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After nearly two decades, Rafael Bonachela will step down from Sydney Dance Company, marking the end of a defining artistic era. Read more
From Jo Lloyd to Chunky Move, this year’s Green Room Awards spotlight a dance sector in full flight, where independent voices and major companies intersect.
Australian dancer Nina Penny has been offered a place at the prestigious The Royal Ballet School, following her recent participation at the Prix de Lausanne.
Three choreographers, three composers and a cross-disciplinary design team come together as Bespoke returns with a renewed focus on collaboration and emerging voices.
A bold new era for Brisbane Ballet, with Emery Goldsworthy’s first full-length Giselle placing storytelling and emerging talent front and centre. Daniel Gaudiello reviews.
A landmark collaboration between The Australian Ballet and Bangarra, Flora fuses movement, music and story into a visually striking and deeply felt meditation on land, history and renewal, writes Anne Runhardt.
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.
RAD’s CEO reflects on her Australasian tour, global strategy, and why excellence and inclusion must go hand in hand.
Alice Topp on Creating Macbeth for the Royal New Zealand Ballet.
Australian Ballet School student Scarlett Weaver on boarding life, growth and finding balance at Marilyn Rowe House in Melbourne and beyond the studio.
Recent comments by Timothée Chalamet about opera and ballet sparked debate across the arts. Dance leaders reflect on the endurance, relevance and shared humanity that continue to sustain these artforms.
As Rambert marks its centenary, Maggie Lorraine revisits the company’s 1947–49 tour of Australia and asks whether Marie Rambert’s influence on our national ballet identity has been fully recognised.
Josef Brown on discovering dance through film and television
