The Australian Ballet reports $9.1 million loss - which would have been far worse were it not for philanthropic support and investment earnings.

Kenneth MacMillan’s masterpiece is back, as potent and sexy as ever, and danced to perfection.

On the eve of the New York City Ballet's spring season, conductor Nicolette Fraillon discusses her preparations for a program of Balanchine's works.

Log in to read the flipbook version of Limelight's May 2025 magazine.

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.