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Isabela Coracy’s performance as Nina Simone was a perfect opportunity to demonstrate that Ballet Black has a new star and she rose to the challenge with allure.

A robust testimony to the powerful legacy of Isadora Duncan in Isadora Now at the Barbican.

This opener to a unique tri-city, same-day event celebrating Cunningham's centenary was a magical and tranquil collage.  

Another evening of enjoyable and diverse dance although the most complete and satisfying work was the revival from ten years' ago 

An uneven multi-media work as much of visual art as dance

With Vader, Peeping Tom delivers a powerful piece in which emotions run high

Memorable moments of metaphor and symbolism punctuate a thoughtful work about the vagaries of modern life 

Tuckett's richly-integrated Elizabeth contains some superb performances but is often overwhelmed in this transition to a much larger space 

Three of Kenneth MacMillan's first five works are once more wholly, or partially, revived in this outstanding and purposeful debut for the Viviana Durante Company  

Mark-Anthony Turnage's take on Neil Gaiman's classic young adult novella is well sung and well staged, without quite reaching peak intensity.

The Ballet Black formula works its wonders yet again with Annabelle Lopez Ochoa scoring her third successive hit for a British ballet company. 

Charleroi Danses’ dancing hands evoke a world of loss and regret in a unique and inventive stage show as part of the London International Mime Festival

An incredible musical performance - by pianists and singers - that is not well enough matched by the visual experience of cluttered creativity in which excellent dancers are often anonymous 

A mixed bag of music and measured, sedate, almost reverential movement that sculpts beautiful shapes in the interaction of bodies and space

Hans Zender's composed interpretation of Schubert's great song-cycle Winterreise, sung by Ian Bostridge, with visuals by Netia Jones, reveals the stark beauty, timelessness and philosophical qualities of Schubert’s music and Mueller’s poetry.

Gerald Barry’s deliciously anarchic operatic setting of Oscar Wilde’s The Importance of Being Earnest returns to the London stage.

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

A new co-commissioned production from English National Opera and the Barbican sees Tansy Davies tackle the most harrrowing of modern subjects: 9/11.

English National Ballet marks the centenary of the beginning of the First World War with Lest We Forget, with new choreographies by Liam Scarlett, Russell Maliphant and Akram Khan. 

Aurélien Bory’s production What’s Become of You? (questcequetudeviens?), danced and choreographed by flamenco dancer Stéphanie Fuster, presented to great acclaim at the Mime Festival

Unique, wacky and more than a little bit mad, Michael Clark’s triple bill at the Barbican will leave you speechless, if a little frazzled.

Barbican Britten: Phaedra is just one of the events in the venue’s two-week celebration of the composer’s centenary. The programme presents four pieces choreographed by Richard Alston to Benjamin Britten’s music. Alston’s choreography is well suited to Britten’s music: both artists are lyrical, tempered, and incline toward narrative.

What’s the first thing that comes to mind when you hear the phrase “3D occult mystery film opera”? Because I’ll bet that whatever this makes you imagine is nothing like the reality of composer/director Michel van der Aa and librettist David Mitchell’s Sunken Garden, which debuted at the Barbican last night.

There are at least three adaptations of Pushkin’s Eugene Onegin being staged in London this month. With the Royal Opera House showing both John Cranko’s ballet and Tchaikovsky’s opera, the Barbican offers the most contemporary response: Deborah Colker’s Tatyana.Actually it’s not that contemporary – whatever that means.

World Cities 2012 is a set of ten pieces created between 1986 and 2009, the year of Pina Bausch’s death. Each is a response to a different city on the globe. Ten Chi, just one chapter of this very alternative travel guide, marks time spent immersed in the day-to-day of Saitama, Japan.The piece begins boldly, before any performers are seen.

It isn’t so much that Einstein on the Beach is impossible to summarise, I don’t think, as that it’s just impossible generally. At least, if you were to list this opera’s various constituent elements to somebody, and ask them if it was basically plausible, they would probably say no. Suffice it to say the following: it is four and a half hours long and there is no interval.

Britten’s only Shakespeare opera was a last-minute commission to celebrate the opening of the refurbished Jubilee Hall at the 1960 Aldeburgh Festival. Despite the narrow timescale, Britten and his collaborator and partner Peter Pears notoriously strove to adhere to the sixteen-century dramatic text as closely as possible. Only a handful of Shakespeare’s original lines were substantially modified.