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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.

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.

A mixed bill with mixed results from Hubbard Street Dance Chicago at the Joyce Theater in New York.

Ballet Icons Gala 2025 was the 19th since its inception. One can only applaud the dedication of Olga Balakleets, Founder and Artistic Director, for bringing many of the world’s most eminent dancers.

Osipova has always, since her very earliest appearances on stage, stood out for the sheer energy and commitment she shows in all her work. This is no exception.

A film and two live performances prove to be an excellent demonstration of Scottish Ballet's diverse talents.

Acosta Danza, always compelling, deliver a triple bill in the Linbury Theatre that shows off their plentiful attributes.

An Untitled Love is a brilliant piece of theatre centred on inventive, creative dance that enthrals and amuses whilst conveying several serious messages.

Northern Ballet's latest triple bill at the Linbury proves to be a magnificent vehicle for the company.

Three very different vintage works by Ronald K. Brown on offer at the Joyce Theater on the occasion of Evidence's 40th anniversary.

Nothing is too precious: Les Ballets Trockadero de Monte Carlo brilliantly re-envision Raymonda, Swan Lake, Dances at a Gathering, The Dying Swan, and Merce Cunningham.

This is a wonderful company and worth seeing in absolutely anything.

Lucinda Childs presents four new works at the Haus der Berliner Festspiele, appearing on stage as a youthful 84, in one of them.

An era has come to an end at Alvin Ailey American Dance Theater, its repertory in admirable shape, its dancers even more so. 

There is no modern dance troupe as likeable as the Alvin Ailey American Dance Theater. Their dancers are warm, exciting and beautiful to watch and they never fail to please audiences.

This is a dance piece that illuminates cultural and experiential history in a way that is accessible to everyone.

A superb, though brief, performance by the Ailey II troupe, puzzlingly marooned in a theater away from a fabulous collection of art that situates Alvin Ailey in the American cultural landscape.

The impressive music, especially in the live singing of Mees, is well worth the sometimes bewildering array of simultaneous activity, the confusions of intent and the occasional periods of inactivity.

A programme to show that heroism is not just about feats of action and adventure, with Ballet Black's supremely good dancers rising to each challenge.

Judith Weir's cryptic folk opera lacks the narrative propulsion necessary to enthral an audience, and without resolution there is no catharsis.

A new work full of meaning in Fall for Dance's second mixed bill dominated the performance.

A startling, provocative contrast between two works in the Fall for Dance Festival opening program this season. And glimpses of Aran Bell when he's not being princely.

Divertimento from Le Baiser de la fée is revived infrequently. It is an odd ballet, as if Balanchine’s couldn’t quite resolve his troubles choreographing to this piece. 

Jamiel Devernay-Laurence's Ballet Nights series is growing rapidly in appeal, just one year after its launch. With ever more ambitious projects afoot and a packed Cadogan Hall, it's worth seeing.

Star-dancing or star-gazing? A celestial occasion with Ensemble Hegiak in South-West France.

Lost Letters is the first full work from former Bayerisches Staatsballett Principal, Lucia Lacarra and her self-titled ballet company.

What excited us most at this summer's Battery Dance Festival. Open and free to all, it attracts an uncommonly wide range of dance companies from around the world and the United States.