“The tech doesn’t detract from the tap”: Anna Winter reviews the “strange and subtle” joy that is Dorrance Dance’s technologically and technically innovative ETM: Double Down.
Full of complexity and nuance: Bridget Minamore is moved by Mandeep Raiky’s two-person dance piece exploring the criminalisation of homosexuality in India.
The universe will deliver: Chris McCormack is mesmerised by Maria Nilsson Waller’s “absorbing” new work at Dublin Dance Festival.
Things untangle, things change: Andrew Edwards is mesmerised by Saffy Setohy’s “hugely generous” new performance installation at Dance International Glasgow.
A highly original, thoroughly rollicking ninety minutes: Lorna Irvine enjoys Jasmin Vardimon’s multi-faceted dance adaptation of this classic children’s story.
A superbly danced and successful piece of storytelling: Anna Winter examines Northern Ballet’s new show about the 18th-century Italian philanderer and his remarkable, reprehensible life.
Beautiful images of growth, change and rebirth: Andrew Edwards is mesmerised but left cold by Fleur Darkin’s eclectic Scottish Dance Theatre show at Tramway.
And we wait: Andrew Edwards is both excruciatingly bored and enormously impressed by Margrét Sara Guðjónsdóttir’s inertia-ridden show.
So much room to breathe: Andrew Edwards spends hours at Siobhan Davies Dance’s multi-faceted installation at Tramway.
Lust, morphine and mental instability: Kenneth MacMillan’s infamously dark ballet is back, and so are the plummy Covent Garden crowds.
Other-worldly, historic and contemporary all at once: Andrew Edwards reviews Dance International Glasgow’s urban re-siting of this JG Ballard inspired solo dance show.
A particularly British nightmare: Lorna Irvine is at Dance International Glasgow to review Liz Aggiss’ boundary-breaking, genre-melding solo show.
Shock is their shtick: Catherine Love is at Transform 17 festival to review the UK premiere of Florentina Holzinger and Vincent Riebeek’s Wellness
Cut-glass assertions of privilege: Anna Winter is entranced by the Royal Ballet’s 50th anniversary revival of George Balanchine’s classic triptych.
Adrenalin-fuelled, beguiling, and vaguely Dionyisian: Rebecca Elderkin is frustrated by 2Faced Dance’s uneven triple-bill.