La Scala ballerinas Caterina Bianchi and Letizia Masini appear in Gemina Lux, a new work by Emanuela Tagliavia for the Fisiko Festival.
Lydia Wharf sees In the Brain – after creating euphoric peaks of climactic energy, Shechter faces the dilemma of where to go.
Ann Haskins spoke with Paris Opera Ballet Étoile Hugo Marchand about bringing ballet to Los Angeles’ Disney Hall.
The 69th record-breaking edition of the Spoleto Festival, the first under the leadership of the new Artistic Director Daniele Cipriani, draws to a close this evening.
Graham Watts sees COLOSSUS – Stephanie Lake creates fascinating, kaleidoscopic movement from a mass of bodies made the more powerful by the rarity of the quantum.
Matt Paluch sees four contemporary works performed by Phoenix Dance Theatre, with Pett Clausen Knight’s Small Talk showing substance over style.
Australian choreographer Stephanie Lake talks with Graham Watts about Colossus, her work for 50 dancers that has toured the world since 2018.
Matthew Paluch sees Acosta Danza Yunior in four contemporary works but, all in all, it wasn’t a very inspiring night.
Graham Watts sees New Futures from Ballet Nights, featuring 150 dancers from seven leading dance schools, but it needed pruning and better management.
Graham Watts sees F*cking Future and finds himself warming to the work of Marco da Silva Ferreira.
Diane Parkes talks to Carlos Acosta about Myths and Modern Masters, the mixed bill that he’ll present at The Royal Opera House in August.
Lucía Piquero appreciates the humanity in Cathy Waller Company’s YOU & US, inviting us to have the courage to be seen more openly and more honestly.
Matthew Paluch sees Thick & Tight, the Manchester Collective, and CHAINES in Papillons – work that speaks but doesn’t shout.
Lydia Wharf sees the latest from Louise Lecavalier – She’s an icon. She owes you nothing. Yet somehow she gives you everything, in her own inimitable style.
Graham Watts sees Tungrodd, a “softly expressive and powerfully expansive” semi-autobiographical work by Sámi choreographer Simone Grøtte from Northern Norway.
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.
Graham Watts sees James Pett and Travis Clausen-Knight with Isabelle Evans – a rare opportunity to see them in a full-length show.
Lily Hyde sees a reworked version of Pina Bausch’s Kontakthof with original cast members from 1978 – mired in the old, the show presents something remarkably new.
Melissa Hamilton will curate a Night of Ballet this summer at Grange Park Opera, produced by Hamilton Christou Productions.
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.
Lily Hyde sees New English Ballet Theatre at Royal Ballet & Opera in Covent Garden Choreographics – a company whose ambitions far outpace its resources.
Ann Haskins talks to Flamenco Arts International founders Marina Elana and Isabel del Día on Songs From a Sinking Ship, a show that finds flamenco dancers and musicians aboard a doomed ship.
Graham Watts sees Ballet de Lorraine in works by Adam Linder and Silva Ferreira, which left the dancers and the audience on a high.
Graham Watts sees the Jaivant Patel Company, which has stamped an indelible – and unique – mark on the British contemporary dance scene.
Graham Watts sees Last and First Men and finds that the extreme slow pace of the choreography tends towards tedium after the initial fascination has worn thin.
The Hofesh Shechter Company has announced that choreographer and composer Hofesh Shechter OBE has been appointed to the rank of Chevalier of the Ordre des Arts et des Lettres.
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.
Ann Haskins talks with Guillaume Gabriel – co-founder of the Compagnie Hervé Koubi – about the company’s US tour of Sol Invictus.
Graham Watts sees a triple bill from the Paul Taylor Dance Company, including one of the best pieces of pure modern dance of the last half-century.
The Royal Ballet celebrates the centenary of Glen Tetley’s birth this February with a revival of his masterwork Pierrot Lunaire.
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