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.

At Adelaide Festival, GuoGuoHuiHui unravel the myth of a singular Chinese identity through five personal histories shaped by folk dance and memory. Review by Maggie Tonkin.

2026 marks the fourth iteration of STRUT Dance’s Perth Moves program, and what a gift it is, with three free public performances in the city’s heart during Perth Festival.

From neoclassical whimsy to glowing contemporary abstraction, Nina Levy reviews West Australian Ballet’s Incandescence.

From breathtaking classical work to compelling contemporary solos, Emma Sandall reviews the Prix de Lausanne 2026 Finals.

Glittering, subversive and extravagant, Eun-Me Ahn’s Post Orientalist Express flips stereotypes into spectacle.

Queensland Ballet’s Nutcracker enchants Brisbane with whimsy, polish and standout performances, even amid funding concerns. A luminous seasonal tradition captured by reviewer Denise Richardson.

Dawn Jackson’s Pointe: Dancing On a Knife’s Edge traces Floeur Alder’s remarkable journey from violence to artistic rebirth with empathy, precision, and striking visual beauty.