tue 19/08/2025

Dance reviews, news & interviews

'We are bowled over!' Thank you for your messages of love and support

Tom Birchenough

We are bowled over! 

Peaky Blinders: The Redemption of Thomas Shelby, Rambert, Sadler's Wells review - exciting dancing, if you can see it

Helen Hawkins

If you have never watched a single episode of the BBC period gangster drama Peaky Blinders, I am not sure what you would make of Rambert’s two-act ballet version. I have watched all six series, and I still left confused. 

Giselle, National Ballet of Japan review - return...

Helen Hawkins

A new Giselle? Not quite: the production that Japan’s national company has brought over for its first British visit isn’t a radical Akram Khan-style...

Quadrophenia, Sadler's Wells review - missed...

Helen Hawkins

The red, white and blue bull’s-eye on the front curtain at Sadler’s Wells tells us we are in the familiar territory of Pete Townshend’s rock musical...

The Midnight Bell, Sadler's Wells review - a...

Jenny Gilbert

Rarely has a revival given a firmer thumbs-up for the future of dance-theatre. Yet Matthew Bourne’s latest show, first aired at the tail-end of...

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Ballet to Broadway: Wheeldon Works, Royal Ballet review - the impressive range and reach of Christopher Wheeldon's craft

Jenny Gilbert

The title says it: as dancemaker, as creative magnet, the man clearly works his socks off

The Forsythe Programme, English National Ballet review - brains, beauty and bravura

Jenny Gilbert

Once again the veteran choreographer and maverick William Forsythe raises ENB's game

Sad Book, Hackney Empire review - What we feel, what we show, and the many ways we deal with sadness

Jenny Gilbert

A book about navigating grief feeds into unusual and compelling dance theatre

Balanchine: Three Signature Works, Royal Ballet review - exuberant, joyful, exhilarating

Helen Hawkins

A triumphant triple bill

Romeo and Juliet, Royal Ballet review - Shakespeare without the words, with music to die for

Jenny Gilbert

Kenneth MacMillan's first and best-loved masterpiece turns 60

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Light of Passage, Royal Ballet review - Crystal Pite’s cosmic triptych powers back

David Nice

Total music theatre takes us from the hell of exile to separation at heaven’s gates

Vollmond, Tanztheater Wuppertal Pina Bausch + Terrain Boris Charmatz, Sadler's Wells review - clunkily-named company shows its lighter side

Florence Roberts

A new generation of dancers brings zest, humour and playfulness to late Bausch

Phaedra + Minotaur, Royal Ballet and Opera, Linbury Theatre review - a double dose of Greek myth

Jenny Gilbert

Opera and dance companies share a theme in this terse but affecting double bill

Onegin, Royal Ballet review - a poignant lesson about the perils of youth

Jenny Gilbert

John Cranko was the greatest choreographer British ballet never had. His masterpiece is now 60 years old

Northern Ballet: Three Short Ballets, Linbury Theatre review - thrilling dancing in a mix of styles

Helen Hawkins

The Leeds-based company act as impressively as they dance

Best of 2024: Dance

Jenny Gilbert

It was a year for visiting past glories, but not for new ones

Nutcracker, English National Ballet, Coliseum review - Tchaikovsky and his sweet tooth rule supreme

Jenny Gilbert

New production's music, sweets, and hordes of exuberant children make this a hot ticket

Matthew Bourne's Swan Lake, New Adventures, Sadler's Wells review - 30 years on, as bold and brilliant as ever

Helen Hawkins

A masterly reinvention has become a classic itself

Ballet Shoes, Olivier Theatre review - reimagined classic with a lively contemporary feel

Helen Hawkins

The basics of Streatfield's original aren't lost in this bold, inventive production

Cinderella, Royal Ballet review - inspiring dancing, but not quite casting the desired spell

Helen Hawkins

A fairytale in need of a dramaturgical transformation

First Person: singer-songwriter Sam Amidon on working in Dingle with Teaċ Daṁsa on 'Nobodaddy'

Sam Amidon

Michael Keegan-Dolan’s mind-boggling total work of art arrives at Sadlers Wells this week

Akram Khan, GIGENIS, Sadler’s Wells review - now 50, Khan returns to his roots

Jenny Gilbert

The dancer-choreographer goes epic in a show that unites South Asian dance styles

Maddaddam, Royal Ballet review - superb dancing in a confusing frame

Helen Hawkins

Wayne McGregor's version of Margaret Atwood's dystopia needs a clearer map

Pina Bausch’s The Rite of Spring/common ground[s], Sadler’s Wells review - raw and devastating

Jenny Gilbert

Returning dancers from 13 African countries deliver celebrated vision with blistering force

Legacy, Linbury Theatre review - an exceptional display of black dance prowess

Jenny Gilbert

An all-too-fleeting celebration of black and brown ballet talent that demands a reprise

Encounters, Royal Ballet review - exciting mixed bill with a gem of a premiere

Helen Hawkins

Pam Tanowitz's latest piece is a stunner that larkily subverts the rules

National Ballet of Canada, Sadler's Wells review - see this, and know what dance can do

Jenny Gilbert

Yet again, Crystal Pite proves herself a ferocious creative force, alongside fellow Canadian exports James Kudelka and Emma Portner

Nobodaddy, Teaċ Daṁsa, Dublin Theatre Festival review - supernatural song and dance odyssey

David Nice

Michael Keegan-Dolan’s genius guides us through death, separation and loss

Footnote: a brief history of dance in Britain

Britain's reputation as one of the world's great ballet nations has been swiftly won, as home-grown classical ballet started here only in the 1930s. Yet within 30 years the Royal Ballet was recognised as the equal of the greatest and oldest companies in France, Russia or Italy. Now the extraordinary range in British dance from classical ballet to contemporary dance-theatre, from experimental new choreography in small spaces to mass arena-ballet spectaculars, can't be matched in the US or Russia, where nothing like the Arts Council subsidy system exists to encourage new work.

Fonteyn_OndineWhile foreign stars have long been adored by British audiences, from Anna Pavlova and Rudolf Nureyev to Sylvie Guillem, the British ballet and dance movements were offspring of the movement towards a national subsidised theatre. This was first activated in the Thirties by Lilian Baylis and Ninette de Valois in a tie-up between the Old Vic and Sadler's Wells, and led to the founding of what became the Royal Ballet, English National Opera and the National Theatre. From 1926 Marie Rambert's Ballet Club operated out of the tiny Mercury Theatre, Notting Hill, a creative crucible producing early stars such as choreographer Frederick Ashton and ballerina Alicia Markova and which eventually grew into Ballet Rambert and today's Rambert Dance. From all these roots developed Sadlers Wells Theatre Ballet (now Birmingham Royal Ballet), London Festival Ballet (now English National Ballet), and Western Theatre Ballet which became Scottish Ballet.

Margot Fonteyn's dominance in the post-war ballet scene (pictured in Ashton's Ondine) and the granting of a Royal charter in 1956 to the Royal Ballet and its school brought the "English ballet" world renown, massively increased when Soviet star Rudolf Nureyev defected from the Kirov Ballet in 1961 and formed with Fonteyn the most iconic partnership in dance history.

The Sixties ballet boom was complemented by the introduction of American abstract modern dance to London, and a mushrooming of independent modern choreographers drawing on fashion and club music (Michael Clark), art and classical music (Richard Alston), movies (Matthew Bourne) and science (Wayne McGregor). Hip-hop, salsa and TV dance shows have recently given a dynamic new twist to contemporary dance. The Arts Desk offers the fastest overnight reviews and ticket booking links for last night's openings, as well as the most thoughtful close-up interviews with major creative figures and performers. Our critics include Ismene Brown, Judith Flanders, David Nice, Matt Wolf and James Woodall

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