Graham Watts is a freelance dance writer and critic writing regularly for Dancing Times, Dance Europe, Danza Europa, and many more publications. He regularly writes features for Sadler’s Wells, London Coliseum and La Scala. Chairman of the Dance Section of the Critics’ Circle in the United Kingdom and of the UK National Dance Awards he has interviewed many of the greatest names in dance including Maya Plisetskaya, Vladimir Vasiliev, Boris Eifman, Alexei Ratmansky, Andris Liepa, Sir Peter Wright, David Bintley and Dame Gillian Lynne. When not involved in dance Graham is a keen fencer, and has captained the British Sabre team.
Peaky Blinders turned into dance theatre makes for powerful and spectacular staging, both visually and aurally and is unlikely to inspire an insipid response
Ek's second, very different take on Stravinsky's Rite crowns an English National Ballet triple bill extolling the pure joy of dance and exposing the terror of forced marriage.
For dance companies, the National Portfolio funding for 2023-26 reveals many new names, with winners for diversity and disability and losers for established companies in London.
Koen Kessels and Mikael Karlsson discuss composing for dance and the value of new commissions ahead of their collaboration for Birmingham Royal Ballet.
A new-old interpretation of Giselle choreographed by Alexei Ratmansky heralds the birth of a new company drawn from ballet dancers from war-torn Ukraine.
Shobana Jeyasingh choreographs Monteverdi's Tancredi e Clorinda for the 21st century, transporting her narrative from the Middle Ages to the present day while remaining fixed on the ongoing conflict in the Middle East.
De Keersmaeker’s career-long exploration of the interrelationship between music and movement continues at Sadler's Wells with pianist Pavel Kolesnikov.
A mesmerising performance of one of modern dance's greatest works is such a feast for the senses that 37 minutes feels as if a whole evening passes by.
