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Dance

November 2024

  • Two actors in costume in behind-the-scenes image from Mary, Queen of Scots

    Gender-fluid Mary, Queen of Scots ballet to debut at Edinburgh festival 2025

  • A scene from Maddaddam

    Margaret Atwood’s MaddAddam morphs into a Wayne McGregor ballet – in pictures

  • close-up of woman wearing glasses, patterned beret and black top

    Judith Jamison, acclaimed dancer and Alvin Ailey artistic director, dies aged 81

  • Like a cool tribe of automatons … Chunky Move: 4/4.

    Chunky Move: 4/4 review – smooth moves and sudden stops to an off-kilter metronome

  • ‘You very rarely see men moving together like this’: Matthew Bourne on 30 years of his radical Swan Lake

  • Nutcracker in Havana review – Carlos Acosta’s Cuban take on the Christmas classic is a breath of fresh air

  • Going out, staying in
    Paddington in Peru to Wolf Hall: The Mirror and the Light – a complete guide to the week’s entertainment in the UK

  • Ballet Black: Heroes review – double bill explores everyday heroism and the purgatory of daily life

  • Northern Ballet: A Christmas Carol review – a magical night in snow-globe Victoriana

  • Club culture
    Ekleido review – Floating Points’ brilliant beats propel duo’s dazzling dance

  • ‘Look at the camera as if it’s your enemy’: Shobana Jeyasingh’s desert dance among Hollywood ghosts

  • ‘One thing goes wrong and that’s it’: how Janet Jackson’s career was wrecked in a split second

  • Nutcracker in Havana review – Carlos Acosta is in a sunny mood this Christmas

  • The art of audio description can turn dance into a moving experience for all

    Caroline Butterwick

  • Royal Ballet: Legacy review – a joyous celebration of Black and Brown brilliance

  • Going out, staying in
    From Anora to The Day of the Jackal: a complete guide to this week’s entertainment

  • ‘It’s like collective daydreaming’: the giant study showing how dancing affects our brains

  • The best theatre to stream this month: Starlight Express, Nye, Beat the Devil and more

October 2024

  • Lilith.Aeon.

    Small step or a giant leap? What AI means for the dance world

  • Anna Rose O’Sullivan and William Bracewell in Pam Tanowitz’s Or Forevermore.(Opening 22-10-24) ©Tristram Kenton 10-24 (3 Raveley Street, LONDON NW5 2HX TEL 0207 267 5550 Mob 07973 617 355)email: tristram@tristramkenton.com

    Royal Ballet: Encounters; Birmingham Royal Ballet: Luna review – the moon and mischief

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