Impulstanz: Rush(es) by Alexandra Bachzetsis
“She sits astride a large black trunk, dressed in dark khaki waders and a tight-fitting black unitard. And a long red wig…”
David Mead
ImPulsTanz: My Fierce Ignorant Step by Christos Papadopoulos
From an almost bleak start, the work increasingly gains a drive, sense of freedom, joy and lust for life that totally captures the viewer.
Still Pointless. BalletBoyz at 25
Still Pointless emphasises the ensemble. The one exception to that is exceptional and turns out to be the highlight of the show. Christopher Wheeldon’s Us…
A ‘lost’ Bausch plus van Manen, Volpi and Peck: Hamburg Ballet in The Times Are Racing
Pina Bausch’s ‘Adagio’, reconstructed only in 2024 having not been performed for 50 years, plus Hans van Manen’s ‘Variations for Two Couples’, Demis Volpi’s ‘The thing with feathers’, and Justin Peck’s title work
Balanchine and Morau, Preljocaj and Xie Xin: Hamburg Ballet’s Fast Forward
From George Balanchine’s Serenade to Xie Xin’s The Moon in the Ocean, via Marcos Morau’s Totentanz and Angelin Preljiocaj’s Annonciation.
Hamburg Ballet: Nijinsky
Not a documentary, not a narrative account of his life. Neumeier rather calls it a biography of the soul, of the “feelings and states of the human condition.”
School of the Hamburg Ballet: Erste Schritte
An evening featuring the whole school, and culminating with John Neumeier’s Yondering, which explores themes of innocence and adventure
Tanztriennale: Fábio (Krayze) Januário’s Musseque
Musseque highlights the joy and strength found in moving together. It’s a celebration of people, of home, of Angola. It’s a work of belonging. Plus a look back at Tanztriennale generally.
Tanztriennale 2026: Chiara Bersani in Seeking Unicorns
She pauses. Looks. Smiles. There’s a laugh. She moves herself between the legs of one lady watching. Warm smiles are exchanged
Tanztriennale: Counter Balance and a ballet-hip hop fusion
As Reiko Ohta and Jospeh Simon play with the attitudes and aesthetics of the two dance forms, Routines doesn’t just bring them together, it blends and fuses them.
Hamburg Ballet in Alexei Ratmansky’s new Wunderland
Act One is based on Carroll’s Alice in Wonderland, Act Two on Alice Through the Looking Glass. In a ballet of around two hours dancing, it’s a lot to pack in.