Bodies that matter: Ka Bradley writes on digital dance performances from Splayed Festival, which put focus on disabled and queer bodies, exploring how they negotiate the world.
Come to the party: Ka Bradley reflects on two communal viewings of Manon – one on a big screen, one on a small screen.
Dancing with death: Ka Bradley reckons with Pina Bausch’s mesmerising dance ritual, across multiple encounters
“Audience members are encouraged to follow their own instincts” at the wild immersive show that unfolds daily outside Ka Bradley’s window.
The real deal: Ka Bradley writes on three dance pieces by Oona Doherty, exploring masculinity and working-class communities in Northern Ireland.
‘The twitch of the familiar’: Ka Bradley writes on Boy Blue’s new dance piece exploring grief.
Chaos magic: Ka Bradley writes on Stefan Jovanović’s confusing, genre-blurring queer dance piece.
‘Repeated motions that create, segment by segment, a single monumental achievement’: Ka Bradley writes on English National Ballet’s triple-bill of work by female choreographers.
The performers are ‘like cultured magpies, drawing together a soundtrack of found media and famous scenes’: Ka Bradley writes on dance duo Thick & Tight’s triple bill.
‘Bafflement, interest and curiosity’: Ka Bradley writes on Jodee Mundee’s immersive insight into the lives of deafblind people.
Wayne McGregor’s Autobiography places privacy at the heart of the public performance.
‘A celebration of the blood and guts’: Ka Bradley reviews Hofesh Shechter Company’s collaboration with over 100 young dancers.
‘Here I am, and they’re eating me’: Ka Bradley reviews a dance work that makes use of virtual reality technology.
‘We’re all Beverlys here’: Ka Bradley reviews Rhiannon Faith’s dance-based work about domestic abuse.
An all too real horror story: Ka Bradley reviews DeNada Dance Theatre’s radical rewrite of the famous fairytale