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Balanchine's much-loved yet maddeningly disjointed A Midsummer Night's Dream returns to New York City Ballet. Some glorious performances on opening night, some uneven. But the night belonged to the bugs.

When We Fell, Kyle Abraham’s bracing new piece for NYCB, made a minimalist statement on a maximalist quadruple bill, also notable for stunning ensemble work in Alexei Ratmansky's Odesa.

NYCB presents five short pieces to the music of Maurice Ravel in a bill that showed off some promising debuts.

Opening New York City Ballet's spring season, a quadruple bill of major and minor Balanchine eventually proceeded after protestors infiltrated the Koch Theater and created a diversion. 

Peter Martins' Swan Lake continues to divide ballet fans. Can Sara Mearns unite them, 19 years after her astonishing debut as Odette-Odile? 

 It was a remarkable performance and (unusual for Monumentum pro Gesualdo and Movements for Piano and Orchestra) led to a loud, prolonged ovation at the curtain call.

Some great and some lacklustre performances in the Jerome Robbins triple bill on opening night of New York City Ballet's winter season – and a missed opportunity.   

New York City Ballet marked its 75th anniversary with the same triple bill that caused so much excitement at City Center in 1948: Orpheus, Concerto Barocco and Symphony in C.

An auditorium packed with former company members usher in New York City Ballet's 75th anniversary with George Balanchine's ornamental triptych. 

Recent retirements within NYCB have resulted in uneven performances, but there is still hope for future spring programs.

The company’s latest Firebird is Isabella LaFreniere. She’s perfect for the role. LaFreniere is tall, commanding, magisterial, with unusually liquid arms and an expressive back.

To celebrate its return to the theatre after lockdown, New York City Ballet pulled out all the stops with a triple bill of Balanchine's Serenade and Symphony in C and Wheeldon's After the Rain. The house went wild. 

Ashley Bouder, Tiler Peck and Megan Fairchild were at the top of their game in a Balanchine triple bill at New York City Ballet

Disappointing new creations in NYCB's Fall Fashion Gala, leaving Balanchine's Symphony in C as a surefire closer. 

Whatever your taste in ballet, this program probably had it: Wheeldon's DGV meets Balanchine's Door and a Sigh and Raymonda Variations. 

Maria Kowroski and Tyler Angle at the top of their game in Diamonds. A smoking performance from Sara Mearns in Slaughter on 10th Avenue. Strong debuts from Emma Von Enck and Taylor Stanley and a memorable classical turn by Aaron Sanz in the Barber.

A triple bill of 21st-century ballets at the Koch Theater sees the return of Alexei Ratmansky's masterpiece, Pictures at an Exhibition. 

A well-curated gala with gravitas; showcasing several works and dancers rarely, if ever, seen in London.

An all-Balanchine program that is remarkably energetic and free at New York City Ballet

Judging by this show, New York City Ballet is doing fine in the aftermath of Peter Martins’s departure.

Sterling Hyltin owns The Concert and seems to be having the best time of anybody onstage.

A star studded programmme of works celebrating the legacy of Les Ballets Russes

An all Robbins program at New York City Ballet is one of my favorite things.

Miriam Miller is the latest ballerina to stand out from the crowded field at City Ballet and she may well be the best at such a young age since Sara Mearns. 

The double bill of Liebeslieder Walzer and Tschaikovsky Suite No. 3 is a cloying juxtaposition that serves neither well at New York City Ballet. A handful of fascinating performances rescue the evening. 

A flock of women triumphed on opening night of Peter Martins' patchy Swan Lake at New York City Ballet: the peerless Sara Mearns as Odette-Odile; Ana Sophia Scheller, Tiler Peck and Megan Fairchild in a spectacular pas de quatre; and corps dancers Jacqueline Bologna, Baily Jones, Alexa Maxwell and Claire Von Enck as the Four Little Swans. 

This season New York City Ballet unveiled two entirely new ballets by choreographers Peter Martins and Benjamin Millepied. Both world premieres took place during the NYCB’s spring gala earlier this month and were reprised Tuesday night for an eager, if not as impressively dressed, audience.Martins’ Mes oiseaux (“My Birds”), first of the night, included some interesting choices.