ICON is a tribute to WAAPA and the works uphold all that is vibrant, demanding and irresistible in Bausch’s, and now her lieutenants’, iconography, writes Rita Clarke.

If the first two instalments of DanceX left viewers in any doubt, Part Three confirmed that dance in Australia is indeed a broad church, writes Rhys Ryan.

Resound is a striking triple bill of contemporary dance that feels particularly relevant to our shared societal experience of the last few years, writes Geraldine Higginson.

Nine different dance companies came together in this most welcome initiative, writes Rhys Ryan

Lesley Graham reviews this work by pakana kanaplila and Soma Lumia presented by Tasdance and MONA FOMA.

The tension and play between vulnerability and connection; interiority and exteriority; authenticity and artifice were recurring themes in this year’s dance offerings at Melbourne Fringe, writes Leila Lois.

Bravo to the Australian Ballet for bringing back this classic, writes Susan Bendall.

This is not one for the kiddies – no princesses or fairies here – so book the babysitter and treat yourself to a performance of Manon before the season closes. You won’t be disappointed!

The festival is back this year with an effervescent selection of dance works, reminiscent of pre-Covid years, writes Denise Richardson

This performance is a triumph against many odds, writes Margaret Mercer.

This is Daniel Riley’s first full-length production as Artistic Director of the Australian Dance Theatre (ADT), which for the first time has an Aboriginal artistic director, writes Luke Forbes.

Two innovative productions reviewed by Lesley Graham.

Lesley Graham reviews 'Collision' by Tasdance and 'Heirloom' by MADE.

Despite its age, it is impossible not to relish the piece, writes Jonathan W Marshall.

Enjoy this photo gallery of the West Australian Ballet's premiere season of Goldberg Variations, choreographed by acclaimed choreographer Natalie Weir and set to the enduring masterpiece by Johann Sebastian Bach.

There is no doubt that we will never see another Cinderella like this one, writes Michelle Potter.