From subaquatic dreamscapes to a lady in red: Anna Winter reviews the NEBT’s showcase of five new works.
Anna Winter approves of the big pants but little else, in Rambert’s triple bill at Sadler’s Wells.
A suspended howl of psychological anguish: Anna Winter reviews Natalia Osipova’s performance in Kenneth MacMillan’s Anastasia.
More like a Las Vegas revue show: Anna Winter reviews The Birmingham Royal Ballet’s adaptation of Shakespeare.
Pure vitamin D for the soul: Anna Winter reviews Frederick Ashton’s springtime ballet.
No one wants to go cold turkey from Carlos: Anna Winter reviews Carlos Acosta’s retirement gala at the Royal Albert Hall.
Hypnotic strangeness and power: Anna Winter reviews L-E-V’s dance piece based on a poem by Neil Hilborn.
Better than air-con: Anna Winter reviews the Alvin Ailey American Dance Theater.
Gold medal standard: Anna Winter reviews the Shanghai Ballet’s performance of an 8th century poem.
Anna Winter reviews the Ballet National de Marseilles’ exploration of national identity and the modern metropolis.
“There were three of us in this marriage….” Anna Winter reviews The Australian Ballet’s version of Swan Lake inspired by a certain royal love triangle.
Anna Winter watches the Hofesh Shechter Company “make something weird and fascinating” out of a male midlife crisis.
Anna Winter compares two portrayals of the legendary dancer Rudolph Nureyev: Aletta Lawson’s new play and Peter Wright’s fantastically bitchy memoir.
Anything but self-indulgent: Anna Winter reviews Natalia Osipova in a triple bill at Sadler’s Wells.
The choreographer Cathy Marston chats to Anna Winter about the process of creating Jane Eyre for Northern Ballet, and why the dance world needs to tackle gender imbalances head on.