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English National Ballet present a riveting triple bill of William Forsythe's works including audience favourite Playlist (EP) at Sadler's Wells.

Love Letter (on shuffle) is like a Taylor Swift Track 5. Full of romance and longing, and it makes its emotional impact every time.

NDT delivered, yet the triple-bill program never elevated itself beyond atmosphere and gimmicks.

A superb performance of the Staatsballett Berlin in three works by William Forsythe at the Deutsche Oper. 

Programming three choreographers who are always box office favourites is as sure fire a hit for Ballett am Rhein who debut this neoclassical triple bill featuring a selection of successes. 

The next generation of dance in a varied and entertaining mixed programme.

Triple bills featuring works by William Forsythe are fast becoming de rigeur. Dutch National Ballet have taken up the challenge and appear to revel in it.

Three linked works of contemporary ballet provoke a very mixed response.

Ballett Zürich’s tribute to the visionary American choreographer William Forsythe included three ballets that had never before been performed in Switzerland.

Anna Tsygankova is clearly enjoying her part in Forsythe's Pas/Parts 2018, an exposé of the vocabulary of modern ballet.

Company and World Premieres to round out KC'S ballet season

Dresden's Semperoper Ballett leaves a lasting impression on its visit to Sadler's Wells with a William Forsythe triple bill. 

Forsythe’s choreography allows ENB's male corps to display their virtuoso skill in its mixed programme at Sadler's Wells.

Contemporary Ballet is alive, thriving and pushing in Boston

A successful program of Kylian, Peck and Forsythe. 

English National Ballet's ambitious triple bill does not disappoint; it shows a company on the rise. 

Resident choreographer Yuri Possokhov’s Optimistic Tragedy is dedicated “to those who sacrificed their lives for future generations.” 

Energy, Fun and Experimentation: Watchwords of the season at the Washington National Ballet

San Francisco Ballet's first program of 2016, featuring Forsythe's rarely performed Pas/Parts and the revival of 7 for Eight and Magrittomania, leads the way into an exciting season.

Desmond Richardson remains indelibly powerful but Dwight Rhoden's choreography wears thin in large doses.

A farewell tour by a legend is an opportunity for her to give thanks to her fans and for us to signal our appreciation for a career that spanned thirty-five astonishing years.

In a three-bill programme that opens its season, the Zurich Ballet celebrates works of three choreographers who all pioneered new genres in contemporary dance.

Explosive and animated, Sylvie Guillem moves with an inimitable combination of energy, joie de vivre and delicacy throughout her final show, Life in Progress, at Beijing’s National Center for Performing Arts.

The National Ballet of Canada opens the Danse Danse festival in Montreal with a triple bill of minimalist neoclassical works.

Forsythe nurtures dancers' individuality and adds another facet to the Pacific Northwest Ballet's artistry.  

English National Ballet inaugurates its association with Sadler’s Wells with Modern Masters, a triple bill of works by Jiří Kylián, William Forsythe and John Neumeier

As the program notes for William Forsythe’s Sider – on show this week as part of Brooklyn Academy of Music’s Next Wave Festival – meticulously explain, the score to which the dancers are performing is taken from a filmed version of an undisclosed Shakespearean tragedy.

Boston Ballet seriously want to impress London. Their 50th anniversary celebrations begin at home in the autumn, but it’s this return to England after 30 years that marks the official start of the party, and artistic director Mikko Nissinen has put together two serious, strong programmes for the capital’s ballet connoisseurs at the London Coliseum.

Boston Ballet’s Fall Program is a mix of three contemporary pieces, with music ranging from the Rolling Stones to piano and organ arrangements by J.S. Bach and electronica by Thom Willems. It began and ended on an upbeat, bookending a thoughtful (and thought-provoking) world première centerpiece.

A friend of mine once said “life is ugly. I want art to be beautiful.” I would add to that “life tells us enough stories. I want ballet to let my mind breathe.” As much as I love the story ballets, I seem to need poetry more than prose these days.