Winter is coming: Joan Clevillé Dance’s second full-length show heads north on a journey of discovery.
“Led by feeling and emotion”: Rachel Elderkin admires Bawren Tavaziva’s richly expressive and highly personal new show at Sadler’s Wells.
“The strength of this programme lies in the works that present something fresh and exciting”: Rachel Elderkin reviews Carlos Acosta’s new dance company.
From samba-inspired workshops to dancing naked: Rachel Elderkin reviews a selection of the dance line up at Wilderness 2017.
Rachel Elderkin talks us through the dance shows being performed at this year’s Wilderness festival.
Lively and refreshing: Rachel Elderkin reviews the New English Ballet Theatre performing The Four Seasons and Other Modern Ballets.
An space for imaginations to wander: James Thierree’s surreal dance show is full of delights and enchantment.
Adrenalin-fuelled, beguiling, and vaguely Dionyisian: Rebecca Elderkin is frustrated by 2Faced Dance’s uneven triple-bill.
Honest and brave: Rachel Elderkin reviews Company Chameleon’s new double bill exploring metal health and bipolar disorder.
The interplay between light and movement: Rachel Elderkin reviews a collection of early works by Russell Maliphant.
Beyond words: Rachel Elderkin reviews the ZfinMalta Dance Ensemble’s U.K. debut.
More jugglers, more apples and more chaos: Rachel Elderkin reviews Gandini Juggling’s opening to the London International Mime Festival 2017.
A battle for attention: Rachel Elderkin reviews the collaboration between the Rambert Dance Company and Garsington Opera.
Pushing the possibilities of movement: Rachel Elderkin reviews Candoco at Sadler’s Wells.
Both theatrical and poetic: Rachel Elderkin reviews the Birmingham Royal Ballet’s performance of three works inspired by Shakespeare.