Jonathan W Marshall reviews a triple bill presented by Strut Dance in Perth.

In the Australian Ballet School’s 60th Anniversary year, a trip to the Sydney Opera House for a one night only gala-style showcase that coincided with Mother’s Day was a welcome event for ballet lovers in Sydney. Geraldine Higginson reviews the celebratory performance.

The Australian Ballet’s double-bill of Harald Lander’s Etudes and Stephanie Lake’s Circle Electric goes from one extreme to another in terms of technique and style.

Premiering in 1877, La Bayadère is regarded as a highlight of the ballet canon, owing to the classical purism and impressive technical demands of Marius Petipa’s choreography.

A Midsummer Night’s Dream is, by any measure, a carefully crafted gem.

As part of their 2024 season the Australian Ballet is currently performing Swedish choreographer Johan Inger's Carmen.

This program of “Three” again promised works of creative risk-taking that would both push boundaries and challenge dancers and audiences alike, writes Denise Richardson.

Maggie Tonkin reviews two very different Adelaide Festival works.

These two performances in the last week of “Mad March” are linked by consideration for tradition, ritual, connection and human potential, writes Lisa Lanzi.

Lisa Lanzi reviews some fascinating works from the Adelaide Fringe.

Sydney's Capitol Theatre was a wonderful venue for this ambitiously staged ballet, writes Geraldine Higginson.

JONATHAN W. MARSHALL immerses himself in two shows at WA's Studio Underground.

Isabelle Leclezio revels in Akram Khan's 'Junglebook reimagined', which begins its tour of Australia at the Perth Festival.

Alana Kildea attended the WA Ballet's popular outdoor summer season as well as some classes at the free public program, Perth Moves.

Geraldine Higginson reviews two dance highlights: Marrugeku's 'Mutiara' and Goeteborg Operans Dance Company's double bill.

The first two weeks of the Sydney Festival saw performances from as far afield as Brazil and Northern Ireland take place alongside several Australian world premieres, giving this year’s festival a truly international feel, writes Geraldine Higginson.