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Bodies honed for heavy industry strut like Greek gods, while a cruel young cad reforms too late
As belts continue to tighten, don't be too surprised by a sense of déjà vu, as theatres pad their schedules with known quantities (hello again, 50th-anniversary revival of West Side Story). This may be good news for those who missed, say, Akram Khan's marvellous Desh first and second times around (catch it once and for all at Sadler's Wells in June), or Sutra, Sidi Larbi Cherkaoui's mesmerising date with 20 plywood cubes, and the Shaolin Monks (Sadler's Wells, March). But it's also good news for Scottish Ballet, who have persuaded Matthew Bourne to let them loose on Highland Fling, his deliciously grungy 1994 update on La Sylphide. It tours four Scottish venues in April and May.
Anna Karenina brushed aside by a streetcar
The Pollard review, which is examining a shelved Newsnight report into the Jimmy Savile abuse allegations, is to take about a month longer to report than expected.
Mark Ronson, most famous for his work with Amy Winehouse, has co-created a new dance piece at the Royal Opera. He tells Elisa Bray what attracted him to it
From the Royal Opera House to C4 and the Cultural Olympiad, Tony Hall discusses his rewarding roles with Ian Burrell
With dazzling effects, the show goes on without Polunin the wonder boy
The final programme of the Royal Ballet season goes from the tutu'd geometries of Ashton's Scènes de Ballet to MacMillan's stomping The Rite of Spring. Glen Tetley's Voluntaries sits heavily in the middle of this Stravinsky sandwich.
Frederick Ashton's Sylvia is a frilly mythological ballet with a delightful Delibes score and a cast including everything from gods to ceremonial goats. The Royal Ballet's production is a sumptuous recreation of the 1952 original, but needs more authority behind the trimmings.
Lukewarm love in a cold climate
The Royal Ballet ends the season by putting on plenty of stars. This programme of plotless ballets has a lot of leading roles – and though injury and illness forced several cast changes, the dancers have been switched to good effect. The company looks strong and happy throughout.
Set against a deep ocean blue backdrop, these two dancers from the Royal Ballet look suspended in thin air as they leap in synch to George Balanchine's Symphony in C.
The chance to step into Carlos Acosta's shoes last week was a dream come true, Rupert Pennefather tells Susie Mesure
Magic Miyako's plum swansong
To many ballet fans, opera is all about melodrama and inappropriate vocalising. Yet, to opera aficionados, ballet can seem limited and dull. But, Jessica Duchen says, they do work together – and two companies aim to prove it
Variations that bear repeating