“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.
Anna Winter watches Canadian dance company Les 7 doigts de la main take on gravity.
“Your mama is always right about dubious men.” Anna Winter reviews the Royal Ballet.
When Madame X’s dress started to fall: Anna Winter reviews Christopher Wheeldon’s new ballet.
Anna Winter reviews Hakeem Onibudo and Impact Dance’s celebration of hip hop, street and African-inspired dance.
‘The whole thing is unremittingly grim, and moves from banal to offensive’: Anna Winter emerges from the world of ‘sub-prime Coppelias and knock-off Nutcracker dolls’.
Anna Winter reviews Akram Khan’s return to a Sanskrit epic in which “ideas of gender and rage are made extraordinarily physical.”