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.

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