Matthew Paluch

Ballet BC present a double bill at Sadler’s Wells with work by heavyweight contemporary dancemakers of the present day.

The dance world is all the richer for having different kinds of storytellers - no doubt. But equally, audience members will inevitably gravitate towards makers they feel a connection with. I should be clear - I don't connect with Cathy Marston’s take on narrative dance, or perhaps just Jane Eyre rather than her whole canon.

Considering Kenneth MacMillan’s production of Romeo and Juliet is 60 years old…it looks as fresh as a daisy. This is no mean feat. As when a company is familiar with a ballet it can become stale before you know it - but this absolutely isn't the case, so bravo to all involved.

It's a big deal to have an entire evening dedicated to your work, so kudos to Christopher Wheeldon, who's achieved this accolade in his early 50s. Wheeldon deserves recognition, as he's a renowned choreographer of skill and range with an ever-increasing canon. And Ballet to Broadway: Wheeldon Works shows us the scope of the creative - from lyrical modern ballet to stylish jazz via contemporary explorations.

Collaborations are very now, and the Rambert x (LA)HORDE combination is a very worthwhile experiment. It brings together the UK's longest running contemporary dance company (with classical ballet beginnings) and one of France's most of the moment collectives (who also run the Ballet National de Marseille since September 2019).

Choreography isn't easy, so choreographic platforms like International Draft Works (2025) are of the utmost importance. The movement lab returns to the Royal Ballet and Opera's Linbury Theatre for another insight into where present day choreography, of ballet companies, is going.

Forgive the urban legend - but they say no one does a funeral like the Irish…and WAKE by THISISPOPBABY, a UK debut now showing at the Peacock Theatre, would suggest this statement is indeed fact rather than hearsay.

The Royal Ballet continue The Dance Reflections by Van Cleef & Arpels Festival with Balanchine: Three Signature Works. And the triple bill is also an excuse to celebrate Patricia Neary. Neary has been setting Balanchine works for 57 years, and been a member of the RB family for a long time. This programme is her final one in London, and she'll be missed by all, as her staging capabilities speak for themselves.

The Dance Reflections by Van Cleef & Arpels Festival continues at Sadler’s Wells with Outsider by Rachid Ouramdane & Ballet du Grand Théâtre de Genève. It's an experience which goes something like: Yes, no. And no.

The Dance Reflections by Van Cleef & Arpels Festival continues across venues in London with the Lyon Opera Ballet presenting Merce Cunningham Forever. Cunningham needs no introduction…yet somehow we see very little of his work performed in the UK. It comes down to the Europeans (again) giving us an insight into serious, modern dance, and an experience of his canon.

Oh Drum TAO…what to say? There's many good things about their show The Dream - but then there's some undeniable, less positive realities. The troop are from Oita, Japan. Formed 31 years ago, and has been on the road since. Bizarrely the current shows at the Peacock Theatre are their long-awaited London debut. In a way, this production is ideal Peacock fodder: commercial, accessible but with a sound foundation.

Galas aren't always the easiest of watches; endless pas de deux with bravado at the forefront of proceedings. That said - some rosters are too good to pass on…hence why I attended the Ballet Icons Gala 2025 at the London Coliseum on March 9th.

Scottish Ballet return to Sadler’s Wells with a triple bill. One film, and two live pieces. All of the work is contemporary dance based, and acts as a vehicle for the company dancers to show off their well honed, dance capabilities. I wonder if a classical piece could have balanced things out and allowed the dancers to show their full range of talents?

February 2025 is the inaugural month of Sadler’s Wells East, London’s newest dance house with a 550-seat theatre, six dance studios, and a public performance space all under one roof. Dance has found a new home in East Bank, Stratford/London’s latest cultural and educational district, and Irish choreographer Emma Martin makes her London debut with the 2019 solo work Birdboy.