Letter from London: Summer in the City
As surely as spring turns into summer, the dance season in London continued its course from late April right through to July.
As surely as spring turns into summer, the dance season in London continued its course from late April right through to July.
On 13 September 1777, the world premiere of Maximilien Gardel’s pantomime ballet La Chercheuse d’Esprit took place before the French court at Choisy.
The performance Mountain took place at Jatka78 as part of TANEC PRAHA festival. In it, Jozef Fruček and Linda Kapetanea explore the themes of death and the loss of a loved one.
Adriana Štefaňáková made a notable debut to dance audiences last fall as a performer in Miřenka Čechová’s Hostage. Now she has presented her own full-length work Triptych: Genesis/Metamorphosis/6’7...
The 32nd edition of the Czech Dance Platform went ahead despite cuts in state subsidies. A revamped marketing identity, a more interesting selection of submitted works, and perhaps even the selection criteria themselves have benefited the platform compared to last year.
After a seasonal glut of Nutcrackers, dance companies in London settled into more diverse repertoire from the beginning of 2026. This latest Letter from London takes us from late January until early April.
The ballet company of the Moravian-Silesian National Theatre in Ostrava premiered a programmed evening titled More Than Mozart!, subtitled The spell of music – the grace of dance – the joy of laughter.
This year’s Prague edition of the Malá inventura (Small Inventory) festival once again presented notable projects from the independent and experimental scene. In addition to established companies, it also introduced up-and-coming and lesser-known artists active in the Czech Republic.
At the start of this year, all four of my “quick jaunts” to London, Amsterdam, Brussels, and Florence to see dance were significantly disrupted.
PONEC theatre finds itself caught between two conflicting perspectives. Within the institution, the prevailing feeling is that things are moving forward and a necessary recovery process is underway. From the outside, however, the theatre is judged primarily on its results, which remain modest so far.