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.
Matthew Paluch
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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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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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Review: Sharon Eyal’s R.O.S.E – the gimmick outshone the material
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.
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Review: Quadrophenia, a Mod Ballet – elevated by a brilliant creative team
Matthew Paluch sees Quadrophenia, a Mod Ballet – spot-on costume design, ingenious set, and choreographer Paul Roberts is a master of all trades.
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Review: Rodgers & Hammerstein’s Dream Ballets – A Triple Bill in Regent’s Park
Matthew Paluch sees Rodgers & Hammerstein’s Dream Ballets – unquestionable energy and commitment but a missed opportunity.
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