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Akram Khan in concentrated colour, setting the darkness chiming with Thikra: Night of Remembering at London's Sadler's Wells.

The choreography, music and performance made this an impressive event, but Iommi’s cameo was an emphatic cherry on the top that sent the crowd home with an enthusiastic spring in their step.

After a slow beginning, the work gathers pace, thoroughly engrossing the audience in its exhilarating, foot-tapping momentum.

English National Ballet opens its season at Sadler’s Wells with a quadruple bill showcasing the versatility, virtuosity and endless capabilities of the company throughout the ranks.

The brightest of many stellar things to have happened in dance over the past decade, Acosta Danza wowed the audience at Sadler's Wells with their vitality.

Sidi Larbi Cherkaoui's Vlaemsch (chez moi) is an extraordinary piece of dance theatre proving the value of multiculturalism where difference can be absorbed within the search for artistic expression.

Christopher Marney has once again brought together a group of outstanding dancers, superb coaches and brilliant choreography to produce an evening of thoroughly absorbing dance.

Rambert’s Peaky Blinders: The Redemption of Thomas Shelby provokes the whole gamut of emotions, but leaves you feeling euphoric at the end.

Paul Roberts' Quadrophenia – A Mod Ballet offers very memorable performances from its leading protagonists in a compelling piece of dance theatre.

In The Midnight Bell, Sir Matthew Bourne has produced some of his best choreography, loose and free-flowing but tense with desire and mixed with dread.

Sadler’s Wells Flamenco Festival continues with Manuel Liñán’s Muerta de Amor, a show that screams much more of the power of love than its death. 

The enduring artistry of Sara Baras and her company opened the London Flamenco Festival with a stunning and memorable performance from the entire cast.

Ballet BC’s double bill puts Crystal Pite’s marvellous, shadowy Frontier in conversation with the folk-tinged comedy of Johan Inger’s Passing.

English National Ballet present a riveting triple bill of William Forsythe's works including audience favourite Playlist (EP) at Sadler's Wells.

Trisha Brown Dance Company in a programme that focused on dance rather than visual effects.

A film and two live performances prove to be an excellent demonstration of Scottish Ballet's diverse talents.

A visually striking and thought-provoking work requiring continual concentration to absorb.

A late Bausch classic reinterpreted by a nearly new ensemble, it remains an excellent example of her remarkable artistic dynasty that continues to astonish over 15 years after her death.

An Untitled Love is a brilliant piece of theatre centred on inventive, creative dance that enthrals and amuses whilst conveying several serious messages.

Bourne has created an extraordinary legacy.  His Swan Lake will remain relevant for generations to come.

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

The impressive music, especially in the live singing of Mees, is well worth the sometimes bewildering array of simultaneous activity, the confusions of intent and the occasional periods of inactivity.

A double bill of great contrasts, common ground[s] with Germaine Acogny and Malou Airaudo, and Bausch’s Rite of Spring with École des Sables is captivating.

Visually pleasing, superbly danced and musically rousing, yet Luna doesn’t quite reach the pinnacle. 

Hofesh Shechter Company are a tremendous ensemble, performing with pinpoint accuracy whenever in unison, and more-or-less continually in action for over 90 minutes.

A long-awaited return to the UK, showcasing the work of Canadian choreographers in an outstanding mixed programme.

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

London City Ballet return in a new incarnation at Sadler's Wells, promising a great future.

An absorbing, if sometimes confusing, mix of kung fu and brilliantly executed contemporary dance.

A thrilling new interpretation of this masterpiece of musical theatre that promises to be one of the most memorable shows in this London summer.

Carlos Acosta's Carmen is full of exuberance and first class dancing but it doesn't quite set the stage on fire. 

While this acrobatic version of Swan Lake will garner much appreciation from the general public seeking spectacle, it is not representative of good classical ballet.

There is much to be admired in Northern Ballet's production of Romeo & Juliet by Christopher Gable and Massimo Moricone. Succinctly told, every moment matters in a consistently absorbing way.

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.

Annabelle Lopez Ochoa's A Streetcar Named Desire for Scottish Ballet fires on all cylinders. Compelling drama and outstanding dancing make this a must-see.

It's not an easy watch, but Johan Inger's Carmen is a brave commentary on misogyny in today's society. English National Ballet give of their best.

Pite and Young bring more of the same, in their unique brand of dance theatre. 

Extraordinary dancers performing extraordinary movement, but the noise was too invasive. 

An intermittently sparkling evening culminates in a thrilling explosion of art.

Pina Bausch's Nelken returns to Sadler's Wells for the first time in almost two decades.

If you’re in need of some joy and exhilaration, the São Paulo Dance Company offers the perfect solution at Sadler's Wells. 

An evening at Sadler's Wells emphasises that dance is a powerful tool for everyone and anyone. 

A brave attempt to turn Fellini's masterpiece into dance theatre. 

Bourne's Edward Scissorhands may not have quite the dramatic impact of his Romeo and Juliet or Swan Lake, but there is much to applaud and enjoy.

A work of glacial beauty but with one too many inspirations. 

This all-Duke programme punctuates choreography with comedy, which in turn merges with pathos. 

Tremendous effort from all concerned and sparks did fly, but they didn't quite burn brightly enough.

A disappointing exercise in deconstruction. 

MÁM is a performance that demands attention through an extraordinary chain of surreal events.

English National Ballet appears refreshed and revitalised under its new artistic director.