Geraldine Higginson attended this festival of six dance works by three choreographers presented by Form Dance Projects and Riverside Theatre over two days.

The work is a huge credit to the underlying approach to contemporary dance that we have come to expect from Bonachela in his leadership of Sydney Dance Company, writes Michelle Potter.

'Horizon' is Bangarra Dance Theatre’s first mainstage, international collaborative initiative, a momentous and admirable undertaking, writes Michelle Potter.

Leila Lois reviews 'One Last Action in an Ocean of Everything', premiered at Melbourne's Rising festival.

This year’s RISING festival, a winter contemporary arts festival that has grown up in Melbourne over the past few years, could be the most edgy yet for dance, writes Leila Lois.

This interpretation infuses the 19th century classic with a fresh relevance and a distinctly Australian flavour that still captivates, writes Denise Richardson.

West Australian Ballet’s triple bill “State: Contemporary Vision” feels like a watershed moment for WA dance, writes Nina Levy.

Jonathan W Marshall reviews a triple bill presented by Strut Dance in Perth.

In the Australian Ballet School’s 60th Anniversary year, a trip to the Sydney Opera House for a one night only gala-style showcase that coincided with Mother’s Day was a welcome event for ballet lovers in Sydney. Geraldine Higginson reviews the celebratory performance.

The Australian Ballet’s double-bill of Harald Lander’s Etudes and Stephanie Lake’s Circle Electric goes from one extreme to another in terms of technique and style.

Premiering in 1877, La Bayadère is regarded as a highlight of the ballet canon, owing to the classical purism and impressive technical demands of Marius Petipa’s choreography.

A Midsummer Night’s Dream is, by any measure, a carefully crafted gem.

As part of their 2024 season the Australian Ballet is currently performing Swedish choreographer Johan Inger's Carmen.

This program of “Three” again promised works of creative risk-taking that would both push boundaries and challenge dancers and audiences alike, writes Denise Richardson.

Maggie Tonkin reviews two very different Adelaide Festival works.

These two performances in the last week of “Mad March” are linked by consideration for tradition, ritual, connection and human potential, writes Lisa Lanzi.