A new landmark immersive experience in London’s West End, celebrating South African culture through performance, fine wine, and visual art.
Founded by MBE-awarded duo Ella Spira and Pietra Mello-Pittman, Sisters Grimm is a B Corp-certified arts company whose globally acclaimed multidisciplinary productions have reached over 200 million viewers. Known for pioneering cultural storytelling through the highest artistic standards, we now invite you into our most intimate, luxurious, and exclusive immersive experience in London.
We caught up with Ella and Pietra to learn more about the show.
Ella and Pietra, thank you both for your time! It's exciting to see how you've transitioned from the world of performing arts to becoming trailblazers in the producing landscape. What motivated you to step into the role of producers, and how did your backgrounds influence that decision?
Thank you for your curiosity about what’s been quite a journey for us.
Thank you for your curiosity about what’s been quite a journey for us.
When we met in 2008, we came together from very different creative worlds, backgrounds and disciplines, but we shared the same drive to make things happen – and probably the same slightly obsessive streak that you need for the kind of work we do!
Pietra comes from the ballet world, while I (Ella) was working more in music, visual art and film. From the beginning, we wanted to bring those different mediums, and the people behind them, together under one roof. That mix has become a big part of what we do, creating a rich, diverse tapestry in every production, and now in our new venue as well.
House of Sisters Grimm sounds like an ambitious and exciting endeavour! How has that milestone been for you?
It’s been huge. I don’t think we really had any idea what it would take to run our own venue. It’s easily been the hardest thing we’ve ever done, but also a defining moment. Every day brings a new challenge – and not all of them are positive – but despite everything it took to get the doors open, and everything it takes to keep it going, it’s absolutely, 100% worth it.
This is a new hybrid concept in a new space with a company of artists mostly new to London from South Africa. Perhaps we could say it’s a new form of immersive. South African fine wine an’ all.
How did you approach building the vision for the show?
The inspiration for the show came from a desire to collaborate with Joseph Shabalala and Ladysmith Black Mambazo and creating a space where disciplines that usually exist separately could unite under one roof, forming a joyful celebration of culture.
Your mission statement, emphasising authenticity and impact over profit, is truly refreshing. How has that approach shaped your journey and the way you run House of Sisters Grimm?
It guides everything we do. We prioritise impact and what we believe is right—for our team, our audiences, the growth of the industry, and perhaps, society at large. Some of the choices we’ve made, from impact programmes to the support we offer our artists, may affect profitability, but the benefits of operating this way far outweigh financial considerations.
House of Sisters Grimm sounds like an ambitious and exciting endeavour! How has that milestone been for you?
It’s been huge. I don’t think we really had any idea what it would take to run our own venue. It’s easily been the hardest thing we’ve ever done, but also a defining moment. Every day brings a new challenge – and not all of them are positive – but despite everything it took to get the doors open, and everything it takes to keep it going, it’s absolutely, 100% worth it.
This is a new hybrid concept in a new space with a company of artists mostly new to London from South Africa. Perhaps we could say it’s a new form of immersive. South African fine wine an’ all.
How did you approach building the vision for the show?
The inspiration for the show came from a desire to collaborate with Joseph Shabalala and Ladysmith Black Mambazo and creating a space where disciplines that usually exist separately could unite under one roof, forming a joyful celebration of culture.
Your mission statement, emphasising authenticity and impact over profit, is truly refreshing. How has that approach shaped your journey and the way you run House of Sisters Grimm?
It guides everything we do. We prioritise impact and what we believe is right—for our team, our audiences, the growth of the industry, and perhaps, society at large. Some of the choices we’ve made, from impact programmes to the support we offer our artists, may affect profitability, but the benefits of operating this way far outweigh financial considerations.
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| INALA. Photo by Helen Maybanks |
You've made significant contributions to youth arts education through initiatives like Art in Nature. Why is that aspect of your work so essential to you?
Personally, without financial support through grants to access arts training, I wouldn’t be where I am today. As the saying goes, ‘you can’t be what you don’t see.’ It’s vital that children and young people have access not only to experiences, but also to the people and roles that make them possible. This may sound a little cliched, but our young people truly are the future. It’s essential that we create pathways for them to grow and develop - aware of the opportunities around them, the importance of celebrating diversity and equality, and the need to protect our environment.
How do you both reflect on your careers to date?
Everything that has come before - Pietra as a ballerina in the Royal Ballet and me (Ella) a film music composer/ arranger along with our subsequent journey as Sisters Grimm - has led us to this moment opening our own venue in the West End. Along the way, there have been many challenges, beautiful moments and an amount of chaos - from visa issues and personal losses to standing ovations, record breaking diversity and first-time theatre goes in our audiences, life changing opportunities for some of the artists to carnets and some inventive problem-solving, behind the scenes!
What was the first piece of theatre you remember having a big impact on you?
Ella: Growing up we would go to see my great aunt in the local AmDram Gilbert & Sullivan production, which along with the annual panto was always great fun and there was the yearly panto but beyond that, as a family of 6 children, we didn’t really go to much theatre. We didn’t have the money for it. Live bands, Disney films and exhibitions were more part of my upbringing.
Pietra: I saw Cinderella, a large-scale ballet production, when I was 7 years old and remember loving the sound of the orchestra, the magic of the storytelling and effortlessness of the ballet itself.
Later on, seeing shows like Cirque De Soleil in Las Vegas - with theatres designed specifically for the shows = and Fuertza Bruta, where a swimming pool was lowered over the audience, inspired an ‘anything is possible approach’ to being a creative producer.
What keeps you inspired?
The opportunity to come together with creatives, artists and performers from other cultures to our own - and to witness the positive impact our work has on artists, audiences, and everyone involved – is the biggest inspiration. The joy of seeing audiences go on an emotional journey at the show means a lot to us all, a feeling which is reinforced by the number of repeat visitors we have. We’ve reached the stage where friendships are being formed between our company and our audiences. It’s wonderful and somewhat unexpected.
What would you hope someone takes away from the show?
I hope our audiences find a way into those emotions we don’t usually permit ourselves to feel. Joy, ecstasy, contemplation, grief and a connectivity that is only available through music and dance. We take great pride in supporting the creation of important memories. That’s what life is all about.
INALA has just extended booking and now runs until 2nd August 2026. For tickets and more information visit https://houseofsistersgrimm.com/
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| INALA. Photo by Helen Maybanks |
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