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Ballet Nights is more than an evening of party pieces: it showcases emerging talent alongside older favourites and, in the case of this first Scottish outing, has an eye to local tradition.

Ballet Nights 008 – Spring into Summer proved to be a judicious choice of quality and diverse repertoire. 

A compelling performance of MacMillan's Romeo and Juliet from an excellent cast, proves to be a triumph for Patricio Revé, debuting with the Company and paired with Natalia Osipova.

“But, soft, what light through yonder window breaks?” Yasmine Naghdi reaches new interpretative depths in this revival of Sir Kenneth MacMillan’s classic Romeo and Juliet. 

Czech National Ballet sheds a new light on MacMillan's unique ability to make story-telling ballets on a grand scale.

Sir Kenneth MacMillan's Manon is an unforgettable, stunning production – a classic well worth seeing.

Paris Opera Ballet has triumphantly revived Kenneth MacMillan’s Mayerling, two years after its company premiere in 2022. 

London City Ballet return in a new incarnation at Sadler's Wells, promising a great future.

I have a theory that Kenneth MacMillan’s Romeo and Juliet is a perfect starter ballet. It is harder for experienced ballet regulars to work up the same enthusiasm for this ballet. 

Yorke Dance Project presents a finely honed programme with California Connections: Three Pioneering Women.

An emotional rollercoaster showcasing the choreographic genius of Sir Kenneth MacMillan.

Bringing dance to the Docklands, this programme offered a range of genres and some star turns.

Kenneth MacMillan’s 50 year old ballet, Manon, holds up a mirror to our own times.

Ballet Nights offers a wonderful variety of dancing and genres. Whatever your preference, there are quality performances to enjoy.

A shimmering smorgasbord of some of today’s most exciting international dancers, who performed pristine works by Petipa.

The Australian Ballet's return to London's Royal Opera House after a 35 year absence, proves successful at every level.

A mixed programme of all-British choreography, including a world premiere, offers something for everyone.

Crystal Pite’s Angels’ Atlas offers a strange closer for the NBC's program in their brief run at New York City Center.

Sir Kenneth MacMillan’s Habsburg history lesson comes with a cast list as long as your arm, but the plots and intrigues ensure a gripping evening at the ballet.

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

The 47th Nijinsky Gala in Hamburg celebrates the art of dance, the creativity of great choreographers and a totally committed company, while not forgetting what is happening not so far from our theatres.

Sir Kenneth MacMillan's masterpiece is reimagined on a smaller scale, distilling the ballet into the essence of the personal relationships that led to the tragic events at Mayerling.

MacMillan's ballet returns to the Hungarian National Ballet in time for the Opera House's grand reopening.

During her long career as a principal (19 years and counting), Juliet has never been an obvious pièce de résistance for Núñez. That is, until now.

After two years of pandemic disruptions, the Australian Ballet celebrates its return to the stage with this gala of impressively-chosen showstopper pas de deux.

An emotional programme of historical reenactments and inspiration 

BRB's director, Carlos Acosta, has taken a hands-on approach to coaching the principals in their roles in this season opening production. 

Francesca Hayward is a captivating Juliet as Sir Kenneth MacMillan's hardy perennial is back for another long run at the Royal Opera House. 

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

A mixed bag from the ENB repertoire to greet the summer solstice at the Royal Festival Hall. 

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 slick and stylish celebration at the Coliseum of this great company's achievements over 70 years.

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

The Royal Ballet season opens with a MacMillan favourite, his ballet adaptation of a novel more familiar for its operatic treatment. 

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

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

As MacMillan's masterpiece nears its 500th performance by The Royal Ballet, a fresh run of performances opens with a new pairing in the lead roles. 

Jurgita Dronina impresses as the heroine in this matinee performance of Sir Kenneth MacMillan's ballet at the Coliseum. 

A performance that overflows with rich detailing in every role

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.    

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

Like meeting the near-identical twin of that much-loved friend: BRB's fine performance of their unique take on Kenneth MacMillan's Romeo and Juliet 

A dutiful revival of Sir Kenneth MacMillan’s Sleeping Beauty from English National Ballet.

Organised by Berlin State Ballet audience’s darling, the principal dancer Polina Semionova, the gala Polina & Friends and its stellar cast literally left the house roaring from enthusiasm.

Three of Kenneth MacMillan's first five works are once more wholly, or partially, revived in this outstanding and purposeful debut for the Viviana Durante Company  

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

Yet another revival of MacMillan's signature ballet.  Enlivened by tremendous performances, not least in the title role, and still a classic. But, how long will that pertain?   

ENB’s double-bill lurches, rather jarring, across centuries dividing a nineteenth century canonical romantic ballet from the streamlined expressionism of Kenneth MacMillan’s 1965 Song of the Earth.