Beige bodystockings and Super Ted: Anna Winter reviews a new triple bill of works danced by Sergei Polunin at Sadler’s Wells.
An act of splicing and dicing: Anna Winter reviews Wayne McGregor’s contemporary dance work based on the book by Jonathan Safran Foer.
The atemporality of grief: Ka Bradley reviews Stopgap Dance’s work about the passage of mourning.
Ferociously balletic bulls: Anna Winter reviews the start of Sadler’s Wells’ Flamenco Festival with performances from Israel Galván and Eva Yerbabuena.
Beyond words: Rachel Elderkin reviews the ZfinMalta Dance Ensemble’s U.K. debut.
The banal domestic details of everyday life rendered strangely beautiful: Anna Winter reviews Tanztheater Wuppertal Pina Bausch.
A smorgasbord of toothsome choreographic morsels: Anna Winter reviews Sadler’s Wells’ preview programme for 2017.
What’s your posture like? Ka Bradley reviews Joli Vyann’s work about “a very modern malaise”.
Graceful and elevating: Duska Radosavljevic reviews Arthur Pita’s dance version of The Little Match Girl.
A celebration of dance, dancers and artistic sacrifice: Anna Winter reviews Matthew Bourne’s new ballet.
It was all just a dream (of eroticised feet): Amelia Forsbrook reviews the National Ballet of China at Sadler’s Wells.
Mythic dreaminess and quotidian bleakness: Anna Winter reviews Michael Keegan-Dolan’s version of Swan Lake.
More about market forces than being duped by cads: Anna Winter reviews Akram Khan’s Giselle as it arrives in London.
A battle for attention: Rachel Elderkin reviews the collaboration between the Rambert Dance Company and Garsington Opera.
Anna Winter approves of the big pants but little else, in Rambert’s triple bill at Sadler’s Wells.