Thirty-year-old Rocío Molina has been rattling cages in the hide-bound world of flamenco. Back home in Spain, gloom-mongers are predicting she’ll bring down the art form with her brazen, off-the-leash excursions from its honoured tropes. Her shows are popular. And the fluorescent four-inch heels and electric bass guitar that feature in her latest – brought to London for three nights by Dance Umbrella, following a storming reception in Seville – will have done nothing to reassure traditionalists.

^{New Adventures, the name of Matthew Bourne's company, has a ruddy-cheeked, Boys’ Own ring to it that has – until now – been rather belied by his oeuvre, which includes a dance version of Edward Scissorhands, as well as dark retellings of all the traditional story ballets. But the New Adventure which rolled into Sadler’s Wells last night really is an adventure – an adaptation of William Golding’s Lord of the Flies, the desert island schoolboy story heavy with allegory about the propensity of human beings to descend into barbarism.}

Grupo Corpo means Body Group, and if that sounds like the name of a global exercise consortium, it’s because it should be.

In a moment of wild fantasy, I thought I might try and write a whole review of Manon without mentioning sex. After all, there’s plenty of other stuff going on in Kenneth MacMillan’s tale, which last night at the Royal Opera House celebrated 40 years since its première. Inequalities of class, wealth and power are ever present, and in fact drive the story to its sticky (quite literally) conclusion in the Louisiana swamps.

The fabulous dancers known as BalletBoyz The Talent 2014 looked so at home in the Royal Opera House’s Linbury Studio Theatre last night that it was hard to believe they had never performed there before. The BalletBoyz themselves, Michael Nunn and Billy Trevitt, were Royal Ballet leading men back in the day, and they have been back to Covent Garden since leaving in 1999 to explore new avenues in contemporary ballet for men, but this was the first time that their new company of young dancers (now 10-strong) had been invited into the inner sanctum of British ballet.

Who qualifies as an older dancer?  Given that a professional dance career usually runs from about 17 to 35, anyone continuing to dance past 40 can expect comments on their age and speculation about when they'll stop – see Sylvie Guillem, Wendy Whelan, Leanne Benjamin, Carlos Acosta.  People who are physically extraordinary and have interesting minds are worth watching at any age, but public performances by dancers over 50 are still very rare indeed.  So hurrah for the Elixir Festival at Sadler’s Wells this weekend, which is all about older dancers, and put its m

The Royal Opera House is on fire this month. Not literally (unless someone knocks over the flaming braziers outside) but with the varied illuminations of the Deloitte Ignite Festival, co-curated by the Royal Ballet and Minna Moore Ede of the National Gallery. The theme this year is Myth, and specifically Leda's rape by Zeus in swan form, and Prometheus's gift of fire to humanity.

Once, the Edinburgh Festival Fringe was all about penniless students presenting avant-garde plays to audiences of three in church halls. These people still come, but now they compete for attention with professional production companies who, it’s to be supposed, make a decent whack of money from their three weeks in Scotland’s tourist-jammed capital.