Not so many years ago Michael Clark was the "bad boy" of mainstream dance, subverting his classical training – Britain's Royal Ballet School no less – into outrageous and provocative entertainment, often with the use of startling props.
Michael Clark shocked the dance world of the 80s with his outrageous highly sexualised punk-inspired productions. He took heroin for inspiration, made Leigh Bowery's mum cry with mortification and encouraged his own mum appear topless on stage. But as Sydney is about to see, at 55, he is aiming for a different meaning in his work.
Cella is Latin for cell, and this engrossing work has been choreographed by its performers, Narelle Benjamin and Paul White, to reflect the "complex structures of our biological system".
Backbone has the excitement of circus combined with the grace of dance and the magic of theatre.
There was a time when an opera singer with acting ability was a rarity – and the idea they might also be able to dance was unheard of.
How to sum up a year of dance with all the contradictory extremes you might expect: thrilling and disappointing, technically impressive and technically challenged, polished and raw, memorable and forgettable – and that's just for starters.
After accusations of sexual harassment and physical and verbal abuse, Peter Martins, the powerful leader of New York City Ballet who shaped the company for more than three decades, has decided to retire.
These five works showed the power of dance to convey a message that shone new light on an issue.
The Australian Ballet's version of The Sleeping Beauty for children is seriously cut down – even missing one of the fairy godmothers – but that helps make it just 50 minutes of fast-moving entertainment for the young and not-so-young.
Women choreographers triumphed in the independent sector but our major companies need to reflect on whose creative voices they are promoting.
Introducing future ballet fans to the magical world of Sleeping Beauty.
Seeing this group of accomplished dancers as they step out into the world is incredibly reassuring: the art form will surely flourish.
There are some memorable moments in the Australian Ballet's production of Alice's Adventures in Wonderland. One is the caterpillar with its chorus line of legs – the performers' bodies hidden in its body – inching its way across the stage in a deliciously precise shuffle.
An architect, an astrophysicist and a choreographer walk into a pavilion. What happens next is absolute gold.
This fourth annual instalment of New Breed is well worth seeing.
James Batchelor is the 10th choreographer to present as part of Chunky Move's Next Move program.
For every aspect that nourishes creative appreciation, there seems to be another that pulls it down.
Audiences can expect elements of this year's New Breed program to be "oddly arousing".
Restoration is a celebration of indigenous dance developed by The National Aboriginal Islander Skills Development Association (NAISDA) Dance College. As usual, there are two sides to the enjoyment of the college's annual showcase: the sheer pleasure of watching these dancers work together and the excitement of spotting new talent.
Dancer Dan Daw was born with cerebral palsy. His new show Beast challenges anyone who fears those with a disability, writes Steve Dow.
Canberra's dance community will come together to celebrate International Day of People with a Disability.
Even as a child, Kaine Sultan-Babij developed self-expression through dance.
Capitol Theatre, November 11
Choreographer James Batchelor says a two-month research trip by boat to Subantarctic islands made him feel 'very on the edge of the earth'.
Common Anomalies Riverside Theatres, November 2 ★★★½
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