Blog

Soon, we will be moving to a new building on London City Island, together with English National Ballet School.

The classic fairy tale of Cinderella just wouldn't be the same without her stepmother and stepsisters.

Principal Guest Conductor Gavin Sutherland tells us about Prokofiev’s score for Cinderella, ahead of our performances of Christopher Wheeldon’s in-the-round production at the Royal Albert Hall in June.

Christopher Wheeldon's Cinderella in-the-round is a grand spectacle fit for the space of the Royal Albert Hall. Find out more about all the work and craftsmanship that goes into bringing the fairy tale to life.

For International Women's Day, our Archive Consultant Jane Pritchard looks at our company's history with female choreographers.

We're thrilled to once again perform Pina Bausch's masterpiece Le Sacre du printemps (The Rite of Spring) as part of She Persisted, our second triple bill celebrating women's voice in dance.

Learn more about the Mexican painter’s life and work, and how they inspired and are represented in this beautiful dance piece.

Looking at the words and power of female choreographers, here's the mighty Pina Bausch (1940 – 2009).

When Kenneth MacMillan started work on his ballet version of Manon, rather than use the scores from Giacomo Puccini’s opera Manon Lescaut or Jules Massenet’s opera Manon, he chose to cherry-pick pieces of music written by the latter. This includes...

Composer Jocelyn Pook took the time to answer our questions about creating the music for Akram Khan’s Dust, part of Lest We Forget.

We met with one of Akram Khan's collaborators, Kimie Nakano, who designed Dust's costumes.