mon 28/07/2025

dance

The Wind in the Willows, Linbury Studio Theatre, Royal Opera House

Ismene Brown

Once upon a time... for a child there is always an attic, with a rocking-horse, a wardrobe, an old clock and granny’s huge chair. And there's always a story to be found there about being monstrously bad and naughty, and being forgiven. This is the delight of the irresistible staging of The Wind in the Willows at the Royal Opera House’s subterranean Linbury Studio Theatre.

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The Nutcracker 3D, Mariinsky Ballet/ The Nutcracker, English National Ballet, London Coliseum

Matthew Paluch

The seasonal Nuts-fest continues (and culminates) with another two to add to the roast – live: English National Ballet’s recent production, and digital: the Mariinsky Theatre’s 3D film version. To the cinema we go. This is the first 3D Nutcracker ever, following the Mariinsky’s 3D Giselle last year – and the screening of dance is a good thing, as few can afford to fly the world over to see a number of Nutcracker productions.

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The Nutcracker, Royal Ballet

Matthew Paluch

'Tis the season to be... transported to a magical, mystical extravaganza that will leave your mouth a-gasp, and your festive spirit in overdrive. This is how the lyrics of "Deck the Halls" should read once you’ve been to the Royal Opera House and savoured the Royal Ballet’s Nutcracker.

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Matthew Bourne's Sleeping Beauty, Sadler's Wells Theatre

Ismene Brown

It depends what you expect. This is Matthew Bourne’s Sleeping Beauty. So what do you expect of (a) Matthew Bourne and (b) The Sleeping Beauty? On both counts I’d answer: much more than we get here. Bourne at his best is brilliant - his Swan Lake, his Play Without Words, are two of the most rewarding and entertaining (I mean moving the heart, as well as hugely gratifying the visual palate) shows in dance in the past generation.

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Batsheva Ensemble, Sadler's Wells

james Woodall

Batsheva Dance Company is reaching its half-century, which makes it, as one of the world’s leading dance brands, not quite as old – or as young – as Israel, but Martha Graham helped launch it several years before the 1967 Six Day War. An international mix, it is in fact two companies, the senior one and the Ensemble, currently touring Britain and made up of youngsters who might or might not graduate to the main, Tel Aviv-based troupe.

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Concerto/ Las Hermanas/ Requiem, The Royal Ballet

Ismene Brown

With a reputation as the prince of unflinching emotional catharsis, Kenneth MacMillan emerged from the Royal Ballet’s triple bill marking the 20th anniversary of his death as a lord of lyricism. The new bill presents MacMillan three ways, his academic instincts, intellectual imagination and emotional vision - a bold versatility you (whisper it) almost never see from today's choreographers.

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FAR, Wayne McGregor / Random Dance, Linbury Theatre, Royal Opera House

Sarah Kent

Make no mistake; this is dancing of the highest order. The classically trained members of Wayne McGregor's company Random Dance demonstrate such exceptional mastery of technique that their movements should have one drooling in admiration.

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Jasmin Vardimon Company, FREEDOM, Sadler's Wells

Matthew Paluch

The Jasmin Vardimon Company bring their latest creation, FREEDOM, to Sadler’s Wells this week for two nights only. The work is best described as a collection of vignettes (supposedly) discussing the subject of freedom, and any conflicting conditions. The programme literature confirms that Vardimon is assessing “political systems, social conditions and personal philosophies” within the piece – which is seriously fighting talk that wasn’t necessarily backed up.

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Cesena, Anne Teresa De Keersmaeker’s Rosas, Sadler’s Wells

Judith Flanders

Well, if De Keersmaeker made us work hard for our enlightenment earlier in the week, we more than get our reward with her triumphant, astonishing Cesena in the second part of her double-programme designed for the Avignon Festival.

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En Atendant, Anne Teresa De Keersmaeker’s Rosas, Sadler’s Wells

Judith Flanders

No one ever accused of Anne Teresa De Keersmaeker of thinking small. Or not thinking, for that matter. Her international career began with a bang, when with only her second work she created Fase, Four Movements to the Music of Steve Reich. And Reich’s music, filled with repetitive figures, harmonic rhythm and canons, is not a million miles – even if it’s 600 years – away from the ars subtilior of Avignon, De Keersmaeker’s new musical focus.

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