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.
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.