Review: San Francisco Ballet’s Mere Mortals with Nikisha Fogo and Fernando Carratalá Coloma
Matthew Paluch sees the highs and lows of San Francisco Ballet’s Mere Mortals: “The highs are powerful, but the lows feel eternal.”
Author: Matthew Paluch
Matthew Paluch was awarded a place at The Royal Ballet School in 1990 where he graduated in 1997. His first four years as a professional dancer were spent working with London City Ballet, Scottish Ballet, K-Ballet and English National Ballet, becoming a full-time member of ENB until leaving in 2006.
Matthew graduated from the Royal Academy of Dance, Professional Dancers' Teaching Diploma in 2007, and was formerly on faculty at The Royal Ballet School. He completed his Masters in Ballet Studies at Roehampton University in 2011, has been a freelance writer since 2010 and currently works in the Law Sector.
He is a member of the Dance Section of The Critics’ Circle.
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Review: Ballet de Santiago in Swan Lake – the company’s energy and attack compensate for the weak dramatic narrative
Matthew Paluch sees Swan Lake in Dublin with the Ballet de Santiago, where he found a company full of young, capable artists.
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Review: Tao of Glass – a collaboration by composer Philip Glass and director Phelim McDermott
Matthew Paluch sees Tao of Glass – Phelim McDermott is a brave maker/performer, and he’s certainly putting himself out there in Tao.
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Review: Cats – Drew McOnie’s new production is the epitome of passion and collective power, a huge hit!
Matthew Paluch sees Drew McOnie’s production of Cats, reaffirming his place as one of dance’s most important creatives.
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Review: Carlos Acosta, Myths and Modern Masters, at The Royal Opera House
Matthew Paluch sees Carlos Acosta: Myths and Modern Masters and was struck by the lasting power of the modern masters – José Limón’s The Moor’s Pavane and Christopher Bruce’s Rooster.
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Review: Chloe Misseldine in Swan Lake with the State Ballet of Georgia
Matthew Paluch sees Swan Lake with the State Ballet of Georgia and is spellbound by ABT Chloe Misseldine’s Odette/Odile, but finds that the new production a ‘dud’, lacking quality.
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Review: Night of the Guitar at the Flamenco Festival London 2026 – an intoxicating watch
Matthew Paluch sees Night of the Guitar at the Flamenco Festival London 2026 – artists at the top of their game, yet it feels intimate and improvisational.
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Review: Interplay, the mixed bill by Phoenix Dance Theatre
Matt Paluch sees four contemporary works performed by Phoenix Dance Theatre, with Pett Clausen Knight’s Small Talk showing substance over style.
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Review: English National Ballet’s The Sleeping Beauty with Ivana Bueno and Lorenzo Trossello
Matthew Paluch sees The Sleeping Beauty at The Royal Albert Hall – good dancing with a digital backdrop that brings the story and score to life even more.
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Review: Acosta Danza Yunior’s Next Generation – nothing made my artistic soul soar
Matthew Paluch sees Acosta Danza Yunior in four contemporary works but, all in all, it wasn’t a very inspiring night.
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Review: Debuts 2 – Mayara Magri and Leo Dixon in The Royal Ballet’s La Fille mal gardée
Matthew Paluch sees two debuts in The Royal Ballet’s La Fille mal gardée – Mayara Magri and Leo Dixon. The joy and embodiment were real, and consequently, Ashton’s genius lives on.
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Review: BLINDED by DELIGHT in Berlin – a highly executed low-brow show
Matthew Paluch sees BLINDED by DELIGHT at the Palast Berlin – wow, circus-style acts are worth the ticket price alone.
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Review: Jefta van Dinther’s REMACHINE – not a win
Matthew Paluch sees Jefta van Dinther’s – there are ideas and atmosphere, but it lacks structure and pace.
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Review: Thick & Tight in Papillons – performers and friends; a brilliantly creative space to reside in
Matthew Paluch sees Thick & Tight, the Manchester Collective, and CHAINES in Papillons – work that speaks but doesn’t shout.
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Review: The Great Chevalier with the diva-ish enfant terrible and Artistic Director of the Ballet National Folklorique du Luxembourg
Matthew Paluch sees The Great Chevalier, in which the diva-ish Mr Chevalier shares the stage with his company’s Executive Director Simone Mousset, in a work often uncomfortably close to home.
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The Royal Ballet School looks to the future as it celebrates its 100th anniversary
Matthew Paluch attended a Royal Ballet School Centenary Insight Day. Like the school’s founder, Ninette de Valois, he believes we need more than feelings; we need intelligence.
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Interview: Instagram’s Ballet Moods – saying it like it is
There’s a certain kind of laughter that can’t be replicated – it’s part shock/part humour. Ballet Moods has been saying it like it is for the past decade.
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Review: Dutch National Ballet’s triple bill – Paquita | Carmen | 5 Tangos
Matthew Paluch sees Dutch National Opera & Ballet in Paquita | Carmen | 5 Tangos – we lucked out with the brilliant casting.
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Review: Nederlands Dans Theater’s double bill, Wildsong
Matthew Paluch sees Jan Martens’ KID IN A CANDY SHOP and Marcos Morau’s Horses with Nederlands Dans Theater – dancers of unquestionable commitment and style.
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Review: Contrasts – Paris Opera Ballet perform works by Trisha Brown, David Dawson, and Imre and Marne van Opstal
Matthew Paluch sees the Paris Opera Ballet in Contrasts – a dialogue of styles and executions that makes for a heady night.
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Review: Paris Opera Ballet in Roland Petit’s Notre-Dame de Paris
Matthew Paluch sees Paris Opera Ballet in Notre-Dame de Paris and was appreciative, but not affected by Roland Petit’s ballet.
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Review: Matthew Bourne’s The Red Shoes – distinct, visually arresting and magical
Matthew Paluch sees Matthew Bourne’s New Adventures The Red Shoes – Lez Brotherston’s sets and costumes are a wonder, the dancers are gifted, it won’t disappoint.
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Review: Wayne McGregor’s Infinite Bodies and On the Other Earth in London
Somerset House is showing two Wayne McGregor exhibitions currently: Infinite Bodies and On the Other Earth, both running until 22 February.
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Review: The Royal Ballet is back with The Nutcracker – the magic really sings
Matthew Paluch sees The Nutcracker with the Royal Ballet and Opera – top-notch entertainment of quality, where the gold sparkles more than anywhere else.
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Review: Shiraz by Armin Hokmi – an exercise in minimalism, repetition and patience
Matthew Paluch sees Armin Hokmi’s Shiraz – there should be a difference between research and a finished work.
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Review: Deciphers by Jean Abreu and Naishi Wang – not of any great interest
Matthew Paluch sees Deciphers with Jean Abreu and Naishi Wang – more self-aware art installation than genuine dance piece.
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Review: Dam Van Huynh’s Exquisite Noise – the power of dissent when used for a valuable cause
Matthew Paluch, armed with earplugs, sees (and hears) Dam Van Huynh’s Exquisite Noise… and emerges unscathed.
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Review: English National Ballet’s R:Evolution – not one for the books
Matthew Paluch sees an alternative cast to that of opening night in ENB’s R:Evolution mixed bill – but something was missing?
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Review: Brigadoon at Regent’s Park Open Air Theatre – the show is a marvel
Matthew Paluch sees Drew McOnie’s spot-on production of Lerner and Loewe’s Brigadoon with energised and genuine choreography and great performances.
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Review: Young Creatives showcase for fledgling dancemakers
Matthew Paluch sees Young Creatives, part of One Dance UK, for 16 to 20-year-old choreographers, but was expecting more.
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