Live, Video: Dance

Thirty years on, Maillot’s reading of Shakespeare retains a certain timelessness, not least for its refreshing refusal to depict the action literally. Les Ballets de Monte-Carlo dance it supremely well.

American Ballet Theatre’s fall season continues with its Neoclassical Works program, featuring works by Sir Frederick Ashton, Kyle Abraham and George Balanchine. 

Nureyev’s Romeo and Juliet for ENB – interpretations will vary with each cast, but tour audiences can’t fail to be absorbed by the lucid and fully-realised storytelling on offer.

National Ballet of Japan’s world premiere of City Lights based on Charlie Chaplin’s classic film and choreographed by Alastair Marriott, is a resounding success, a ballet that everyone can enjoy. 

London City Ballet are back on at Sadler’s Wells in an intriguing double bill comprising John Neumeier’s Ghost Light and Glen Tetley’s Firebird. The company is looking stronger than ever.

Swan Lake Remixed hit the mark in captivating a potentially new dance audience with a unified front of solidarity, respect and appreciation for dance in all its diversity.

A stirring but not overly sentimental program curated by Adrian Danchig-Waring for his farewell performance included a striking new work by Pam Tanowitz, two towering Balanchine works and a Lar Lubovitch duet. 

Celebrating 25 years of Ballet Black, Hope Boykin’s ...all towards hope and Mthuthuzeli November’s Ingoma showcase the company at its best.

Sir Kenneth MacMillan’s Manon with The Royal Ballet looks every bit as good as it did back in 1974. There is a reason why it’s stood the test of time. 

Ballett Basel skilfully deliver a triple bill of contrasts comprising Kylián, van Manen and Goecke.

Norwegian National Ballet are at their very best in a León/Lightfoot double bill of Shoot the Moon and Salle de danse. Absolutely unmissable.

A triple bill of Korean contemporary dance provides thrills and enigmas at the Korean Cultural Center in New York.

Some highlights and occasional disappointments in an overly long performance celebrating 100 years of the Royal Ballet School.

An interesting mix of rarely seen and frequently revived Balanchine ballets at New York City Ballet.

Moments of great poignancy and imagination, splendid dancing, and some missed opportunities in Christopher Wheeldon’s Oscar for Australian Ballet which came to New York City Center last week.

Acosta Danza has always had an adventurous taste in commissioning choreography. In this programme, the revival fared better than the new commission.

While the eight dance artists in Folk formed a compelling unit, the piece was somewhat derivative in its contemporary movement and lacked overall cohesion.

Reginaldo Oliveira’s production of The Sleeping Beauty engages with the great classic through a deliberate and radical rewriting: a choice that may appeal to those who seek new interpretative possibilities.

BlacBrik’s The Brown Suite had us dancing in the aisles. A splendid looking production with dancing to match, definitely worth watching.

New York City Ballet’s Contemporary Choreography I is a generous, exciting program featuring two new ballets that premiered at this season’s Fall Fashion Gala.

NYCB delivers first rate performances of three contrasting masterpieces from George Balanchine and Jerome Robbins in Masters at Work I.

A mix of fast-paced, characterful whimsy and tragedy in this diverse programme from Northern Ballet, which has become a very welcome part of London’s autumn dance calendar.

Triumphant, unshowy, virtuosic. Sarasota Ballet brings a trio of 20th century British choreographers to New York. 

Jamiel Devernay-Laurence’s Ballet Nights is celebrating its third birthday. Initially a more intimate affair at The Lanterns Studio Theatre, Ballet Nights has grown into a regular feature on the dance calendar.

Flamenco, tap and contemporary from Spain, the U.K. and Israel on offer in Program 3 at Fall for Dance yielded a provocative work, a display of virtuosity and the inevitable clunker. 

In Rhythm Riot, English National Ballet presents a triple bill joined together in quality and contrast like matching pieces of a jigsaw.

Nederlands Dans Theater 1 deliver outstanding performances in a riveting double bill in Out of the stillness.

Now 45 years old, the Wright/Samsova production is faithful to all the key elements of the traditional ballet but with plenty of embellishments that give the BRB Swan Lake its own uniqueness.

The opening program of Fall for Dance reflected the diversity of styles and world-class dancing on display at this year’s festival.

Despite its gaudy sets and stretches of ho-hum choreography, Balanchine’s Jewels remains a triumph for New York City Ballet. 

Alvin Ailey American Dance Theater present an electrifying programme of legacy works that cannot fail to impress. 

Alvin Ailey American Dance Theater return to London’s Sadler’s Wells in a winning programme of new works closing with the enduringly successful Revelations.

John Neumeier's take on the traditional tale of Cinderella was a deliberate attempt to break free from the classic fairytale when it first premiered in 1992.

The Dutch National Ballet showcases their diversity and dynamism in their season opener, Legacies.

Absolutely first rate production with outstanding performances. The McRae/Vassilev Project was a masterclass in resilience and major talent.

Scottish Ballet’s revival of Crystal Pite’s Emergence and Julia Cheng’s new Entress are a winning combination.

Sydney Dance Company serves up four sharply contrasting works in a snappy hour of sex, sweat, street dance and celebration. 

With its dazzle of exploding background (Hamill Industries) and breathtaking electronic music/soundscape from Sam Shepherd (aka Floating Points), Mere Mortals was truly an onslaught on the senses.

Groupwork deliver a quietly chilling performance of When Prophecy Fails – a work that leaves you somewhat haunted.

The increasingly popular Ballet Nights performs at the Edinburgh Fringe for the first time to welcoming crowds.

Classified as ‘dance’, Dan Daw’s Exxy leaves a bewildered audience wondering what on earth the show has to do with dance.

At the Bord Gáis Energy Theatre, a long overdue European debut for one of Latin America's pre-eminent companies.

Partly inspired by the tragic death of Ihsane Jarfi, a gay Moroccan man beaten to death in a racist and homophobic attack in 2012, Ihsane allows Cherkaoui to ponder his own heritage.

Eleven remarkable works from New York City’s longest-running free public dance festival, famous for its eclectic global attitude. 

Carlos Acosta has lost none of his brilliance and in a carefully curated programme with Acosta Danza and Birmingham Royal Ballet, he still thrills audiences.

The Australian Ballet’s touring group is presenting a pleasing program in Nutcracker Act 2 and Other Works, designed to appeal to a wide audience. 

A triumphant world premiere from a young choreographer. A poor choice of pas de deux for Paris Opera étoiles. Three bracing solos. A strenuously sexy duet: Misty Copeland’s Ballet Festival.

BALLET TheNewClassic brought a fresh look to the standard ballet gala, collaborating with fashion designers and musicians, creating new choreography and bringing a new audience from the fashion world.

WINNDance is an exciting and much-needed initiative, with ambitious plans for artistic collaboration and education, and a commitment to creating new possibilities for dancers at different stages of their careers.

A totally absorbing production, Matthew Bourne’s The Car Man at Sadler’s Wells will leave you emotionally drained, in a positive way.