“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.
An act of splicing and dicing: Anna Winter reviews Wayne McGregor’s contemporary dance work based on the book by Jonathan Safran Foer.
Ferociously balletic bulls: Anna Winter reviews the start of Sadler’s Wells’ Flamenco Festival with performances from Israel Galván and Eva Yerbabuena.
The banal domestic details of everyday life rendered strangely beautiful: Anna Winter reviews Tanztheater Wuppertal Pina Bausch.
A cruise ship captained by Robin Thicke (with Piers Morgan as cabin boy): Anna Winter reviews German Cornejo’s Tango Fire.
A smorgasbord of toothsome choreographic morsels: Anna Winter reviews Sadler’s Wells’ preview programme for 2017.
A celebration of dance, dancers and artistic sacrifice: Anna Winter reviews Matthew Bourne’s new ballet.
Offering far more than infantile escapism: Anna Winter reviews a cinema broadcast of the Australian Ballet.
Mythic dreaminess and quotidian bleakness: Anna Winter reviews Michael Keegan-Dolan’s version of Swan Lake.
An anxious piece for an anxious time: Anna Winter reviews the Wayne McGregor triple bill at the Royal Opera House.
More about market forces than being duped by cads: Anna Winter reviews Akram Khan’s Giselle as it arrives in London.