A picture of people who breathe and feel, suffer and love: Jiří Kylián’s Forgotten Land comes to Birmingham Royal Ballet
In conversation with the choreographer’s assistant, Cora Bos-Kroese, ahead to the company’s first ever staging of a Kylián work
Birmingham Royal Ballet’s new Hotel promises darkness with a dash of humour in a meeting of dance and film
A conversation with choreographer Morgann Runacre-Temple and BRB principal dancer Tzu-Chao Chou
Stylish and dark. Rambert in Peaky Blinders: The Redemption of Thomas Shelby
Full of familiar moments and familiar characters in familiar settings, and sometimes surprisingly deeply thoughtful
Strange and futuristic: 100 years of The Triadic Ballet
The costumes are extraordinary, among the most striking and unusual ever conceived. Even a hundred years later, they look strangely futuristic.
Women’s lockdown stories retold: Kantha Katha-K by Amina Khayyam Dance Company
Old traditions – dance, music and kanthas – are used in new ways to express the very modern experiences of Asian women during the pandemic
Shadows by Dutch National Ballet
Three works themed on war, hope and power, the earliest, Kurt Jooss’ The Green Table from 1932, as perennial as war itself
Colour and energy: The Royal Swedish Ballet in Don Quixote
A feast of dance, music and colourful costumes with the added bonus of Madeleine Woo and Dmitry Zagrebin in the roles of Kitri and Basilio
Celebrating life and belonging: And by Charlotte McLean
Although each new turn provides [her] body with new ways to think and move, in Mclean’s world freedom is also a vulnerable act.
Out of the tragedy of war, a new Giselle from the United Ukranian Ballet
A glorious production that reminded us that, against the all odds, the arts can carry on
Dance and drama but strangely disconnected in Civilisation by Jaz Woodcock-Stewart and Morgann Runacre-Temple
I felt I was in one space having two separate experiences: one ‘drama’ with a very limited script, and one dance
Anne Teresa de Keersmaeker: The Goldberg Variations, BWV 988
Another de Keersmaeker ride and a half. Full of questions, many unanswered. Which is why I, and I imagine many others, keep returning