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Christopher Wheeldon's Alice's Adventures in Wonderland shows off The Royal Ballet's roster of supreme dance actors in every version of technical wizardry and comic incarnation.

Natalia Osipova, a seasoned Tatiana, is joined by Lukas B Brændsrød, making his debut as Onegin in the summer return of John Cranko's take on Pushkin's classic verse novel. 

A showcase presenting the rich diversity of Christopher Wheeldon’s choreography should become a staple in The Royal Ballet's calendar.

A compelling performance of MacMillan's Romeo and Juliet from an excellent cast, proves to be a triumph for Patricio Revé, debuting with the Company and paired with Natalia Osipova.

An interesting mix of classical, contemporary, hip-hop and cultural choreography graced the stage at the Linbury Theatre for International Draft Works 2025.

A triple bill of works by Balanchine shows off both the dancers’ versatility and his own wide ranging skills as a choreographer. 

“But, soft, what light through yonder window breaks?” Yasmine Naghdi reaches new interpretative depths in this revival of Sir Kenneth MacMillan’s classic Romeo and Juliet. 

Overall, Light of Passage is one of those glorious pieces where music, choreography and design meld together to make theatrical magic.

The welcome revival of a borrowed jewel in The Royal Ballet's treasure chest of story ballets.   

The Royal Ballet revive Ashton's masterpiece with some superlative leading performances in a production that is visually rich and imaginative.

The combination of spectacular backdrops and evocative film projections are visually stunning and the dancers are superb, but Wayne McGregor's MaddAddam is difficult to follow.

In a quadruple bill of contemporary works, The Royal Ballet's dancers shine in this diverse programme, creating an immersive experience.

Last seen in 2017, Christopher Wheeldon’s take on the classic Lewis Carroll novel returns to the Royal Opera House stage, or rather Royal Ballet and Opera as we must now call it.

Bringing Ashton from Florida to The Royal Opera House sounds like “coals to Newcastle” but I think that “discovering buried treasure” might be a more appropriate idiom.

The Royal Ballet gets off to an extraordinary start for its Ashton Celebrated season with some ravishing dancing on offer.

Two very impressive debuts in the lead roles of Liam Scarlett's Swan Lake with The Royal Ballet, bodes well for the futures of Mariko Sasaki and Joseph Sissens.

This tenth anniversary revival of Christopher Wheeldon's The Winter's Tale looks as fresh as on the original opening night.

International Draft Works gives opportunities for Londoners to see companies and choreographers that they might otherwise not see in the UK.

An emotional rollercoaster showcasing the choreographic genius of Sir Kenneth MacMillan.

Visually splendid, Liam Scarlett's Swan Lake showcases some wonderful dancing, but there is still room for improvement. 

Four world premieres and four main stage debuts provides genuine hope for the future of choreography.

Kenneth MacMillan’s 50 year old ballet, Manon, holds up a mirror to our own times.

The Royal Ballet's lavish Nutcracker provided a plethora of outstanding performances on its opening night.

Thomas Adès' score does most of the storytelling in this epic production, though the dancing is superlative.

An arresting two-handed love story. 

The first revival and first pairing of two award-winning choreographies proves to be a very rewarding double bill. 

Carlos Acosta's Don Quixote is a dazzling production which stands out for its lack of filler moments. There are no slow crowd scenes, just flat out dancing.

A mixed programme of all-British choreography, including a world premiere, offers something for everyone.

With sumptuous new set designs and costumes, The Royal Ballet are in splendid form in Sir Frederick Ashton's Cinderella.

Every decade or so, The Royal Ballet creates a new work that will endure in its signature collection, and there's little doubt that Woolf Works deserves its place among that elite.   

Throughout the entire cast, every named role was performed with the mix of enthusiasm, affection and assuredness.

Sir Peter Wright’s classic Royal Ballet production returns for another festive run to enchant the young – and not so young – at Covent Garden. 

Pite's first full-length ballet at the Royal Opera House is a brief but powerful work, expanding her 2017 creation, Flight Pattern. 

Sir Kenneth MacMillan’s Habsburg history lesson comes with a cast list as long as your arm, but the plots and intrigues ensure a gripping evening at the ballet.

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

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

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. 

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

During her long career as a principal (19 years and counting), Juliet has never been an obvious pièce de résistance for Núñez. That is, until now.

Marianela Nuñez and Vadim Muntagirov still reign over The Kingdom of Sweet as The Nutcracker returns to Covent Garden for a marathon run of performances over the Christmas season. 

This wonderful ballet has never looked better at The Royal, especially in the remarkable performance of Natalia Osipova.

Francesca Hayward is a captivating Juliet as Sir Kenneth MacMillan's hardy perennial is back for another long run at the Royal Opera House. 

Marianela Núñez possesses a shimmering, celestial radiance and Vadim Muntagirov is a Prince in his prime.

An evening of George Balanchine and Jerome Robbins at Covent Garden, topped by a beautifully poignant rendering of Dances at a Gathering.

The first post-lockdown performance by The Royal Ballet offer an important indicator for the company's future.

Sir Peter Wright’s festive treat is back – and Covid-secure – as the Royal Opera House stages its first full-length staged performance since the theatre closed in March.

The whole Company exudes bravura and panache in gala programme headlined by a Zucchetti premiere and a Wheeldon classic.

An event that will be long-remembered for the importance of the occasion, if not for its content. 

An opulent production that is both reassuringly traditional and refreshingly new.