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Rocío Molina, one of flamenco’s greatest stars turns the warmup into an extraordinary virtuoso display at London’s Sadler’s Wells.

The Gala Flamenca has always been a highlight not only of the Flamenco Festival but also of the whole summer in London Dance. This year it exceeded expectations.

Compañía de Danza Jesús Carmona in UnYdos was a stunning evening of pure flamenco artistry, enlivened by a tremendous sense of theatre, and augurs well for the rest of the festival.

Rambert celebrates 100 years presenting a triple bill of recent or new works. The message is clearly to look forward and not back.

Dada Masilo wanted her audiences to feel the passion and to leave the theatre with a buzz. In her Hamlet, the commitment of the cast ensures this message still holds true.

A bold choice for Northern Ballet, Gentleman Jack is beautifully danced but doesn’t go far enough in celebrating difference, individuality and freedom.

The BalletBoyz present an entertaining programme of old and new works spanning the last 25 years – with stellar performances.

A very welcome and hilarious return to the UK from Les Ballets Trockadero de Monte Carlo, this time at Sadler’s Wells, they offer familiar and new works.

Carlos Acosta's Don Quixote for Birmingham Royal Ballet returned to Sadler's Wells with polished but low-key interpretations across the board.

Dorrance Dance offer a compelling mix of genres in The Center Will Not Hold – high energy, full of surprises, top quality performances.

A reimagining of Pina Bausch's 1978 Kontakthof by Meryl Tankard brings together eight of the original cast members in a unique and poignant revival.

Solera is a mix of experience and youth blended to create excellent vintage flamenco at London's Sadler's Wells.

English National Ballet presents a double bill of contrasts at Sadler’s Wells with startlingly mixed results, not all positive.

Last seen in London in 2023, Turn It Out with Tiler Peck & Friends made a hugely welcome return with the same programme, differently ordered. 

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.

Sweet Mambo was one of those rare evenings that felt very special, unique in the sense of watching history revisited in the present day.

Stunning visually, Matthew Bourne’s The Red Shoes makes a triumphant return to Sadler's Wells, with New Adventures at the top of its game.

Ballet Black making its debut at Sadler's Wells after 25 years with a diverse and truly enjoyable double bill.

Sharon Eyal and Gai Behar’s S-E-D comes to Sadler's Wells with Into the Hairy, worth seeing for extraordinary dancers and the idiosyncratic nature of her distinctive choreography.

An extraordinary evening of dance theatre of the highest quality, Figures in Extinction for Nederlands Dans Theater 1 is a thought provoking experience worth repeating.

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.