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In a quadruple bill of contemporary works, The Royal Ballet's dancers shine in this diverse programme, creating an immersive experience.

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

An intermittently sparkling evening culminates in a thrilling explosion of art.

The Australian Ballet's return to London's Royal Opera House after a 35 year absence, proves successful at every level.

While Secret Things was notable for its outlandish costumes, Everyone Keeps Me remains a rare gem of modern dance to be cherished

Partita has emerged as one of the stronger Peck ballets. If we see more Partita and less Principia, that’s a good thing.

Martha Graham's dancers look terrific in the jumble of ancient and recent works that make up Program B at the Joyce. 

New York City Ballet ends its Fall Digital Season with a festival of new choreography, including works by Justin Peck and Pam Tanowitz. 

Esplanade was the last time the audience would ever see veteran Taylor dancers Michelle Fleet, Jamie Rae Walker and Parisa Khobdeh onstage.

A brief but innovative tribute to the lasting influence of Merce Cunningham in the Linbury Theatre

Modern dance choreographer Pam Tanowitz' first commission for New York City Ballet proved unruly yet fascinating, sandwiched between George Balanchine's enduring Valse-Fantaisie and Western Symphony.

An imperfect performance, but after Tanowitz's muddled Bartók, Balanchine's Tchaikovsky Suite no. 3 was like balm.

Pam Tanowitz presents two world premieres, a duet and a group work, at the Joyce Theater in her customary balletic-breakdown fashion.

What a treat it was this past Wednesday to see dancers fully clothed, free of shock-value tricks and costumes that are eventually removed. What a luxury it was to take in the beautifully arched feet and luscious lines of the dancers at my own leisure.