If you have never watched a single episode of the BBC period gangster drama Peaky Blinders, I am not sure what you would make of Rambert’s two-act ballet version. I have watched all six series, and I still left confused. 

Leeds-based Northern Ballet has built a reputation as a source of fine dancers who are also impressive actors. Federico Bonelli, the former Royal Ballet principal who took over its directorship in 2022, is proving a worthy steward of this tradition. 

The company’s latest visit to London is a triple bill of “shorts’, one almost 50 years old, the other two commissioned by Bonelli. Together they make an extremely satisfying menu.

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?

The word “immersive” is overused. When an immersive experience can be anything from a foreign language course to a trip down the Amazon on a headset, what might immersive dance involve? Not watching from a plush-covered seat, probably, and the dance not happening on a stage.

Double bills at the ballet don’t often come as neatly gift-wrapped. Each of the works in question was made just before or during lockdown, arriving at its premiere by the skin of its teeth. Each went on to win a Critics’ Circle National Dance Award for best choreography.

Of all the classic musical scores that could appeal to a choreographer, three are catnip: Ravel’s Bolero, Bizet’s Carmen, and Stravinsky’s Rite of Spring. Each has been set dozens of times and the veteran Swedish dancemaker Mats Ek has notched up all three.

Marshalling a mass of bodies around a stage is what all choreographers do. But nobody does it quite like Crystal Pite, the Canadian whose half-hour piece "Flight Pattern" – a comment on the global refugee crisis – was a hit for the Royal Ballet five years ago, earning an Olivier Award.

How do you picture Gene Kelly? Most likely in his effervescent screen persona, either as the burly ex-GI of An American in Paris, or as the hoofer without a raincoat in Singin’ in the Rain.

The colour of a shoe might seem a trivial thing. But when in 2018 the dancewear manufacturer Freed launched the UK’s first range of pointe shoes to match darker skin tones, true equal opportunity in British ballet came a big step closer.

When a great performer takes on the running of a ballet company, the effect on its dancers can be transformative. It happened when Mikhail Baryshnikov took on American Ballet Theatre in the 1980s. It’s been happening at English National Ballet since 2012 under Tamara Rojo.