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It took Angelin Preljocaj 50 years before he felt ready to tackle Swan Lake. The French choreographer talks about his modern, ecological production, headed for Brisbane.

From pianos to poltergeists, from Strauss to Swan Lake, Limelight's May issue celebrates music, theatre and wild creativity.

From pianos to poltergeists, from Strauss to Swan Lake, Limelight's May issue celebrates music, theatre and wild creativity.

Women make up 30 per cent of artistic leadership roles in leading international dance companies, a new report finds. How does Australia fare?

John Neumeier’s Nijinsky is a ballet that with each viewing and hearing shows something new and precious.

Emma Harrison's High Octane is women wielding their bodies as engines of defiance against the patriarchy, against capitalism.

David Hallberg "honoured" to lead The Australian Ballet until 2030; new Executive Director announced.

Pina Bausch's works are still remarkable, but the distance between the late choreographer and the company bearing her name is palpable.

Based more closely on Prosper Merimée’s novella than Bizet's opera, Johan Inger’s Carmen gets inside Don Jose’s head – and it’s a dangerous place.

An evening of highs and lows at Adelaide Festival. Sometimes, writes Deborah Jones, things just don't work out.

Bringing together 1,000 volunteers, Stephanie Lake’s one-off, site-specific happening is a hypnotic celebration of community and the joy of dance.