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A review of the Ballet Icons Gala by Debra Craine in The Times. Review by Maryam Philpott for The Reviews Hub.

A review of San Francisco Ballet's "Cinderella" by Leslie Katz in The San Francisco Examiner. Terez Rose's review for Bachtrack.

A review of San Francisco Ballet's "Cinderella" by Steven Winn for The San Francisco Chronicle.

The Royal Ballet School was not told of the allegations against Liam Scarlett until this week, reports The Times.

A review of the National Ballet of Canada by Roger Catlin for Broadway World.

The Royal New Zealand Ballet will perform works by women only for a year.

More stories on Liam Scarlett. The Daily Telegraph The Stage ABC News San Francisco Ballet takes steps to protect families from Scarlett's "Hummingbird."

A review of New York City Ballet by Robert Gottlieb in The Observer.

A review of New York City Ballet by Carol Pardo for danceviewtimes.

A review of the National Ballet of Canada by Alexander C. Kafka for DC Theatre Scene.

A review of the National Ballet of Canada by Sarah L. Kaufman in The Washington Post. George Jackson's review for danceviewtimes.

A review of the Bolshoi Ballet in the cinema broadcast of "Giselle" by Robert Greskovic in The Wall Street Journal.

Liam Scarlett is suspended from the Royal Ballet amid charges of sexual misconduct. Related.

More stories on the suspension of Liam Scarlett from the Royal Ballet pending an investigation into alleged sexual misconduct. The Times The New York Times BBC

Elizabeth might have married if it had been possible for a male consort to remain just that. It was a huge gamble for her not to marry and try to provide the kingdom with an heir, but from her point of view marriage was just as big a gamble.

Hi, sidwich, always nice to hear from you. Well, Mary of Scotland is one of Ford’s lesser efforts and I was overgenerous to Eldridge, an actor of distinction who wasn’t at her best - her Elizabeth is really a cardboard villainess. I also understand the fuss about Ronan even if I still found her most convincing as a semi-robotized child assassin. Robbie is very good, too. Liked her a lot in the unhappily titled Bombshell. In the Mary Queen of Scots they both looked overmatched, but they were certainly not helped by the script.

What we see is Giselle getting swallowed up in foliage. The effect is more Sam Raimi than redemptive, and it's puzzling because we just saw her come from her grave. Also, the timing here suggests that we need to get Giselle out of the way fast because here comes Bathilde and the gang. There is a little bit of footage of Spessivtseva in Act 1. She looks heartier than Smirnova, a robust peasant girl. I seem to remember a pigtail.

The friend I went with was a little disappointed when I explained that Khoklova wasn't Giselle (we came in late). I was interested to see Smirnova but I felt similarly.

Thanks. I continue to think the ending is not improved by a crowd, but maybe the PNB version would change my mind.

I agree with much of what has been written above. I arrived slightly late because I normally doze off during Act 1. I didn't miss much but I was sorry I missed any of it; this was the most engaging Act 1 I can remember. I hope to see this production again. Didn't much care for the ending. Giselle should return whence she came, a ghost returning to her world of ghosts. The back-and-forth between them at the end was too much for me; these are no longer flesh-and-blood lovers. Regardless of what the libretto may have originally said, I still don't understand what Bathilde is doing in the woods at that time of night. I had the exact same thoughts, griffie. Agree here as well.

I thought it looked close to ridiculous. It got some startled laughs in the theater where I saw it. Hope it goes away.

An appraisal of the current state of the company by Robert Gottlieb in the Observer.

A review of New York City Ballet by Gay Morris for danceviewtimes. Carla Escoda's review for Bachtrack.

Ballet Northwest celebrate its fiftieth anniversary.

George Jackson reviews Matthew Bourne's "Swan Lake" for danceviewtimes. Rachael Goldberg's review for Broadway World.