Silent Lines was inspired by Maliphant’s research and explorations in movement and anatomy to create rich and resonant aesthetics for the stage using a blend mix of music, movement, animated video projection, and lighting. The piece investigates a range of poetic possibilities from internal and external environments, the microcosm and the macrocosm. Drawing on methodologies from a variety of movement disciplines and setting the movement within a world of animated light and atmospheric sound, Silent Lines explores the endless web of connections we encompass and embody.

Silent Lines was inspired by Maliphant’s research and explorations in movement and anatomy.

Silent Lines

Bold, unpredictable, and innovative. Multi-award-winning choreographer Alexander Ekman's Hammer is a humorous critique of our image-obsessed world. 

A harmonious commune of altruistic individuals begins to dissolve as they adopt a more modern life. With all eyes on them, the community becomes gradually more individualistic and egotistical. Ekman shines a light on the skewed values of contemporary society with talented dancers of the GöteborgsOperans Danskompani. Hammer is a bold testament to Ekman's creative powers.  

Bold, unpredictable, and innovative. Multi-award-winning choreographer Alexander Ekman's Hammer is a humorous critique of our image-obsessed world. 

Alexander Ekman: Hammer

Soledad is a duo full of sensuality and emotion that explores the wild and tender aspects of a love relationship. Bonachela received the Guglielmo Ebreo Award and the Critics Award at the first international Biennale Danza Italia competition for independent choreographers, in Italy, 2006.

Soledad is a duo full of sensuality and emotion that explores the wild and tender aspects of a love relationship.

Soledad

Three incredible performances in a range of styles from ballet to hip-hop to tap. Together for the first time, Tiler Peck, Lil Buck, Sierra Boggess, Brooklyn Mack, and the Syncopated Ladies take the stage in works by Chloe Arnold and Jennifer Weber, and a world premiere from Christopher Wheeldon.

Three incredible performances in a range of styles from ballet to hip-hop to tap.

A New Stage: Curated by Tiler Peck

Choreography premiered by Danza Contemporánea de Cuba in 1987, and inspired by the homonymous play of the Peruvian playwright Alonso Alegría. In 2015, Carlos Acosta recovered the piece for the repertoire of his company Acosta Danza. This Duet focuses on a tightrope walk across Niagara Falls showing the sheer strength and focus of a dancer as they move faultlessly across the stage. Boan’s El cruce sobre el Niágara is one of the most important choreographies of modern Cuban dance.

Boan’s El cruce sobre el Niágara is one of the most important choreographies of modern Cuban dance.

El Cruce Sobre El Niágra

Sensual and entrancing, Kylián's Wings of Wax is an allegorical journey danced beneath the branches of an inverted tree to a hauntingly beautiful score of selections by musical giants Philip Glass, Heinrich von Biber, John Cage, and Johann Sebastian Bach.

Kylián's Wings of Wax is an allegorical journey danced beneath the branches of an inverted tree to a hauntingly beautiful score.

Wings of Wax

Set to contrasting scores by Charlotte Harding and Keaton Henson, Them/Us is an inventive double bill asking where we see ourselves in relation to the “other,” and explores the fine balance between them and us. Them is created through a unique choreographic process by the dancers. The piece explores the versatility of movement which the company has always been known for and proves to be an exciting culmination of the experience gained after 20 years of working with leading artists. Tony and Olivier Award-winning choreographer Christopher Wheeldon concludes the evening with Us, exploring human connections and culminating in a tender duet.

Them/Us is an inventive double bill asking where we see ourselves in relation to the “other,” and explores the fine balance between them and us.

Them/Us

Adapted from the anti-play Offending the Audience by Austrian playwright Peter Handke and enriched by Ohad Naharin’s innovative, movement language Gaga, the Bessie-award winning Naharin’s Virus exemplifies the choreographer’s aesthetic with the sole purpose of showing the naked reality of a moment in space. The varied soundtrack includes classical music, original music by Karni Postel, and adaptations of traditional Arabic music by Habib Alla Jamal and Shama Khader.

Adapted by Ohad Naharin from the anti-play Offending the Audience by the Nobel-winning Austrian playwright Peter Handke.

Naharin's Virus

With BiT, Maguy Marin signs her forty-ninth opus in barely forty years. At the center of this brutal charge against ordinary barbarism lies the question of rhythm.

The title refers to the computer term for the unit of measurement of information, this word-syllable gives an initial rhythmic drive, after which the show takes shape, relentless succession of scansions and impulses, twists and tensions orchestrated with the feverish rigor of a dance both joyful and desperate. As a constant in the piece, in an obsessive continuity, the same structure: the farandole, a form of collective dance passed down through the ages, is the recurring motif. All the colors of the human condition slide in, love rites and dances of death. On an exhilarating techno music all in beats, the entire show has no shortage of cruelty on the analysis of contemporary society, in the dark conclusion of the dominations exerted on the intimate as well as the social, a deterioration of which we ourselves are the actors. BiT takes us into the depths of our humanity and questions our individual responsibilities in the turmoil of each passing day.

BiT takes us into the depths of our humanity and questions our individual responsibilities in the turmoil of each passing day.

A captivating story told through BSL, voice and movement, Unspoken Spoken is performed by a cast of disabled and non-disabled dancers. Created and filmed with support from digital commissioning body The Space, Arts Council England and the BBC, the film seeks to raise awareness of Candoco’s work amongst a digital audience for the first time.

A captivating story told through BSL, voice and movement, Unspoken Spoken is performed by a cast of disabled and non-disabled dancers.

Unspoken Spoken (Audio Described)

Unspoken Spoken

Betroffenheit is a word which means trauma, bewilderment and shock. A fitting title for this boundary-stretching hybrid of theater and dance, created by Crystal Pite and Jonathon Young. 

The powerful performance is inspired by Young’s real-life trauma, conjuring art from the pain of losing his daughter, niece and nephew in a fire.  

Combining tap, salsa, spoken word, song and puppetry, Betroffenheit is a witty, tender exploration of isolation and coming to terms with tragedy. It was the recipient of the 2017 Olivier Award for Best New Dance Production and the Outstanding Performance in Modern Dance at the Critics’ Circle National Dance Awards. 

Watch this thrilling performance recorded during its sold out run at London’s Sadler’s Wells Theatre.

Crystal Pite and Jonathon Young's Olivier winning BETROFFENHEIT is a bold hybrid of theater and dance that explores trauma, grief and addiction.

Betroffenheit

After the success of their collaboration in Boxe Boxe (2010), choreographer Mourad Merzouki and the Debussy string quartet once again explore the mixing of genres. This piece transforms boxing into a poetic dance, accompanied by music that channels Brazilian energy through classical string instruments. Although they are improbable, Merzouki and Compagnie Käfig’s crossbreeding of genres and styles consistently prove visionary and exciting. Boxe Boxe Brasil is no exception.

Choreographer Mourad Merzouki and the Debussy string quartet once again explore the mixing of genres

Boxe Boxe Brasil

BalletBoyz perform Liam Scarlett’s Serpent and Russell Maliphant’s Fallen with music by Max Richter and Armand Amar, accompanied by BBC Concert Orchestra.

BalletBoyz perform Liam Scarlett’s Serpent and Russell Maliphant’s Fallen.

Ballet Boyz Live at the Roundhouse

This Christopher Bruce ballet is set to Janáček's String Quartet No.2. The composer wrote this piece in 1928, the last year of his life, inspired by his unconsummated love for a young married woman he had met in 1917 and to whom he wrote over six hundred letters. Bruce's lyrical work expresses both the joy and the anguish that are present in Janáček's music.

This Christopher Bruce ballet is set to Janáček's String Quartet No.2.

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