Live, Video: Dance

McGregor's new creation for the Milanese company imagines Les Noces as a sequel to his take on The Rite of Spring.

Alexei Ratmansky's Ancient Greek take on Bolshoi-style dram-ballets gets its New York premiere as part of American Ballet Theatre's summer season at the Met.

A lovingly reproduced historical reconstruction, but is it enough to connect with modern Australian audiences?

In contrast to companies like the Bolshoi, ABT’s Don Quixote comes across as sweet but slight.

Helen Pickett's slick and revealing adaptation of Arthur Miller's play receives its London premiere at Sadler's Wells. 

Great storytelling and passionate performances infuse this transfer of Sir Matthew Bourne's dance theatre classic to the RAH arena. 

Tamara Rojo's English National Ballet takes Akram Khan's version of Giselle, created on the company, to the Brooklyn Academy of Music.

A mesmerising performance of one of modern dance's greatest works is such a feast for the senses that 37 minutes feels as if a whole evening passes by.

Wheeldon’s Alice’s Adventures in Wonderland proves to be one of the greatest recent successes at the National Ballet of Japan, promising a feast of delights, an enjoyable night at the ballet for both children and adults. 

Laura Esquivel’s extraordinary novel of recipes, romances and home remedies brought to life in Christopher Wheeldon and Joby Talbot's new creation. 

At Sadler's Wells, Kyle Abraham’s new work is visually splendid with glittering moments but without any coherent form. 

Osipova's memorable performance tops a fine new production at the Queen Elizabeth Hall. 

George Balanchine's ballet brings joy to audiences year in, year out. 

Henrick Ibsen’s tragic figure is given a stunning interpretation by Romanian choreographer Edward Clug, who underscores the power of love.

Rambert presents an excellent cohort of expressive dancers, but the programme lacked an overall wow factor.

The Four Seasons is such a happy, appealing ballet that the audience barely notice any unsteady moments. 

Septime Webre's irrepressible reinvention of Dorothy, Kansas and Oz is back at the Kauffman Center for the Performing Arts.

Kenneth Tindall's Casanova is a rare example of an excellent British ballet on a grand scale, the most effective coup de théâtre coming in a momentous finale.

A Greek-themed triple bill is presented with mixed success, although Agon still stands up well, with Unity Phelan making her debut in the central pas de deux.

Back on stage after stopping for the lockdown, Le Corsaire by José Carlos Martinez for Rome Opera Ballet creates a narrative ballet for our time, with an ancient flavour but a contemporary attack.

The Australian Ballet's impressively-danced Kunstkamer is a work of astonishing scale, originality, and warmth, choreographed by Paul Lighfoot, Sol León, Marco Goecke and Crystal Pite.

Partita has emerged as one of the stronger Peck ballets. If we see more Partita and less Principia, that’s a good thing.

A much beloved production with magical charm, National Ballet of Japan's Cinderella, choreographed by Fredrick Ashton, is successfully performed to a full house audience, thanks to coaching by Miyako Yoshida who performed the role in her days at The Royal Ballet. 

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.

Sterling Hyltin and Adrian Danchig-Waring are exquisitely self-absorbed in Jerome Robbins' Afternoon of a Faun.

A richly varied trio of works celebrate The Royal Ballet's former director, performed with sincerity and panache. 

Jude Kelly and Paco Peña join forces for their seventh collaboration, a flamenco show entitled Solera. 

Sir Kenneth MacMillan's masterpiece is reimagined on a smaller scale, distilling the ballet into the essence of the personal relationships that led to the tragic events at Mayerling.

The first Fracci Gala at the Teatro alla Scala celebrates the memory and the stature of a child of the house, who not always considered so in life. 

Yuri Possokhov's Anna Karenina aims to be a dark psychological drama, but its uneven character development and unengaging choreography fail to satisfy.

PTDC really returned in a weeklong residence at City Center and the company looks to be in good overall shape.

Kyle Abraham's The Weathering doesn't feel particularly fresh on its premiere, but Crystal Pite's Solo Echo and Christopher Wheeldon's Danse à Grande Vitesse pep up the first triple bill of the season at Covent Garden. 

Norwegian National Ballet opened its new run of Natalia Makarova’s staging, with Whitney Jensen and Lania Atkins making outstanding impressions as Nikiya and Gamzatti. 

Four works – one new, two older and a PNB premiere – display the company in all its imaginative versatility and fine technique.

The successful return of De Keersmaeker's early minimalist masterpiece, Fase, Four Movements to the Music of Steve Reich in the Linbury Theatre.

MacMillan's ballet returns to the Hungarian National Ballet in time for the Opera House's grand reopening.

The legacy of Loïe Fuller's Serpentine Dances lives on in the Dance Reflections festival presented by Van Cleef and Arpels.

Balanchine’s sparkling ballet reveals Manuel Legris’ vision for the Milanese company. 

A compelling performance of this revival, dedicated by Vadim Muntagirov to the people of Ukraine.

Gonzalo Garcia bows out from NYCB with a ridiculously ambitious program of Robbins, Peck and Balanchine.

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

Carlos Acosta restages his Royal Ballet Don Q in a refreshing revamp for Birmingham Royal Ballet.

Liang Fu impresses as a regal and macabre, majestic and creepy Dracula in Michael Pink's ballet.

Balanchine's unbreakable Serenade leads a mixed bill that includes his less than inspired one-act version of Swan Lake.

After a two-year interregnum, Acosta Danza are back at Sadler's Wells with an updated programme of five short works.

Tanztheater Wuppertal celebrates 40 years of Pina Bausch's work coming to the UK with the production that began it all.

A trio of audience-pleasing Balanchine ballets as a blizzard blows through New York City...

The NYCB dancers are very at-home in this idiom, and they threw themselves wholeheartedly into this ballet. It was never less than watchable, but the music cried out for more avante-garde choreography than Peck provided.

Petipa's classical choreography and Glazunov's ravishing score fuse with a reimagined narrative and bold choreographic additions to create a new Raymonda for the 21st century.

Exalting choreography, galvanising music and a dreamlike scenography: Marcos Morau is back with a work of genius that marries feminine power and religious custom