A flirtatious, provoking piece: Ka Bradley reviews Eun-Me Ahn’s work exploring identity and androgyny at Dance Umbrella 2017.
The duality of space, or how not to catch a Lapras: Ka Bradley reviews Charlotte Spencer Projects’ immersive piece on a disused site near London City Airport.
If you just really, really want to run around pretending you’re a vampire, this is for you: Ka Bradley reviews immersive theatre by Hammer House of Horror.
Women turned into monsters: Ka Bradley reviews 27 degrees’ exploration of the Medusa myth.
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.