Live, Video: Dance

BlacBrik’s The Brown Suite had us dancing in the aisles. A splendid looking production with dancing to match, definitely worth watching.

A mix of fast-paced, characterful whimsy and tragedy in this diverse programme from Northern Ballet, which has become a very welcome part of London’s autumn dance calendar.

Triumphant, unshowy, virtuosic. Sarasota Ballet brings a trio of 20th century British choreographers to New York. 

Jamiel Devernay-Laurence’s Ballet Nights is celebrating its third birthday. Initially a more intimate affair at The Lanterns Studio Theatre, Ballet Nights has grown into a regular feature on the dance calendar.

Flamenco, tap and contemporary from Spain, the U.K. and Israel on offer in Program 3 at Fall for Dance yielded a provocative work, a display of virtuosity and the inevitable clunker. 

In Rhythm Riot, English National Ballet presents a triple bill joined together in quality and contrast like matching pieces of a jigsaw.

Nederlands Dans Theater 1 deliver outstanding performances in a riveting double bill in Out of the stillness.

Now 45 years old, the Wright/Samsova production is faithful to all the key elements of the traditional ballet but with plenty of embellishments that give the BRB Swan Lake its own uniqueness.

The opening program of Fall for Dance reflected the diversity of styles and world-class dancing on display at this year’s festival.

Despite its gaudy sets and stretches of ho-hum choreography, Balanchine’s Jewels remains a triumph for New York City Ballet. 

Alvin Ailey American Dance Theater present an electrifying programme of legacy works that cannot fail to impress. 

Alvin Ailey American Dance Theater return to London’s Sadler’s Wells in a winning programme of new works closing with the enduringly successful Revelations.

John Neumeier's take on the traditional tale of Cinderella was a deliberate attempt to break free from the classic fairytale when it first premiered in 1992.

The Dutch National Ballet showcases their diversity and dynamism in their season opener, Legacies.

Absolutely first rate production with outstanding performances. The McRae/Vassilev Project was a masterclass in resilience and major talent.

Scottish Ballet’s revival of Crystal Pite’s Emergence and Julia Cheng’s new Entress are a winning combination.

Sydney Dance Company serves up four sharply contrasting works in a snappy hour of sex, sweat, street dance and celebration. 

With its dazzle of exploding background (Hamill Industries) and breathtaking electronic music/soundscape from Sam Shepherd (aka Floating Points), Mere Mortals was truly an onslaught on the senses.

Groupwork deliver a quietly chilling performance of When Prophecy Fails – a work that leaves you somewhat haunted.

The increasingly popular Ballet Nights performs at the Edinburgh Fringe for the first time to welcoming crowds.

Classified as ‘dance’, Dan Daw’s Exxy leaves a bewildered audience wondering what on earth the show has to do with dance.

At the Bord Gáis Energy Theatre, a long overdue European debut for one of Latin America's pre-eminent companies.

Partly inspired by the tragic death of Ihsane Jarfi, a gay Moroccan man beaten to death in a racist and homophobic attack in 2012, Ihsane allows Cherkaoui to ponder his own heritage.

Eleven remarkable works from New York City’s longest-running free public dance festival, famous for its eclectic global attitude. 

Carlos Acosta has lost none of his brilliance and in a carefully curated programme with Acosta Danza and Birmingham Royal Ballet, he still thrills audiences.

The Australian Ballet’s touring group is presenting a pleasing program in Nutcracker Act 2 and Other Works, designed to appeal to a wide audience. 

A triumphant world premiere from a young choreographer. A poor choice of pas de deux for Paris Opera étoiles. Three bracing solos. A strenuously sexy duet: Misty Copeland’s Ballet Festival.

BALLET TheNewClassic brought a fresh look to the standard ballet gala, collaborating with fashion designers and musicians, creating new choreography and bringing a new audience from the fashion world.

WINNDance is an exciting and much-needed initiative, with ambitious plans for artistic collaboration and education, and a commitment to creating new possibilities for dancers at different stages of their careers.

A totally absorbing production, Matthew Bourne’s The Car Man at Sadler’s Wells will leave you emotionally drained, in a positive way.

Celebrating a prima ballerina still in her prime, Marianela – Timeless, is a programme of excellence and true artistry from all quarters.

It's become a summer dance tradition: Ballet Hispánico, Alvin Ailey American Dance Theater, American Ballet Theatre, New York City Ballet and Dance Theatre of Harlem in a joint program at Lincoln Center.

Ballo del Teatro dell’Opera di Roma gives an exemplary account of John Cranko’s masterpiece Romeo and Juliet, with convincing characterisations and technical prowess.

Hugo Marchand curated and performed in an essentially French mixed bill along with Dorothée Gilbert, Léonore Baulac and Germain Louvet from Paris Opéra and the excellent ensemble of Béjart Ballet Lausanne. 

Two new works at Biennale Danza failed to ignite any real interest. A lack of any dance content or truly original ideas left a few gaping holes.

Two exceptional works, Fampitaha, fampita, fampitàna and The Herd/Less provide an explosive opening to this year's Biennale Danza in Venice.

Iain Mackay is the best person to lead the Royal Ballet School into the future and presented a rich and diverse programme of legacy and new works.

An interesting edit on tradition but the press night was marred by a number of on and off stage incidents and a lack of chemistry between the principals.

A wonderful evening of contrasting works shows the company and guests in fine form at Palermo’s Teatro Massimo.

American Ballet Theatre brings back the Ashton classic Sylvia and offers tremendous central performances.

Sons of Echo, Daniil Simkins’ answer to Kings of the Dance, deserves wider recognition. A brave foray into gala territory without the usual classical repertoire.

Two extraordinarily contrasting styles of choreography are offered at the Festival dei Due Mondi di Spoleto. Artistic Director Daniele Cipriani caters to every taste with great success.

An evening of sublime dancing, the Festival of Two Worlds in Spoleto, presented a Dance Marathon of electric performances, supreme quality and memories to cherish.

Les Ballets de Monte-Carlo managed to throw a thrilling surprise party, with every detail curated under the sign of Diaghilev and the Ballets Russes, to celebrate the 40th anniversary of the company.

Stunning debut performances from Jake Roxander and Skylar Brandt in Don Quixote for ABT, made it a night to remember.

The Paris Opera Ballet presented three contemporary works, each piece showcasing the breadth of contemporary dance and the artistry and talent of the formidable company.

English National Ballet School and the John Cranko Schule join forces to deliver strong performances in a very diverse programme at the Linbury as part of the Next Generation Festival.

The fiery return of Don Quixote as ABT continues their summer season has proved to be a vehicle of excellence for multiple casts, many of whom were making role debuts.

Created 17 years ago for the Staatsballett Berlin, Caravaggio stands as one of the defining works of choreographer Mauro Bigonzetti. Now he has brought it to Teatro Massimo in Palermo.

Video projections in the Royal Albert Hall enhance MacMillan’s Sleeping Beauty for English National Ballet but the lack of real set and wings makes the stage seem bare and bleak.