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

New York City Center’s annual Fall for Dance festival heads online in a pair of programs, one much stronger than the other. 

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

The Joffrey Ballet presents a roster of choreographers with new approaches, a positive impression for the future of ballet. 

“Your love affair with ballet, your time with ballet, is short,” explains Welsh about his ballet Bespoke, “Eventually you lay down, and dance keeps moving. It’s a bittersweet thing.”

Alexei Ratmansky draws out exceptional individual qualities of each of five ballerinas in his intriguing world premiere for New York City Ballet, set to spoken word and live piano.

Wheeldon’s Cinderella is the kind of production that so enthralls, you immediately want to make plans to see it again.

The Joffrey Nutcracker succeeds in redefining the socio-economic situation of the protagonists, but throws out the baby with the bathwater.

On the evidence of this performance, there is every reason to be cheerful.

Whatever your taste in ballet, this program probably had it: Wheeldon's DGV meets Balanchine's Door and a Sigh and Raymonda Variations. 

An exciting London season closes with a glimpse of where ballet is headed, San Francisco style. 

A mixed bill of modern work showcases the diverse talents of The Royal Ballet.

There is a kind of purity to Your Flesh Shall Be a Great Poem, and a very human sense of longing and loss.

Sneakers gave even the most challenging of balletic steps a freer, looser quality, as if the dancers were about to step into flight.

It was worth the price of admission just to see the ebullient revival of Geoffrey Holder’s Dougla.

Pennsylvania Ballet shows off in works by Balanchine, Petipa, and Wheeldon

Two outstanding world premières honour the centenary of a great composer 

A strongly cast revival of The Winter's Tale by The Royal Ballet confirms one of Shakespeare's "problem plays" as perhaps being best suited to dance. 

Alice is the Australian Ballet’s biggest production yet, calling for all-stops-out artistic wizardry to reconjure the wit and whimsy of Lewis Carroll’s beloved classic.

As a whole, this American Ballet Theatre program was good but the presence of Hee Seo and David Hallberg in Jerome Robbins' Other Dances made it indelible.

Artistic directors of Ballet Boyz Billy Trevitt and Michael Nunn stage a speed dating style collaboration, match making four choreographers with four composers. The quality of performance is top-notch, but the choreography is pot luck in places. 

Is there anything Tiler Peck can’t do? After her just completed triumph in Swan Lake we’re obliged to say no.

As with Carroll’s original fantasy novel, Wheeldon’s wonderful ballet matures and pleases, yet more, at each revisit.   

BalletNOW returns to the Glorya Kaufman Presents Dance at the Music Center in Los Angeles. The production features dancers from six different major ballet companies, but fails to impress.

Virtuosity commanded the stage in the first half, drama and mood in the second, with Liam Scarlett’s new ballet a fitting tribute to the retiring Zenaida Yanowsky

The show stealer is the opening scene of Act III, as the curtain rises to reveal a line of females, both human and forest-creature, seated, waiting to try on the slipper the prince holds. It’s brilliant, laugh-out-loud clever.

Open-ended works provide different angle on Ballet across America

Changes in pace for a brilliantly dynamic company.

I can’t help feeling that an opportunity was missed.

A superb An American in Paris, inspired by the 1951 film of the same name; classic Gershwin songs enveloped by vibrant choreography, in a fast-paced show.   

A world premiere that gives yet more credence to the burgeoning reputation of Crystal Pite for creating absorbing mass movement of considerable beauty 

Wheeldon’s vocabulary, Ratmansky’s Lyricism, Pastor’s roaring engine and Dawson’s mesmerising planetary roaming little prince Edo Wijnen, make for a happy afternoon. 

A return of the company's signature work found The Royal Ballet fielding an excellent cast led by Sarah Lamb and Vadim Muntagirov. 

Damian Woetzel puts together programs, musicians and dancers with a creative curator’s eye and gets the most out of the new combinations. This show was great.

A fairy-story for grown-ups. Wheeldon's charming Cinderella for the San Francisco Ballet. 

Intricate hip-hop, sinuous African, lyrical ballet and glorious gospel held together with powerful contemporary technique: you are hit by huge waves of happiness and end the show smiling.

Christopher Wheeldon’s The Winter’s Tale for the National Ballet of Canada succeeds admirably as a narrative ballet.

The Royal Ballet revives Kenneth MacMillan’s The Invitation, to great public acclaim and with excellent performances in the main roles. The programme also features McGregor's new Obsidian Tear and Wheeldon's Within the Golden Hour.

Wayne McGregor pulls together a stellar all male cast for the Royal Ballet's world première of hisnew work, Obsidian Tear. 

Christopher Wheeldon’s The Winter's Tale (created for The Royal Ballet in 2014) is back on the Covent Garden stage this month and is as fresh and pristine second time around.

A vast world of movement rose in celebration of the body’s athleticism and its subtle connection to emotions and personality. 

A high-spirited divertissement from the New York City Ballet.

The Royal Ballet premieres Christopher Wheeldon's Strapless, and performs two other ballets by the choreographer for the first time.

A gracious US première of The Winter's Tale by the National Ballet of Canada. 

Wheeldon's Winter's Tale for The National Ballet of Canada is a soaring success.

On the second night of San Francisco Ballet’s second visit to Beijing, the company treated their Chinese audience to a varied programme: Tomasson’s Caprice, Wheeldon’s Rush, van Manen’s Variations for Two Couples, and Balanchine’s Theme and Variations.

The Pacific Northwest Ballet's season opener captures different periods of neoclassical ballet with Christopher Wheeldon's Tide Harmonic, George Balanchine's Prodigal Son and Jerome Robbin's The Concert (or, The Perils of Everybody).

Christopher Wheeldon's Dutch National Ballet production of Cinderella takes a fresh look at Prokofiev's ballet, but the magic comes from Julian Crouch's stunning sets and costumes.

A diverse program which shows the breadth and depth of the Royal Ballet.