The annual Sadler’s Wells Flamenco Festival is a hidden treasure-house of brilliance, too quietly sneaking into London in the unappealing limbo between winter and spring, but surely one of the great global gatherings of the dazzling individualists in this mysterious dance form. Flamenco ranges from the red-top populists like the ebullient exhibitionist Farruquito to the wilfully innovative Israel Galván, who lit up two Sunday nights in a row which both brought the house to their feet in ovations.

Quite simply, the performance was one of those rarest of events in the theatre that will be talked about for generations - the Russian premiere of Kenneth MacMillan’s Mayerling, with the former Royal Ballet star Sergei Polunin making his debut as Crown Prince Rudolf.

“Possibly the least ‘deep’ ballet I’ve ever made” - these are the words that David Bintley uses to describe his latest full-length work Aladdin, and they make rather a discouraging start to any evening. "Light" isn’t necessarily bad – work created in such a manner can often end up communicating something deeper come their unveiling.

“As Gregor Samsa awoke one morning from a troubled dream, he found himself transformed in his bed into a monstrous insect.” In one of the most famous opening lines in literature, Franz Kafka gives birth to a startling hallucinogenic premise. And Arthur Pita’s very clever dance drama produces something of a similar jolt in its precision and strangeness.

Art is a fickle subject – hence why many preeminent philosophers offer different theories as to how we can begin to understand the opposing effect the same object or creation can have on different people. Many can be mildly affected by a given entity, but occasionally something bigger can happen – some might say a revelation of sorts. And such a thing took place for me at the Royal Opera House yesterday evening.

What does _ _ _ _ mean to you? What does _ _ _ _ mean to us all? Questions asked every day by all kinds of people the world over. These same questions were posed last night at the London Coliseum about the doyen of 20th-century dance and choreography, Vaslav Nijinsky, at one of the Russian Ballet Icons galas that annually pack in an audience mostly made up of the Russian community London has now come to call its own.

Fifteen years ago two male ballet dancers took the awesome risk of leaving the Royal Ballet with an idea in their head about independence. Their first venture was a new Japanese ballet company, which quickly lost their interest as it hit a conventional showbizzy trail. Then they took their second perilous risk: Michael Nunn and William Trevitt boldly declared that they intended to make a point about the possibilities of male dancing in today’s Britain. Enter the Ballet Boyz.

Ballet Black open their eighth Linbury Studio Theatre season with a quadruple bill of new works which looks promising on paper but less so in actuality. The evening begins with Robert Binet’s EGAL, the title being a (now obsolete) Middle English word meaning equal, which Binet used as the piece’s crux. The work is a duet that’s meant to ‘"xplore the possibilities and complications that might arise if two people who are completely equal in every sense and ability were to encounter each other".

If you are a Bausch newbie, Vollmond (Full Moon) may well be the place to start. “It’s a full moon,” says Nazareth Panadero, giving us a cynical smirk. “Don’t get drunk,” she adds before sauntering off. Glasses are raised and, as always in Bausch, water flows, both in and, especially, out of glasses, across the stage, swept in buckets-full over the massive rock that looms at the edge of a great pool of water lurking invisibly at the rear.

Two world premieres in one night is almost more pressure than anyone can bear - choreographers, commissioning company or audience. Still more when the spotlit dancemakers are probably the two top Western names in the art, Alexei Ratmansky and Christopher Wheeldon. Everyone, but everyone, expects masterpieces.