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The first new production of Alessandra Ferri’s directorship of the Wiener Staatsballett sees the European premiere of Alexei Ratmansky’s narrative ballet Of Love and Rage under its new title, Callirhoe.

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

Great novels make bad ballets. There might be exceptions to this rule, but this isn't it. 

Two world premieres and a piece created in 1975. Tharp herself came onstage to raucous applause. She might be “pop dance”, but audiences love it.

A strong opening to ABT’s fall season, the company often seemed stagnant in the last years of Kevin McKenzie’s directorship. It is now more exciting. New leadership, new faces.

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

Which choreographer's adaptation of A Midsummer’s Night Dream is superior, Ashton or Balanchine? This season, New Yorkers get to compare as ABT revives Ashton's The Dream as part of its Fall season. 

Both In the Upper Room and Nine Sinatra Songs captivate at moments; however, they comment more on who we were than who we have become.

ABT’s Romeo and Juliet features a debut where Cassandra Trenary almost completely follows Margot Fonteyn’s example in interpretation.

In contrast to companies like the Bolshoi, ABT’s Don Quixote comes across as sweet but slight.

If the audience response was not very enthusiastic, it's because Ratmansky's Sleeping Beauty four years after its premiere still comes across as more of a museum piece than a living, breathing ballet. This is a Beauty that never really wakes up.

Kevin McKenzie's production of Swan Lake at ABT usually has little to commend it, but Christine Shevchenko's Odette/Odile is the real deal. 

If you love Jane Eyre, stick to the novel. There's more female empowerment in those pages than in Cathy Marston's choreography.

As the wonderful Tharp trio program proves, all these years later Twyla Tharp can still make ballet look cool.

The Seasons is overstuffed, uneven and way too busy. There are so many steps, but they rarely made me "see the music". It was a frustrating ballet, with so many lovely moments that were less than the sum of its parts.

The single best thing about The Tenant was Frank Moon’s score, played by Moon himself on the piano, violin, and singing.

American Ballet Theatre's Whipped Cream should be seen for Ryden's sets and costumes alone. A free-floating eye and a sweetshop whose ingredients come to life create a very surreal world.

With INTENSIO, a program of new dances he commissioned, Simkin is clearly making a major move.

The moment a mouse peeked out of a stewpot in the kitchen of the Stahlbaum’s kitchen, I knew that the current American Ballet Theatre version of The Nutcracker would keep me engaged all evening.

Marcel Gomes gave us a Death to remember in Jooss' Green Table.

Isabella Boylston, Cassandra Trenary and Herman Cornejo are exemplary in Mark Morris's new After You, a ballet of simple grace.