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Sir Peter Wright's The Sleeping Beauty exudes that magical, ageless feeling, here brought to life by a new and enchanting performance of the title role.

Carlos Acosta restages his Royal Ballet Don Q in a refreshing revamp for Birmingham Royal Ballet.

A triple bill about Birmingham brings Birmingham Royal Ballet back to live.

Outstanding performances all-around in this special treat for Christmas 

Northern Ballet reaches its half-century with a gala at Leeds Grand Theatre featuring highlights from its "greatest hits".

The welcome return of a thoughtful interpretation of this much-loved ballet  

A unique marriage of production and performance space provides a spactacle synonymous withe spirit of Christmas 

Sir Frederick Ashton's quintessentially English ballet returns, dressed in pastel shades with knockabout fun everywhere.

Like meeting the near-identical twin of that much-loved friend: BRB's fine performance of their unique take on Kenneth MacMillan's Romeo and Juliet 

Sir Peter Wright's version of The Sleeping Beauty has stood the test of time, though this opening night of the tour in Southampton didn't always convince that the work has a place of adoration in the company’s heart.

It starts like a scene from Mary Poppins, with penguin waiters nimbly weaving between waltzing couples, but ends with a deft blow to the stomach to deliver its environmental message.

All the creative contributions of direction, choeography, designs and music come together to achieve a stirring ballet that tells a familar story with great clarity 

David Bintley's 2010 Birmingham Royal Ballet version of Cinderella is the antithesis to Ashton. Instead of pantomime, he offers pure fairy tale every magical step of the way.

As part of their Shakespeare400 celebration, BRB give a touching account of the Bard's timeless classic Romeo and Juliet.

Birmingham Royal Ballet presents its Variations Triple Bill at Sadler’s Wells, with works by George Balanchine, Frederick Ashton and David Bintley

Celebrating 20 years as Artistic Director of Birmingham Royal Ballet, David Bintley brings the company to London, where Balanchine’s Serenade acts as a delicate sorbet before the excesses of Bintley’s own Carmina burana.  

Birmingham Royal Ballet's The Nutcracker, with choreography by Peter Wright, Lev Ivanov and Vincent Redmon, was a magical evening of pure nostalgia.

Frederick Ashton used to say it was like a lesson in choreography every time he watched The Sleeping Beauty. For Kenneth MacMillan too, the ballet was the pinnacle of classicism and technique and a great test of any company’s skills.