Two recent dance works packed a solid punch, but would both benefit from a dramaturgical fine-toothed comb: Australian Dance Theatre’s G and Dansatori’s Mah-Hah-Bone.

The Australian Ballet’s Vanguard showcases works from George Balanchine, Jiri Kylian and Wayne McGregor. And two great performances out of three ‘aint bad.

Blak intertwines stories of modern Aboriginal youth with traditional vistas to explore the life of boys and men. It’s arresting in its choreography and design.

From a suburban dance studio a decade ago, Gideon Obarzanek brings his slice-of-life play to the Sydney Theatre Company. It’s a charmingly clumsy tale.

Don Quixote emerges as about the most fun a dancer or dance devotee can have with tights on, or admiring them. It’s old and new from the Australian Ballet.

Li Cunxin makes a splash as the new creative force of the Queensland Ballet with a joyous and touching production of Cinderella. Even for ballet novices it proves a magical hit.

Intense, dark and wildly creative, Skeleton intrigues from the outset. The Dance Massive work is unconventional, even distressing, but rewarding theatre.

Rudolf Nureyev came to Australia to create one of the world’s greatest ever productions of Don Quixote. Some 40 years later a couple of Australian dancers bring it back to brilliant life.

Three new works from Sydney Dance Company master choreographer Rafael Bonachela veer from dramatic intensity to laugh-out-loud funny. But always thrillingly contemporary.

Sydney ballet fans are in heaven: arguably the world’s greatest company is in town. And its production of Giselle is the finest ballet local audiences may ever see.