What to expect of the National Ballet of Canada since its last London visit 11 years ago? Dance with an eco-message, a world-peace message, or more visible diversity on stage?

You need to be fairly long in the tooth to feel nostalgia for the heyday of London City Ballet. The group was set up in 1978 by the late Harold King to tour a large and varied classical repertoire at home and abroad. Princess Diana, its patron, befriended the company, supporting its work both publicly and privately.

A Chorus Line reigned supreme on Broadway from 1975 to 1990, a bold, bare-bones piece that for once put musical theatre’s hoofers in the spotlight. “As welcome as a rainbow after a thunderstorm” was Clive Barnes’s summation in the New York Times.

LIFT 2024 is nearly here. It’s a festival that will take you on deep and personal journeys. We’ve got shows that will catch your breath, spark your mind and rev up your imagination. There’s adrenaline too. It’s international theatre for your gut. 

The story of Carmen is catnip to choreographers. No matter how many times this 180-year-old narrative has been tweaked and reframed in art, theatre, opera, dance and film, they keep coming back for more – which is curious when you consider that Carmen began life in a saucy French novella read in smoking rooms and gentlemen’s clubs.

There are moments that forever remain imprinted in our consciousness, engraved on the general map of our lives. I cannot forget the excitement of seeing snow for the first time in Córdoba, aged three or four, rushing to walk on it only to slip straight away and fall on my behind! Or when I discovered the sea, in Cádiz.

Perhaps the most memorable of the stage designs Peter Pabst created for Pina Bausch is back in London after nearly 20 years: a sea of erect pink silk carnations, the Nelken of the title. It’s canonical that there are 8,000 of them, but only the backstage team know the truth of that. 

Federico Fellini’s 1954 classic La Strada ought to be a gift to a choreographer. The film has pathos, good and evil, a bewitchingly gamine heroine, and incidental music by the great Nino Rota, a composer who can find melancholy in the music of carnival and joy in a tragic trumpet solo – a composer who makes you think “Italy” in every phrase.

I am a juggler. My wife Kati Ylä-Hokkala is also a juggler. Our life for the last three decades has been juggling. We have been fortunate to be practising this art form at a time when mathematical and creative developments meant that our vocabulary went from about 30 patterns to thousands. The Golden Age of juggling.

The story of Edward Scissorhands may not seem an obvious Christmas subject, but it couldn’t be a more overt call for goodwill to all men. And there’s a hint of The Nutcracker about Matthew Bourne’s dance version, too.