Zoë Hewitt 
Woking TheatreMay 6, 2026 Carlos Acosta’s Carmen has heat in flashes, but rarely enough pressure to make the evening catch fire. The problem is partly musical. The score suits each scene well enough, but the sections do not bite into one another. What should gather as fatal momentum often feels episodic. A tavern scene with … Read more
Irresistible. The joke never feels thin, because the dancing underneath it is so alive. Technique is there, ego is there, bad behaviour is there
A 67-year-old body doing a 65-minute solo is hardly a footnote. Lecavalier, though, has a nice way of dodging the heavy halo around it.
Three works, three very different strategies, one shared demand: look at the stage, look at the people on it, and do not blink
The evening comes most alive in works such as Flux by Katya Bourvis for Ballet d’Jèrri which shows how power can shift through the duet form itself
Brings together surviving members of Bausch’s original 1978 cast, placing them against archive footage of their younger selves and those no longer alive.
Kenneth MacMillan’s ballet is built from fractured needs, twisted intimacies and bodies that say what the characters themselves cannot
A particular kind of relationship stands at the centre of the work… a pattern in which a man observes, handles and directs a woman’s body.
Two works that, in different ways, speak about hope and togetherness that unfold as a conversation about what hope might mean, and what it takes for people to stand together.
It was a loud night. Not in decibels, but in the way each of the three short works occupied the act of looking.
Nuñez’s Giselle looks unusually light within this world. Her peasant dancing is clean and loose, its ease producing flow rather than force