Queensland Ballet’s Strings offers a sharply curated evening of contemporary ballet, bringing three distinct European works together in a program of wit, mortality, urgency and impressive ensemble strength.

West Australian Ballet’s Dracula returns to His Majesty’s Theatre with gothic grandeur, cinematic force and a cast that finds real electricity inside the shadows.

Rebecca Jensen and Aviva Endean’s Slop revels in mess, artifice and sonic excess, testing how movement and sound can distort what we think of as real.

Young Dance Scholar Claudia Valenzuela reviews The Australian Ballet’s Romeo and Juliet, bringing a young dancer’s perspective to John Cranko’s enduring classic.

A strong revival of The Australian Ballet’s Romeo and Juliet delivers musical richness and standout supporting performances, writes Emma Sandall

Sae Un Park and Paul Marque bring polish, passion and dramatic clarity to Rudolf Nureyev’s cinematic Romeo and Juliet for the Paris Opera Ballet.

A sweeping score, strong central performances and a stage adaptation that leans into romance over realism shape Anastasia’s Sydney run, writes Heather Campbell.

Collaborations of this nature are essential to the evolution of Australian dance, and that these themes are addressed by our national ballet company—with its bigger budgets, resources, and reach—matters, writes Emma Sandall

With two companies sharing the stage, this program moves from tightly held ensemble work to a finale that opens outward, buoyant, expansive and hard to resist.

Denise Richardson reviews a large-scale collaboration where Verdi’s score meets Spuck’s choreography in a striking opening to Queensland Ballet’s 2026 season.

A bold new era for Brisbane Ballet, with Emery Goldsworthy’s first full-length Giselle placing storytelling and emerging talent front and centre. Daniel Gaudiello reviews.

A landmark collaboration between The Australian Ballet and Bangarra, Flora fuses movement, music and story into a visually striking and deeply felt meditation on land, history and renewal, writes Anne Runhardt.

Stephanie Lake’s The Chronicles unfolds as a vivid, episodic journey through life, where electrifying ensemble dance meets choral beauty in a richly layered theatrical experience.

A striking opening and superb dancers anchor Hofesh Schechter’s Theatre of Dreams, but despite moments of theatrical brilliance, the work drifts, overextended and searching for structure, writes Maggie Tonkin.

With Natalia Osipova sidelined, Marianela Nuñez and Patricio Revé deliver a refined, technically assured Giselle — elegant and cohesive, though never quite igniting the drama.

Belle Beasley reviews The Australian Ballet’s Signature Works at Melbourne’s Regent Theatre, where classical showpieces and contemporary excerpts reveal the company’s technical breadth and stylistic range.