“The tech doesn’t detract from the tap”: Anna Winter reviews the “strange and subtle” joy that is Dorrance Dance’s technologically and technically innovative ETM: Double Down.
Sputters and spins like a dodgy Sputnik: Anna Winter reviews the new work by Alexander Whitley combining dance with solar physics.
A fragrant physical echo chamber: Anna Winter reviews a mixed bill of works performed by the Richard Alston Dance Company.
A superorganism at work: Anna Winter reviews Scottish Ballet’s double-bill of works at Sadler’s Wells.
When good intentions are not enough: Anna Winter reviews Northern Ballet’s adaptation of John Boyne’s novel.
A transfixing, era-jumping odyssey to Bangladesh: Anna Winter reviews a final performance of Akram Khan’s exploration of ‘homeland’.
A showcase of towering technical ability: Anna Winter reviews the Royal Ballet’s latest mixed bill.
A vortex of visibility and vulnerability: Anna Winter reviews Project O at Sadler’s Wells.
A superbly danced and successful piece of storytelling: Anna Winter examines Northern Ballet’s new show about the 18th-century Italian philanderer and his remarkable, reprehensible life.
Lust, morphine and mental instability: Kenneth MacMillan’s infamously dark ballet is back, and so are the plummy Covent Garden crowds.
“A profoundly imaginative, sad and humorous exploration of agony and loss, of meaning and its absence”. Anna Winter reviews Crystal Pite’s dance-theatre piece.
Cut-glass assertions of privilege: Anna Winter is entranced by the Royal Ballet’s 50th anniversary revival of George Balanchine’s classic triptych.
Like Brideshead without the grief: Anna Winter reviews a revival of Matthew Bourne’s younger creations.
Southern Spain is miraculously delivered to south London: Anna Winter reviews Flamenco Express in Peckham.
Beige bodystockings and Super Ted: Anna Winter reviews a new triple bill of works danced by Sergei Polunin at Sadler’s Wells.