★★★

Scottish Ballet present two contrasting contemporary works in London, unfortunately linked by their lack of strong narrative.

★★★

Wayne McGregor’s deep-sea inspired work wanted to take us into the void. But one too many ideas meant Company Wayne McGregor’s voyage into the unknown lost its way.

★★★

Lia Rodrigues’s Rose Prize-nominated dance work certainly brought the shock factor. But beyond that, what was the purpose of this hour-long gallivant through fabric?

★★★

Kyle Abraham’s Rose Prize-nominated contemporary dance piece on Black American life and love had a brilliant sit-com concept that lacked enough variety to get me through to the season finale.

★★★

The Australian Ballet has unveiled the world’s first ballet set around an LGBTQ+ relationship. Oscar, by Christopher Wheeldon, is a biography of the writer Oscar Wilde. At times moving and tender, it is overcomplicated with additional characters making the story hard to follow.

★★★

Akram Khan’s powerful reflection on war and grief packs an emotional punch…if you can find a synopsis to read first.

★★ to ★★★

National Dance Company of Wales tour to The Place, London for Frontiers, a double bill featuring Skinners by Melanie Lane and August by outgoing Artistic Director Matthew William Robinson. Although the ideas are intriguing on paper, they often struggle to translate to the stage.

★★ to ★★★★

The National Ballet of Canada return to London after over a decade with a mixed programme of varying results. While James Kudelka and Emma Portner’s pieces struggled at times, Crystal Pite’s Angels’ Atlas was an impressive finale.

★★★

The State Ballet of Georgia perform in London for the first time in the company’s 175-year history. Their performance of Swan Lake (starring Nino Samadashvili as Odette/Odile and Oleg Linhai as Siegfried) was a tad hit and miss but featured the greatest Spanish Dance I’ve ever seen #RubberForSpines!