Focus Dance Company 2026: Sleepless Utopia
Two programmes, twelve works by company members plus pieces by the well-established Huang Yi (黃翊), and the very much emerging Yu Wan-lun (余宛倫).
David Mead
National Taiwan University of Arts: 在Dˋ
A superb evening of excellent performances and very good student choreography, topped off with Toru Shimazaki’s marvellous Zero Body (臨極限).
Hwa-Gang Dance Troupe: The Body of Time: Generations in Motion
a stylistically rich evening, the work ranging from classical and contemporary ballet to traditional Chinese dance, all excellently performed
Tsai Meng-ting x Lai Yi-fei: Illusory Time|Errant Tongue
Tsai Meng-ting (蔡孟廷) and Lai Yi-fei (賴怡菲) in a programme of interesting choreography, and superb interpretation and ownership of roles.
Live orchestra meets circus and dance: Adventures of Peter and the Wolf
Taiwan National Symphony Orchestra (國家交響樂團, NSO) and Dance Forum Taipei (舞蹈空間) in a magical show that delights from start to finish.
National Taiwan University of Sport: Lien Sheng
Lien Sheng (瀲生) included nine very varied student choreographies, sandwiched between two quality professional works by members of faculty
Scottish Dance Theatre celebrates 40 years of community and creativity
David Mead talks with artistic director Joan Clévillé about the company’s continued success and plans for the year
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.”
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
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.