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Akram Khan in concentrated colour, setting the darkness chiming with Thikra: Night of Remembering at London's Sadler's Wells.

Le chorégraphe anglais d'origine bangladaise propose une nouvelle création qui raconte avec une surprenante naïveté narrative un semblant de rituel féminin, confrontant les cultures orientales mais sans créer de dialogue fécond.

I felt that the choreography as performed by these excellent dancers was enough to carry the story without such excessive use of text and animation

Avec Jungle Book Reimagined, le chorégraphe propose une relecture moderne et écologique du célèbre recueil de nouvelles de Rudyard Kipling. Mais la création manque d'imagination et de poésie pour toucher son public.

At Sadler's Wells, a memorable last hurrah for a mesmeric performer.

Outwitting the devil met en scène deux danseuses et quatre danseurs. L’atmosphère sombre et envoûtante du spectacle nous mène vers les souvenirs de Gilgamesh qui conte par bribes des événements de sa vie.

Three years after its première, Until the Lions returns to the Roundhouse, still an extraordinary theatrical experience: mesmerising, atmospheric, sensory and strangely sensual 

Until the Lions is an enriching experience. It is a gripping tale filled with action and physical action. Akram Khan and his creataive team take us into an alternative realm.

Fantastical, innocent and full of wonder.

What's a woman to do when she loses agency over her body? Is gender just a construct? And at point does justice sour into something closer to revenge?

Akram Khan revient sur la scène contemporaine avec Until the Lions. Cette création marie de nouveau la danse contemporaine au kathak, danse traditionnelle du nord de l’Inde, dans une narration extraordinairement exaltante.

Akram Khan revives his first full evening work, Kaash (2002) at London’s Sadler’s Wells.  

Akram Khan re-imagines a story from the Mahabharata by combining techniques of Indian classical dance and contemporary dance in a 360-degree setting.  

Expressive dancers explore diversity within a conceived structure, though its fragmented tone challenges cohesion.   

“Once upon a time, a little boy went against his father’s will…” The Akram Khan Company and MOKO Dance’s Chotto Desh leave the audience wide-eyed.

Akram Khan brings classical Indian dance performance, Gnosis, to the King’s Theatre (Edinburgh International Festival)

Akram Khan Company perform iTMOI at British Dance Edition 2014, Edinburgh.

Some twenty minutes into the opening night performance of DESH, the Olivier-award winning solo choreographed and performed by Akram Khan, I feel baffled.

Akram Khan is a potent storyteller, and he demonstrates it once more in his newest commission for Sadler’s Wells, In the Mind of Igor (iTMOi). The second work in A String of Rites, Sadler’s series celebrating the centenary of Igor Stravinsky’s Rite of Spring, with iTMOi Khan chooses an indirect approach to the masterpiece, shedding light on the thoughts and feelings behind it.

You may have seen Akram Khan recently at the Olympics, performing alongside Emeli Sande and some 50 dancers in his touching and often aggressive tribute to the victims of the 7/7 bombings. Or, for those of you tuning into NBC’s coverage, you will have been treated to an interview with Michael Phelps.

Vertical Road is Akram Khan’s latest contemporary ensemble work in which he focuses on spirituality and the question of faith. The Vertical Road of the title is the sacred road, the path of ascent, as opposed to the secular life of the horizontal road.