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All that glistens... the world premiere of Xie Xin’s The Moon in the Ocean is the highlight of a mixed bill programme spanning 90 years of choreography. 

Wildsong presents a refreshing take on contemporary movement rooted in classical technique while revisiting a recent conceptual work of much acclaim, both performed by artists at the peak of their physical prowess.

Many world class performances to enjoy in this 20th edition of the annual Ballet Icons Gala.

At the start of an ambitious cross-country tour, Alvin Ailey American Dance Theater is transcendent at Atlanta's historic Fox Theatre.

Sweet Mambo was one of those rare evenings that felt very special, unique in the sense of watching history revisited in the present day.

Global chaos has not deterred Cuba's Malpaso Dance from bringing two world premieres, one home-grown, and a Martha Graham debut to New York City – incredibly, with all-live-music accompaniment. 

New York City Ballet presents a very entertaining quadruple bill which includes Alexei Ratmansky’s latest work, The Naked King, showing off the company’s comic talents.

Opera Philadelphia commissions ten composers to tell the story of an ordinary woman's idiosyncratic march from cradle to tomb.

A welcome return to London by Paul Taylor Dance Company after more than two decades, this triple bill was worth the wait.

A rare opportunity to see five male ballet superstars – notably Alban Lendorf, in great form long after injury sidelined him – in an intimate theater, in work exclusively by women.

Jamiel Devernay-Laurence’s winning formula for his Ballet Nights series has brought in new and old works, concert and dance, and continues to push the boundaries into 2026.

Alvin Ailey American Dancer Theater is in magnificent form for its New York City Center season. Never overselling, simply moving magically.

For one night only, audiences in Frankfurt were treated to some world class ballet on the expansive stage of the Jahrhunderthalle.

Dutch National Ballet's second mixed bill at New York City Center ticked all the right boxes, showcasing the depth of talent across the whole company.

Rennie Harris' theatrical works of street dance have toured the globe. In American Street Dancer he focuses on the preservation of three distinct styles closer to home. 

A letdown and a triumph at the Paul Taylor Dance gala this week, featuring new works by Lauren Lovette and Robert Battle, both resident choreographers, she in her 4th year, he in his 2nd. 

Two complementary new works for TanzLuzern, Mthuthuzeli November's Oh Deer and Phoebe Jewitt's White Rabbit, are striking and memorable additions to the repertoire.

Liam Francis Dance Company at The Place brings an instinctive and intelligent debut for a choreographer in-step with what it is to be a dance artist now. 

Joburg Ballet makes a promising, if somewhat initially tentative, UK debut with a programme of five works, four by South African choreographers.

The choreography, music and performance made this an impressive event, but Iommi’s cameo was an emphatic cherry on the top that sent the crowd home with an enthusiastic spring in their step.

Angelin Preljocaj's Gravity triumphed on opening night in New York despite official cock-up. 

Much acclaimed in 2022, a mixed bill curated by Tiler Peck returns to New York City Center with new cast members.  

Twyla@60: A Tharp Celebration is an overall triumph though not just for Tharp, but for Susan Jaffe’s vision for American Ballet Theatre.

Some excellent individual performances but a disappointing program for Contemporary Choreography I with New York City Ballet.

Curated by Marcelino Sambé, Black History Month Draft Works at the Clore Studio gifted us an intriguing mix of ideas and styles providing food for thought as well as theatrical interest.

New York City Ballet offered a few exhilarating moments in a mishmash of a program from the company with arguably the greatest rep in the world.  

A very diverse mixed bill for Fall for Dance showed some top notch dancing though it was not entirely successful choreographically.

A perfect triple bill became a less perfect quadruple bill. Brilliant performances by dancers from Gibney, kNoname Artist, Paris Opera étoiles rarely seen in New York and – a rarity these days – live musicians. 

Sidi Larbi Cherkaoui's Vlaemsch (chez moi) is an extraordinary piece of dance theatre proving the value of multiculturalism where difference can be absorbed within the search for artistic expression.

NYCB's triple bill that harks back to the 1950s proves a love letter to an America that never was.

A dramatic staging of two Greek myths, Wayne McGregor’s Jocasta’s Line is an epic production for Norwegian National Opera and Ballet, a truly modern and totally original work.

In true Ballet Nights tradition, Bound in Motion presented the Cadogan Hall audience with an eclectic mix of old and new works and some outstanding performances.

Resident choreographer Sophie Laplane, star dancer with the company for 13 years before spreading her choreographic wings, takes on Scotland’s most tragic and divisive historical figure

At an hour and three-quarters, Dance People was over-long and the slogan-ising brought it dangerously close to being yet another show fulfilling all the vaguely right-on aims of this year's Festival.

R.o.s.e is an immersive experience of a performance within a rave – not the most enjoyable way to appreciate the professional dancers.

Ballet Nights is more than an evening of party pieces: it showcases emerging talent alongside older favourites and, in the case of this first Scottish outing, has an eye to local tradition.

A gala to be remembered for the sheer number of stellar performances both in classical music and all forms of dance.

Overall, The Royal Ballet School delivers much to admire, but reminiscent of a multiple-course banquet that still leaves you reaching for the cheese and biscuits when you get home.

Sadler’s Wells Flamenco Festival continues with Manuel Liñán’s Muerta de Amor, a show that screams much more of the power of love than its death. 

The Wings of Time festival in Oslo this summer is the most comprehensive collection of Czech choreographer Jiří Kylián’s work ever presented. 

A joyful, very gracious finale for a highly respected and loved principal dancer at NYCB. Andrew Veyette bows out with dignity and humility.

“Russ” translates as “soot”, the title of Bridget Breiner’s retelling of Cinderella. However it’s the role of Livia, the rather spirited Stepsister who must navigate the family trauma. 

Ballet BC’s double bill puts Crystal Pite’s marvellous, shadowy Frontier in conversation with the folk-tinged comedy of Johan Inger’s Passing.

When We Fell, Kyle Abraham’s bracing new piece for NYCB, made a minimalist statement on a maximalist quadruple bill, also notable for stunning ensemble work in Alexei Ratmansky's Odesa.

A welcome opportunity to observe the talent who will be the next generation of professional dancers.

Czech National Ballet present an outstanding programme of intriguing new dance, enveloping a late twentieth century gem.

English National Ballet present a riveting triple bill of William Forsythe's works including audience favourite Playlist (EP) at Sadler's Wells.

Neumeier's Nijinsky explores the professional and personal life of the legendary dancer with intense choreography and powerful performances.  

More centenary celebrations by the Martha Graham Dance Company: the first of several mixed bills this season displays the Graham dancers at their most powerful.  

Ballet Nights returns to Cadogan Hall in its latest incarnation with plenty of excitement and surprises.