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Alexei Ratmansky draws out exceptional individual qualities of each of five ballerinas in his intriguing world premiere for New York City Ballet, set to spoken word and live piano.

Osipova has completely shaken away any inhibitions of classical training to dance more freely than ever before.

A mixed evening at the Koch Theater, with ABT shining in Ratmansky and a new Twyla Tharp creation, but struggling in Balanchine. 

Natalia Osipova and David Hallberg's combined star power transcend this mixed bag of contemporary and classical dance.

This bright, brief and breezy production is occasionally hard to follow, but nonetheless soaked in rustic charm.

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.

A welcome return to London for America's oldest ballet company begins with a highly personal interpretation of Shostakovich in dance 

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.

Harlequinade shows Ratmansky's usual scrupulous care when reconstructing Petipa's ballets. His attention to detail and obvious love for the art form are to be admired. But these ballets are also living, breathing works and they need strong performances to be viable in the repertory.

Ulrich Birkkjaer presented an affecting portrait of a tormented Shostakovich, as he paced, leapt, slumped, was propped back to standing, and relentlessly propelled forward.

A triple bill of 21st-century ballets at the Koch Theater sees the return of Alexei Ratmansky's masterpiece, Pictures at an Exhibition. 

The Staatsballett jumps into the opulence of the past with Alexei Ratmansky’s reconstruction of Marius Petipa’s choreography of La Bayadère at the Staatsoper Unter den Linden

Who knew that children were subject to shoe fetishes?

Fresh energy and vibrant comedy marks the Trocks' return to the UK  

Ratmansky's staging is more than a reconstruction. It's a staging that's moving and joyful in its own right.

Alexei Ratmansky and Justin Peck are all the more impressive among choreographers working today because of how many of their works seem destined to stay in the repertoire for a long time to come.

Twelve years after its creation, we’re still talking about what’s going on in Russian Seasons and we’re still looking forward to what the next dancer in gold, or red, or green will do with the role.

There is some good dancing in Benjamin Millepied's I Felt the Earth Move but it missed the mark as far as emotional content is concerned.

Is there anything Tiler Peck can’t do? After her just completed triumph in Swan Lake we’re obliged to say no.

How does one condense a Tolstoy epic for the stage? In Anna Karenina, choreographer Alexei Ratmansky focuses on the three central characters, filleting the novel to its bare essentials. 

Mark Ryden's design for Whipped Cream is a masterpiece that elevates this work immeasurably.

It’s full of rich characters and a great story that weaves farce, tragedy, exotic music, and outstanding stagecraft together into an experience that takes you away.

After being banned in Soviet times, The Bright Stream made a glorious comeback in a new version by Alexei Ratmansky. 

Etudes is a welcome addition to the Bolshoi's repertoire.

Not all choreographers take on a gruelling tabletop assignment before defining the movements of a performance. Yet to reconstruct the 1895 Mariinsky Theatre production of Swan Lake, Alexei Ratmansky did just that.

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.

Wheeldon’s vocabulary, Ratmansky’s Lyricism, Pastor’s roaring engine and Dawson’s mesmerising planetary roaming little prince Edo Wijnen, make for a happy afternoon. 

Ratmansky's outrageously charming screwball comedy for the Mariinsky

Resident choreographer Yuri Possokhov’s Optimistic Tragedy is dedicated “to those who sacrificed their lives for future generations.” 

Damian Woetzel puts together programs, musicians and dancers with a creative curator’s eye and gets the most out of the new combinations. This show was great.

I can only regret the brevity of ABT's two week long fall season at Lincoln Center.

Ratmansky adds choreographic and aesthetic sense to a ballet that doesn't have much to say.

The Bolshoi Ballet's London residency continues with Alexei Ratmansky's restaging of The Flames of Paris

Who needs a pumpkin carriage ride to transport you to the ball when you could surf celestial webs instead? Certainly not Prokofiev's Cinderella, if Alexei Ratmansky’s 2013 Australian Ballet production is anything to go by.

A great deal is going to be written about Cassandra Trenary in the coming years and people will spend a lot of time trying to analyze what it is that makes her special but it will all come back to one simple thing: there’s something in the way she moves.

Ratmansky is at the top of his game as a story-teller with this loving recreation of The Golden Cockerel.

These all-Ratmansky programs are a clear indication that ABT made the right move when they took him on as their resident choreographer.

Ratmansky's Concerto DSCH proves the perfect show opener, before the Mariinsky Ballet reclaims Sasha Waltz's Sacre.

A vast world of movement rose in celebration of the body’s athleticism and its subtle connection to emotions and personality. 

International Ballet stars come together on stage in London to honour the late legendary Russian ballet dancer Maya Plisetskaya.

By bringing a fairy tale alive, Ratmansky may have stayed truth to Petipa's and Ivanov's legacy but he betrayed Tchaikovsky's inner intentions.

All praise for Ratmansky's Sleeping Beauty, its old graces newly restored. 

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.

Towering architectural sets, expansive multifaceted dancing, and an detailed playing from an exceptional orchestra deliver an emotional performance in Alexei Ratmansky's Russian adaptation of Prokofiev's Cinderella for Mariinsky Ballet.  

The Bayerische Staatsballett offers us a fascinating journey back in time with Alexei Ratmansky's restaging of Petipa's Paquita. 

PNB presents Ratmansky's Concerto DSCH together with Kent Stowell's Carmina Burana in their final program of the season.

San Francisco Ballet's Program 6 brings a dazzling return of Alexei Ratmansky's highly acclaimed Shostakovich Trilogy.

Nadezhda Batoeva , a younger generation ballerina at the mariinsky, excels as Cinderella, in an otherwise disapointing production, performed here at BAM , New York City.

Alexei Ratmansky's The Nutcracker for American Ballet Theatre is probably the best one since it was first created. Gillian Murphy and James Whiteside danced with poignant grace and radiant musicality that thrilled the audience.

Soon to retire principal ballerinas, Julie Kent and Xiomara Reyes, delivered poignant performances in Alexei Ratmansky's Seven Sonatas along with poetic dancing by Joseph Gorak. Other standouts included solist Devon Teuscher in the Raymonda Divertissements and James Whiteside in Fancy Free.