Matthew Bourne’s Cinderella returns for its 30th anniversary with an almost entirely new cast
New Adventures names the cast for its 30th-anniversary UK tour of Matthew Bourne’s Cinderella, with an almost entirely new line-up of principals
Sadler’s Wells
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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.”
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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: Hamlet – South African choreographer Dada Masilo’s final work
Lydia Wharf sees Dada Masilo’s Hamlet, a queer, black, female dance interpretation of Shakespeare that didn’t live up to its promise.
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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: Louise Lecavalier in Danses Vagabondes – death by a thousand cuts
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.
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Review: Scottish Ballet’s Mary Queen of Scots – celebrating Scots and Ballet
Kathrina Farrugia-Kriel sees Mary Queen of Scots, a new and intriguing work from Scottish 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: Ballet Black’s Shadows – More of this please!
Lucía Piquero sees Ballet Black’s double bill Shadows, by female choreographers Cassa Pancho and US-based choreographer Chanel DaSilvas.
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Review: Marking Time – triple bill of choreography unified through the music of Nico Muhly
Graham Watts sees Marking Time with three works set to the music of Nico Muhly by choreographers Jules Cunningham, Maud Le Pladec and Michael Keegan-Dolan.
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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: 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: 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: 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: Jasmin Vardimon’s ALiCE – a lost opportunity for depth and crafting
Lucía Piquero sees the Jasmin Vardimon Company in ALiCE – lots of tricks but the story didn’t gel.
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Interview: talking to Melissa Hamilton, The Royal Ballet’s new principal dancer
Royal Ballet principal dancer Melissa Hamilton talks about her unique path to the top of her profession, her production company, and her colleagues.
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Matthew Ball to join the cast of Quadrophenia, a Mod Ballet
In four weeks, Quadrophenia, a Mod Ballet, opens in Plymouth and will tour the UK, including three weeks at London’s Sadler’s Wells theatre.
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Review: English National Ballet’s The Forsythe Programme – the men come to the fore
Jonathan Gray sees ENB’s The Forsythe Programme and finds the men of the company “spruce, assured, playful and sexy” in “an evening of fast-paced dance”.
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Review: Julie Cunningham & Company in CROW and Pigeons – an impressive double bill, authentic, rigorous, conscientious and brave
Matthew Paluch sees Julie Cunningham & Company in CROW and Pigeons: the work has very little equal competition in the UK dance scene.
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Review: Trisha Brown Dance Company in London… heaven!
Matthew Paluch sees the Trisha Brown Dance Company in Noé Soulier’s “hugely satisfying” In the Fall and Trisha Brown’s “brilliant” Working Title in the Dance Reflections by Van Cleef & Arpels Festival.
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Review: Wayne McGregor’s Deepstaria – failing to keep monotony at bay
Matthew Paluch sees Wayne McGregor’s Deepstaria but finds little choreographic value, except for two strong moments – one powerfully sensitive – in a sea of sameness.
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Review: Pina Bausch’s Vollmond – you’ve got to see it to believe it
Matthew Paluch sees Pina Bausch’s Vollmond – “Two hours of unpredictable, avant-garde work ranging from nonchalant comedy turns to pure dance.”
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Review: The Bloom Prize with Stav Struz Boutros, Leïla Ka, and Wang Yeu-Kwn
Graham Watts sums up The Bloom Prize 2025 with works from Israel (Stav Struz Boutros’ Sepia), France (Leïla Ka’s Maldonne) and Taiwan (Beings by Wang Yeu-Kwn).
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Review: The Rose International Dance Prize. Lia Rodrigues’ Encantado
Graham Watts sees Lia Rodrigues’ Encantado, contender for The Rose Prize, which “lacked depth and variety”
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Pete Townshend’s Quadrophenia, a Mod Ballet, tours UK from May
Pete Townshend’s Quadrophenia: first an album for The Who, then a film, and now a ballet. It reaches Sadler’s Wells Theatre in London on 24 June.
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Review: Our Mighty Groove at London’s Sadler’s Wells East – the 3★ show opens a 5★ theatre
Graham Watts sees Vicki Igbokwe-Ozoagu’s Our Mighty Groove that opens London’s newest theatre – Sadler’s Wells East
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Review: The Rose Prize – Christos Papadopoulos’ LARSEN C – a work of overall dullness and dimness
Graham Watts sees Rose Prize contender LARSEN C from Christos Papadopoulos – “dance for dancers and dance academics to appreciate”
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Review: The Rose Prize with Marco da Silva Ferreira’s CARCAÇA
Graham Watts sees Marco da Silva Ferreira’s CARCAÇA – The energy of the ten very diverse dancers is stunning.
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Review: The Rose Prize – A.I.M by Kyle Abraham presents An Untitled Love – an innovative work
Graham Watts sees A.I.M by Kyle Abraham in An Untitled Love – an absorbing piece of dance theatre.
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12 of the best in 2024 – fascinating memories from my year in dance
Graham Watts looks back at a year in dance and the 135 performances he saw in 2024. He picks out a dozen of the best.
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