Stuttgart Ballet returns to Australia with Marcia Haydée’s The Sleeping Beauty. Belle Beasley finds lavish design and technical precision that “converge to sublime effect”.

LINK Dance Company’s EPIC brings surreal encounters and psychedelic landscapes to WAAPA’s new Dance Theatre. Nina Levy reviews the company’s first season in its new home.

The Farm confronts grief and mortality in No One Gets Out of Here Alive, a “visceral, virtuosic dance theatre work”, writes Caitlin Halmarick.

Humour and “astonishing movement quality” fill Tupua Tigafua’s Shel We, a celebration of Pasifika storytelling at Brisbane Festival, writes Caitlin Halmarick.

Lewis Major’s Triptych brings light, sound and movement into striking alignment in “an unforgettable moment for Australian contemporary dance”, writes Olivia Dimitra Christoforidis.

Four short works and a compelling cast make Sydney Dance Company’s Current “more immediate, more intimate and, frankly, more bang for your buck”.

Trà Mi Dinh’s 7 Dances for 7 People creates “a world in which choreography functions as a vehicle for ritual, transcendence and mystery”, writes Belle Beasley.

Bangarra Dance Theatre’s Horizon draws a full house in Townsville, bringing together Torres Strait Islander and Māori stories in a visually striking regional performance.

Alice Topp transports Shakespeare’s tragedy into contemporary politics, where influencers shape private discourse and public outcomes. Nina Levy reviews a “clever, compelling and world-class” new ballet.

Grace Carroll and Davi Ramos bring youthful promise to John Cranko’s enduring tragedy as The Australian Ballet returns to Brisbane, writes Daniel Gaudiello.

A high-energy return for Burn The Floor, with live music, sharp partnering and late-night glamour. Jorja Freeman shines, while Rome Champion brings a fresh charge to the Sydney Opera House stage..

Stephanie Lake turns the interval itself into choreographic material in VISTA, a striking two-act work of mirrored perspectives, repetition and contrast, driven by six exceptional dancers.

Striking design, a glorious onstage band, a thrilling Tevye’s Dream and Jerome Robbins’ iconic Bottle Dance make Fiddler on the Roof a vibrant, moving night at Theatre Royal Sydney.

Denise Richardson finds mixed rewards in Australasian Dance Collective’s latest Three, a triple bill created to encourage choreographic risk-taking.

Sydney Dance Company’s Engine brings three distinct choreographic worlds to the Drama Theatre, with Melanie Lane’s Love Lock the clear highlight in an evening powered by precision, intensity and exceptional dancing.

Young Dance Scholar Olivia Hayes Marshall responds to Sydney Dance Company’s Engine, finding a triple bill rich in texture, intensity and technical command.