Striding on in stilettos or falling out of their clothes, Pina Bausch's women are daring and reckless – until the married couples' waltz
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 Royal Ballet's outgoing director leaves a surprisingly short – and white – company
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
For the Royal Ballet's latest production, the oldest dancer on stage – by several years – is just 20. Rob Sharp reports
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.
To those who saw her, Georgina Parkinson was unforgettable in the role of La Garçonne, the enigmatic, androgynous figure who drifts into Bronislava Nijinska's sly and witty modernist classic Les Biches. Nijinska (sister of Vaslav Nijinsky), who created her ballet of manners for Diaghilev, revived it in 1964 for the Royal Ballet. She spent hours patiently coaching Parkinson who, 30 years later, remembered that the ballet was technically hard for her, very stylised, and she didn't have "a burningly great technique".
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