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A mixed bill with mixed results from Hubbard Street Dance Chicago at the Joyce Theater in New York.

Two very diverse works that complement each other and show off the depth of talent within Opera Ballet Vlaanderen.

Dancers as athletic poets: Staatsballett Berlin in Ohad Naharin’s Minus 16 and Sharon Eyal and Gai Behar’s Saaba.

Naharin’s Gaga technique is this delicious, ooey-gooey, melting morass where sensation rather than skill guides the phrases

Sydney Dance Company excels in Decadance, a rare chance for Australian audiences to see work by Ohad Naharin, founder of the Gaga method.

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.

Rachel Rizzuto reviews the Batsheva ensemble in artistic director Ohad Naharin's Decadance at the Joyce Theater in NYC.

Ohad Naharin's internationally acclaimed Batsheva dance company brings Sadeh21</em> to New York (As part of BAM's Next Wave Festivial 2014)  

Program Two of the Fall for Dance festival , at New York City Center, is an ionic choreographers' digest. With works by Child's, Forsythe (For Semperoper Ballet Dresden) Ramirez -Wang and Naharin (for Alvin Ailey American Dance Theater).

Ballet San Jose opens its 2014 season with Neoclassical to Now featuring works by Balanchine, Jorma Elo and Gaga founder Ohad Naharin, with delightful results.

Alvin Ailey American Dance Theater's mixed program showcases three beautiful works at New York City Center.

Hubbard Street Dance Chicago, performing at the Joyce last Thursday, is comprised of clearly talented dancers, with nary a technical misstep, but there was a certain abandonment missing from the night’s program – and the program itself suffered from a noticeably stronger first half.Ohad Naharin’s Three to Max, a choreographic mash-up of some of his previous works, opened the program.

I should start this review by being honest and explaining that I was not initially excited to see Ailey at City Center. I was prepared to be impressed by the company’s physical aesthetic and not much else – I often think of the company as finely-tuned robots who are capable of demonstrating technical virtuosity but not of moving me in a big way, emotionally.

Entering Sadler’s Wells theatre on Monday was like boarding a plane. Batsheva Ensemble’s UK tour has been plagued by protests and this performance was no exception with planted protesters disrupting the live performance using anti-Israel slogans. I intend to put the ugliness to one side and focus on the actual work.