Buscador de artículos | Philippa Newis

Love Chapter 2 plunges us into the messiness of heart break and isolation. It's like watching emotional entropy as the performers gradually disintegrate over the hour-long performance, undone by the ravages of love lost.

It is good to see Birmingham Royal Ballet in such fine fettle. This triple bill is well conceived and deftly performed. Not always flawless in its execution, but a five star programme nonetheless.

Sutra - meaning thread - offers a window into the world of Zen Buddhism and kung fu. Over the last 10 years, this production has toured to 33 countries and been seen by over 160,000 people. As part of a worldwide tour to mark its tenth anniversary Sutra returns to Sadlers Wells, the theatre that nurtured its creation.

Choreographer Ben Duke offers a candid glimpse of Shakespeare's star-crossed lovers if they had survived the gauntlet of death draughts and daggers.

Abraham's choreography is an intricate conversation between dance styles. The cast are multi-lingual, speaking with more than one movement language simultaneously. Loose limbed arms and rolling hips converge with crisp arabesques and spinning top pirouettes. 

Artistic directors of Ballet Boyz Billy Trevitt and Michael Nunn stage a speed dating style collaboration, match making four choreographers with four composers. The quality of performance is top-notch, but the choreography is pot luck in places. 

The audience at Sadler's Wells welcomes Carlos Acosta like an old friend. Their whole-hearted warmth extends to embrace his fledging company Acosta Danza in its UK debut. Based in Havana, Cuba, this intrepid group of dancers is rapidly forging an international reputation. Punching above their weight they arrive in London with a programme of five contrasting works, and showcasing three choreographers from the Spanish-speaking world.

Tango infused contemporary dance sizzles on a hot summer evening. Sometimes tempestuous, sometimes tender; four couples oscillate between summer storms and wintry chills. Tangent, choreographed by Martin Lawrence opens a triple bill by the Richard Alston Dance Company at Sadlers Wells. He draws inspiration from Las Cuatro Estaciones Porteñas played on stage by pianist Jason Ridgway. 

Men and Girls Dance created by Fevered Sleep is like a perfectly cooked soufflé. Astonishingly light and delicately fragranced. It's flawlessness is finite, the subtle favours and gossamer texture melt away as it touches your tongue. Exquisitely simple, but devilishly difficult to do well. 

A double bill of variable quality, Aakash Odedra shines in Aditi Mangaldas’ new piece
Echoes, but struggles to find his choreographic foothold in I Imagine.

Dave and his daughter Sam lose sight of each other and the world around them after the sudden death of their wife and mother Jackie. Getting up close and personal, Stopgap Dance Company’s new work The Enormous Room is an absorbing encounter with grief and loss.

Described by Sadler's Wells as the "jewel" in their community programme, the Company of Elders sparkles like a highly polished diamond. This ensemble is packed with personalities, as they take to stage with three works by Seeta Patel, Jade Shaw and Michela Meazza.

Wayne McGregor's triple bill at the Royal Opera House celebrates his 10th year as Resident Choreographer of the Royal Ballet. His insatiable curiosity and driving creativity has brought challenge, change and occasionally controversy to the cornerstone of British ballet.

At 90, Rambert is the undisputed "grande dame" of British dance. Ever rigorous in the pursuit of innovation and collaboration, it is fitting that company director Mark Baldwin has chosen to celebrate this anniversary with an evening of work showcasing home grown talent. 

Set in a refugee camp, Her name was Carmen exploits the drama of Bizet's opera to bear witness to the contemporary horrors faced by over four million Syrian refugees. This 21st century re-imagining finds spoilt, rich Carmen escaping from Gracia, the man who has murdered her family. His deadly infatuation forces her to hide as a boy among a group of refugees, each fleeing their own demons in pursuit of sanctuary and a better life.

The sights and sounds of Cuba erupt onto the stage at Sadler Wells. Short skirts show off long legs and lubricated hips. *Vamos Cuba* tells the colourful story of the island's cultural roots and rapidly-changing present. A fanastic pick-me-up for weary Londoners. Guaranteed to put a spring in your step and a wiggle in your hips. 

No Body is a promenade performance that reveals the intimacies of a working theatre. Without dancers, the audience is exposed to an immersive experience of light, sound and video. 

Wayne McGregor pulls together a stellar all male cast for the Royal Ballet's world première of hisnew work, Obsidian Tear. 

Samuel Tétreault co-founder of The 7 Fingers brings the company back to Sadlers Wells with Triptyque - a trio of works exploring the theme of gravity. Drawing on the steely nerves of nine first-class performers, each piece harnesses a hybrid of circus disciplines and contemporary dance technique.

Como el musguito en la piedra, ay si, si ,si (Like moss on a stone) is a smorgasbord full of perfectly-formed parcels of mouth-watering food. But a deep sense of poignancy pervades its vibrancy as Pina Bausch died unexpectedly just a few weeks after its premiere in 2009. 

Beguiled, bereaved and betrayed - William Tuckett's Elizabeth imagines the ill-fated romances of the Virgin Queen. Tuckett draws on the monarch's own writings and those of her contemporaries to fashion a full-length work, blending spoken word, dance and music to convey the tumultuous affairs of Elizabeth I. 

Choreographer Russell Maliphant and lighting designer Michael Hulls could just as easily be described as innovators or architects. Conceal | Reveal at Sadler's Wells tells the story of their creative partnership spanning 20 years. Together they have forged new choreographic terrain, a topography of movement and light.