The Australian Ballet presents Inger's compelling take on the classic, focusing on Don José's descent. Raw, seductive, and unforgettable. Read the review.

Cyborgian dance collides with raw sound in Chunky Move's U>N>I>T>E>D. A high-tech, mythic vision, though machine vs. body raises questions, writes Belle Beasley

From raw protest to glacial shifts, witness bodies pushed to extremes. Feel the pulse of resistance and the slow burn of change. Dare to look closer.

John Neumeier’s Nijinsky challenges audiences in a number of ways. Being a passive recipient just doesn’t cut it here; the work demands engagement and buy-in from the viewer, writes Susan Bendell.

Raw energy meets celestial grace: Perth Festival's dance double bill stuns. Carcaça & The Wild Between the Stars ignite the stage.

An otherworldly collision of myth, movement, and pure imagination, writes Belle Beasley

Stephanie Lake's The Chronicles dazzles blending dance and design into a stunning spectacle of life cycles and transformation, writes Belle Beasley

Geraldine Higginson reviews 'four unique, diverse and experimental short works'.

This version of the celebrated story took a little while to find its stride, writes Denise Richardson.

This was a delightfully varied evening of six short works that gave NZSD students a chance to shine, writes Geraldine Higginson.

This program deserves a wider audience, writes Susan Bendall.

Staging 'The Nutcracker' is not a simple matter. Belle Beasley reviews this latest production.

Susan Bendall relished this year's iteration of Bodytorque, the Australian Ballet's season of new choreography.

The students of the Australian Ballet School have had a busy end-of-year, with 60th anniversary gala performances in Sydney and Melbourne as well as this final Showcase in Melbourne.

This performance had reviewer Lesley Graham asking questions of her own expectations.

'Coco Chanel: the Life of a Fashion Icon' is the new main stage work of Queensland Ballet’s 2024 season, programmed by former Artistic Director Li Cunxin before he retired, writes Denise Richardson/