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.
There’s trip-hop, breakdancing and more in Tony Adigun’s dance retelling of Oliver Twist.
“A great lampoon of pretentious postmodern artspeak” Anna Winter reviews NDT2 in a mixed bill performance.
“A sensual Caipirinha-soaked samba-fest” Itzhik Galili’s A Linha Curva is the highlight of Rambert’s mixed bill at Sadler’s Wells.
“My husband was a very famous poet,” Ka Bradley reviews Light, Ladd & Emberton’s story of Caitlin Thomas.
“Answering death with disco”: Anna Winter reviews BalletBoyz’s double bill at Sadler’s Wells.
Eccentric, ludicrous and entertaining: Rachel Elderkin reviews Protein’s gastronomic new work.
Pursued by a bear en pointe: Anna Winter reviews Christopher Wheeldon’s choreographing of Shakespeare.
“The sense of innocence not as naivety or vulnerability but as a strength.” Anna Winter reviews the National Youth Dance Company at Sadler’s Wells.
Anna Winter watches Canadian dance company Les 7 doigts de la main take on gravity.
“Your mama is always right about dubious men.” Anna Winter reviews the Royal Ballet.
Rachel Elderkin reviews Ballet Black’s “rather mixed triple bill”.
Metallic and non-metallic: Rosemary Waugh reviews Candoco’s two-part performance of ‘Beheld’ and ‘Let’s Talk about Dis’.