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Watch the videos below to see previews of some of the best shows, music and television events that are happening this autumn

Dance review: Cinderella jitterbugs the night away

When you're famous for doing the unexpected, it gets mighty hard to spring new surprises. Matthew Bourne's Cinderella, his first show with his company AMP since the stupendously successful Swan Lake, had managed, against the odds, not to give too much away in advance. London in the Blitz. The lovely Sarah Wildor and real-life boyfriend Adam Cooper. A scooter and side-car going to the ball. That was it. So, as the first- night guests squeezed through the sandbagged foyers of the Piccadilly Theatre, covering their ears from the drone of Messerschmitts and sirens, it was less a question of whether Bourne could pull off another hit, more an eager curiosity as to how.

Dance Review: Just one stiletto

Cinderella Piccadilly Theatre, London

Ballet Blitz as Cinderella wages war on convention

Cinderella did go to the ball - on a motorbike; the corps de ballet didn't wear tutus, but they did wear gas masks.

My friend went to Cinderalla. All I got was this lousy T-shirt

Cinderella may have been happy with a glass slipper, but AMP are determined that their audiences will leave with nothing less than a T- shirt, a key-ring and a photo of Adam Cooper. Louise Levene on the merchandising of a West End dance craze

When the shoe fits

Matthew Bourne put men in tutus. Now he's got Cinderella in specs.

Dance: You will go to the ball

After setting feathers flying with Swan Lake, Adventures in Motion Pictures dust off Cinderella's party dress and transport her to the world of the London Blitz

Dance: New horizons

The Royal Ballet has, in the past, been accused of unadventurous programming and a tendency to rely too heavily on full-evening story ballets. This autumn's season at Hammersmith's Labatt's Apollo consists of Romeo and Juliet, Giselle and The Sleeping Beauty.

Dance: Romeo and Juliet The Kirov at the Coliseum, London

Name that tune. The music was unrecognisable at first but gradually it crystallised into "Happy Birthday" and the audience burst, almost gratefully, into a rousing chorus of the song as the Queen Mother sat down next to the Queen in the centre of the Coliseum's Royal Box to enjoy her 97th birthday treat.

Ballet stars quit for Blitz 'Cinderella'

'Too safe' Royal's dancers are finding more adventurous work, writes Elizabeth Redick

Cinderella goes to war for new production

Matthew Bourne, the ballet director who dressed men in tutus for a hugely successful production of Swan Lake, plans an equally radical interpretation of Cinderella.

Royal Ballet star dances away to a rival's tune

One of The Royal Ballet's brightest and most acclaimed young stars has been lured by the radical contemporary dance troupe Adventures In Motion Pictures to star in its next West End extravaganza.

Dance: What's the satyr?

Once upon a time, people were familiar with classical myths just as nowadays they're familiar with the comings and goings of Albert Square. The affairs of Greek gods and heroes were a soap opera that never went stale. Take Ariadne. She was the one who ran off with her lover to a fabulous Greek island and then got dumped. She'd just decided to take an overdose, when along came this wine-merchant guy called Bacchus who really knew how to give a girl a good time. Great storyline, but the choreographer Kim Brandstrup was wrong if he thought more than a handful of his audience would pick up on it. Does it matter? In the case of his lovely new piece The Garden of Joys and Sorrows, I think it probably does.

DANCE: Cinderella; City Ballet / Royal Ballet, London

The ballet pound in Londoners' pockets is under siege this Christmas by companies offering Christmas treats. Although not as bad as some years, when as many as three Nutcrackers have been on offer, we still have a situation in which four companies have only two stories between them: The Nutcracker and Cinderella. We all know that productions differ hugely, and that it's fascinating to compare and contrast, yet nobody but a critic is likely to fancy Cinderella twice in a season - let alone twice in a day.

CLASSICAL MUSIC: San Francisco Symphony / Tilson Thomas; Barbican Centre, London

Sunday evening's Barbican "Great Performers" concert by the San Francisco Symphony under Michael Tilson Thomas opened to the commanding strains of Aaron Copland in "monumental" mode. Symphonic Ode is an early work that combines premonitions of Appalachian Spring and Lincoln Portrait with hints of jazz. It was given a bold, confident performance, a little lacking in weight and not without the odd imprecision, but cumulatively impressive.
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