Louise Lecavalier: danses vagabondes
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.
Zoë Hewitt
Don’t blink: The Royal Ballet in Wayne McGregor’s Alchemies
Three works, three very different strategies, one shared demand: look at the stage, look at the people on it, and do not blink
International Draft Works 2026
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
Kontakthof – Echoes of ’78
Brings together surviving members of Bausch’s original 1978 cast, placing them against archive footage of their younger selves and those no longer alive.
Mayerling: A world that breaks apart up close, and the body language of ruin
Kenneth MacMillan’s ballet is built from fractured needs, twisted intimacies and bodies that say what the characters themselves cannot
Hung Dance in Push and Pull: Relationship, or else
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.
Ballet Black: …all towards hope and Ingoma
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.
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.
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
Snapshots of American Modern Dance: Paul Taylor Dance Company
Across both evenings, dialects shifted quickly, textures changed sharply, and technique kept surfacing as a through-line.
Resolution 26: Hannah Todosijczuk, SynEcho, Kill Your Darlings
The dancers are committed and the themes are ambitious. What I miss is not effort, but clarity.