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.
“The strength of this programme lies in the works that present something fresh and exciting”: Rachel Elderkin reviews Carlos Acosta’s new dance company.
“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.