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English National Ballet appears refreshed and revitalised under its new artistic director.

An auditorium packed with former company members usher in New York City Ballet's 75th anniversary with George Balanchine's ornamental triptych. 

The Australian Ballet's return to London's Royal Opera House after a 35 year absence, proves successful at every level.

Balanchine's triptych proves the perfect vehicle for The Australian Ballet to display its dazzling wares on its first post-pandemic international tour. 

Audience response for all three ballets was extremely enthusiastic. From 1944 to 1997, Jerry knew how to please audiences.

Namouna does go on too long and not every joke lands, but it’s a fun ballet and the company clearly relishes dancing it. 

In a first rate performance and just as balletomanes say goodbye to Harrison Ball, we say hello to the young talent, Domenika Afanasenkov. The cycle continues.

Recent retirements within NYCB have resulted in uneven performances, but there is still hope for future spring programs.

If the famous fairy variations in the Prologue can sometimes expose weaknesses, NYCB proved that it excels in pure classical ballet and not only in the neo-classical repertory.

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.

I must admit I like NYCB’s recent trend away from the themed programming. The combinations can seem strange, but the performances have more variety.

Their artistry was something that is rarely seen and is a great gift to us all.

When she retires next week, part of me likes to think she’s not really retiring. She’s just decided to stay in the Land of Sweets.

Concerto DSCH received a raucous reception during curtain calls. It’s a classic closer for an evening in that it sends everyone home happy. It doesn’t below as the middle ballet. Programming gods at NYCB, are you listening?

 The melancholy ending was a fitting farewell between ballerina and ballet. The heartmelting, beautiful Duo Concertant alone was worth the entire price of admission.

The fall season opens with three Balanchine ballets and what felt like a gesture of thanks to a trio of ballerinas for their many years of service to the company.

American Ballet Theatre shows its range with pieces from George Balanchine, Alonzo King, and Jessica Lang, but the dancing and choreography remain uneven throughout. 

George Balanchine's ballet brings joy to audiences year in, year out. 

A Greek-themed triple bill is presented with mixed success, although Agon still stands up well, with Unity Phelan making her debut in the central pas de deux.

Sterling Hyltin and Adrian Danchig-Waring are exquisitely self-absorbed in Jerome Robbins' Afternoon of a Faun.

Balanchine’s sparkling ballet reveals Manuel Legris’ vision for the Milanese company. 

Gonzalo Garcia bows out from NYCB with a ridiculously ambitious program of Robbins, Peck and Balanchine.

Balanchine's unbreakable Serenade leads a mixed bill that includes his less than inspired one-act version of Swan Lake.

A trio of audience-pleasing Balanchine ballets as a blizzard blows through New York City...

National Ballet of Japan successfully performs two very different pieces, George Balanchine's Theme and Variations and David Bintley's Still Life at the Penguin Café, amid the ongoing COVID-19 crisis.  

After the cancellation of New York City Ballet’s Nutcracker season in 2020, the warhorse to end all warhorses returns to delight holiday audiences. 

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

Serenades, Siberia and a little Celtic nostalgia as Kansas City Ballet returns to the Kauffman Center for the Performing Arts.

Several important firsts at New York City Ballet: two female choreographers; the first black female choreographer; the first collaboration between a female choreographer and female composer. But the longstanding practice of pairing choreographers with fashion designers continues to prove problematic.  

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. 

An assortment of oddments from the repertoire to honour seven departing PNB dancers.

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

Sofia Coppola's film closed on a note of optimism. The message seemed to be: “Normality is just around the corner. We’re coming back.” 

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. 

Pacific Northwest Ballet's Rep 1 delivers a magnificent first installment of their 2020-2021 virtual season.

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

An evening of sparkle and bravura at London's international ballet gala. 

Ashley Bouder, Tiler Peck and Megan Fairchild were at the top of their game in a Balanchine triple bill at New York City Ballet

From the frivolous to the profound, New York City Ballet celebrates the galvanizing partnership of George Balanchine and Igor Stravinsky.

A slick and stylish celebration at the Coliseum of this great company's achievements over 70 years.

Balanchine’s Nutcracker may have premiered in 1954, but every year tickets sell out for this festive treat. 

Great story, colorful costumes and sets, dozens of performers all add up to the annual extravaganza of George Balanchine's The Nutcracker. Pacific Northwest Ballet's superb artists portray its wonders again.

A mixed evening at the Koch Theater, with ABT shining in Ratmansky and a new Twyla Tharp creation, but struggling in Balanchine. 

Judging by the enthusiastic audience reactions to this program one might have to rethink the modern/ballet divide. Maybe there’s only two types of dance – good dance and bad dance. 

Disappointing new creations in NYCB's Fall Fashion Gala, leaving Balanchine's Symphony in C as a surefire closer. 

Union Jack isn't a Balanchine masterpiece – it's more of a fun-sterpiece, which is even better.

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

A sharp, well-drilled ensemble and heavenly Fauré, Stravinsky and Tchaikovsky couldn't adequately compensate for the mixed bag of principal performances and the outdated look of Balanchine's Jewels at New York City Ballet.