With forelock-tugging celebrations of a choreographer who died 25 years ago and a summer visit by the Mariinsky the highest-profile events in the calendar, 2017 may not be remembered as a vintage year for British dance.

Even if Matthew Bourne were never to choreograph another step, he could fill theatres in perpetuity by rotating old stock. Cinderella, made in 1997, was the follow-up to his break-out hit Swan Lake but, never quite happy with it, he reworked it in 2010, replacing the musicians in the pit with a custom-made recording of an 82-piece orchestra.

Of the many good reasons for seeing Akram Khan’s 2016 remake of Giselle – his work is often a headline event, for one – the most compelling is the company performing it. English National Ballet used to be the poor relation of its plusher sister national flagship in WC2. Not any more.

Years ago, MC14/22 (Ceci est mon corps), the Angelin Preljoçaj piece with which this Scottish Ballet double bill opens, made a deep impression on Christopher Hampson.

There is a South American theme to Rambert’s latest triple bill, two new commissions made to chime with an oldie but goldie, the rhythms of Latin social dances linking all three.

Where does my voice come from? Whose is my body? It’s apt that these questions run deep through a work that was created jointly by an actor, Jonathon Young, and a choreographer, Crystal Pite.

Not every artist attains the kind of status that will allow their early works to be revived – or, when revived, greeted with commercial and critical success. This is something of a shame for those of us with a historical mindset who like seeing where an artist has come from and how they have developed.

Is English National Ballet's current predilection for acquiring European repertoire some kind of anti-Brexit statement, or just smart brand positioning?

This is the comeback after the comeback-that-never-was. It's the anticipated full stage ballet after the hugely popular Youtube video. It's the press waiting to see if ballet's bad boy will do something wild. It's the fans waiting to see if Sergei Polunin really will be the second coming (he's often hailed as the modern day Nureyev). Pamela Anderson is in the audience.

Tree of Codes is a work made from a work made from a work. Based on Jonathan Safran Foer's book-form art piece, which is itself based on Bruno Schulz's The Street of Crocodiles, Wayne McGregor has fashioned a choreographic creation using a triptych of his own.