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Sir Peter Wright’s beautiful Nutcracker ticks every box with Birmingham Royal Ballet at the Royal Albert Hall.

National Ballet of Japan offer a 21st-century remake of this 19th-century Romantic classic with impeccable performances.

Carlos Acosta devises a programme of Ballets Russes highlights to celebrate Serge Diaghilev and to showcase the young dancers of Birmingham Royal Ballet’s junior company, BRB2. 

The Royal Albert Hall turns out to be a wonderful venue for Birmingham Royal Ballet's transporting Nutcracker.

Visually pleasing, superbly danced and musically rousing, yet Luna doesn’t quite reach the pinnacle. 

Sir Peter Wright's The Sleeping Beauty exudes that magical, ageless feeling, here brought to life by a new and enchanting performance of the title role.

The Australian Ballet's return to London's Royal Opera House after a 35 year absence, proves successful at every level.

Balanchine's triptych proves the perfect vehicle for The Australian Ballet to display its dazzling wares on its first post-pandemic international tour. 

With five founding dancers in BRB2, this inaugural dance salad was embellished with other ingredients including the addition of seven members from the main company. 

Sir Peter Wright’s production returns to Birmingham Royal Ballet after an absence of five years, with Céline Gittens and Brandon Lawrence sharing great chemistry. 

Carlos Acosta's Don Quixote hits the road with a successful London residency at Sadler's Wells.

Carlos Acosta restages his Royal Ballet Don Q in a refreshing revamp for Birmingham Royal Ballet.

BRB's director, Carlos Acosta, has taken a hands-on approach to coaching the principals in their roles in this season opening production. 

A triple bill about Birmingham brings Birmingham Royal Ballet back to live.

Outstanding performances all-around in this special treat for Christmas 

The welcome return of a thoughtful interpretation of this much-loved ballet  

An exciting London season closes with a glimpse of where ballet is headed, San Francisco style. 

An enjoyable evening of thematic dance but without any insights into the future of ballet. 

Sir Frederick Ashton's quintessentially English ballet returns, dressed in pastel shades with knockabout fun everywhere.

A new season for The Royal Ballet and a new star is "born" in this performance that highlights the company's strength in depth   

Sir Peter Wright's version of The Sleeping Beauty has stood the test of time, though this opening night of the tour in Southampton didn't always convince that the work has a place of adoration in the company’s heart.

Sir Peter Wright's enchanting vision of The Nutcracker continues to delight 

It starts like a scene from Mary Poppins, with penguin waiters nimbly weaving between waltzing couples, but ends with a deft blow to the stomach to deliver its environmental message.

David Bintley's 2010 Birmingham Royal Ballet version of Cinderella is the antithesis to Ashton. Instead of pantomime, he offers pure fairy tale every magical step of the way.

BRB delivers in a production of jolly moods, bawdy humour and great emotions.

As part of their Shakespeare400 celebration, BRB give a touching account of the Bard's timeless classic Romeo and Juliet.

An enchanting Ashton double bill in Birmingham comprising The Dream, to mark Shakespeare400, and A Month in the Country. 

True to its origin in the Romantic period of the 19th century, this Swan Lake dances the Royal Birmingham Ballet into history because of the beauty of its leading dancer, Céline Gittens, one of the world's first non-white ballerinas.

Christopher Wheeldon's Dutch National Ballet production of Cinderella takes a fresh look at Prokofiev's ballet, but the magic comes from Julian Crouch's stunning sets and costumes.

Celebrating 20 years as Artistic Director of Birmingham Royal Ballet, David Bintley brings the company to London, where Balanchine’s Serenade acts as a delicate sorbet before the excesses of Bintley’s own Carmina burana.  

Frederick Ashton used to say it was like a lesson in choreography every time he watched The Sleeping Beauty. For Kenneth MacMillan too, the ballet was the pinnacle of classicism and technique and a great test of any company’s skills.

To begin their week-long run in London at Sadler’s Wells, the Birmingham Royal Ballet presented a diverse triple bill of works choreographed by Artistic Director and British ballet icon David Bintley CBE.

The evening was a step back into childhood nostalgia, of getting on the hired coach with my brother and neighbours from our cul-de-sac, to drive up to London for the traditional Christmas pantomime. And, of course, Aladdin with all that mystical eastern magic was always a favourite with us kids.

War on a chess board; simplicity and purity of line; and a rollicking Victorian nonsense musical—all rolled into one evening in London this week. Autumn Glory was a true mixed bag of styles and tempos, and recalled Birmingham Royal Ballet’s heritage that had its beginnings at Sadlers Wells Theatre.