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.
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.
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.
Matt Paluch sees four contemporary works performed by Phoenix Dance Theatre, with Pett Clausen Knight’s Small Talk showing substance over style.
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.
Matthew Paluch sees Acosta Danza Yunior in four contemporary works but, all in all, it wasn’t a very inspiring night.
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.
Matthew Paluch sees BLINDED by DELIGHT at the Palast Berlin – wow, circus-style acts are worth the ticket price alone.
Matthew Paluch sees Jefta van Dinther’s – there are ideas and atmosphere, but it lacks structure and pace.
Matthew Paluch sees Thick & Tight, the Manchester Collective, and CHAINES in Papillons – work that speaks but doesn’t shout.
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.
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.
Matthew Paluch sees Dutch National Opera & Ballet in Paquita | Carmen | 5 Tangos – we lucked out with the brilliant casting.
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.
Matthew Paluch sees the Paris Opera Ballet in Contrasts – a dialogue of styles and executions that makes for a heady night.
Matthew Paluch sees Paris Opera Ballet in Notre-Dame de Paris and was appreciative, but not affected by Roland Petit’s ballet.
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.
Somerset House is showing two Wayne McGregor exhibitions currently: Infinite Bodies and On the Other Earth, both running until 22 February.
Matthew Paluch sees The Nutcracker with the Royal Ballet and Opera – top-notch entertainment of quality, where the gold sparkles more than anywhere else.
Matthew Paluch sees Armin Hokmi’s Shiraz – there should be a difference between research and a finished work.
Matthew Paluch sees Deciphers with Jean Abreu and Naishi Wang – more self-aware art installation than genuine dance piece.
Matthew Paluch, armed with earplugs, sees (and hears) Dam Van Huynh’s Exquisite Noise… and emerges unscathed.
Matthew Paluch sees an alternative cast to that of opening night in ENB’s R:Evolution mixed bill – but something was missing?
Matthew Paluch sees Drew McOnie’s spot-on production of Lerner and Loewe’s Brigadoon with energised and genuine choreography and great performances.
Matthew Paluch sees Young Creatives, part of One Dance UK, for 16 to 20-year-old choreographers, but was expecting more.
Matthew Paluch sees R.O.S.E by Sharon Eyal and Gai Behar – I appreciate Eyal’s movement language, but it didn’t go anywhere new or exploratory.
Matthew Paluch sees Quadrophenia, a Mod Ballet – spot-on costume design, ingenious set, and choreographer Paul Roberts is a master of all trades.
Matthew Paluch sees Rodgers & Hammerstein’s Dream Ballets – unquestionable energy and commitment but a missed opportunity.
Matthew Paluch sees Simone Grøtte’s GLEMT / FORGOTTEN at the Oslo Opera House – the kind of calibre we’d love to see in London on a more regular basis.
Matthew Paluch sees Holly Blakey’s A Wound with Teeth & Phantom – “space to wander and wonder, and punchy dance that hits like a truck”
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