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A mixed evening at the Koch Theater, with ABT shining in Ratmansky and a new Twyla Tharp creation, but struggling in Balanchine. 

If the audience response was not very enthusiastic, it's because Ratmansky's Sleeping Beauty four years after its premiere still comes across as more of a museum piece than a living, breathing ballet. This is a Beauty that never really wakes up.

Kevin McKenzie's production of Swan Lake at ABT usually has little to commend it, but Christine Shevchenko's Odette/Odile is the real deal. 

Perhaps ABT's disclaimer in the program notes should have simply said: "When you watch Le Corsaire, prepare to be both offended and entertained. We hope you'll be more entertained than offended."

If you love Jane Eyre, stick to the novel. There's more female empowerment in those pages than in Cathy Marston's choreography.

As the wonderful Tharp trio program proves, all these years later Twyla Tharp can still make ballet look cool.

The Seasons is overstuffed, uneven and way too busy. There are so many steps, but they rarely made me "see the music". It was a frustrating ballet, with so many lovely moments that were less than the sum of its parts.

Harlequinade shows Ratmansky's usual scrupulous care when reconstructing Petipa's ballets. His attention to detail and obvious love for the art form are to be admired. But these ballets are also living, breathing works and they need strong performances to be viable in the repertory.

Who knew that children were subject to shoe fetishes?

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.

As a whole, this American Ballet Theatre program was good but the presence of Hee Seo and David Hallberg in Jerome Robbins' Other Dances made it indelible.

Mark Ryden's design for Whipped Cream is a masterpiece that elevates this work immeasurably.

There was complete assurance in Skylar Brandt's performance and there’s no doubt that she’s a bona fide contender for a future slot as a principal dancer.

It’s full of rich characters and a great story that weaves farce, tragedy, exotic music, and outstanding stagecraft together into an experience that takes you away.

Alas, putting two stars (Kochetkova and Cornejo) together is no guarantee of success and that was certainly the case here.

American Ballet Theatre's Whipped Cream should be seen for Ryden's sets and costumes alone. A free-floating eye and a sweetshop whose ingredients come to life create a very surreal world.

American Ballet Theater's Swan Lake is enjoyable

I can only regret the brevity of ABT's two week long fall season at Lincoln Center.

L’American Ballet Theatre inaugure la saison 2016/2017 de l’Opéra de Paris en proposant une nouvelle version de La Belle au Bois Dormant signée en 2015 par Alexei Ratmansky souhaitant restaurer l’esthétique de la chorégraphie de Marius Petipa de 1890.

Heated Passions abound in ABT's Romeo and Juliet. 

A great deal is going to be written about Cassandra Trenary in the coming years and people will spend a lot of time trying to analyze what it is that makes her special but it will all come back to one simple thing: there’s something in the way she moves.

Isabella Boylston made an impressive debut in MacMillan's treasured classic amid some fine performances from the supporting cast.

Isabella Boylston, here leading ABT's Swan Lake still has that touching vulnerability that makes her so emotionally appealing but there is now also a soaring spirit that can be thrilling.

Ratmansky is at the top of his game as a story-teller with this loving recreation of The Golden Cockerel.

These all-Ratmansky programs are a clear indication that ABT made the right move when they took him on as their resident choreographer.

All praise for Ratmansky's Sleeping Beauty, its old graces newly restored. 

The moment a mouse peeked out of a stewpot in the kitchen of the Stahlbaum’s kitchen, I knew that the current American Ballet Theatre version of The Nutcracker would keep me engaged all evening.

Marcel Gomes gave us a Death to remember in Jooss' Green Table.

Isabella Boylston, Cassandra Trenary and Herman Cornejo are exemplary in Mark Morris's new After You, a ballet of simple grace.

After 50 years, MacMillan’s Romeo and Juliet remains the standard by which all others are judged.

American Ballet Theatre revives Lar Lubovitch's 1997 Othello with Marcelo Gomes, Julie Kent, James Whiteside, and Stella Abrera in the lead roles. Unfortunately, the formidable dancing and acting could not survive the calamitous score. 

ABT has always been a place where stars shine brightest and this night had a whole constellation of them.

Alexei Ratmansky's The Nutcracker for American Ballet Theatre is probably the best one since it was first created. Gillian Murphy and James Whiteside danced with poignant grace and radiant musicality that thrilled the audience.

Soon to retire principal ballerinas, Julie Kent and Xiomara Reyes, delivered poignant performances in Alexei Ratmansky's Seven Sonatas along with poetic dancing by Joseph Gorak. Other standouts included solist Devon Teuscher in the Raymonda Divertissements and James Whiteside in Fancy Free.

Andrew Blackmore-Dobbyn and Carla Escoda debate the merits of Olga Smirnova and Vadim Muntagirov in La Bayadère for American Ballet Theatre at New York's Metropolitan Opera House.   

American Ballet Theatre's Japan tour returns Kenneth MacMillan's Manon to company repetoire, with Diana Vishneva and Marcelo Gomes dancing the main roles, the two stars dazzling with chemistry.

American Ballet Theatre’s second program of their tour is the All Star Gala, not just a star-studded pas de deux evening but with two brilliant works, Balanchine's Theme and Variations and Ratmansky's Piano Concerto no. 1.

American Ballet Theatre's Japan tour kicks off with Alexei Ratmansky's imaginitive, fresh and attractive Nutcracker, with brilliant adolescent performers. At Bunkamura Orchard Hall. 

On Friday, American Ballet Theatre gave us two Shakespearean reveries, José Limón’s Moor’s Pavane and Alexei Ratmansky’s new Tempest, and the contrast served neither well. Limón’s tightly structured, minimalist meditation on the theme of jealousy in Othello was partly overshadowed by the glittering spectacle of The Tempest.

Thursday night belonged to the corps de ballet at American Ballet Theatre. With the ghost of George Balanchine watching from his customary spot in the downstage right wing at the theatre formerly known as the New York State Theater, his blissful Theme and Variations and Alexei Ratmansky’s electrifying Piano Concerto no.

Ask any ballet fan about American Ballet Theatre and you can expect to hear about a long list of principal dancers and starring roles. With company members from around the world, the conversation could take place in any language and span generations.

American Ballet Theatre’s gala performance for the opening of its New York season was wonderfully varied and matched the level of excitement necessary to kick off a run at the prestigious City Center.

Imagine being trapped, for the rest of your life, in a swan’s body. Webbed feet, feathery wings, lakeside nest, the whole bit. Would you resign yourself to this “fowl” existence or refuse to accept your fate – no matter the consequences?Swan Lake is about one woman, Odette (danced by Veronika Part), in this fantastical situation.

American Ballet Theater’s La Bayadère transports viewers to another world, not just back in time, but to a place that rarely exists outside one’s own imagination. This fantastic, limitless quality characterizes La Bayadère, from the sets to the costumes, the music, and of course the dancing.This three-act ballet is a classic love story of star-crossed lovers destined to break the audience’s heart.

If you’re a regular theatergoer you may notice a discreet sign in the lobby when you show your ticket at the door. A slip of paper inserted in your program catches your eye, “In this evening’s performance of Giselle, the role of...” Your heart sinks: an understudy.No one wants to hear that a cast member in any production is unable to perform, especially not when it’s due to injury.

American Ballet Theatre’s second programme at Sadler’s Wells transports us across the globe and through time beginning with a visit to the 19th century Russian Imperial Court and ending in wartime America. This is a mixed experience in more ways than one. Things get off to a tentative start with Balanchine’s Theme and Variations.

The American Ballet Theatre return to the stage of Sadler’s Wells this week with two mixed programmes of 20th and 21st century ballet. The first programme, of four one act pieces, explores the relationship between music and dance, beginning and ending with a UK premiere.Seven Sonatas choreographed by Alexei Ratmansky, ABT’s artist in residence and former Bolshoi director, opens the programme.