A glimpse into an artist’s mind is always a privilege, and "Genesis" is certainly an opportunity for this, writes Isabelle Leclezio.

In these distressing times, we all need a dose of 'Manifesto’, writes Maggie Tonkin.

The past two years have served as creative fodder for this latest work, writes Rhys Ryan.

This is a stunning production, and an incredibly worthy, if overdue, opener to the 2022 Adelaide Festival, writes Maggie Tonkin.

This show highlights the future as having potential for both horror and humanity, writes Alana Kildea.

'The dancers rose magnificently to the occasion and delivered a performance of the highest quality, thoroughly earning the ecstatic cheers and bravos of the Covid-masked opening night audience," writes Margaret Mercer.

Rachel Ogle's latest production for the Perth Festival is moving and completely captivating, writes Alana Kildea.

This year’s Quarry season shows the flourishing choreographic confidence within the company, writes Isabelle Leclezio.

Denise Richardson reviews the Brisbane International Gala.

These works had apocalyptic themes but treated them in very different ways, writes Geraldine Higginson.

Geraldine Higginson reviews 'Decadance' and 'Wudjang – Not the Past'.

After a delay in its premiere Project Animo finally opened – and was even better than expected, writes Susan Bendall.

The final performance by Australian Dance Theatre with Garry Stewart as artistic director was an emotional one, and the dancers gave it their all, writes Maggie Tonkin.

Geraldine Higginson reviews Sydney Dance Company's annual choreographic season.

Sydney's Locreado Dance Company's latest show was majestic in its feminine strength and confidence, writes Candide McDonald.

This gala program comprised a series of 10 pas de deux ranging from classical to contemporary, from serious drama to joyous abandon, writes Geraldine Higginson.