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Pierre Boulez’ Rituel in memoriam Bruno Maderna is choreograped by Benjamin Millepied for a New York Philharmonic performance, led by Esa-Pekka Salonen.

Some excellent individual performances but a disappointing program for Contemporary Choreography I with New York City Ballet.

Hofesh Shechter's Red Carpet for Paris Opera Ballet offered brief harrowing elements in an otherwise tiresome evening, though the music, also by Shechter, was tremendous.

Curated by Marcelino Sambé, Black History Month Draft Works at the Clore Studio gifted us an intriguing mix of ideas and styles providing food for thought as well as theatrical interest.

Handel's oratorio is staged by Olivia Fuchs and conducted by Johanna Soller in Opera North's latest successful collaboration with Phoenix Dance Theatre. 

Opening Dance Umbrella's Festival 2025 at Sadler's Wells East, Andrea Peña and Artists’ Bogotá examines perceptions of death and rebirth and how our ancestral stories echo in today's urban world.

English National Ballet opens its season at Sadler’s Wells with a quadruple bill showcasing the versatility, virtuosity and endless capabilities of the company throughout the ranks.

The Royal Ballet’s season opener, Christopher Wheeldon’s Like Water for Chocolate, is visually tremendous, very well danced but the many principal and soloist characters are difficult to keep up with.

A sublime Robbins-Balanchine pairing at New York City Ballet, it was Robbins’ Goldberg Variations that came off best.

Opera Ballet Vlaanderen powers its way through an exciting revamp of Hofesh Shechter’s inimitable Grand Finale.

Tetsuya Kumakawa's Don Quixote for K-Ballet Tokyo is a production that promises the audience much enjoyment, with thrilling lead dancers and excellent storytelling. 

New York City Ballet offered a few exhilarating moments in a mishmash of a program from the company with arguably the greatest rep in the world.  

The brightest of many stellar things to have happened in dance over the past decade, Acosta Danza wowed the audience at Sadler's Wells with their vitality.

A perfect triple bill became a less perfect quadruple bill. Brilliant performances by dancers from Gibney, kNoname Artist, Paris Opera étoiles rarely seen in New York and – a rarity these days – live musicians. 

Dutch National Ballet's triple bill, Monument, is a statement on Dutch artistry and ideology. 

Cirque Éloize's iD Reloaded is a visually stunning performance packed with excitement and dare-devil acts.

Sidi Larbi Cherkaoui's Vlaemsch (chez moi) is an extraordinary piece of dance theatre proving the value of multiculturalism where difference can be absorbed within the search for artistic expression.

A most entertaining evening of dance theatre from Michael Keegan-Dolan and Rachel Poirier at Sadler's Wells East. 

NYCB's triple bill that harks back to the 1950s proves a love letter to an America that never was.

A slightly under par opening night at New York City Ballet but nevertheless, some strong individual performances.

Ballett am Rhein open their season by bringing their programme to Düsseldorf, Soirée Ravel. Marking the 150th birthday of composer Maurice Ravel, audiences are treated to four of his most famous compositions.

Opportunities to hear Paliashvili's Abesalom da Eteri in the West are rare, so it proves a treat to hear what is deemed to be the greatest of Georgian operas in the beautiful opera house in Tbilisi.

Christopher Marney has once again brought together a group of outstanding dancers, superb coaches and brilliant choreography to produce an evening of thoroughly absorbing dance.

Atlanta Ballet began its season with a mixed bill which amply demonstrated the versatility and capabilities throughout all the ranks of the company.

A dramatic staging of two Greek myths, Wayne McGregor’s Jocasta’s Line is an epic production for Norwegian National Opera and Ballet, a truly modern and totally original work.

In true Ballet Nights tradition, Bound in Motion presented the Cadogan Hall audience with an eclectic mix of old and new works and some outstanding performances.

A ballet about love transcending death – and also about two people who transgress gender and class boundaries. A singular achievement by Hong Kong Ballet arrives in New York. 

An evening focused on the separation of humanity from the natural world and the destruction of that world, either because of ignorance, greed or just not caring.

Resident choreographer Sophie Laplane, star dancer with the company for 13 years before spreading her choreographic wings, takes on Scotland’s most tragic and divisive historical figure

At an hour and three-quarters, Dance People was over-long and the slogan-ising brought it dangerously close to being yet another show fulfilling all the vaguely right-on aims of this year's Festival.

Rambert’s Peaky Blinders: The Redemption of Thomas Shelby provokes the whole gamut of emotions, but leaves you feeling euphoric at the end.

The Dan Daw Show is distinctly devoid of anything resembling dance moves.

A contemporary retelling in dance of the ancient Chinese folktale of the White Snake makes its first international stop at New York's Lincoln Center and it's a marvel.

“白蛇传”的传说自古以来便在华语世界广为流传，且随着时代风云的变幻而不断演变。在唐代，这个故事讲述的是人与蛇妖的禁忌之恋，却在时光长河中不断被重新诠释。

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

With Tchaikovsky’s music, glittering visual spectacle and wonderful dancers, The Australian Ballet's The Sleeping Beauty is a thrilling night at the ballet.

Mark Morris Dance Group’s second week at the Joyce Theater in New York unveiled a world premiere in a mixed bill that represented a narrow range of Morris’ dazzling creativity.

It was a wonderful, heartening afternoon – it’s no wonder nearly all the 2025 graduates have gained contracts with several major ballet companies.

English National Ballet School presented a full summer programme with excerpts from traditional ballets and new works showing the technical proficiency of the students as they aim for jobs in the profession.

The audience walked out of the theater feeling airborne and filled with the kind of joy you only feel after a truly special performance. Sylvia is an absolute treasure.

A “high-five” for the maturity, professionalism and outstanding production values of the London Children's Ballet's latest full-length ballet.

Ballet Nights is more than an evening of party pieces: it showcases emerging talent alongside older favourites and, in the case of this first Scottish outing, has an eye to local tradition.

Rambert’s double bill, clearly a joyous experience for the many who leaped to their feet whooping, but perhaps a bit lightweight for anyone not quite so easily satisfied with novelty.

Christopher Wheeldon’s The Winter’s Tale is a sumptuous looking production but on this occasion, it didn’t come to life emotionally.

English National Ballet School and Rambert School present a diverse and entertaining programme for the Next Generation Festival.

A gala to be remembered for the sheer number of stellar performances both in classical music and all forms of dance.

Overall, The Royal Ballet School delivers much to admire, but reminiscent of a multiple-course banquet that still leaves you reaching for the cheese and biscuits when you get home.

Botis Seva's Until We Sleep for his company Far From The Norm offers intriguing imagery and movement, but it is too loud and too dark. 

ABT's Giselle was the kind of glamorous, old-school ABT night of yore. You sensed the entire company leveled up for the occasion. One hopes that Smirnova will return in the future.