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With standing ovations after the final bows, the Alvin Ailey American Theatre certainly deserved every applause they received. Stunning work!

Bare sets and slick white screens set the stage for a clean, crisp and modern retelling of the Shakespeare-Prokofiev masterpiece. Northern Ballet’s performance of Jean-Christophe Maillot’s Romeo and Juliet is a reinvigorating take on the tragic love story.

Rambert remains one of the leading dance companies in the UK. The company's dancers are versatile and agile and the repertoire is fresh and unique. 

The Pursuit of Now, presented at Sadler's Wells, is part of the Buta Festival of Azerbaijani Arts which celebrates the country and its people. 

Moving Stateside, a Programme which combined Serenade, by George Balanchine, Lyric Piece, a Jessica Lang work and Twyla Tharp's In The Upper Room, were gems from America that travelled across the Atlantic to be set on the ever evolving, risk taking, hard working Birmingham Royal Ballet.

Richard Alston is a true Contemporary Dance artist and choreographer, and his company a staple within the British Contemporary Dance scene. But last week's performance at Sadler's Wells was short of a five star. 

Shadows of War Birmingham Royal Ballet's triple Bill which opened at the Birmingham Hippodrome early last week, shows the company's more serious side. With choreographies of MAcMillan, Lynne and Bintley 

Birmingham Royal Ballet's Beauty and Beast is a wonderful, joyful and entertaining perormance, based on the well known gothic fairytale.

Baroque is also about dancing! Rosamaria Kostic Cisneros spent time with Barbara Segal, one of the U's leading performer, choreographer and teacher of Baroque dance, to find out more about the form.

 Rosamaria Kostic Cisneros had the chance to sit down with up and coming Flamenco artist Jesús Fernández, whose show Cádiz saw its world premiere here in the UK. Jesús was a gem to speak to : fresh, passionate, genuine and very excited to talk about his work his love for Flamenco and choreography.

The Mariinsky Ballet strike a unique balance between technique, dramatic dancing and emotional power.

Jesús Fernández's Cádiz captured the essence of the Andalusian city from its beautiful landscapes and beaches to its mysticism, religious rituals and people.

Dada Masilo's Swan Lake combines modern gestures and Beyonce-esque booty twerks with classical ballet phrases. At Sadler's Wells as part of Sadler's Sampled. 

Fabulous Beast Dance Theatres's Michael Keegan-Dolan's renditions of Rite of Spring + Petrushka were eerily magical and playful.

In interview with Rosamaria Kostic-Cisneros, Caroline Bowditch states: "By 2020 the world will be a different place. Anyone who wants to dance, can dance. We won't be talking about inclusive dance we will just be talking about dance. It is not a matter of if, but when.” 

Dance is a way forward to help often vulnerable and excluded groups. Rosamaria Kostic-Cisneros discusses projects which aim to bring dance to such communities in the UK.

Alain Platel's Tauberbach was a successful explosion of thought provoking ideas and profound imagery. At Sadler's Wells, London.

“We can't use the same yardstick to measure every body.” What if we could applaud our differences and harvest co-existence? Rosamaria Kostic-Cisneros interviews Pedro Machado, co-artistic director of Candoco Dance, who highlights that all bodies can dance. 

Belén Maya and Manuel Liñán's Trasmín kicks off the second week of the London Flamenco Festival, hosted at Sadler's Wells, London.

Societies tend to classify dance in an effort to organize and understand what exists outside their own circle of familiarity. What are the benefits (or not) of categorisation?

Candoco Dance Company's Triple Bill comes to the Warwick Arts Centre.

The imagery is breathtaking and the trembling bodies force you to settle, be still and think about rehabilitating our Earth. Cloud Gate Dance Theatre of Taiwan restores Mother Earth with Rice. At Sadler's Wells Theatre, London.

Birmingham Royal Ballet take us on a pilgrimage to Mount Fuji with The Prince of the Pagodas at the Birmingham Hippodrome. 

Birmingham Royal Ballet's Three of a Kind is an evening of atypical works including Card Games By John Cranko, George Balanchine's Slaughter on Tenth Avenue and Kenneth MacMillan's Elite Syncopations. At Birmingham Hippodrome. 

Belén Maya symbolizes progress. She is innovative in her approach to Flamenco and has constantly found different ways to reinvent herself, her work and her shows. Her choreography, aesthetic and humanistic way of dancing is unique. Rosamaria Cisneros-Kostic interviews Maya ahead of her performance of Trasmín, a collaboration with Manuel Liñán, at the London Flamenco Festival next month.

Flamenco dancer Ángel Múñoz is soon to present Ángel, from Black to White, a new piece that explores contrasting extremes within Flamenco dance, and Múñoz's individuality as a peformer himself. We catch up with Múñoz before the performance at Sadler's Wells as part of the London Flamenco Festival 2014. 

Known for having a unique talent for creating darker, perhaps aggressive, choreography, Hofech Shechter brings SUN to the Warwick Arts Centre in Coventry, England.

While Flamenco has only been documented for about 200 years, the stories, legends and oral accounts passed on from one generation to the next reveal a much older and more colorful tradition. For a deeper understanding and appreciation, a brief account of this sophisticated art form and its complex history could be useful.

Travel to India with the Merchants of Bollywood. Rosamaria Cisneroz-Kostic reviews Merchants of Bollywood at Sadler's Wells Peacock Theatre, London.

Rosamaria Cisneroz-Kostic interviews British dancer Eryck Brahmania about his experiences dancing in Hong Kong and the UK

From their new South Bank home to the Liliyan Balis Studio, Rambert Dance Company showcases their dancers' own choreography, in an Evening of New Choreography. Reviewed by Rosamaria Cisneros-Kostic. 

Birmingham Royal Ballet's The Nutcracker, with choreography by Peter Wright, Lev Ivanov and Vincent Redmon, was a magical evening of pure nostalgia.

John Cranko choreographed his comical ballet Taming of the Shrew for the Stuttgart Ballet in 1969. Not seen in the UK for more than twenty years, this performance of the ballet was no exception to the well-known quality of the Stuttgart Ballet.

When we think of Rock and Roll, we think of non-conformity and going against the grain. Madison Ballet's second run of Dracula, choreographed by Artistic Director W. Earle Smith, was just that; a unique ballet with a fresh perspective, testing boundaries. It layered powerful Rock music, gravelly sets, graphic videos, and sensuous dancing, to tell the timeless story of Dracula.