Terrifying and beautiful: the English National Ballet’s States-inspired performance is anything but stuffy,
What might’ve been: the ENB’s Tchaikovsky for kids fails to spark the imagination.
Voicing the fears of refugees: Catherine Young’s new work explores the life of asylum seekers in Ireland.
Powerful and poignant: Maresa von Stockert’s return to indoor staging is a compelling study of interaction and experience.
A freshness within his signature style: this Joss Arnott trio concludes with a compelling new piece.
Proudly matriarchal: Flamenco legend Antonia Santiago Amador makes a rare, glorious appearance.
An imprecise cloud of possibilites: Jamila Johnson-Small’s free-flowing choreography brings dance artists into a contemporary art context.
Delicate, provocative, gleeful: the UK’s largest dance festival for emerging artists offers up another stimulating triple-bill.
Ridiculous, playful, brilliantly strange: Resolution 2018 offers up another varied trio of dances.
For audiences as much as artists: the UK’s largest dance festival for emerging choreographers offers up an eclectic triple-bill.
Growing pains: H2Dance’s 2015 show meditates on ageing, memory, and the generation gap.
Winter is coming: Joan Clevillé Dance’s second full-length show heads north on a journey of discovery.
“A dark and beautiful fable that operates as an uncomfortable social mirror just as much as a bedtime story”: Matthew Miller reviews balletLORENT’s Rumpelstiltskin in Newcastle.
“Led by feeling and emotion”: Rachel Elderkin admires Bawren Tavaziva’s richly expressive and highly personal new show at Sadler’s Wells.
“Does the work think we care? Does it care if we care?”: choreographer Joe Moran’s evening of minimalist dance performances and installations.