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Two evenings of live dance and a full program of dance films from young choreographers yielded much to admire and be amused by at the Future Dance Festival 2026.

What could be familiar about a man in jacket and tie walking a runway in his jockeys? Plenty. Keigwin and Company at Spoleto Festival, USA.

Miguel Poveda gives a powerful performance at London Flamenco Festival at Salder’s Wells.

Stuttgart Ballet has a long tradition of promoting new choreography, and in this spirit the first programme for its visit to Sadler’s Wells included thirteen brief choreographies, all specially made for the company.

I wanted to love Ivan Blackstock’s Wild Card night at Sadler’s Wells. With seven pieces, one pre-show performance and post-show DJs, there was almost three hours of material to engage with. I felt the passion Blackstock and his dancers had for their art, and their energy kept me going, almost.

Dan Canham’s Wild Card at Sadler’s Wells meandered through an interesting progression of folk dancing, artistic musings and charming traditions, and I came away with a smile and a lot to think about. This evening was part of a series of three performances in the Lillian Baylis Studio Theatre, which aims to give chosen artists a night to share their work, inspirations and ambitions.

It would be hard to find someone who has not heard of Anna Pavlova. The name alone conjures up words such as elegant, visionary, iconic. Her acclaim results from a career in ballet spanning over 30 years, in which she had a tremendous influence over the world of classical dance and earned her place as one of the finest Russian ballerinas in history.

This year’s Royal Ballet’s Draft Works at the Linbury Studio Theatre offers up an eclectic mix of pieces from seven of the Company’s dancers, as well as three non-Company members. Some pieces more fully-formed than others, the evening presents short sections of choreography by the likes of Principal Ballerina Tamara Rojo and Thomas Whitehead in a very informal setting.