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

A longtime NYCB fan favorite, Concerto DSCH  by Alexei Ratmansky, meets the New York premiere of Christopher Wheeldon's Continuum. But the evening belonged to corps dancer Ruby Lister in Edwaard Liang’s Distant Cries.

Atlanta Ballet's Golden Hour program featured two world premieres and the Atlanta premiere of Christopher Wheeldon's Within the Golden Hour. 

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.

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.

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.

Christopher Wheeldon’s The Winter’s Tale is a sumptuous looking production but on this occasion, it didn’t come to life emotionally.

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.

Christopher Wheeldon’s Alice’s Adventures in Wonderland returned to the National Ballet of Japan, a marvelous production that amply displays the many talents of the company. 

Ballet Nights 008 – Spring into Summer proved to be a judicious choice of quality and diverse repertoire. 

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

Two masterworks by Jerome Robbins, Brandenburg and A Suite of Dances, are joined by Wheeldon's steamy After the Rain and Ratmansky's Paquita challenge.

A winning mixed bill at New York City Ballet, featuring three stylistically and conceptually very different works, yielded many gems. 

Scenic designs left the most lasting impressions of a mixed bill at New York City Ballet featuring a world premiere by Justin Peck.

The Australian Ballet’s first commissioned full-length work in 20 years, based on the life of Oscar Wilde, fails to fully take flight. 

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.

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. 

Love Letter (on shuffle) is like a Taylor Swift Track 5. Full of romance and longing, and it makes its emotional impact every time.

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

Les Ballets de Monte-Carlo presents three equally riveting ballets in a triple bill of abstract works from Christopher Wheeldon, Sharon Eyal/Gai Behar and Jean-Christophe Maillot.

The Australian Ballet revives Christopher Wheeldon's wildly imaginative take on Alice in Wonderland, in a magical masterpiece of wit and colour. 

A balance of classical, contemporary and folk dance, showed off the versatility of The Royal Ballet School's students at every stage of their training and the results were extremely pleasing.

Wheeldon lacks the imagination to take this story beyond that of a well-crafted adaptation of a beloved movie.

Christopher Wheeldon's Cinderella in-the-round is an immersive experience in the grand ballroom scene but the romantic duets are robbed of an essential intimacy.

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

 Both the new works are accessible ballets in the neoclassical style that is typical of the company.

Ballett am Rhein offered three pieces with no narrative, but this triple bill has broad appeal across the full spectrum of ballet and dance.

The company’s latest Firebird is Isabella LaFreniere. She’s perfect for the role. LaFreniere is tall, commanding, magisterial, with unusually liquid arms and an expressive back.

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

Wheeldon’s Alice’s Adventures in Wonderland proves to be one of the greatest recent successes at the National Ballet of Japan, promising a feast of delights, an enjoyable night at the ballet for both children and adults. 

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

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. 

The NYCB dancers are very at-home in this idiom, and they threw themselves wholeheartedly into this ballet. It was never less than watchable, but the music cried out for more avante-garde choreography than Peck provided.

After two years of pandemic disruptions, the Australian Ballet celebrates its return to the stage with this gala of impressively-chosen showstopper pas de deux.

A matinee performance that was bright and polished across the board, boding well for the company's future. 

To celebrate its return to the theatre after lockdown, New York City Ballet pulled out all the stops with a triple bill of Balanchine's Serenade and Symphony in C and Wheeldon's After the Rain. The house went wild. 

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

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

George Balanchine’s short-but-thrilling ballet Allegro Brillante is tailor-made to Mayara Piniero’s talents in Philadelphia. 

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.