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A brief but excellent programme of five duets showcased on the main stage of the Den Norske Opera.  

This is a dance piece that illuminates cultural and experiential history in a way that is accessible to everyone.

Akram Khan's Giselle becomes ever more watchable with every viewing. A rollercoaster version of the traditional classic.

A show where the whole School was the star. 

English National Ballet's annual Emerging Dancer Award, a popular date in the company's calendar, is always brimming with nervous excitement. The 2024 edition was no exception.

Creature is not an easy watch, but English National Ballet give memorable and compelling performances throughout.

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

Tamara Rojo's English National Ballet takes Akram Khan's version of Giselle, created on the company, to the Brooklyn Academy of Music.

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

Have two Covid-enforced delays left too much time for Akram Khan and his team to tinker with their new creation for English National Ballet?

A mixed bag from the ENB repertoire to greet the summer solstice at the Royal Festival Hall. 

An evening of sparkle and bravura at London's international ballet gala. 

A slick and stylish celebration at the Coliseum of this great company's achievements over 70 years.

Akram Khan's bold reimagining of Giselle continues to go from strength to strength. After touring to venues from Moscow to Chicago, it returns to Sadler's Wells. 

He turns and turns, elliptically and with the speed of a skater on ice. Sheer muscle defies gravity and the friction of feet on terra firma.

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

Lest We Forget, a triptych of original work first commissioned in 2014 for the centenary of the outbreak of the First World War now returns to the repertoire to commemorate a hundred years since the armistice of 1918.

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.

Poetry infuses Tamara Rojo’s every step as Giselle in Akram Khan contemporary update of a ballet classic. 

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?

The invention, clarity and freshness of the choreography is breathtaking throughout, made even more so by outstanding performance. This new Giselle is a masterpiece, taking English National Ballet to new heights.

English National Ballet scores another triumph with Akram Khan's darkly reimagined interpretation of the greatest of all Romantic ballets.

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.   

A farewell tour by a legend is an opportunity for her to give thanks to her fans and for us to signal our appreciation for a career that spanned thirty-five astonishing years.

“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.

Explosive and animated, Sylvie Guillem moves with an inimitable combination of energy, joie de vivre and delicacy throughout her final show, Life in Progress, at Beijing’s National Center for Performing Arts.

An intense, substantial and authentic programme definitely worth seeing.

The Pursuit of Now, presented at Sadler's Wells, is part of the Buta Festival of Azerbaijani Arts which celebrates the country and its people. 

Sylvie Guillem and Akram Khan search for their inner sacred monsters. Their journeys carry them from classical dance to compositions without names. 

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.

Akram Khan’s work is always characterised by a strong narrative and in his latest piece, DESH, he tells his own personal story and in doing so delivers his best work yet. Desh, means homeland and Khan returns to Bangladesh, the place of his father’s birth to examine the roots of his family’s culture.

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.