‘Sweet Mambo’: A Pina Bausch supergroup pierce your heart
The Red Shoes review: Matthew Bourne is in his storytelling pomp
Marking Time at Sadler's Wells: 'The feel of a showgirl haka'
Figures in Extinction at Sadler’s Wells: restless and alive
Thikra at Sadler’s Wells: 'a stirring finale for Akram Khan'
Akram Khan on his all-female dance show inspired by the Saudi desert
R:Evolution at Sadler’s Wells: Beautiful but in thrall to the past
Acosta Danza: A Decade in Motion at Sadler’s Wells: simply dour
Vlaemsch (chez moi) at Sadler's Wells: weird stew and thin gruel
Songs of the Bulbul at Sadler’s Wells East: tumultuous and cinematic
The battle to keep London's youth dancing
Quadrophenia, a Mod Ballet at Sadler's Wells: 'you can’t look away'
The Midnight Bell at Sadler’s Wells: a splendidly seedy dance drama
Sara Baras' Vuela at Sadler’s Wells review: thrumming with ferocity
The world's greatest choreographer does not like choreographing
Jane Eyre at Sadler’s Wells: thickets of men blunt the emotional tale
Breakin’ Convention at Sadler’s Wells review: a bank holiday bonanza
The Forsythe Programme at Sadler’s Wells: cerebral and sassy
Dance Reflections at Sadler’s Wells: from classy to cutting-edge
Dance Reflections at Sadler’s Wells: the classy and the cutting-edge
Sadler's Wells East: the insider story behind London's new dance mecca
Matthew Bourne’s Swan Lake at Sadler's Wells: the gold standard
Gigenis at Sadler’s Wells review: classy and atmospheric
Theatre of Dreams at Sadler’s Wells: a full-bodied mind-warping show
Akram Khan’s Giselle at Sadler’s Wells: shatteringly powerful
London City Ballet at Sadler’s Wells review: classy and refined
Sadler's Wells East to be transformed into skatepark for 2025 season
A Chorus Line at Sadler’s Wells: glorious
Carlos Acosta’s Carmen at Sadler's Wells: fails to take flight
Carmen at Sadler’s Wells: is this take on the story just too cool?
Assembly Hall at Sadler’s Wells: beguiling, inventive and strange
INK at Sadler's Wells review: surely the splashiest show in London
Culture matters. So why is it always treated as an optional extra?
La Strada at Sadler’s Wells: Cojocaru is remarkable, unlike the ballet
Edward Scissorhands at Sadler's Wells: a sumptuous gothic revival
BalletBoyz England on Fire at Sadler’s Wells: flair without flames
London City Ballet is 'resurrected' 30 years after closing its doors
Sadler's Wells 2024: Crystal Pite, Wayne McGregor and an octopus
Black Sabbath at Birmingham Royal Ballet: high jumps and head banging
ENB/Our Voices at Sadler’s Wells: sorbet-fresh with magnificent music
Matthew Bourne’s Romeo and Juliet at Sadler’s Wells: goosebumps
42nd Street at Sadler’s Wells: Nicole-Lily Baisden is a true star
Akram Khan’s Creature at Sadler’s Wells: impressive but oof! It’s dour
How did we get here? at Sadler’s Wells review – Mel C brings gravity
Matthew Bourne’s Sleeping Beauty at Sadler’s Wells: a ballet with bite
ENB - Ek/Forsythe/Quagebeur at Sadler’s Wells: underwhelming
Spice Girl Mel C turns contemporary dancer at new Sadler’s Wells show
South Pacific at Sadler’s Wells review: Barely puts a foot wrong
Sir Alistair Spalding: our culture sector is at risk of starvation
Casanova at Sadler’s Wells review: it’ll sweep you off your feet
Jonzi D on how hip hop took over the dance world
Pina Bausch Kontakthof at Sadler’s Wells review: love’s a battlefield
Matthew Bourne’s Nutcracker! review: Lip-smackingly delicious
Akram Khan Outwitting the Devil: Great dancing but what’s going on?
First Olympic breakdancers at Sadler’s Wells
The Midnight Bell review: Matthew Bourne’s at his best in the darkness
Singin’ in the Rain review: It’ll brighten up a wet evening
Why Singin’ in the Rain is still the perfect musical
Mark Rylance’s plea for Sadler’s Wells to axe Barclays deal sparks row
Reunion by English National Ballet review: a magical mixed bill
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