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.

National Ballet launches season with free outdoor performances at Harbourfront by Michael Crabb - Special To The Star

This is the second year in a row that the National Ballet has partnered with Harbourfront Centre to produce “Sharing the Stage” at the canopied, waterside 1,100-seat Concert Stage.

Let’s Dance: ‘Visionary’ new Yensa festival celebrates Black women artists by Michael Crabb - Special To The Star

The festival unfolds with open-to-all dance workshops and other features from August 19 to 28, including two evenings of performances at Daniels Spectrum in Regent Park

Dancing in the park: Dusk Dances’ brings pay-what-you can live performance back to Withrow Park, with a few twists by Michael Crabb - Special To The Star

Go for a whimsical walk, as an emcee and performers delight and enchant with an event that first ran in 1993.

Theatre-circus-dance hybrid ‘Anthropic Traces’ asks: ‘What do we want to leave behind?’ by Michael Crabb - Special To The Star

“Anthropic Traces” is an unclassifiable synthesis of circus arts, dance, music, mask, multimedia and theatre that reflects on the continuing impact of humanity on our fragile planet.

Ballet Jörgen brings the romantic spirt of Anne Shirley to Toronto in its ‘Anne of Green Gables’ ballet by Michael Crabb - Special To The Star

At a cost of a million dollars, “Anne of Green Gables — The Ballet” is the company’s most expensive and ambitious production to date.

Dance work at Harbourfront holds a mirror to our need to be loved by Michael Crabb - Special To The Star

Alan Lucien Øyen’s “Story, story, die” is “basically about our desire to be recognized” and the lies we tell to present a lovable image.

A mythical creature and human misbehaviour are at the heart of Guillaume Côté’s ‘Crypto’ by Michael Crabb - Special To The Star

“Let’s say it’s an adult fairy tale,” says the dancer and choreographer of his multimedia work, which draws inspiration from cryptozoology and “The Little Mermaid.”

Baritone Simone Piazzola celebrates 200 performances as Giorgio Germont in ‘La Traviata’ by Michael Crabb - Special To The Star

“The challenge is not to make this character a villain,” says Piazzola, who will mark his first 200 performances with the Canadian Opera Company May 3.

Another male dancer leaves the National Ballet as Brendan Saye departs for Vienna by Michael Crabb - Special To The Star

The National Ballet of Canada needs an experienced man to take his place. Artistic director Hope Muir says she has a plan.