Diana Vishneva's last solo show was called Beauty in Motion, a pretty safe bet under the Trade Descriptions Act, since the Mariinsky prima ballerina and ABT guest star is unfailingly, remarkably beautiful. The new one, which came to the Coliseum last night 18 months after its première in California, rejoices in the much more ambiguous title of On the Edge. On the edge of what? Nervous breakdown? Retirement? Being less than beautiful?  

From Singin’ in the Rain and Anything Goes to Hello, Dolly! and Mary Poppins, Olivier Award winner Stephen Mear has done more than any other British choreographer to usher classic musicals into the modern era. But adept as he is at razzle-dazzling ’em, there’s more to Mear, as recent excursions like City of Angels at Donmar Warehouse and Die Fledermaus for the Metropolitan Opera prove.

Your mum told you (or at least, I hope someone did) that it wasn't about being pretty, it was about having personality. True wisdom though this is, you probably also noticed that there are some jobs where it appears to be necessary to conform to a certain model of style or appearance. Playing the princess roles in ballet is one of these, though it's not about prettiness: for practical reasons you have to be shorter and considerably lighter than the men who will partner you.

After the second piece of last night's triple bill, Hofesh Shechter's Untouchable in its world premiere, my friend asked me why it had been put on the programme with the first piece, George Balanchines 1946 Four Temperaments. He wondered if there was some structural or thematic connection that he had missed between the two wildly different pieces. The Balanchine speaks obviously to the bill's last item, Kenneth MacMillan's 1966 Song of the Earth; both pair a cool neoclassical choreographic idiom with deeply felt but vaguely expressed melancholy.

The premise of last night’s world première made so much sense that one almost wondered why nobody had done it before now. Commissioned by the Royal Opera House and in its downstairs Linbury space, Shobana Jeyasingh, a classically-trained Indian dancer and now director of her own contemporary dance company, would respond to the 19th-century ballet about an Indian temple dancer, La Bayadère, which has wonderful choreography but presents an entirely Western, Orientalist vision of the “exotic” east.

Serenade seems to be one of George Balanchine’s most evanescent works, a floating, delicate skein of movement that is over almost before it begins, leaving nothing but memory behind. In reality, it is tough as old boots, a warrior of a ballet, one that endures, survives – and enchants over and over.

Even for a dancer of Akram Khan’s sublime gifts, “Now” is an evasive concept to convey. During last night’s Sadler’s Wells extravaganza of Azerbaijani jazz and contemporary dance, “The Pursuit of Now”, Khan and his co-performer, the German-Korean dancer Honji Wang, mesmerised in a series of vignettes, gorgeously choreographed and lit. Azeri pianist Shahin Novrasli, whose ensembles’ charismatic folk-jazz comprised far more of the programme than the dance, offered a compelling snapshot of the Azeri music scene, beautifully positioned between Eastern and Western traditions.

Reviews of English National Ballet in which I rave about what Tamara Rojo is doing for the company are getting to be the norm round here. This one is no exception, and I'm not even going to apologise for it.  Last night was the opening of Modern Masters, an ambitious new bill in which the company more than prove they're up to handling the big beasts of late twentieth-century choreography.

"The music will be loud," the slender usher warns on entry to altered natives' "Say Yes To Another Excess" – TWERK, as a Grime bassline shakes the flimsy theatre floor. She hands over a text-heavy programme and does not frisk me. This is no London Bridge warehouse, although bouncers giving out freesheets on the door could be a great way to get the middle classes down to a rave. For now regular Rinse FM DJs Skilliam and Elijah are coming to the ballet.

"Sprung from pure flamenco, Manuel Liñán exudes purity from himself and his dance - he is life, freshness and passion."  Leaving aside the need for a better copywriter, or at least translator, what does this, the opening line of the flamenco performer's biography in the programme for the Sadler's Wells Flamenco Festival, tell us about him?  That he's not afraid of making big claims, certainly. That he may have a teeny bit of a god complex ("sprung from"?