‘Headlong, hormonal passion’: Anna Winter reviews Kenneth MacMillan’s Romeo and Juliet at Sadler’s Wells.
A cat among the swans: Liam Scarlett’s interpretation gets three big ticks from Anna Winter.
A strange sterility: Anna Winter reviews a new work for Rambert by choreographer Kim Brandstrup.
Hydraulic elegance: Anna Winter reviews Balletboyz and their programme of four works created in fourteen days.
Collective sphincters being clenched: Aino Venna and Ilona Jantti’s cabaret circus doesn’t have quite the desired effect.
Proudly matriarchal: Flamenco legend Antonia Santiago Amador makes a rare, glorious appearance.
A finely-tuned marriage of musical understanding and feeling: Anna Winter reviews a triple bill of works performed by the Royal Ballet.
Jazzy trots, pom-pom berets and balletic vaudeville swagger: Anna Winter reviews Concerto / Le Baiser de la fee / Elite Syncopations.
Plenty to unpick: Anna Winter reviews Shobana Jeyasingh’s take on Marius Petipa’s La Bayadere.
Data-inspired dance: Anna Winter reviews the latest work from Company Wayne McGregor, inspired by mapping the human genome.
“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.
Sputters and spins like a dodgy Sputnik: Anna Winter reviews the new work by Alexander Whitley combining dance with solar physics.
A fragrant physical echo chamber: Anna Winter reviews a mixed bill of works performed by the Richard Alston Dance Company.
A superorganism at work: Anna Winter reviews Scottish Ballet’s double-bill of works at Sadler’s Wells.
When good intentions are not enough: Anna Winter reviews Northern Ballet’s adaptation of John Boyne’s novel.