Dance: Remember my name

Tanztheater Wuppertal Pina Bausch
Sweet Mambo
direction & choreography Pina Bausch
dancers Andrey Berezin, Naomi Brito, Nayoung Kim, Daphnis Kokkinos, Alexander López Guerra, Reginald Lefebvre, Nazareth Panadero, Helena Pikon, Julie Shanahan, Julie Anne Stanzak, Aida Vainieri
sets & video Peter Pabst
costumes Marion Cito
music Matthias Burkert, Andreas Eisenschneider
Sadler's Wells, London • 11-21.Feb.26 ★★★★

First staged in 2008, the legendary Pina Bausch's penultimate work is only now making its London premiere. It's a sprawling expressionistic exploration of human emotion that touches on everything from love and joy to isolation and fear over two hours. It's also an unusually intimate piece that allows nine dancers to express their personalities and interact with the audience. These six women and three men are a fascinating mix of nationalities and ages (seven were in the original 2008 cast), and each asks us to remember their name.

They all get to perform a range of solos and duets, with tonal shifts provided by an eclectic mix of musical genres and sound that often lifts the choreography but also sits cleverly at odds with it. All of this is assembled almost like a sketch show, with vignettes flowing into each other, echoing back and forth with running gags and repeated movement. Much of this is very funny, as scenes use both subtle wit, archly camp moments and some full-on nuttiness. As the primary comic in the piece, the delightful Nazareth Panadero adds Lynchian surrealism to her hilarious riffs.

By contrast, Julie Shanahan has the most emotional elements, especially in a stormy sequence in which she is held back again and again by men while she cries out, "Let me go!" She's also nearly run over by a table and drenched with buckets of water. Then at the very end she runs into the audience, where she grabbed me on press night begging for help because another dancer wouldn't leave her alone.

One of the key repeating images is of the three men, dressed in black, drawn to the women in their flowing colourful gowns, bothering them, pushing and pulling them (by skirts and hair), while the women both assert control and defiantly express their independence. Some scenes are sweetly romantic, others are downright harrowing. But the overall tone reflects the balance of life experiences. Highlights include young Alexander López Guerra's show-stopping twisty, groovy solo. And Naomi Brito gets a glorious spotlight turn inside a billowing curtain to Lisa Ekdahl's Cry Me a River.

Curtains feature dramatically on the bare stage, often fluttering in the breeze, occasionally with images from the 1938 German comedy The Blue Fox projected onto them. Props include pillows, masks and champagne glasses, as Julie Anne Stanzak amusingly coaxes us to whisper "brush" to look magnetic at parties. And to perform cartwheels everywhere we go. In other words, this wondrously offbeat show traverses a huge range of moods and attitudes, with choreography that is joyfully extended as well as sensually evocative, mischievous and tormented, loose, free and magical. It may feel somewhat random, but the visceral effect is powerfully celebratory.

For details, SADLER'S WELLS >

photos by Karl-Heinz Krauskopf, Oliver Look • 11.Feb.26

Stage: Married to the job

Gecko
The Wedding
created by Amit Lahavwith Mario Garcia Patrón Alvarez, Lucia Chocarro, Madeleine Fairminer, Vanessa Guevara Flores, Ryen Perkins-Gangnes, Saju Hari, Wai Shan Vivian Luk, Miguel Torres Umba, Dan Watson
music Dave Price • sets/costumes Rhys Jarman
lighting Joe Hornsby • sound Jon Everett
Sadler's Wells East, Stratford • 21-24.Jan.26 ★★★★

As part of MimeLondon, the international physical theatre company Gecko reimagines its acclaimed 2017 stage production exploring the contracts we enter into as members of society. This is a provocative piece, but it's also a lot of fun, bristling with wit as it playfully punctures imagery and ideas that we take for granted. Using marriage as a metaphor, the show is a work of art that doesn't need to be interpreted specifically. Instead, it's best to sit back and enjoy the astonishing skill in this eye-catching, emotionally resonant performance.

The setting is surreal, as new people are delivered onto the stage down a chute, put into a wedding dress and sent to work with a briefcase. Workers then spiral around, making phone calls and conducting business in squares of light on the stage, trying to fit in as they aspire for promotion. They speak to each other in a variety of languages that add to a richly dense music and soundscape, with thoughts and feelings revealed using both full physicality and the tiniest movements and pauses. The loose, kinetic choreography is a fascinating mix of personal and corporate expression.

Along the way a few characters emerge, including a married couple struggling with the demands of their life and a sparky family of immigrant buskers who live in a suitcase and try to integrate with society. Momentous events pepper this 75-minute show, including a few wildly energetic, ethnically charged weddings that create a striking sense of community. This adds a hopefulness to scenes that depict a life constrained by rules and expectations, including moments in which people are literally boxed in or thrown out.

Every element of this show is expertly assembled, including the timeless, shifting costumes and inventive sets and props that cleverly light up the cast members. Other lighting emerges from the wings, creating a luxuriantly inky blackness around the cast. The cumulative effect is dazzling, especially as the show continually offers honest commentary about how social structures can crush our humanity while also providing avenues for individual expectation. And it's in the paths to escape that the show finds a profound sense of joy.

For info, SADLER'S WELLS >

photos by Malachy Luckie • 21.Jan.26

Dance: The boss' new groove

ZooNation's
Ebony Scrooge
writer, director, choreographer Dannielle "Rhimes" Lecointe
with Leah Hill, Portia Oti, Malachi Welch, Liberty Greig, Deavion Brown, Elijah Smith, Jackie Kibuka, Lindon Barr, Megan Ingram, Melissa Bravo, Robert Dunkley-Gyimah, Sia Gbamoi
composer Michael "Mikey J" Asante
sets Joanna Scotcher • costumes Natalie Pryce
lighting Charlie Morgan Jones • sound Sarah Victoria
Sadler's Wells East, Stratford • 26.Nov.25-4.Jan.26 ★★★★★

With plenty of attitude, the gifted team at ZooNation breathe fresh new life into the Charles Dickens' classic A Christmas Carol, transforming it into a fabulous explosion of hip-hop set in London's fashion world. For this first holiday production at Sadler's Wells East, the story has been carefully reworked to draw attention to themes of legacy and cultural impact, expressed through buoyant choreography and a range of soaring songs. It's impossible not to stand up and cheer at the end.

Ebony (Leah Hill) runs her design house with an iron fist, like Miranda Priestly crossed with Cruella DeVil, specialising in striking black and white couture. But it's Christmas, and she refuses to give her workers time off, let alone a holiday party, while the rest of London celebrates in the streets. Then the ghost of her late partner warns her that she will be visited by three spirits on Christmas Eve. Present reveals the truth of her ruthless work ethic, while Future shows her the logical conclusion of this trajectory. After the interval, Past takes Ebony back to her Caribbean roots, forcing her to confront generational trauma and plot a new path forward.

Aside from cleverly reordering the spirits, this adaptation defines fewer side characters, principally Ebony's tearaway niece Freddie (Portia Oti) and grounded assistant Bob (Malachi Welch). They offer their own textures, with distinctive dance styles that contrast with Hill's skilfully sharp-edged moves. Welch steals the show with his seemingly weightless, swooping movements. Watching him float is exhilarating. But then everyone on-stage is also expertly popping, breaking, waacking and vogueing to an eclectic live mix of riotously uplifting tunes. 

The musicality of these performers is jaw-dropping, playfully diving into the wonderfully kinetic choreography, augmented by gorgeous lighting and costumes. While the plot is fairly simple, the ambitious thematic shift is important. Rather than a cautionary tale about greed and social connection, this version is a provocative comment on the importance of remembering your personal heritage. The designers could have perhaps pushed the shift from Ebony's monochrome empire to her technicolour transformation, but this show is an infectious blast of pure seasonal joy.

For details, SADLER'S WELLS >

photos by Pamela Raith & Johan Persson • 3.Dec.25

Dance: Deep under the skin

Ballet Black
Shadows
artistic director Cassa Pancho
with Isabela Coracy, Megan Chiu, Acaoã de Castro, Taraja Hudson, Mikayla Isaacs, Love Kotiya, Bhungane Mehlomakulu, Helga Paris-Morales, Elijah Peterkin, Ebony Thomas, Ruby Runham
lighting David Plater • set Richard Bolton
Sadler's Wells, London • 26-29.Nov.25 ★★★★

With their strikingly visual style, Ballet Black debut a fascinating double bill that churns with psychological intrigue. These are two very different pieces, but they share an introspective approach that continually catches us off guard, challenging ideas about motivations and inexplicable yearnings. The gifted dancers perform them with full-bodied precision, gorgeously soaring physically while digging into the, yes, shadowy internalised elements. So the performances become thoughtfully provocative.

A Shadow Work is directed and choreographed by Chanel DaSilva, springing out of the therapeutic practice of exploring and healing repressed parts of ourselves. It centres around a woman in white (Taraja Hudson) who is encircled, lifted and swirled by the rest of the company, dressed in black mesh costumes (by Natalie Pryce). The dancers around her begin displaying their own features, sometimes in their own spotlights, mirroring and echoing movements, both working together and challenging each other. 

The movement is lyrical and elegant, mixing classical ballet with modern dance to the rhythmic pulse of Cristina Spine's electronic score while dramatic lighting shines from the back or sides. There are several achingly cool moments, including the company quietly swaying like reeds on an ocean floor and clever movement that creates floating and falling effects. It's hugely expressive, reflecting strength and vulnerability, and it gets increasingly insistent as it moves into a powerful climax.

My Sister, The Serial Killer is choreographed, directed and adapted from Oyinkan Braithwaite's novel by Ballet Black founder Cassa Pancho. There's a clear plotline here, and it's expanded by several wonderfully eye-catching flourishes that explore darker underlying ideas. The story centres on the nurse Korede (Isabela Coracy), who finds herself repeatedly cleaning up after her flirtatious sister Ayoola (Helga Paris-Morales) murders her boyfriends in "self-defence". This begins to weigh on Korede, and the situation becomes even more desperate when Ayoola locks eyes on Dr Tade (Ebony Thomas), Korede's colleague and secret crush.

Along with a fabulously colourful pool party, there are scenes involving scary groups of circling ghosts. And a river comes eerily to life as one victim's body is disposed into the water. The characters are beautifully rendered by the dancers, who reveal personalities through inventive details. And Tom Harrold's score (with additional music by Toots & The Maytals and Fela Kúti) adds waves of emotion as Korede grapples with her loyalties. So if the storytelling feels a bit heightened and soapy, and the props are perhaps overthought, this is a darkly involving piece that leaves us thinking.

For details, BALLET BLACK >

photos by Ash • 26.Nov.25

Dance: Connection is the answer

Nederlands Dans Theater & Complicité 
Figures in Extinction
direction & choreography Crystal Pite, Simon McBurney
dancers Alexander Andison, Demi Bawon, Anna Bekirova, Jon Bond, Conner Bormann, Viola Busi, Pamela Campos, Emmitt Cawley, Conner Chew, Scott Fowler, Surimu Fukushi, Barry Gans, Ricardo Hartley III, Nicole Ishimaru, Chuck Jones, Paloma Lassère, Casper Mott, Genevieve O'Keeffe, Omani Ormskirk, Kele Roberson, Gabriele Rolle, Rebecca Speroni, Yukino Takaura, Luca-Andrea Lino Tessarini, Theophilus Veselý, Nicole Ward, Sophie Whittome, Rui-Ting Yu, Zenon Zubyk
music Owen Belton • sound Benjamin Grant
lighting Tom Visser • sets Jay Gower Taylor, Michael Levine
Sadler's Wells, London • 5-8.Nov.25 ★★★★★

Nederlands Dans Theater and Complicité are two of the world's finest dance companies, led by top artists Crystal Pite and Simon McBurney. So it's hardly surprising that this three-part show (with two intervals) is both dazzlingly beautiful and often heart-stopping, drawing the audience in with visual, technical and artistic prowess to provide an experience that is both thought-provoking and deeply moving. From the detailed, precise choreography to an inventive mix of sound and light, everyone involved is at the very peak of their powers.

The trilogy opens with Figures in Extinction [1.0] the list, which I first saw as part of another NDT programme at Sadler's Wells in 2023. Here it's presented in a robust new context as it traces species and places that have been lost, including mammals, birds, flowers and glaciers. Alongside a mix of spoken words and musical underscore, each is depicted interpretively by the dancers in ways that send chills up the spine. Highlights include a herd of caribou, a breathing cheetah skeleton, a duet of macaws and a twitching frog. Through all of this there's a real sense that we are watching the earth disappear around us, and the earth is watching us.

Figures in Extinction [2.0] but then you come to the humans finds the entire cast on-stage in chairs, with tiny movements expressing isolation as they look into phone screens. Their reactions are hilarious, and also astutely pointed, as the voiceover speaks about how brains are constructed for various tasks, including the distinctly human ability to see perspectives beyond ourselves, giving us both distance and empathy. This plays out in expressive ways that urge us to see humanity in a new way. Visual trickery often feels like magic, especially as the dancers bring cameras onto the stage, projecting images onto the screen behind them. It's also deeply moving to think about humanity in connection with everything around us.

Finally, Extinction [3.0] requiem explores our relationship with those who have gone before us, intriguingly opening as each dancer notes where they were born, the culmination of ancestors scattered across the globe. A gigantic black cube descends onto the stage, revealing a hospital scene that plays out through this piece in a mix of gallows humour, family drama and profound grief. Even here, there's a blast of life in choreography that resolves into full-on Fosse-style jazz riffs as well as moments of racing and straining, understanding that death is something real for all of us. Witty, harrowing and tender, this is viscerally moving on surprising layers.

Throughout this show, light and shadow are skilfully deployed alongside striking projections, evolving through a series of spectacular transitions. But the demanding choreography makes the biggest impression, as dancers guide our eyes around the stage with both micro-movements and grandly sweeping physicality, often performing as if they are puppets controlled by an unseen hand. At every point in all three segments, there are pointed comments that combine physicality, religion and politics into a pure reflection of what it means to be human. It's the kind of show that changes the way we see the world and ourselves. As Pite says, "If separation is the question, then connection is surely the answer."

For details, SADLER'S WELLS >

photos by Rahi Rezvani • 5.Nov.25

Dance: A reminder from mother earth

Akram Khan Company
Thikra: Night of Remembering
director & choreographer Akram Khan
visual director, costumes, set Manal AlDowayan
dancers Pallavi Anand, Ching-Ying Chien, Kavya Ganesh, Nikita Goile, Samantha Hines, Jyotsna Jagannathan, Mythili Prakash, Azusa Seyama Proville, Divya Ravi, Elpida Skourou, Mei Fei Soo, Shreema Upadhyaya, Kimperly Yap, Hsin-Hsuan Yu
music & soundscape Aditya Prakash • sound Gareth Fry
lighting Zeynep Kepekli • dramaturgy Blue Pieta
Sadler's Wells, London • 29.Oct-1.Nov.25 ★★★★

A collaboration between choreographer Akram Khan and visual artist Manal AlDowayan, this one-hour dance performance is a journey into an elemental past that plays on rituals, history and mythology. Watching it is an unusual experience, as there's the sense of a strong narrative in the action on-stage, even if the meaning remains tantalisingly out of reach. But the expressive movement bursts with humanity as it explores spaces between the past and present.

With an all-female cast, it opens with a leader standing atop a rock encircled by acolytes, as a young woman in white appears. This is an ancestral spirit, who returns to her tribe for one night to help them reflect on their existence. The story plays out in swirling dance scenes in which four key characters interact in a variety of intense ways, controlling and being controlled, sleeping and waking, echoing each other and leading the larger group into wider actions. While the show emerges from the ancient Arabian city of AlUla, it reverberates with pre-history along the spice route through Europe, Africa and Asia.

Choreography is sweeping and expressive, often involving the performers' long straight hair. Much of this is individualistic, but there are ripples of synchronicity that sometimes blossom into precise full-group sequences. Floaty costumes and the extended locks add to the flowing effect, with the four central figures standing out in white, black, red and burnt orange. So watching this is mesmerising, with impressive work from the dancers as they go through some seriously demanding movements. It's restlessly eye-catching, and darkly moving.

Intriguingly, this piece was originally designed to be staged outdoors, and it certainly has a primordial sensibility to it, transporting the audience out into the wilderness and back to the dawn of time. The set, lighting and swirl of music and sound create a strongly evocative mother-earth vibe. So even if we're never quite sure who these characters are or what they're up to, their interaction is both visual and emotional. And it speaks to our primitive souls.

For details, SADLER'S WELLS >

photos by Camilla Greenwell • 28.Oct.25

Dance: Chaos, transformation and rebirth

Bogotá
director-choreographer Andrea Peña
performers Nicholas Bellefleur, Charlie Prince, Jo Laïny Trozzo-Mounet, Marco Curci, Jontae McCrory, Erin O’loughlin, Francois Richard, Frédérique Rodier, Chi Long
lighting Hugo Dalphond • sound Debbie Doe
sets Jonathan Saucier, Andrea Peña
costumes Jonathan Saucier, Polina Boltova
Sadler's Wells East, Stratford • 2-3.Oct.25 ★★

Kicking off this year's Dance Umbrella festival, a month-long series of events online and at venues across London, this 80-minute show was created by Colombian designer-choreographer Andrea Peña and her group of artists to explore her nation's political and spiritual heritage. This is a difficult piece, challenging the audience in ways that feel oddly impenetrable. Intriguing ideas about indigenous cultures, religion and colonialism emerge continually, but everything about this show feels indulgent.

That said, the nine performers are remarkably committed, putting their whole bodies into the nearly naked choreography. Much of this involves moving around the stage in eerily fluid slow motion, initially clad primarily in G-strings and kneepads, sometimes interacting with each other with lifts or as groups pulsing together. There are echoes of synchronised choreography here and there, including a couple of full group moments. But most of this piece features individual expressions, including a series of rather random changes into clothing that is unusually ill-fitting for the dancers.

The stage is as deconstructed as the costumes, with scaffolding, netting and plastic sheeting scattered around. Dancers clamber up the frames, slide slowly across the floor and languish around the edges. At one point, two women bind themselves together with a long cord and have a slow-moving tug of war. Elsewhere, Peña herself appears after a black piñata is bashed into pieces, mopping up the mess with the Colombian flag. This feels somewhat on-the-nose, as do dancers spinning around with middle fingers raised defiantly.

Throughout the show, the sound mix is an escalating rumble with occasional rhythms and vocalisations, while the tone of the dancers shifts more broadly from joyful smiles to sulky glares. It's all rather mesmerising, and the skilled physicality keeps us watching with interest. There are elements that cleverly tap into the scope of history, mixing symbolism with literal expressions to explore how societies transform over time. But these ideas become increasingly elusive, especially in such a cliched industrial setting.

For details, DANCE UMBRELLA >

photos by Kevin Calero, Félixe Godbout Delavaud, Andrea Peña, Antoine Ryan
2.Oct.25

Dance: A joyous fusion

Acosta Danza
A Decade in Motion
artistic director Carlos Acosta
dancers Amisaday Naara, Adria Díaz, Daniela Francia, Frank Isaac, Leandro Fernández, Brandy Martínez, Cynthia Laffertte, Ofelia Rodriguez, Melisa Moreda, Thalia Cardin, Wendy Elizabeth, Alexander Arias, Aniel Pazos, Paul Brando, Edgar Zayas
Sadler's Wells, London • 23-27.Sep.25 ★★★★★

Acosta Danza celebrates its 10th anniversary with a programme of four exhilarating pieces that burst with Cuba's distinctive blend of rhythms, attitude and physicality. Performed by Carlos Acosta's company of seriously gifted and gorgeously muscled dancers, two of these works (98 Días and Llamada) are UK premieres, and all four capture what Acosta refers to as his home nation's "fusion of cultures, rhythms and dances". These are pieces that get the heart racing with astonishing choreography that expresses a pure love of dance. 

First up is La Ecuación (the equation) by choreographer George Céspedes, in which four dancers spiral around the frame of a cube in brightly coloured costumes. Their movement echoes and mirrors, in solos and groups, striking eye-catching shapes along with the jubilant thump of X Alfonso's music, which mixes marimba and maracas with rumbling techno undercurrents. With its bright colours, pulsing beats and inventive lighting, this is unusually expressive and expansive, and also acrobatic and cheeky, a celebration of soaring physicality that feels improvised but is skilfully precise.

Choreographed and designed by Javier de Frutos, 98 Días echoes the life-changing days poet Federico García Lorca spent in Cuba in 1930, rediscovering his multi-ethnic heritage. Along with music by Estrella Morente, the soundtrack features spoken words by Lorca, including a lecture about his arrival on the island and the evocative poem Son de Negros en Cuba. In cool blue jumpsuits with lace sleeves, a group of 10 dancers performs to both words and music, with gorgeous full-bodied movement that expresses the collision of cultures, highlighting Latin and African rhythms, classical flamenco and ballet flourishes, and both dancing and fighting in the streets. It's visually and emotionally breathtaking.

Even more emotive, Goyo Montero's Llamada (calling) sees the dancers on stage in white skirts and matador trousers, expressing deep yearning as thy spin both in a group and in their own spotlights. This is a rolling, floating piece with music by Owen Bolton, Miguel Poveda and Rosalia, and it explodes with passion as romance blossoms, lighting shifts to red and costumes are shed. The music and choreography are elegantly beautiful, creating wrenching connections between the dancers that evoke wider social themes, most notably that internal sense of direction that we all recognise regarding things like culture, religion and sexuality.

Finally, the entire company takes the stage for De Punta a Cabo (from end to end) by Alexis Fernández and Yaday Ponce. Set along Havana's Malecón seawall, this is a celebration of culture that depicts Cuba's unique blend of Native American, European and African heritage in both movement and music (by Kumar, Kike Wolf and Omar Sosa). In front of a projection of the bay, which sometimes features performers atop the wall, the dancers joyfully throw themselves into a range of eloquent movement, jumping and spinning as they engage with each other as if they're attending a street party. The music shifts from smooth and rhythmic to hip hop as night falls, and a pair of bongos adds enjoyable beats. It's no wonder that they strip off their sweat-soaked clothes and collapse in a heap at the end. Only to pop up for a very lively curtain call.

For details, SADLER'S WELLS >

photos by Hugo Glendinning, Argel Ernesto González Alvarez,
Ariel Ley, Enrique Smith Soto • 23.Sep.25

Dance: You've been framed

Eastman
Vlaemsch (chez moi)
director/choreographer Sidi Larbi Cherkaoui
performers Dorotea Saykaly, Helena Olmedo Duynslaeger, Christine Leboutte, Kazutomi ‘Tsuki’ Kozuki, Dayan Akhmedgaliev, Patrick Williams Seebacher, Nick Coutsier, Pau Aran Gimeno, Jonas Vandekerckhove, Nelson Parrish Earl, Darryl E Woods, Khalid Koujili El Yakoubi, Tister Ikomo, Maryna Kushchova
live music Floris De Rycker, Tomàs Maxé, Anne Rindahl Karlsen, Soetkin Baptist
sets Hans Op de Beeck • costumes Jan-Jan Van Essche
musical direction Floris De Rycker • sound Tsubasa Hori
Sadler's Wells, London • 18-20.Sep.25 ★★★

Belgian-Moroccan artist Sidi Larbi Cherkaoui takes a deep dive into his Flemish roots with this lively, multi-layered production that bursts with a wide range of ideas. It's visually dazzling and packed with metaphorical meaning as it mixes dance and music with spoken word, religion, language, art and culture. In other words, this is an exploration of identity, and it inventively reflects how difficult it is to isolate ethnicity and nationality in a world in which we all intermingle. It's also extremely singular, conveying ideas in ways that don't quite allow the audience to get inside them and feel them personally.

The stage is an astonishing mix of spaces and shapes, including elements from medieval Flanders, with sets, props and costumes that emphasise the region's perceived greyness. Musicians perform with ancient instruments, while De Rycker's vocal ensemble Ratas del Viejo Mundo harmonises in 16th century compositions. Intriguingly, other cultures continually seep into every aspect of the show, including Arabic musicality, American perspectives and sub-Saharan imperialistic influences, as well as some Far East touches. Everything plays out in lovely multi-lingual textures, although the words are more academic than resonant.

Full of fascinating touches, the complex choreography challenges the gifted performers to offer full-bodied expressions that shift from intimate movement to grand-scale tableaux. Much of this is laced with wit, as characters emerge and interact, playfully juggling elements involving gender and history. And rather a lot hinges around depictions of painters, as dancers repeatedly wield brushes, paint cans and picture frames in various scenes. Along the way, there are show-stopping moments, including a bus tour invasion of influencers gawking at the show. 

All of this plays out in such an intriguing flurry that the audience never has a clue what might pop up next. Key characters emerge to create through-lines in the narrative, including dancers, actors and singers, although what they mean and how they interact remains opaque. Indeed, many elements are head-scratchingly unclear, especially small bits of business taking place on the edges of the stage. Clearly it all has a profound meaning, and perhaps Cherekaoui's cheeky point is right there in the show's title, which is a deliberately misspelled archaic version of "Flemish": we should stop trying to put our cultural identity into a neat and tidy box.

For info, SADLER'S WELLS >

photos by Filip Van Roe • 18.Sep.25