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.
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.