"Making Big Things Happen" - Alistair Spalding

Alistair Spalding, Artistic Director and Chief Executive of Sadler's Well's Theatre - In conversation with Jeannette Brooks

Jeannette Brooks (JB)
Who are you and how did you arrive in your new role?

Alistair Spalding (AS)
I am the principal decision maker at Sadler's Wells. I took up the position in October '04. My path here follows an unpredictable career line. I started as a teacher in Primary schools in Liverpool - my instinct is still that of an educator. Later in my career I found myself at Crawley Connection working on outdoor space presentations. It was then that I had my first contact with dance work from the Diaspora.

(JB)
You have a strong relationship with dance?

(AS)
I took to dance later in life but it is the main area of my work. An old flame took me to see Merce Cunningham and I was captivated. I think there is an honestly about dance. There is a 'must be able to do it' about this art form. It is not fakable. It?s the most open; performers are out there for all to see. Funnily enough I saw Highland Fling by Adventure's in Motion Pictures back then in Crawley at the Hawth Theatre and now we are working with Matthew Bourne on the new version.

(JB)
What are your plans for Sadler's Wells?

(AS)
I want big things to happen here. I have three main ambitions for the Theatre.

1. To get the maximum use of the whole venue. The dance studios, studio theatre, the stages etc. This is being done with the introduction of resident and associate companies. Jonzi D and Still Brok Productions are resident now. The relationship should be about more than just presenting dances. The venue should be a creative centre with solid educational links. We will co-produce, commission and focus on British artists.
2. To become a National Studio for Dance. Meaning we will invite application for artists to do research here with the view that these experiments might be commissioned pieces later on.
3. To invest in the audience by giving them the greatest quality experience or newest work. We must continuously examine on a weekly basis, what has gone on, on stage.

At the moment audience numbers are increasing. I put it down to their hunger for new and 'good' dance. It creates a snowball of excitement and word of mouth picks up.

(JB)
How does or can your work engage with Dance of the African Diaspora?

(AS)
We have a plan to initiate more small scale ideas and low key opportunities. This could mean time for artists to use the Lylian Baylis Theatre, to research in a studio lab atmosphere. The growing relationship with Jonzi D is also critical. The way we have developed Breakin' Convention highlights our commitment to cultural diversity. Our programming also includes Garth Fagin, Dance Theatre of Harlem and Alvin Ailey. I must remain committed to running a large scale venue and finding companies that can fill the stage. Never the less our principle is inclusion not exclusion and that is the artists, their work plus the audiences.

(JB)
What is your key to wanting to present a dance or company?

(AS)
The integrity of the work. I am not talking about production values. It's more about the substance of the vision. I believe in the proportion or balance of the work too and that there is sense and intention at it's heart. I look at talent and the craft of choreography, because it?s not about size and that applies to small or large works alike.