This year, the triple-bill program was held in the Middar Room of the State Theatre Centre of WA (one of the rehearsal rooms) and presented the works of three dance makers, writes Alana Kildea.

This innovative version of Swan Lake is not only entertaining, but a step towards reconciliation for Western Australians, writes Alana Kildea.

Once again the NZSD staged an impressive and professional graduate season, with the students demonstrating they are more than capable of meeting the challenges of a wide variety of choreography, writes Karen van Ulzen.

This is a thought-provoking triple bill certain to satiate dance lovers, writes Taylor Venter.

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.