
Rodgers & Hammerstein’s Carousel (choreography by Justin Peck) – New York
★★★★✰ One of the most attractive things about the production is the way it brings together various worlds: ballet, Broadway, and opera.

Pacific Northwest Ballet – Her Story: Her Door to the Sky, Afternoon Ball, Plot Point – Seattle
★★★★✰ Suspense be damned. I’m just going to give away the ending of this review: Crystal Pite’s Plot Point, which closes Pacific Northwest Ballet’s Her Story triple bill, is a terrific piece of dance-theater.

Ballet Nice Mediterranee – Grand Pas Classique from Raymonda, Gnawa, L’Arlesienne – Nice
★★★✰✰ The most interesting item of the programme was definitely the revival of Roland Petit’s L’Arlésienne, created in 1974 when he was director of the National Ballet of Marseille.

Queensland Ballet – Lest We Forget: We who are left, Company B, In the Best Moments – Brisbane
★★★★✰ Natalie Weir’s “We who are left” is nothing less than a knockout.

New York Theatre Ballet – Capriol Suite, Two Timing, Cat’s Cradle, Such Longing, Dark Elegies – New York
The program presented at St. Mark’s this past week reflects all of these positive developments; even more, it seemed infused with a new sense of assurance and identity.

American Ballet Theatre – Romeo and Juliet (Copeland/Hammoudi) – New York
The million-dollar question for any dancer on the cusp is this: can they carry an evening-length story ballet? The answer, on the evidence of Copeland’s début in Romeo and Juliet, is yes.

Washington Ballet – Swan Lake – Washington
This handsomely-crafted and well-danced Swan Lake marked an important milestone for the Washington Ballet and proved a huge achievement for its artistic director Septime Webre.

American Ballet Theatre – Coppélia – New York
The three dancers who took their leave this week – Sascha Radetsky, Yuriko Kajiya and Jared Matthews – are all soloists. Each led a different cast of the company’s 1997 production of Coppélia.

Paris Opera Ballet – Fall River Legend, Miss Julie – Paris
…an unusual choice of bill. Unusual firstly as the work of two women choreographers, and secondly in that it gives audiences a rare chance to see ballets from the extremely interesting and creative period of the 1940’s and 1950’s, now sadly neglected.

Book – Fernando Alonso, The Father of Cuban Ballet by Toba Singer
This book serves as a timely tribute to an incredible man whose vision and dedication to his art has established one of the world’s finest classical ballet systems.

American Ballet Theatre – New Ratmansky, Symphony #9 – New York
Tonight’s premiere of Ratmansky’s newest work for American Ballet Theatre, Symphony #9, was cause for celebration. In fact, it left me feeling almost lightheaded, and terribly eager to see it again, as soon as possible.