Luke Jennings
Raven Girl/Symphony in C; iTMOi - review
London When the choreographer Wayne McGregor and the novelist Audrey Niffenegger decided to collaborate on "a new fairytale" for the Royal Ballet, it was a leap in the dark for both of them. He had never created a narrative work; she had never written fo
Bern Ballett: Witch-hunt - review
Witch-hunt is a narrative ballet created by British choreographer Cathy Marston for Bern Ballett, the Swiss company she has directed since 2007. Marston is prolific, and her experience shows in the sophisticated structure of the piece, which was created f
Hansel and Gretel - review
For the subject of his first full-evening ballet, Liam Scarlett takes the Brothers Grimm fairytale Hansel and Gretel, about two children imprisoned by a witch after their parents have abandoned them in the forest – a theme all too darkly resonant, given
Particle Velocity; La Bayad
Connaught, Worthing; Royal Opera House, London Phoenix dance theatre is on a high. With new purpose-built premises in Leeds, and a charismatic director in Sharon Watson, the 10-strong ensemble is ready to take on the world. On Tuesday night, with a col
Sexism in dance: where are all the female choreographers?
As a nation we are well supplied with choreographers. Matthew Bourne, Akram Khan, Wayne McGregor, Liam Scarlett, Christopher Wheeldon… the list goes on.
Four women choreographers doing it their way
From a sociopolitical sensation to an explorer of the tensions of motherhood, here are four women taking steps to upstage Britain's old boys' network
The Place prize; Mayerling - review
Robin Howard Dance Theatre; Royal Opera House, London Last week, the four finalists for the 2013 Place prize for choreography showed their work on the stage of the Robin Howard Dance Theatre. The bill was a strong one, with no clear favourite. Dead
Ecstasy and Death; Romeo and Juliet - review
Coliseum; Sadler's Wells, London Ecstasy and Death is the first English National Ballet programme assembled by Tamara Rojo since she assumed the company's artistic directorship last year, and it makes for compelling viewing. The first of the prog
La Bayadère; Midnight Express – review
It's an ill wind that blows no one any good. So far, April has been marked by substitutions, injury and last-minute departures. At Covent Garden, Alina Cojocaru's indisposition meant that her role in La Bayadère was taken at short notice by Roberta Marqu