Janice Berman

A dazzling trio of works shows off the San Francisco Ballet in top form. A new Wayne McGregor ballet stuns and amazes.

The welcome return visit of the Joffrey Ballet to Berkeley features a mixed bill, both moving and wondrous, and beautifully danced.

Nevabawarldapece, a new, live dance-and-music-and-spoken-word extravaganza choreographed by Robert Moses, is fitfully brilliant, yet at times hard to read.

Artistic Director Ashley Wheater leads the venerable Chicago-based Joffrey Ballet into Zellerbach Hall Jan. 26-27 with Christopher Wheeldon’s After the Rain, Edward Liang’s Age of Innocence and Kurt Jooss’ antiwar classic, The Green Table.

In the S.F. Ballet's opening night of the Nutcracker, a beautiful stage was set, and standout dancers delighted the crowd with this seasonal classic.

A new ballet born at Ballet San Jose includes a little playlet within the ballet that is sometimes a headscratcher, but nevertheless delivers the magic that audiences flock to the Nutcracker for.

Alonzo King's new evening-length work Constellation takes his Lines Dance Company ballerinas off-pointe and away from the naturalistic environment of last year’s stunning Resin.

Times Bones, termed a "preview" by its creator, is already luxuriously full of everything you might expect from the master choreographer Margaret Jenkins.

Margaret Jenkins, whose troupe and work has been part of San Francisco’s DNA since the 1970s, presents four performances at the San Francisco JCC’s Kanbar Hall, Oct. 18–21, with dances from the company repertory as well as a preview of the new Time Bones, which she created with her eight dancers. Set to a score by Paul Dresher, it premieres in 2013 as part of the Margaret Jenkins Dance Company’s 40th anniversary season.

Russell Maliphant Company’s AfterLight is a one-hour meditation on Vaslav Nijinsky, an extended composition lovely to look at, yet ultimately disappointing.