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Dutch National Ballet's second mixed bill at New York City Center ticked all the right boxes, showcasing the depth of talent across the whole company.

Dutch National Ballet returning to New York after more than 40 years should have been thrilling. The opening program, whilst beautifully danced, was somewhat muted.

An interesting evening displaying the many facets of Natalia Osipova's talents alongside her equally exciting guests at the Linbury.

Company B and Esplanade bookended a popular mixed bill from Paul Taylor Dance Company in the first week of their ambitious fall season at New York's Lincoln Center.  

Liam Francis Dance Company at The Place brings an instinctive and intelligent debut for a choreographer in-step with what it is to be a dance artist now. 

While Rudi van Dantzig's production of Romeo and Juliet was buoyed by confident dancing and stylised acting, it falters somewhat under its own dramaturgy.

Amongst the Giselles and the Nutcrackers that will grace Oslo Opera House’s Main Stage this season sits a vital slice of Norwegian history from two emerging choreographers, Elle Sofe Sara and Hlín Hjálmarsdóttir.

Joburg Ballet makes a promising, if somewhat initially tentative, UK debut with a programme of five works, four by South African choreographers.

Thirty years after its original production, Matthew Bourne’s Swan Lake makes its return to the stage championed by an impressive ensemble of dance artists from Bourne’s own company New Adventures.

American Ballet Theatre presented a well balanced program of Nuñes, Ratmansky and Balanchine which produced some revelatory performances.

Akram Khan in concentrated colour, setting the darkness chiming with Thikra: Night of Remembering at London's Sadler's Wells.

ABT offer some outstanding performances in a classical quadruple bill but there was a lack of confidence and uniformity within the corps de ballet. 

Czech National Ballet scores a hit in John Neumeier’s masterpiece Liliom, with back to back performances and multiple casts.

Northern Ballet's Little Red Riding Hood gives young ones a perfect introduction to ballet, without any teeth. 

The first new production of Alessandra Ferri’s directorship of the Wiener Staatsballett sees the European premiere of Alexei Ratmansky’s narrative ballet Of Love and Rage under its new title, Callirhoe.

The choreography, music and performance made this an impressive event, but Iommi’s cameo was an emphatic cherry on the top that sent the crowd home with an enthusiastic spring in their step.

Swan Lake opens the season for Kansas City Ballet in a splendid looking production and with very pleasing interpretations.

Much acclaimed in 2022, a mixed bill curated by Tiler Peck returns to New York City Center with new cast members.  

Twyla@60: A Tharp Celebration is an overall triumph though not just for Tharp, but for Susan Jaffe’s vision for American Ballet Theatre.

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.

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. 

At Sadler's Wells East, a profound, moving and extraordinary account of former ballet dancer Marc Brew’s life-changing car accident.

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.  

A very diverse mixed bill for Fall for Dance showed some top notch dancing though it was not entirely successful choreographically.

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. 

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.

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.

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.

At the George Enescu International Festival, a pair of new shows crossing genres and reinventing the classics, with mostly enlightening results.

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.

Jonathan Watkins’ A Single Man is a compelling piece of dance theatre and a magnificent vehicle for the leading characters to shine as dancers and actors.

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. 

Kim Brandstrup choreographs Bach favourites based on hip hop and street dance. Lie back on the bean bags at Usher Hall and enjoy...

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.

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.

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.

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

The Center Will Not Hold rings in the 93rd Festival at Jacob’s Pillow, a celebration of American and Black vernacular dance styles led by Ephrat Asherie and Michelle Dorrance.