Janice Berman

Alonzo King Lines Ballet throws itself an elegant, if late, 30th-anniversary celebration, with a work in collaboration with virtuoso Edgar Meyer central to the occasion.

The much-lauded choreographer Paul Taylor reflects on rites of spring on stage and in his own garden, as his company readies for a series of San Francisco performances.

The presentation of neoclassical masters, the inspiration for Ballet San Jose’s performances, covered a lot of ground, and the artists rose brightly to the challenge.

Onegin the evening-length extravaganza is back by popular demand at S.F. Ballet, with a prodigy of gorgeous dancing, stars to corps; an utterly gripping storyline, and a profoundly physical presentation.

ODC Dance presents Program A, which tackles eternal life questions writ large with impressive dancing.

In a last dance of sorts, eight dancers perform works by Trisha Brown; offering a demonstration of beauty so shocking, underlining how difficult it is to absorb that its creator is never going to make another dance.

You can’t scotch S.F. Ballet’s vigor and its ever-venturesome choreography, whether old or young.

Yuri Possokhov's Rite of Spring is extraordinary, demonstrating his mastery of the rhythms and impulses of the score, conducted and played with beauty and precision by Martin West and the S.F. Ballet Orchestra.

In its centenary year, everyone will talk about The Rite of Spring as music. Maybe we should make time to talk about its more dangerous and electrifying aspect — the dancing.

Nijinsky full-length spectacular, with its explosive, searing essence is clearly one of the closest ballets to Director John Neumeier’s heart.