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Yuri Possokhov’s reimagining of the classic based on Alexander Pushkin’s iconic 19th century novel, succeeds brilliantly in a masterful season opener and world premiere for the San Francisco Ballet.

Seeing Frankenstein in its 2025 incarnation feels worthy and redemptive. It’s as vivid and cinematic as ballet gets.

Sir Kenneth MacMillan's Manon is an unforgettable, stunning production – a classic well worth seeing.

Annabel Lopez Ochoa's Broken Wings is a ballet you’ll want to see again and again, one that illuminates, empowers and soars.

Mere Mortals, an immersive sensory-experience ballet that merges dance, lights, visuals and sound, is clever.

There’s much to love in Helgi Tomasson’s production of Romeo & Juliet, starting with Prokofiev’s sumptuous score.

The ballet’s second act, following Giselle’s death, is set in a spooky, mystical realm, precisely the kind of thing that so intrigued its 19th century audiences and made this ballet an instant classic.

This irresistible Nutcracker is a reliable delight in an increasingly unreliable world.

Swan Lake is the last program of the San Francisco Ballet’s season and of the 37-year tenure of retiring artistic director Helgi Tomasson.

Helgi Tomasson and Yuri Possokhov's restaging of the 1869 Petipa classic brings a sunny smile to faces in San Francisco. 

With Tchaikovsky’s dear, familiar overture, the reassuring sameness of Wendall K Harrington’s slide show projecting 1915 San Francisco scenes onto the curtains, we were all, most decisively, back. 

The ballet culminates with fouettés, bravura leaps from the oversized ensemble and a rousing finish with all 44 dancers onstage. It was an exuberant end to an intelligent, satisfying production, both of thought and movement.

“Your love affair with ballet, your time with ballet, is short,” explains Welsh about his ballet Bespoke, “Eventually you lay down, and dance keeps moving. It’s a bittersweet thing.”

Wheeldon’s Cinderella is the kind of production that so enthralls, you immediately want to make plans to see it again.

In Helgi Tomasson's production, Michael Yeargan’s scenic design and the late Martin Pakledinaz’ sumptuous costumes create a scene so charming, you just want to climb inside and stay in that world all evening and beyond.

A welcome return to London for America's oldest ballet company begins with a highly personal interpretation of Shostakovich in dance 

Ulrich Birkkjaer presented an affecting portrait of a tormented Shostakovich, as he paced, leapt, slumped, was propped back to standing, and relentlessly propelled forward.

In this era that venerates the contemporary, it’s rewarding to see the classics faring so well, and San Francisco Ballet’s Sleeping Beauty is a winner for all.

The San Francisco Ballet's 2016 season culminates in a dazzling, masterful rendition of John Cranko's Onegin, bringing passion, fury and drama to the War Memorial Opera House stage.

San Francisco Ballet opens Program 2 of the 2016 season with pieces by two cornerstone American choreographers, George Balanchine and Mark Morris, and a world première by British choreographer Liam Scarlett.

San Francisco Ballet's first program of 2016, featuring Forsythe's rarely performed Pas/Parts and the revival of 7 for Eight and Magrittomania, leads the way into an exciting season.

San Francisco Ballet's Giselle brought enthusiastic Beijingers out in hordes to see Yuan Yuan Tan in the title role at the National Center for the Performing Arts on Friday night.