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An excellent and diverse triple bill with an Ashton gem at its centre.

The Dream is such a crowdpleaser that one wishes ABT would do this more often in their Met season, but Ballet Imperial needed more time to relax into. 

Two adaptations of well-known Shakespeare plays make wonderful additions to the repertoire of the National Ballet of Japan.

With five founding dancers in BRB2, this inaugural dance salad was embellished with other ingredients including the addition of seven members from the main company. 

With sumptuous new set designs and costumes, The Royal Ballet are in splendid form in Sir Frederick Ashton's Cinderella.

The finale had Osipova wrapping herself in the area rug like a mummy and rolling on the stage floor. It wasn’t even a guilty pleasure. It was just bad.

Deane has created a production that respects the tradition of Swan Lake without unnecessary embellishment.

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. 

Not every Ashton work is a masterpiece, but Sarasota Ballet presents these Ashton works with such love and care, it ensures that even if the ballets won’t “keep”, they aren’t forgotten.

A much beloved production with magical charm, National Ballet of Japan's Cinderella, choreographed by Fredrick Ashton, is successfully performed to a full house audience, thanks to coaching by Miyako Yoshida who performed the role in her days at The Royal Ballet. 

A richly varied trio of works celebrate The Royal Ballet's former director, performed with sincerity and panache. 

A compelling performance of this revival, dedicated by Vadim Muntagirov to the people of Ukraine.

Marianela Núñez possesses a shimmering, celestial radiance and Vadim Muntagirov is a Prince in his prime.

The whole Company exudes bravura and panache in gala programme headlined by a Zucchetti premiere and a Wheeldon classic.

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

A robust testimony to the powerful legacy of Isadora Duncan in Isadora Now at the Barbican.

An enchanting programme of music, film and dance in material moved by the spirit of a great performer.

On the evidence of this performance, there is every reason to be cheerful.

The first mixed programme of the new season is led by a stellar cast.

A brief but innovative tribute to the lasting influence of Merce Cunningham in the Linbury Theatre

A memorable and important event in the history of British ballet, sensitively and sentimentally performed. 

The Firebird/A Month in the Country/Symphony in C is an effective and enjoyable programme to close The Royal Ballet's season.

A well-curated gala with gravitas; showcasing several works and dancers rarely, if ever, seen in London.

Exceptional performances from a cast wholly comprised of first soloists and soloists provide a good omen for the future of The Royal Ballet   

A mixed bag from three titans of twentieth century ballet. of which Les Patineurs stands the test of time, best of all; the perfect winter dream: one that comes in a snooze after mulled wine in front of a roaring log fire.    

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

A new Swan Lake is a test for any ballet company. Expectations ran high, but Liam Scarlett's new production hit the target. 

In keeping this production of The Sleeping Beauty in the repertoire, Boston Ballet is providing a vital service to the history of classical ballet, developing its dancers to their fullest potential, and providing Boston audiences with a chance to enter into a magical world of the most exquisite beauty.

A random assortment of disassociated ballets performed with variable success - from the sublime to the nondescript. 

Marianela Núñez was in her element as the huntress in Ashton's charming ballet. 

As a whole, this American Ballet Theatre program was good but the presence of Hee Seo and David Hallberg in Jerome Robbins' Other Dances made it indelible.

This Ashton programme at the Royal Ballet displays all the hallmarks of the Ashton style; lightness, musicality and a beautiful quality of stillness.

Space-Age Ballet Frontier premiered to honour JFK. 

It’s heartening so see that the state of classical ballet is strong and there are many talented young dancers being nurtured to take their places in the top companies of the world.

A return of the company's signature work found The Royal Ballet fielding an excellent cast led by Sarah Lamb and Vadim Muntagirov. 

With little fanfare, other than a cockerel crowing from the pit, the Royal Ballet crept to life for its new season. For a couple of hours, all was right with the world.

Sir Frederick Ashton was a choreographic genius but not everything he created rose to that level, as this program showed.

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

The Royal Ballet gives polished, subtle performances of two works by its Founder Choreographer, Sir Frederick Ashton.

This Royal Ballet programme shows Sir Frederick Ashton's versatility of subject while never scrimping on unmistakeable style.

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

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

These dancers know how to play comedy with such deft assurance that you barely realize they aren’t using words.

Considering its French title, Sir Frederick Ashton’s ballet La Fille mal gardée is quintessentially English. Laura Morera and Vadim Muntagirov brought the bright spring sunshine from outside to flood the auditorium in delightfully sunny performances.

The Royal Ballet's Ashton programme is a rare delight; and the mix of pieces shows how that know-it-when-you-see-it Ashton style is perfectly versatile. 

Dutch National Ballet's Fairytales is fantastic night out for all ages. Anna Tsygankova as the title role in Firebird and Remi Wörtmeyer as Puck in The Dream stun their Dutch audience with their athleticism and expressiveness. At Amsterdam Muziektheater. 

Be warned – after an evening of concentrated Frederick Ashton, you may well find yourself exhibiting the physical symptoms of ballet ecstasy.

When The Grand Tour was premièred in 1971, the cast of celebrities it satirises were still well known, even though their 1930s heyday had passed. The problem with this rather lovely little work now is that its references are just too far in the past: neither the dancers nor the audience know who these exaggerated oddballs – Gertrude Lawrence, Theda Bara – were, or what they were famous for.

Swan Lake is so iconic that describing it in a review seems superfluous. The idea of it, moreover, so dominates people’s perceptions of ballet, mine included, that before Monday night’s performance I was worried that I would be lost for fresh words, silenced by the weight Tchaikovsky and Petipa’s swans have acquired in the 117 years since they first fluttered across the stage in St Petersburg.

The penultimate programme of The Royal Ballet’s season takes the audience on a journey, from a joyous celebration with seven imperially dressed ballerinas, to a summer dacha filled with tense emotions, and finally back in time to the ceremonial rites of a Russian peasant wedding.