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A bold choice for Northern Ballet, Gentleman Jack is beautifully danced but doesn’t go far enough in celebrating difference, individuality and freedom.

Nicola Benedetti’s Elgar is a slow burn in Edinburgh’s Usher Hall, but Kirill Karabits’ Firebird instantly ignites.

A stupendous London debut from Tulsa Ballet in which they present a contrasting triple bill. It bodes well for further invitations to dance in the UK.

The BalletBoyz present an entertaining programme of old and new works spanning the last 25 years – with stellar performances.

Concerto Barocco and The Goldberg Variations make an unbeatable, timeless pairing at New York City Ballet. 

A triple bill including Tiler Peck’s newest ballet for NYCB, does not entirely work. Too much blue light and sadness for one program.

Septime Webre’s dazzling, maximalist Great Gatsby for the Kansas City Ballet is instantly engaging.

Ballet isn’t always pretty, there are plenty of examples in repertoires across the world. John Neumeier’s Streetcar Named Desire (Endstation Sehnsucht) is to reach another level of grim but gripping brutality told through dance.

Conducted by Semyon Bychkov, the Czech Philharmonic shows its versatility with a sharp, smart evening of modern music.

An excellent extension to Akram Khan’s growing repertoire of contemporary ballet, Lady Macbeth, his first creation for Royal Danish Ballet, brought out powerful performances from the entire cast.

A very welcome and hilarious return to the UK from Les Ballets Trockadero de Monte Carlo, this time at Sadler’s Wells, they offer familiar and new works.

Six works, including two world premieres, made up the latest program from Parsons Dance. Thoroughly joyful, the audience were sent home buzzing.

A longtime NYCB fan favorite, Concerto DSCH  by Alexei Ratmansky, meets the New York premiere of Christopher Wheeldon's Continuum. But the evening belonged to corps dancer Ruby Lister in Edwaard Liang’s Distant Cries.

Dutch National Ballet give an exemplary account of a quadruple bill comprised of the late Hans van Manen’s works. It’s a wonderful tribute to the great master choreographer.

Juliano Nunes’ Romeo and Juliet for Philadelphia Ballet works on all fronts: as a visual spectacle with highly original choreography and as a vehicle for cultivating memorable performances.

17 years after its premiere, Andrea Miller’s BLUSH, set on her company, GALLIM, returned to entrance and perplex in equal measure at New York’s 92nd St Y.

Another tick for the Ballet Nights team, the audience at Cadogan Hall enjoying a varied and exceptional programme of new and legacy works.

A triple bill comprising Balanchine's Symphony in C, Agon and Firebird could not have been more inspiringly danced by New York City Ballet.

National Ballet of Japan’s Raymonda is a gem in the repertoire, despite shortcomings in the plot. Lavish production designs, stunning classical choreography and excellent dancers makes this a ballet lover's heaven.

This revival of Romeo and Juliet combines vivid staging and technical leads, but the lover's careful partnership lacks the volatility that makes young love convincing and tragedy believable. 

In a staged Firebird and an early work by Mahler, Cristian Măcelaru and the Cincinnati Symphony colorfully bring to life these composers’ youthful ambitions.

Carlos Acosta's Don Quixote for Birmingham Royal Ballet returned to Sadler's Wells with polished but low-key interpretations across the board.

Semyon Bychkov conducts the Czech Phil on their latest European tour with the music of Elgar and Stravinsky. 

Rafael Payare conducts a scintillating Le Sacre du Printemps in a program that also showcases Bruce Liu's bravura Tchaikovsky. 

An evening of ballets by Wayne McGregor, including the world premiere of Quantum Souls, proved to be a little too much of the same thing.

Norwegian National Ballet gives a marvellous rendition of Natalia Makarova's La Bayadère. Opening night in Oslo was a strong argument for its place in any season, displaying ballet escapism at its best.

Dorrance Dance offer a compelling mix of genres in The Center Will Not Hold – high energy, full of surprises, top quality performances.

Two evenings of live dance and a full program of dance films from young choreographers yielded much to admire and be amused by at the Future Dance Festival 2026.

The Royal Ballet's International Draft Works proved to be an excellent opportunity to see dancers and budding choreographers from around the world.

A.I.M by Kyle Abraham with guest artist Taylor Stanley bring a postmodern vibe to an early MTV-era playlist. One of the most bewitching things you're likely to encounter this year. 

Christopher Hampson’s newly updated Starstruck is thoroughly entertaining with sexy solos, classical pas de deux and lines of perfectly-timed Broadway hoofing.

Acclaimed violinist and 2024 MacArthur Fellow Johnny Gandelsman invited four choreographers to join him on a marathon through Bach's six cello suites. His musicianship was the highlight of the evening. 

Anthony Tudor and Merce Cunningham provided the lighter fare in a mixed bill that featured two world premieres from Kevin Iega Jeff, a veteran of the Chicago dance scene, and Julian Donahue, a newer voice.  

Can one be artful and musical while playing at maximum volume? In a program of López, Prokofiev and Stravinsky, Rafael Payare and the Pittsburgh Symphony answer a resounding yes.

In a tremendous triple bill at New York City Center, Martha Graham’s genius and Janet Elber’s stewardship of the company into the 21st century deserve to be celebrated, loudly. 

Flora unites the Australian Ballet with Bangarra Dance Theatre in a glorious collaboration that traces loss, renewal, resilience, cultural continuity and enduring vitality of the body. 

A reimagining of Pina Bausch's 1978 Kontakthof by Meryl Tankard brings together eight of the original cast members in a unique and poignant revival.

At Holland Dance Festival, La compagnie Hervé Koubi were put through their paces, showcasing a dizzying display of acrobatic abilities that would rival any act in a Cirque de Soleil show.

Atlanta Ballet's Golden Hour program featured two world premieres and the Atlanta premiere of Christopher Wheeldon's Within the Golden Hour. 

Solera is a mix of experience and youth blended to create excellent vintage flamenco at London's Sadler's Wells.

George Williamson's My First Ballet: Cinderella for English National Ballet School is an absolute joy and suitable for any age group. Great family entertainment.

In this latest revival of Kenneth MacMillan’s Mayerling, The Royal Ballet presents a roster of powerful and vivid interpretations across the board.

José Martínez has envisioned a Don Quichotte that recalls the original 19th century choreography while also acknowledging some of the notable 20th century versions and it's splendid looking.

New York Theatre Ballet's long tradition of presenting condensed story ballets with exquisite production values continues despite the challenges of the current environment. Carnival of the Animals is paired with Tudor's Little Improvisations. 

Dutch National Ballet's new production of La Bayadère does away with the ballet’s problematic gestures and movements, allowing the choreography to truly shine.

Commissioned by Washington DC's Kennedy Center in the before-times, Mark Morris' Moon lands more ominously today than it surely did when it was conceived. But it still radiates joy.  

Viktoria Mullova is a superb soloist in Brahms' Violin Concerto, while an orchestra full of soloists play Bartók’s Concerto for Orchestra with Kahchun Wong presiding. 

Kansas City Ballet celebrate the USA’s 250th anniversary with three American ballets. Balanchine's Stars and Stripes, de Mille's Rodeo and a new work by Caili Quan, A Home Away.

English National Ballet presents a double bill of contrasts at Sadler’s Wells with startlingly mixed results, not all positive.