Whatever you do in the next couple of days, be sure to grab a ticket for this wonderfully atmospheric production. A glorious fusion of athletic dance, creative visuals and intoxicating sound, the piece pays tribute to the island of Taiwan, named Formosa ("beautiful") by Portuguese sailors in the 16th century, and home to Cloud Gate Dance Theatre.

A new William Forsythe ballet is quite a coup for English National Ballet; the choreographer hasn't made a piece in Britain in 20 years.

Sutra is back, 10 years after its premier at Sadler’s Wells. This is, in fact, the fourth time it has returned to London and such is the amazing popularity of this beguiling show that, in the past decade, it has been performed more than 200 times in 66 cities in 33 countries. 

It took Richard Alston 10 years to start making dances to music. Until the late Seventies he preferred silence, or a Rolodex of scores that he swapped and switched. In this you might say he was a typical product of the time. The fact is more remarkable in relation to his later and more lasting status, for few would deny that Alston has for many years been the most musically astute choreographer working in Britain.

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.