A vibrant showcase of NZSD’s emerging artists, uniting classical finesse and contemporary power in two compelling programmes that reveal remarkable maturity, versatility and joy in performance.

WAB’s Cinderella returns with fresh humour, 1930s glamour and standout performances, as Jayne Smeulders’ sparkling production proves a festive, funny and finely danced treat for all ages, writes Nina Levy

Aurora’s world returns to the Opera House as Emma Sandall reflects on The Australian Ballet’s Sleeping Beauty, balancing enchantment, classicism and contemporary questions.

In a bold and brave move, Queensland Ballet has brought pop music and high art together in Elastic Hearts — a world premiere collaboration between Sia and choreographer Garry Stewart, writes Daniel Gaudiello

A luminous triple bill from Sydney Dance Company unites Bonachela, Dinh and Page in a powerful reflection on connection, creativity and the shared continuum of Australian contemporary dance, writes Emma Sandall

An inspired survey of contemporary movement and style, DanceX delivered a thrilling mix of Australasian voices — from Balanchine to Dancenorth — in a dynamic festival of rhythm and imagination, writes Belle Beasley

Daniel Gaudiello reviews The Australian Ballet School’s NOW, a bold showcase bridging classical purity and contemporary innovation.

Bangarra’s enchanting new work for young audiences that blends dance, puppetry and story to celebrate connection, Country and imagination.

Belle Beasley reviews Prism, where The Australian Ballet shines in Robbins’ Glass Pieces, Lake’s Seven Days and Forsythe’s Blake Works V at Melbourne’s Regent Theatre.

Caitlin Halmarick reflects on the world premiere of LA Dance Project’s Gems at Brisbane Festival, a bold reimagining of Balanchine’s Jewels.

Belle Beasley reviews Melanie Lane’s Phantasm, a surreal multi-sensory journey where scent, sound, and movement blur reality.

Reviewer Susan Bendall explores the daring ideas and diverse perspectives from five emerging choreographers in Stephanie Lake Company’s ESCALATOR 2025.

Three world premieres, a rich First Nations work, and bold collaborations — Bespoke 2024 thrills with innovation, writes Denise Richardson.

Gabriel Rogers reviews Ballet Theatre Queensland’s Cinderella, a polished, joy-filled production bursting with charm and stagecraft.

Denise Richardson reviews Queensland Ballet’s ambitious triple bill, set against a backdrop of change and challenge for the company.

Nina Levy reviews STRUT Dance and PICA’s Restore, a double bill that spans fierce physicality and meditative stillness.