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Natalia Osipova and Jonathan Goddard excel in the gothic drama of Pita’s storytelling – but is it all just a bit too gory?

Somehow the sum of all the many parts that make up The Wind fails to galvanise the brilliance that we have come to expect from this fast-rising choreographer

A vivid, colourful and imaginative dance theatre interpretation of Hans Christian Andersen's morality tale 

Arthur Pita's balletic take on Andersen's The Little Match Girl delights children and adults, and offers a bright alternative for the festive season.

Choreographer Arthur Pita’s production of The Metamorphosis – I hesitate to call it a ballet, for it is much more than that – is an eerie, thrilling and wonderfully collaborative piece of dance, led most assuredly and most grotesquely by Royal Ballet principal Edward Watson, here touring to the Joyce Theater, New York.

There isn’t much to say about Arthur Pita’s The Metamorphosis that hasn’t already been said. Returning the Royal Opera House’s Linbury Studio Theatre, this award-winning production is a dance-theatre imagining of Franz Kafka’s novella of the same name. I missed this production the first time, so was very interested in seeing it the second time around, and I wasn’t disappointed.

Edward Watson does angst expertly. The Royal Ballet principal proved himself as a convincing drug-ridden, suicidal Crown Prince Rupert in MacMillan’s ballet Mayerling and he was a nervy, jittery bespectacled White Rabbit in Wheeldon’s Alice’s Adventures in Wonderland. Now he’s a bug and literally climbing the walls.