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Centuries after her beheading by her English cousin, Mary Stuart remains a potent symbol of Scottish exceptionalism and historical grievance. Weak production design weighs down Sophie Laplane's imaginative choreography for Scottish Ballet.  

Sophie Laplane's Mary, Queen of Scots has a lot going for it, visually stunning with a pleasing score, but simplistic and overly rapid storytelling brings it to an underwhelming conclusion.

Scottish Ballet’s third outing of Christopher Hampson’s The Snow Queen sees some modifications to the story and it’s more spectacular than ever.

Scottish Ballet are tremendous in Helen Pickett's riveting production of Arthur Miller's The Crucible.

Dawson’s stripped-down production throws the impetus immediately on his choreography, whilst keeping the bones of the story clearly in sight.

Christopher Hampson's reinvented version of his own original Cinderella, Cinders!, is a triumph of theatre, whether the central character is danced by a man or a woman.

The integration of an onstage camera shooting live action film is not new, but Jess and Morgs are perfecting the art of adding this extra dimension to live performance.

Helen Pickett's slick and revealing adaptation of Arthur Miller's play receives its London premiere at Sadler's Wells. 

Sir Kenneth MacMillan's masterpiece is reimagined on a smaller scale, distilling the ballet into the essence of the personal relationships that led to the tragic events at Mayerling.

Gene Kelly's only ballet has been revived by Christopher Hampson, with an excellent twist.

Jess and Morgs continue to break the mould of tired dance films by directing their first full-length feature, which offers much more than just a different way of presenting dance.

A worthwhile addition to the locker of lockdown digital dance.