Proudly matriarchal: Flamenco legend Antonia Santiago Amador makes a rare, glorious appearance.
A finely-tuned marriage of musical understanding and feeling: Anna Winter reviews a triple bill of works performed by the Royal Ballet.
Jazzy trots, pom-pom berets and balletic vaudeville swagger: Anna Winter reviews Concerto / Le Baiser de la fee / Elite Syncopations.
Plenty to unpick: Anna Winter reviews Shobana Jeyasingh’s take on Marius Petipa’s La Bayadere.
Data-inspired dance: Anna Winter reviews the latest work from Company Wayne McGregor, inspired by mapping the human genome.
“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.