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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.

Dutch National Ballet returning to New York after more than 40 years should have been thrilling. The opening program, whilst beautifully danced, was somewhat muted.

London City Ballet move into a new venue with absolute confidence and gravitas in a quadruple bill that says everything about their future and success.

The premiere of Bal Impérial by Sidi Larbi Cherkaoui challenges and interrogates to great effect in Geneva. 

The Royal Ballet presents a triple bill of diverse works including one world premiere and one UK premiere. As per usual, the supreme roster of dancers tackles each with aplomb.

Sharon Eyal and Gai Behar’s S-E-D comes to Sadler's Wells with Into the Hairy, worth seeing for extraordinary dancers and the idiosyncratic nature of her distinctive choreography.

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. 

From disturbing to daffy: a searing indictment and a gentle parody, both from Paul Taylor, at Lincoln Center in New York, as his company continues to pack houses in its fall season.

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.

Company B and Esplanade bookended a popular mixed bill from Paul Taylor Dance Company in the first week of their ambitious fall season at New York's Lincoln Center.  

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. 

An extraordinary evening of dance theatre of the highest quality, Figures in Extinction for Nederlands Dans Theater 1 is a thought provoking experience worth repeating.

A trippy compounding of dance, music, costumes and lighting in the world premiere of Andrea Miller's MOTHER. 

While Rudi van Dantzig's production of Romeo and Juliet was buoyed by confident dancing and stylised acting, it falters somewhat under its own dramaturgy.

Amongst the Giselles and the Nutcrackers that will grace Oslo Opera House’s Main Stage this season sits a vital slice of Norwegian history from two emerging choreographers, Elle Sofe Sara and Hlín Hjálmarsdóttir.

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

Thirty years after its original production, Matthew Bourne’s Swan Lake makes its return to the stage championed by an impressive ensemble of dance artists from Bourne’s own company New Adventures.

American Ballet Theatre presented a well balanced program of Nuñes, Ratmansky and Balanchine which produced some revelatory performances.

Akram Khan in concentrated colour, setting the darkness chiming with Thikra: Night of Remembering at London's Sadler's Wells.

Compagnie DYPTIK from Saint-Étienne has returned to New York with an evening-length work inspired by a medieval 'dancing plague' and modern-day lockdowns. 

A maximalist production of Pelléas et Mélisande at Geneva's Grand Théâtre shines, but tries a little too hard. 

ABT offer some outstanding performances in a classical quadruple bill but there was a lack of confidence and uniformity within the corps de ballet. 

Czech National Ballet scores a hit in John Neumeier’s masterpiece Liliom, with back to back performances and multiple casts.

Northern Ballet's Little Red Riding Hood gives young ones a perfect introduction to ballet, without any teeth. 

The first new production of Alessandra Ferri’s directorship of the Wiener Staatsballett sees the European premiere of Alexei Ratmansky’s narrative ballet Of Love and Rage under its new title, Callirhoe.

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. 

If you’re in need of a pick-me-up, get thee to the Royal Opera House and see La Fille mal gardée, a gem of a ballet. There’s a long roster of impressive casts to choose from.

The National Ballet of Japan gave an excellent rendition of Sir Frederick Ashton's Cinderella, in spite of many new faces and role debuts.

Swan Lake opens the season for Kansas City Ballet in a splendid looking production and with very pleasing interpretations.

An uplifting triple bill by American Ballet Theatre with three contrasting ballets. Especially entertaining were Tudor's Gala Performance and Agnes de Mille's Rodeo.

Fusing the Renaissance polyphony of Les Arts Florissants with the contemporary dance of Compagnie Amala Dianor was an ambitious experiment, which displayed great virtues but didn't quite come off.

An ambitious effort to honor hometown hero Otakar Ostrčil sags under its own weight at the Prague National Theatre. 

After a slow beginning, the work gathers pace, thoroughly engrossing the audience in its exhilarating, foot-tapping momentum.

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

José Limón's The Emperor Jones is relocated to Wall Street and a visually stunning new work from heralded Mexican choreographer Diego Vega Solorza challenges gender binaries.  

Pierre Boulez’ Rituel in memoriam Bruno Maderna is choreograped by Benjamin Millepied for a New York Philharmonic performance, led by Esa-Pekka Salonen.

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

Hofesh Shechter's Red Carpet for Paris Opera Ballet offered brief harrowing elements in an otherwise tiresome evening, though the music, also by Shechter, was tremendous.

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.

Handel's oratorio is staged by Olivia Fuchs and conducted by Johanna Soller in Opera North's latest successful collaboration with Phoenix Dance Theatre. 

Opening Dance Umbrella's Festival 2025 at Sadler's Wells East, Andrea Peña and Artists’ Bogotá examines perceptions of death and rebirth and how our ancestral stories echo in today's urban world.

English National Ballet opens its season at Sadler’s Wells with a quadruple bill showcasing the versatility, virtuosity and endless capabilities of the company throughout the ranks.

The Royal Ballet’s season opener, Christopher Wheeldon’s Like Water for Chocolate, is visually tremendous, very well danced but the many principal and soloist characters are difficult to keep up with.

A sublime Robbins-Balanchine pairing at New York City Ballet, it was Robbins’ Goldberg Variations that came off best.

Opera Ballet Vlaanderen powers its way through an exciting revamp of Hofesh Shechter’s inimitable Grand Finale.

Tetsuya Kumakawa's Don Quixote for K-Ballet Tokyo is a production that promises the audience much enjoyment, with thrilling lead dancers and excellent storytelling. 

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.