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

New National Theatre Tokyo's gala evening of six works by six pairs of dancers was a brilliant evening showing works from Japan's leading choreographers and dancers. 

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

Nederlands Dans Theater 1’s new triple bill premieres Imre Van Opstal and Marne Van Opstal's Take Root alongside works by Sharon Eyal, Gai Behar and Crystal Pite. 

Everything Pite choreographs turns to gold and when Young is also involved it’s an especially rich vein.

The German word Betroffenheit doesn’t translate easily to English. Any German-English dictionary will spit out approximations like "shocked" and "dismayed", but for a real translation, see Crystal Pite and Jonathan Young’s challenging, beautiful work by the same name. 

Shut Eye (Lightfoot & León) is like an alternating current. Woke Up Blind (Goecke) is entertaining and vulnerable. Pite's work hits the rythmic nail on the head. You want to freeze-frame Pite's dancers, snap a picture and hang it on the wall.

The Royal Ballet of Flanders presents in Madrid's Teatros del Canal an attractive triple bill with works by its Artistic Director Sidi Larbi Cherkaoui (Firebird and Faun) and the Canadian choreographer Crystal Pite (Ten Duets on a Theme of Rescue)

Sophisticated and fluid dance mixed with notable muscularity and strength in a woman-only choreographic programme 

Zurich recently welcomed the Swiss premieres of two extraordinary ballets, one by choreographers Sol León and Paul Lightfoot, the other by Crystal Pite.

NDT's main company is back in Berlin, at the House of the Berliner Festspiele, with works by four aces of contemporary choreography. More classically abstract works are successfully paired with ones for the digital-literate.

Scottish Ballet meets the complex challenges of two great contemporary choreographers with considerable beauty 

An outstanding exploration of trauma and reprieve. 

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

This was a terrific performance by a world class troupe of dancers.

The house was packed to the rafters at Montreal's Theatre Maisonneuve last Tuesday; it seemed the entire city turned out to witness Nederlands Dans Theater make its return after a twenty year absence.

From whistles to buzzing bees, Scottish Ballet’s October double-bill of Siblio and Emergence delight the Theatre Royal in Glasgow.

Ballet BC's Thursday night performance at The Joyce in NYC included a kitschy première from artistic director Emily Molnar, a quirky ensemble number from Sharon Eyal and Gai Behar and a truly beautiful work by Crystal Pite.

Sadler’s Wells trendiest Associate Artist, Crystal Pite, has made it again. Betroffenheit is a hybrid between dance and theatre that explores the cavities of the human mind and trauma.

Betroffenheit is an uncomfortably revealing and farcical journey through one man's experience of post-traumatic stress disorder and addiction.  

If there’s no surefire, bankable star without Körbes then there is more time to reflect on some of Pacific Northwest Ballet's other wonderful dancers.

Emergence is certainly the draw in this program, but the other works are also worth admiring. 

A highly visceral experience: Ballet BC opens its new season with three works by Cayetano Soto, Stijn Celis and Crystal Pite.

Rachel Rizzuto reviews Cedar Lake's final performances as a company at BAM in New York City.

New works by Kate Prince, Crystal Pite and Hofesh Shechter make up the stimulating The Associates programme at Sadler’s Wells. 

Crystal Pite’s The Tempest Replica puts a unique spin on William Shakespeare’s The Tempest. Presented at Sadler’s Wells, where Pite has recently become the 16th Associate Artist, The Tempest Replica gives us an old school story in a brilliant new way.

An unmissable Christmas mass from awe-inspiring dancers of Nederlands Dance Theatre. Lambrecht Wessels reviews at Lucent Danstheater, Den Hague.

The New York-based Cedar Lake Contemporary Ballet is named after a street in Missouri, home of the studio where one of the company’s founders studied ballet many years ago. Both locales – in Missouri and in New York City – are a far distance from any lake, but somehow the name is appropriate: evoking visions of the still and pristine natural world of a wilderness lake.

For the occasion of what I believe has become Cedar Lake’s annual tradition of showcasing work at the Joyce Theater, this contemporary ballet troupe has assembled an impressive trio of guest choreographers – Nederlands Dans Theater’s former chief Jiří Kylián, Crystal Pite and Andonis Foniadakis.

It is becoming an increasingly rare event in the dance world for a major company to live up to its own hype, and Crystal Pite’s Kidd Pivot had quite a bar set before opening night of The Tempest Replica at the Joyce. And – almost unbelievably – expectations were met.

Here are a company of versatile dancers. In the course of an evening they shifted from the hunched choreography of Hofesh Shechter to the long-limbed legginess of Crystal Pite, and also funny man Alexander Ekman’s rhythmic and irrational use of the body. In their first UK visit, Cedar Lake bring buckets of American performing talent but borrow some more familiar European choreographic skills.

Après le succès de The Seasons’ Canon, le Ballet de l’Opéra de Paris donne de nouveau carte blanche à Crystal Pite pour une composition de grande envergure intitulée Body and Soul.

L’Opéra de Paris rassemble quatre chorégraphes contemporains dans une soirée qui met un coup de projecteur sur la création contemporaine. Déjà plébiscité en 2016, le remarquable ballet de Crystal Pite est le point d’orgue de cette soirée.

Le Nederlands Dans Theater est de retour au Palais de Chaillot avec une programmation associant une création récente de la chorégraphe canadienne Crystal Pite et deux pièces de Sol León et Paul Lightfoot, chorégraphes en résidence et co-directeurs artistiques du NDT depuis 2011.

Une nouvelle saison s’ouvre à l’Opéra Garnier, avec une soirée réunissant les chorégraphies de Justin Peck et William Forsythe créées l’année dernière, la création de la talentueuse chorégraphe canadienne Crystal Pite The Seasons’ Canon, et une composition sans titre de Tino Sehgal