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A show where the whole School was the star. 

English National Ballet School Professional Trainees show great versatility in their final performance of the year, with a highly entertaining mixed programme.

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

The single best thing about The Tenant was Frank Moon’s score, played by Moon himself on the piano, violin, and singing.

Ballet Black delights the Glasgow Tramway with a contrasting double-bill of Shakespearian envy and whimsy.

Most of the pieces were choreographed at a similarly demanding level, with speed, precision and immaculate timing as necessities.

Outstanding examples of men dancing are book-ended by two new works that are badly misjudged as a means of entertainment 

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

Set to Frank Moon’s moody, thematic score, the curtain rises on a foggy night scene as a shiny black stretch limousine glides onstage—the real deal, dazzling to behold, like a noir film come to life.

The closest that dance theatre comes to the "Hammer" House of Horrors!  An imaginative, macabre, grotesque and colourful double bil. 

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

The centrepiece of Ballet Black’s Triple Bill at the Tramway in Glasgow is Storyville: set in New Orleans during the roaring twenties.

Natalia Osipova and Sergei Polunin's present a contemporary programme of works exploring the complexities of a couple's initimacy at Sadler's Wells

Ballet Black presents a compelling programme in its first ever appearance at the Barbican

In Paris, Russian enfant terrible reunites Iolanta with The Nutcracker... with wildly mixed results. 

The superstar pairing of Natalia Osipova and Ivan Vasiliev lost some luster on this trip to New York with some weak material.

This summer marks 25 years of excellence by Ardani artists. A gala celebrating this milestone brings together Natalia Osipova, Ivan Vasiliev, Edward Watson, Marcelo Gomes, Joaquin de Luz, Denis Matvienko and Friedemann Vogel.

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.

L’opéra Iolanta et le ballet Casse-Noisette sont réunis dans une co-création d’envergure qui rassemble les talents du scénographe Dmitri Tcherniakov et des chorégraphes Sidi Larbi Cherkaoui, Edouard Lock et Arthur Pita.