“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.
“Jazz shoes and American Apparel-esque cycling shorts”: Anna Winter reviews L.A. Dance Project’s triple bill.
“Clever, moving and splendidly danced”: Anna Winter reviews Northern Ballet’s performance of Jane Eyre, with choreography from Cathy Marston.
“Meatloaf-esque quantities of dry ice”: Anna Winter reviews the English National Ballet’s performance of Derek Deane’s take on Tchaikovsky.
Compelled to be an avid observer: Anna Winter reviews Jonathan Watkins’ production of Orwell for Northern Ballet.
“Scarlett needs to take a scalpel and an unsentimental eye to his own bulky creation”: Anna Winter reviews a live screening of the Royal Ballet.
“A great lampoon of pretentious postmodern artspeak” Anna Winter reviews NDT2 in a mixed bill performance.
“A sensual Caipirinha-soaked samba-fest” Itzhik Galili’s A Linha Curva is the highlight of Rambert’s mixed bill at Sadler’s Wells.
“Answering death with disco”: Anna Winter reviews BalletBoyz’s double bill at Sadler’s Wells.
Pursued by a bear en pointe: Anna Winter reviews Christopher Wheeldon’s choreographing of Shakespeare.
“The sense of innocence not as naivety or vulnerability but as a strength.” Anna Winter reviews the National Youth Dance Company at Sadler’s Wells.