Shot through with nervous, defiant ecstasy: Ka Bradley reviews Hofesh Shechter’s new work based on the apocalypse.
Well-meaning but clumsily delivered: Ka Bradley reviews Cirkus Cirkör’s new work inspired by the migrant crisis.
Lost amongst the swarm: Ka Bradley reviews an ‘enigmatic and complex’ new work by Wayne McGregor.
Mind the fake blood and bring cash for the bar: Ka Bradley reviews the latest show from Secret Studio Lab based on [redacted].
A very specific evolutionary niche: Ka Bradley reviews Figs in Wigs at the Battersea Arts Centre.
We couldn’t, and yet, we do: Ka Bradley reviews les ballets C de la B performing Alain Platel’s work inspired by Gustav Mahler.
Jars the audience like a slap on the arse: Ka Bradley reviews a series of three new works, including one by Liz Aggiss.
So much heavy breathing: Ka Bradley reviews Darren Johnston’s new work at the Barbican.
Ka Bradley reviews the Hong Kong Dance Company’s underwhelming staging of an ancient folktale.
As darkly sexual and symbolically rich as an Angela Carter story: Ka Bradley reviews the ENB’s triple bill including Pina Bausch’s The Rite of Spring.
“Here is a space, a space to make.” Ka Bradley reviews James Cousins’ take on As You Like It.
The use of the word ‘immersive’ is not only justified but used for more than marketing purposes: Ka Bradley has dinner in the world of Eugène Ionesco.
From ‘anarcho-punk ballet’ onwards: Ka Bradley reviews a double bill from Julie Cunningham and Company.
The atemporality of grief: Ka Bradley reviews Stopgap Dance’s work about the passage of mourning.
The thrill of the possible: Ka Bradley reviews Cul de Sac, Lumo Company and Feet Off the Ground Dance on the final night of Resolution 2017.