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Enthralling, intense and terrifying, yet compellingly watchable. It may send chills down the spine but it is quite brilliantly portrayed. 

Helgi Tomasson and Yuri Possokhov's restaging of the 1869 Petipa classic brings a sunny smile to faces in San Francisco. 

“Your love affair with ballet, your time with ballet, is short,” explains Welsh about his ballet Bespoke, “Eventually you lay down, and dance keeps moving. It’s a bittersweet thing.”

San Francisco Ballet delivers the distinct and the relevant in a mixed-bill program of choreographic works that includes Ghosts in the Machine.

Once again, kudos to Adam Sklute and Ballet West for putting on a program of mostly new or recent works created for the company.

Richmond Ballet's dancers are an engaging bunch who aim to please and their goodwill radiated from the stage.

Set to Frank Moon’s moody, thematic score, the curtain rises on a foggy night scene as a shiny black stretch limousine glides onstage—the real deal, dazzling to behold, like a noir film come to life.

Ballet West provided a rare treat by programming all recent and new works by Matthew Neenan, Nicolo Fonte, Helen Pickett and Val Caniparoli in the company's New York engagement.

Based on Alexandre Dumas' La Dame aux Camélias the tragic love story that inspired Verdi's  La Traviata, Ashton Marguerite and Armand ballet for the Royal Ballet, as well as the 2001 film Moulin Rouge, Val Caniparoli's Lady of the Camellias, danced here by Boston Ballet is a beautifully orchestrated, and heartbreaking production.

San Francisco Ballet’s 2015 season opener at the War Memorial Opera House offers a triple bill of neoclassicism, high drama and joyous celebration.