he effortlessly cartwheels over diner tables and jibes the mechanics with threats of fisticuffs. Oozing raw masculinity, he immediately catches the eye of the wily waitress Lana (Ashley Shaw), as well as the naive dogsbody Angelo (Harry Ondrak-Wright), and a love triangle begins – when The Car Man premiered in 2000, it was the first depiction of bisexuality in a ballet.  I won’t ruin the plot, but it’s deliciously melodramatic, and buoyed by the highly atmospheric set and lighting, designed by Lez Brotherston and Chris Davey, respectively. The steamy mood is enhanced by plenty of literal mist, as plumes of hot air float across the stage almost constantly, rising from the cars of the garage. There’s also the grinding of...
  • Contemporary and experimental
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