Royal Swedish Ballet in Mats Ek’s Juliet & Romeo
Kaho Yanagisawa gave Juliet youth and spontaneity, quickly maturing into a determined woman wanting to choose her life partner and follow her heart
Month: February 2026
Resolution 26: Antonello Sangirardi, Host Bodies, AmyFoskettDance
It was a loud night. Not in decibels, but in the way each of the three short works occupied the act of looking.
Designer Jürgen Rose receives a lifetime achievement award
In ballet, Jürgen Rose is noted for his work with John Cranko and John Neumeier in particular. Jeannette Andersen recently visited him to talk about his work.
Ballet Icons 20th Anniversary Gala
Somewhat more classical than previous years, the standard of dancing was sans pareil. Just what the doctor ordered.
Giselle: a most honest romance
Nuñez’s Giselle looks unusually light within this world. Her peasant dancing is clean and loose, its ease producing flow rather than force
Birmingham Royal Ballet: Don Quixote
Carlos Acosta’s sunny ballet provides “a lot of joy and a much-needed splash of sunshine on yet another grey, damp, dismal February day.”
Resolution 26: Room Dance Company, Kirstin Halliday, Lilah Bobak
An evening that reflected how contemporary choreography increasingly extends beyond movement into installation, ecology, costume and multimedia
Fun, laughs and a lot of love for dance: Chicos Mambo’s Tutu
Seventy minutes of scenes that poke fun at and parody dance in all its forms, although there are a couple of very poignant moments in there too
BalletMAR: From Ash to Promise
The young classical ensemble led by Marika Brussel and Richard Bermange return with three ballets that reimagine history and Jewish narratives
Resolution 26: MANACAN, Shea Sullivan, Jie Gao and Wally Groves
A varied selection of choreographic voices… Every work showed a different sense of direction, whether through ideas, energy or physical presence
Teaċ Daṁsa in Michael Keegan-Dolan’s MÁM
It’s a gathering. At times, it has the joy of a ceilidh, but it also has a dark, mysterious edge, and is often quite disconcerting.