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Outstanding performances all-around in this special treat for Christmas 

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

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

An enjoyable evening of thematic dance but without any insights into the future of ballet. 

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

A new season for The Royal Ballet and a new star is "born" in this performance that highlights the company's strength in depth   

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.

Sir Peter Wright's enchanting vision of The Nutcracker continues to delight 

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.

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.

BRB delivers in a production of jolly moods, bawdy humour and great emotions.

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

An enchanting Ashton double bill in Birmingham comprising The Dream, to mark Shakespeare400, and A Month in the Country. 

True to its origin in the Romantic period of the 19th century, this Swan Lake dances the Royal Birmingham Ballet into history because of the beauty of its leading dancer, Céline Gittens, one of the world's first non-white ballerinas.

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.

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.  

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.

To begin their week-long run in London at Sadler’s Wells, the Birmingham Royal Ballet presented a diverse triple bill of works choreographed by Artistic Director and British ballet icon David Bintley CBE.

The evening was a step back into childhood nostalgia, of getting on the hired coach with my brother and neighbours from our cul-de-sac, to drive up to London for the traditional Christmas pantomime. And, of course, Aladdin with all that mystical eastern magic was always a favourite with us kids.

War on a chess board; simplicity and purity of line; and a rollicking Victorian nonsense musical—all rolled into one evening in London this week. Autumn Glory was a true mixed bag of styles and tempos, and recalled Birmingham Royal Ballet’s heritage that had its beginnings at Sadlers Wells Theatre.