La Fille mal gardée, Royal Opera House, London, review: 'An enchanting blend of sweetness and brilliant dancing' by Zoë Anderson, Zoë Anderson

Created in 1960, Frederick Ashton's ballet is a story of village lovers

Home Turf, Sadler's Wells, London, review: When football and dance come together by Zoë Anderson, Zoë Anderson

The 93-strong cast ranges from alumni of the National Youth Dance company to first-time dancers, from children to the theatre's Company of Elders

Alvin Ailey American Dance Theater, Sadler's Wells, review: 'A wonderful richness to the way they move' by Zoë Anderson, Zoë Anderson

Founded by Ailey in 1958, the company became the most high-profile and influential African-American modern dance ensemble, mixing modern and contemporary styles with roots in black culture

Scottish Ballet, Festival Theatre, Edinburgh, review: 'Sometimes unwieldy, always whole-hearted' by Zoë Anderson, Zoë Anderson

Scottish Ballet's new double bill for the Edinburgh Festival is ambitious, tough and danced with fierce conviction

The Bolshoi Ballet, Royal Opera House, review: 'The pace is tremendous' by Zoë Anderson, Zoë Anderson

The Bolshoi, one of the world's major ballet companies, return to London with a new production of Don Quixote

The Creation, Garsington Opera, Wormsley, review: 'Baldwin's choreography is sculptural and focused' by Zoë Anderson, Zoë Anderson

The natural world flows through Haydn's oratorio The Creation, from new-made landscapes to darting birds and a roaring lion. In Garsington Opera's new staging, a collaboration with…

L.A. Dance Project, Sadler's Wells, review: Founder Benjamin Millepied's new works are 'underpowered' by Zoë Anderson, Zoë Anderson

Jekyll and Hyde, The Old Vic, dance review: 'Danced with gusto by a stylish cast' by Zoë Anderson, Zoë Anderson

Drew McOnie's new Jekyll and Hyde both confirms him as a strong theatrical talent, while suffering from a lack of emotional depth. This production zips along, danced with gusto by a sty…

Murder, Mystery and a Party, Sadler's Wells, dance review: A new triple bill from the Rambert dance company by Zoë Anderson, Zoë Anderson

Rambert, the UK's biggest contemporary dance company, present Macbeth, mystery, samba and skateboards

Frankenstein, Royal Opera House, ballet review: 'Impressive confidence' by Zoë Anderson, Zoë Anderson

It's the world premiere of Liam Scarlett's new work and the first evening-length ballet he's made for The Royal Ballet

Breakin' Convention, Sadler's Wells, dance review: 'Dazzling' by Zoë Anderson, Zoë Anderson

Breakin' Convention is a festival of international hip-hop dance theatre

She Said, dance review: 'A marvellous image of creativity and power' - ballerina Tamara Rojo plays artist Frida Kahlo by Zoë Anderson, Zoë Anderson

She Said, Sadler's Wells, London

If You Kiss Me, Kiss Me, Young Vic, review: A self-conscious plunge into torch song territory by Zoë Anderson, Zoë Anderson

Jane Horrocks sings a group of new wave songs that she's loved since she was a teenager

Golgota, Sadler's Wells, review: A strange mixture of pompous theatre and horsey skill by Zoë Anderson, Zoë Anderson

The ritual imagery feels empty, a series of poses that aren't improved by being on horseback

Aakash Odedra Company, The Place, review: Impressive star and important subject don't add up to strong work by Zoë Anderson, Zoë Anderson

Odedra's exploration of his own dyslexia gets bogged down in elaborate staging

The Royal Ballet Monotones/The Two Pigeons, Royal Opera House, review: Sweet as sugar and danced to the hilt by Zoë Anderson, Zoë Anderson

The 'green' trio of Emma Maguire, Yasmine Naghdi and Tristan Dyer were particularly strong

Sasha Waltz & Guests, Sadler's Wells, review: Stylised production shows fierce purpose by Zoë Anderson, Zoë Anderson

The 28 dancers crawl out of darkness, moving with a thump and shuffle on the music's jagged beats

Rambert, Sadler's Wells, review: Miguel Altunaga was in firecracker form by Zoë Anderson, Zoë Anderson

Rambert's handsomely danced triple bill swoops from love stories to the rock'n'roll swagger of Rooster

Hussein Chalayan's Gravity Fatigue, Sadler's Wells, review: At last, movement and a sense of theatre take the spotlight by Zoë Anderson, Zoë Anderson

Chalayan and Jalet do have fun with transformations, clothes and sets that aren't quite what they seem

Carmen, Royal Opera House, review: A clunky ending to a sleek mixed bill by Zoë Anderson, Zoë Anderson

It's an elaborate, expensive staging, but Carlos Acosta's choreography is derivative

Of Riders and Running Horses, NCP Car Park Farringdon, London, review: It's high energy, but the mood is relaxed by Zoë Anderson, Zoë Anderson

The dancing is cheerful and spontaneous, with skips and runs and hip hop twitches

Paradise Lost (lies unopened beside me), The Place, London, review: An enchanting and very funny show by Zoë Anderson, Zoë Anderson

The comedy is divine, but the images of love and loss are achingly human