Come to the party: Ka Bradley reflects on two communal viewings of Manon â€“ one on a big screen, one on a small screen.
Wayne McGregor’s Autobiography places privacy at the heart of the public performance.
Folklore or fun: this double-bill of solo dances curated by the Akram Khan Company compelling blends tradition and innovation.
A cat among the swans: Liam Scarlett’s interpretation gets three big ticks from Anna Winter.
An achingly profound and lasting poignancy: Akram Khan’s last solo show is a moving exploration of WWI.
An expression of thanks: choreographer Oona Doherty crafts a religious reflection on her home town.
Rivetingly dark: Junk Ensemble’s dance-theatre reimagining of Vladimir Nabokov’s Lolita is thrilling and revelatory.
Terrifying and beautiful: the English National Ballet’s States-inspired performance is anything but stuffy,
What might’ve been: the ENB’s Tchaikovsky for kids fails to spark the imagination.
Voicing the fears of refugees: Catherine Young’s new work explores the life of asylum seekers in Ireland.
Powerful and poignant: Maresa von Stockert’s return to indoor staging is a compelling study of interaction and experience.
A freshness within his signature style: this Joss Arnott trio concludes with a compelling new piece.
Proudly matriarchal: Flamenco legend Antonia Santiago Amador makes a rare, glorious appearance.
An imprecise cloud of possibilites: Jamila Johnson-Small’s free-flowing choreography brings dance artists into a contemporary art context.
Delicate, provocative, gleeful: the UK’s largest dance festival for emerging artists offers up another stimulating triple-bill.