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Underneath, There Is Light was soothing, expansive and uplifting. One could see it becoming a regularly revived work.

Norwegian National Ballet return to the classics with surprising ease.

Ballet Nights offers a wonderful variety of dancing and genres. Whatever your preference, there are quality performances to enjoy.

The programme’s middle work sees a detour from Stravinsky, to the music of Richard Strauss, lending itself to more lyrical work and some respite from the drama it's sandwiched between.

Introdans is a company of skilled dancers, and whilst the results may not be thrilling, they are nevertheless engaging.

Abstract ballet always asks the question of meaning, and Alonzo King Lines Ballet is one of the few companies that answers that question with existential exactness. 

Shut Eye (Lightfoot & León) is like an alternating current. Woke Up Blind (Goecke) is entertaining and vulnerable. Pite's work hits the rythmic nail on the head. You want to freeze-frame Pite's dancers, snap a picture and hang it on the wall.

Outstanding examples of men dancing are book-ended by two new works that are badly misjudged as a means of entertainment 

There is some good dancing in Benjamin Millepied's I Felt the Earth Move but it missed the mark as far as emotional content is concerned.

The powerful and appealing Hubbard Street contemporary dancers took audiences on a journey through the innards of Chicago's Harris Theater, in an 'immersive' experience choreographed and creative-directed by Peter Chu.  

Britain's oldest dance company continues to entertain, challenge and inspire with yet another well-rounded triple bill 

Changes in pace for a brilliantly dynamic company.

A mixed bag of music and measured, sedate, almost reverential movement that sculpts beautiful shapes in the interaction of bodies and space

Smuin Contemporary American Ballet presents a trio of works ranging from the sublime to the eclectic in the company’s 2016-17 opening program.

Dazzling pop-ballet 'Bowie and Queen' marks Company Director's grand finale

Ballet Black presents a compelling programme in its first ever appearance at the Barbican

In Restless, a striking 4-part programme which the Ballett Zürich recently premiered, it’s sheer energy, speed and unequivocal action in the movements of the human body that are underscored. 

Historically a dead month for the dance world, August is heating up as mini-festivals become more commonplace. New York City Ballet's Ashley Bouder presents a balanced program at the Joyce.

New Moves brings together on stage eleven works by young choreographers of Dutch National Ballet. A mixed evening, with some bright ideas.

Rachel Rizzuto reviews Cedar Lake's final performances as a company at BAM in New York City.

The Mark Morris Dance Group delights at the Brooklyn Academy of Music.

Ballet BC expands its vocabulary and tests its toes in new conversations.   

Nederlands Dans Theater II continues to dleight with the second mixed bill of their 2015 season, which features works by Johan Inger, Alexander Ekman, Edward Clug and Jiří Pokorný

In a radiant rendition of the classic Esplanade, Paul Taylor's dancers remind us that dancing is, above all, about joy.

Celebrating the modern genre, the Junior Ballet Zurich performs five diverse works to great acclaim.

Introdans presents a varied mixed-bill of accessible contemporary works by both renowned and up-and-coming choreographers.

The young talents from Dutch National Ballet's Junior Company showed themselves to the public in an exciting mixed programme of well-performed classics and interesting new works.

Zurich’s fine new Strings programme features the works of three renowned choreographers’ and also demonstrates the democratization of ballet.

Simone Damberg Würtz and Dane Hurst shine in an outstanding evening of new choreography.

Phoenix Dance Theatre’s quadruple bill is a pleasing combination of excellent dancing and good choreography that left me smiling 

Stuttgart Ballet performed a triple bill consisting of two innovative world premieres No Men's Land (Edward Clug) and Aftermath (Demis Volpi), with Maurice Bejart's classic Songs of a Wayfarer. 

In their fifth season at BAM Fisher, Satellite Collective performs choreography by Esme Boyce and Manuel Vignoulle.

The Dutch National Ballet presents four brand new choreographies in Dutch Doubles, working together with acclaimed artists from different fields.

Carla Escoda reviews Pacific Northwest Ballet's mixed bill featuring the world première of Memory Glow by Alejandro Cerrudo, and revivals of Molissa Fenley's iconoclastic solo to Stravinsky's Rite of Spring, State of Darkness, Susan Marshall's aerial ballet Kiss, and Susan Stroman's TAKE FIVE...More or Less, set to Dave Brubeck and Paul Desmond.

Netta Yerushalmy's work-in-progress at the 92nd Street Y's Harkness Dance Festival, where the audience is given a glimpse into her world of Gertrude Stein speech and cubist art.

Diablo Ballet celebrates its 20th anniversary with a one-night performance of dance, film, shared memories and surprise performances.

Benjamin Millepied's L.A. Dance Project is back in Paris with L.A. Dance Project 2, showcasing works by Millepied, Emmanuel Gat, Hiroaki Umeda and Justin Peck. At Théâtre du Châtelet. 

Candoco Dance Company's Triple Bill comes to the Warwick Arts Centre.

To open the second half of its 50th anniversary season, Boston Ballet presents a trio of contemporary works that showcases the company’s ever expanding repertory and deepening talent pool with Close to Chuck Reborn.

The Italian vocal ensemble Cappella Artemisia, directed by mezzo-soprano Candace Smith, is a chamber group devoted to recovering the rich musical repertoire of the 16th- and 17th-century Italian convents.

Metamorphosis: Titian 2012 invited artists from different disciplines, mainly the visual arts, dance and music, to respond to Titian's three magnifient paintings of the Diana and Actaeon myth. The results are displayed in an exhibition at the National Gallery (alongside Titian's originals), and in an triple bill of new ballets at the Royal Opera House.

While the first of English National Ballet’s tributes to the Ballets Russes focused on works with a ‘nature’ theme, this second programme was more sporty – an apt topic for London 2012. First, there is Apollo, one of the most important and complex of the Olympian deities, then a game of tennis. Then there is an acrobat, and, finally, a marathon of non-stop technical classical feats.