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Sir Peter Wright’s production returns to Birmingham Royal Ballet after an absence of five years, with Céline Gittens and Brandon Lawrence sharing great chemistry. 

English National Ballet tours its outgoing artistic director's revision of Petipa's Raymonda, but it's Glazunov who proves the real winner. 

Even given a routine revival, McVicar's staging has much to recommend it, returning the opera to its literary roots. 

Sir Peter Wright's version of The Sleeping Beauty has stood the test of time, though this opening night of the tour in Southampton didn't always convince that the work has a place of adoration in the company’s heart.

The cavernous Mayflower pit eats singers for breakfast and only Natalya Romaniw’s full-blooded Tatyana escaped its jaws unmarked

David Bintley's 2010 Birmingham Royal Ballet version of Cinderella is the antithesis to Ashton. Instead of pantomime, he offers pure fairy tale every magical step of the way.

Death lurks around every corner in Rudolf Nureyev’s Romeo and Juliet, created for English National Ballet (then named London Festival Ballet) back in 1977 and energetically revived here.

Treliński’s de-romanticizing of the plot of Puccini's Manon Lescaut makes for a compelling piece of theatre… it’s just not Manon. 

35 years and many revivals after it was first seen, the late Joachim Herz’s version of Madam Butterfly (“Madama” spelt without the “a” here) is still going. For WNO’s themed series of “Free Spirits”, Caroline Chaney took on the revival director’s mantle. The result was a reliable production lacking in originality but not in warmth.