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An evening of sublime dancing, the Festival of Two Worlds in Spoleto, presented a Dance Marathon of electric performances, supreme quality and memories to cherish.

English National Ballet School and the John Cranko Schule join forces to deliver strong performances in a very diverse programme at the Linbury as part of the Next Generation Festival.

The Gala Flamenca has always been a highlight not only of the Flamenco Festival but also of the whole summer in London Dance. This year it exceeded expectations.

An evening of outstanding dancing from the Royal Ballet School and the School of American Ballet. It was a case of spotting tomorrow’s stars in a beautifully balanced programme.

The Royal Ballet School performing as part of the Next Generation Festival, offered a host of works by both students and internationally renowned choreographers which proved to be highly enjoyable.

Two distinctly different stories represent women's right to freedom in Delusions, Izadora Weiss’ latest full-length work for Polish National Ballet.

Completely engaging performance of Pina Bausch’s Kontakthof: Echoes of ’78 finds our reviewer disappointed with Music Music from Trajal Harrell in Lugano.

Rambert celebrates 100 years presenting a triple bill of recent or new works. The message is clearly to look forward and not back.

Centuries after her beheading by her English cousin, Mary Stuart remains a potent symbol of Scottish exceptionalism and historical grievance. Weak production design weighs down Sophie Laplane's imaginative choreography for Scottish Ballet.  

Superbly balanced double bill comprising Kill Your Darlings and SAABA which highlighted the talents of the young dancers of Nederlands Dans Theater 2.

Fragments by Brahms, Schoenberg and Schubert orbit Beethoven's Waldstein and Schumann's Carnaval in another masterful recital from Sir Stephen Hough.  

A collection of tributes to former world class tap dancers alongside some new works that clearly thrilled the capacity audience at the Joyce Theater.

The BalletBoyz present an entertaining programme of old and new works spanning the last 25 years – with stellar performances.

Ballet isn’t always pretty, there are plenty of examples in repertoires across the world. John Neumeier’s Streetcar Named Desire (Endstation Sehnsucht) is to reach another level of grim but gripping brutality told through dance.

A very welcome and hilarious return to the UK from Les Ballets Trockadero de Monte Carlo, this time at Sadler’s Wells, they offer familiar and new works.

Six works, including two world premieres, made up the latest program from Parsons Dance. Thoroughly joyful, the audience were sent home buzzing.

Dutch National Ballet give an exemplary account of a quadruple bill comprised of the late Hans van Manen’s works. It’s a wonderful tribute to the great master choreographer.

17 years after its premiere, Andrea Miller’s BLUSH, set on her company, GALLIM, returned to entrance and perplex in equal measure at New York’s 92nd St Y.

Another tick for the Ballet Nights team, the audience at Cadogan Hall enjoying a varied and exceptional programme of new and legacy works.

The Royal Ballet's International Draft Works proved to be an excellent opportunity to see dancers and budding choreographers from around the world.

A.I.M by Kyle Abraham with guest artist Taylor Stanley bring a postmodern vibe to an early MTV-era playlist. One of the most bewitching things you're likely to encounter this year. 

Christopher Hampson’s newly updated Starstruck is thoroughly entertaining with sexy solos, classical pas de deux and lines of perfectly-timed Broadway hoofing.

Anthony Tudor and Merce Cunningham provided the lighter fare in a mixed bill that featured two world premieres from Kevin Iega Jeff, a veteran of the Chicago dance scene, and Julian Donahue, a newer voice.  

A reimagining of Pina Bausch's 1978 Kontakthof by Meryl Tankard brings together eight of the original cast members in a unique and poignant revival.

At Holland Dance Festival, La compagnie Hervé Koubi were put through their paces, showcasing a dizzying display of acrobatic abilities that would rival any act in a Cirque de Soleil show.

The Manchester Collective are one of the most successful groups of musicians who aim to bridge the gap between musicians and their audiences. 

Commissioned by Washington DC's Kennedy Center in the before-times, Mark Morris' Moon lands more ominously today than it surely did when it was conceived. But it still radiates joy.  

In their penultimate stop on a US tour, Ailey's second company produced exceptional performances in an Ailey classic and four handsome new works. 

Last seen in London in 2023, Turn It Out with Tiler Peck & Friends made a hugely welcome return with the same programme, differently ordered. 

Sophie Laplane's Mary, Queen of Scots has a lot going for it, visually stunning with a pleasing score, but simplistic and overly rapid storytelling brings it to an underwhelming conclusion.

An evening of Ronald K. Brown's choreography for his own company, Evidence, brought infectious joy and had the audience dancing in the aisles.

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. 

Rachna Nivas, Rukhmani Mehta, Dormeshia and Michelle Dorrance joined forces with top-notch Indian classical and jazz musicians to deliver an imaginative tour de force of kathak and tap.

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.