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Partly inspired by the tragic death of Ihsane Jarfi, a gay Moroccan man beaten to death in a racist and homophobic attack in 2012, Ihsane allows Cherkaoui to ponder his own heritage.

Sidi Larbi Cherkaoui's Vlaemsch (chez moi) is an extraordinary piece of dance theatre proving the value of multiculturalism where difference can be absorbed within the search for artistic expression.

The Grand Théâtre de Genève presents a new production of Mozart’s opera seria where the focus is all on dancing and rope twirling. Nevertheless, a good cast, led by Federica Lombardi as Elettra, manages to shine through.

Even forty years after its world première in Rotterdam, Sidi Larbi Cherkaoui’s new production of Philip Glass’s three-act opera in Basel has particularly timely relevance.

An all-male fusion of different dance and musical talents provides some extraordinary moments but is in need of an edit    

The revival of Das Rheingold at Staatsoper Berlin was still marred by distracting use of dancers on stage, but musically it was a great success. 

Sidi Larbi Cherkaoui and Damien Jalet's BABEL deals with the issues of globalization and isolation and how people from different cultures coexist. A stunning collaboration between choreography, music and stage design, it is both intellectual and entertaining.  

Pia Savoie reviews Milonga by Sadler's Wells at the Sydney Opera House, a fiery tango-inspired new choreography by Sidi Larbi Cherkaoui.

With 4D, Moroccan choreographer Sidi Larbi Cherkaoui frames four duets on the theme of love and lust, derived from different works during his long career. Sofia Nyblom is initially seduced, but chokes on the stickyness of too much love-making. 

Among productive and successful choreographers, Sidi Larbi Cherkaoui distinguishes himself for variety: in projects, from film collaborations to the Cirque du Soleil’s arena, and in the cultural sources used for his work. Puz/zle is no exception, quite the reverse – and I beg your pardon if I will not explain all the references in it.