Goodnight Romeo: the National Ballet’s Guillaume Côté parts with a signature role by Michael Crabb - Special To The Star

Côté says goodbye to the title role in Alexei Ratmansky’s ‘Romeo and Juliet’ but not to the National Ballet or to dance.

Luminato: Exemplary cast never falters in ‘mesmerizing’ performance of ‘Nuit’ from Toronto’s Compagnie de la Citadelle by Michael Crabb - Special To The Star

Pierre Perreault’s almost forgotten landmark of Canadian choreography restored to its original 1986 form

Guillaume Côté, Robert Lepage reimagine groundbreaking multimedia ballet ‘Frame By Frame’ by Michael Crabb - Special To The Star

For this summer’s National Ballet opener, famed choreographers got together to make the project even stronger than it’s much-lauded 2018 debut

‘Woods’ at the Bentway turns humans into trees to make a point about climate by Michael Crabb - Special To The Star

Mostly amateur performers willing to stand on their heads for as long as they can will create a forestlike landscape growing out of rock-hard concrete.

Black choreographers, often neglected in the ballet world, are celebrated by Ballet Jörgen by Michael Crabb - Special To The Star

“We’re doing this program because they are all talented artists and perhaps have not been recognized as much as they should have,” says Bengt Jörgen.

Sara Porter expresses her love of the ocean in absurdly funny ways in ‘L-E-A-K’ by Michael Crabb - Special To The Star

In “L-E-A-K,” Porter explores ecosexuality, the theory of horizons, swimming safety and homosexuality among seagulls. And did we mention the game-show episode?

‘The Rite of Spring’ gets a feminist, African perspective from Dada Masilo by Michael Crabb - Special To The Star

Masilo’s ‘The Sacrifice,’ inspired by Stravinsky’s original, is a universal statement about ritual in our lives, and the connection of healing and grief.

Santee Smith’s new work ‘Homelands’ and her Kaha:wi Dance Theatre: The life-sustaining force of the Indigenous choreographer by Michael Crabb - Special To The Star

‘The choreography is a richly textured blend of gesture and bodily movements that seem to come from some deep inner energy source’

Opera Atelier presents ‘The Resurrection’ — ‘Messiah’ composer Handel’s other beautiful, biblical oratorio by Michael Crabb - Special To The Star

Handel’s “magnificently dramatic” work will be at Toronto’s Koerner Hall 315 years after it made its debut in Rome.

National Ballet’s latest Cinderella a perfectly sweet revival of Kudelka masterpiece by Michael Crabb - Special To The Star

As Cinderella, Genevieve Penn Nabity has grace and technique to spare, writes Michael Crabb. Following leads in “Swan Lake” and “The Nutcracker” she is no longer a star in the making…

Two debuts plus George Balanchine equal National Ballet mixed program by Michael Crabb - Special To The Star

David Dawson and Rena Butler are new to National Ballet audiences.

Hope Muir hits her stride as National Ballet of Canada artistic director by Michael Crabb - Special To The Star

‘Songs for Murdered Sisters’: Margaret Atwood poems set to music to honour opera baritone Joshua Hopkins’ murdered sister by Michael Crabb - Special To The Star

‘It was always our intention to create a piece that would help wake people up to the epidemic that is intimate partner and gender-based violence ... the advocacy is extremely important to …

Alvin Ailey company returns to Toronto with a dance work about Nelson Mandela by Michael Crabb - Special To The Star

“Survivor” was made in 1986 response to Nelson Mandela’s imprisonment, but it’s a “universal statement about injustice.”

What’s so exciting about Throwdown Collective’s revolving stage? Depends how you look at it by Michael Crabb - Special To The Star

‘Turn the dial to the maximum 15 revolutions per minute and it’s all they can do to stop getting flung off’

Passion for Blacks in Dance unites 500 artists in immersive Toronto gathering by Michael Crabb - Special To The Star

‘A global event like this, dedicated to Black artists offers encouragement. Just fight hard and put your work out there.’

Indigenous origin story is honoured in Red Sky Performance’s ‘Miigis: Underwater Panther’ by Michael Crabb - Special To The Star

The dance work, a collaboration with Canadian Stage, refers to the sea-snail shells that played a guiding role in the great migration over many centuries of Indigenous peoples.

National Ballet’s triumphant return of The Nutcracker by Michael Crabb - Special To The Star

Tchaikovsky’s classic ballet is back with many changes — all of them good.

WinterSong’s ‘Holiday Season’ show gives high school-age hopefuls a leg up in the dance world by Michael Crabb - Special To The Star

Canadian Contemporary Dance Theatre’s annual WinterSong performance features the lore and traditions around the winter solstice.

National Ballet’s ‘MADDADDAM’ is a sensory feast of sights and sounds by Michael Crabb - Special To The Star

Wayne McGregor’s adaptation of Margaret Atwood’s postapocalyptic “MaddAddam Trilogy” is at times overwhelming but also an undeniably thrilling experience.

Newton Moraes, like other artists, has struggled. That reality is onstage in ‘Life Under My Skin’ by Michael Crabb - Special To The Star

Moraes’ company celebrates its 25th anniversary with a show on the Harbourfront stage where his Toronto dance career began.

Review: National Ballet of Canada’s season-launching triple bill offers cosmic timelessness, jubilance, and a few too many moves by Michael Crabb - Special To The Star

Three works — ‘Crepuscular,’ ‘The Collective Agreement,’ and ‘Concerto,’ achieve varying levels of success

Kaeja d’Dance celebrates its 30th anniversary with ‘31’ by Michael Crabb - Special To The Star

Husband-and-wife co-founders Allen and Karen Kaeja explore the concepts of touch and of identity and memory in double bill.

Toronto ballet lovers: Meet Alonzo King by Michael Crabb - Special To The Star

National Ballet of Canada artistic director Hope Muir brings King’s “The Collective Agreement” to the stage and revives a long neglected Kenneth MacMillan work.

Claudia Moore — incandescent dancer, choreographer, mentor and instigator of imaginative projects — is leaving the Toronto dance scene by Michael Crabb - Special To The Star

After a new version of the popular “Older & Reckless,” Moore is ceding MOonhORsE Dance to other, unidentified hands and moving west to be with her children and grandchildren.

In his ‘Double Murder’ double dance bill, Hofesh Shechter balances bleakness with hope by Michael Crabb - Special To The Star

Shechter has paired the violent “Clowns” with the gentler “The Fix” on a world tour that stops at Toronto’s Harbourfront.

New production of Pina Bausch’s version of ‘Rite of Spring’ features African dance troupe by Michael Crabb - Special To The Star

Bausch would almost certainly have been delighted by what the foundation dedicated to preserving her artistic legacy, in partnership with Senegal’s internationally renowned African contemp…

Stage version of ‘Singin’ in the Rain’ makes a delightful splash at the Princess of Wales Theatre by Michael Crabb - Special To The Star

There’s so much of water, not just during the title song — cue iconic umbrella and lamppost — but also in the grand finale that patrons in the front rows are likely to get wet.

Dance with the stars: Toronto’s Fall for Dance North returns with in-person shows, audience pleasers and watch-from-home options by Michael Crabb - Special To The Star

Indigenous Liberation, Decidedly Jazz Danceworks and the National Ballet all part of celebration continuing to Oct. 8.

In ‘Beautiful Renegades,’ Peggy Baker mines Toronto’s 1970s dance rebellion by Michael Crabb - Special To The Star

The dance-drama hybrid at the Theatre Centre, the final work of Peggy Baker Dance Projects, honours the avant-garde performances at 15 Dance Lab.

Nova Bhattacharya’s ‘Svāhā!’ celebrates female energy with a mash-up of diverse dance styles by Michael Crabb - Special To The Star

The cast of 22 women represents more 30 forms of dance, including Bharatanatyam, jazz, hip hop, tap, modern and classical ballet.