浪漫之都巴黎，成为战后艺术、友谊和爱情故事的背景，一位美国士兵与美丽而年轻的舞者在这里相遇……
格什温兄弟的《一个美国人在巴黎》是一段浪漫的巴黎旅行中诞生的交响诗，亦曾是经典奥斯卡获奖歌舞片，音乐剧版由英国皇家歌剧院著名编舞克里斯多夫·威尔顿操刀，纽约城市芭蕾舞团前首席罗伯特·费尔柴尔德和利安娜·考普领衔，带来无与伦比的视听盛宴， 狂揽托尼奖与奥利弗奖的同时，破纪录获得28家英国主流媒体五星好评。

《14天创作挑战》是一次先锋创作，也是对于编舞家创作方法的一次探索。4位国际知名编舞家以“平衡与失衡”为灵感，分别为舞团创作4支短作：The Title is in the Text，Human Animal，Us，The Indicator Line。
哈维尔·德·弗鲁托斯的The Title is in the Text以跷跷板为核心装置，探索其如何让平常的舞步变得非凡；伊万·佩雷斯的Human Animal探讨人类的动物性与非动物性的显露与制衡；克里斯托弗·威尔顿的Us最为直接易懂，这支双人舞将信任、支撑、平衡等物理元素转化为一个浪漫故事；克雷格·雷沃尔·霍伍德的The Indicator Line带有百老汇式的粗狂和色彩，背景灵感来自19世纪澳大利亚一场金矿矿工反抗殖民当局的武装起义。这4支舞作都在14天内创作完成，风格与创作方法迥异，但出色的编排与状态超群的舞者都令人眼前一亮

托尼奖与奥利弗奖获奖编舞大师克里斯托弗·威尔顿为芭蕾男孩舞团编创的《他们/我们》是一部颇富创意又浪漫至极的双联舞剧。2017年威尔顿曾在舞团的《14天创作挑战》中创作了一支8分钟的双人短作《我们》，而本部由全团舞者参与的全长作品就是对其的补全，关乎我们如何看待自我与他人的关系，探讨人与人的联系和微妙平衡。
上半部《他们》由舞团的舞者通过独特的联合创作的方式完成，每位舞者的个性与能力都获得充分展示，舞者间的配合轻巧而灵活，目不暇接，极具观赏性；下半部《我们》则温柔内敛，呈现出精致的肢体韵律和澎湃的情感力量，结尾那段亲密无间的双人舞更令全剧达到抒情高潮，CultureWhisper盛赞其为“最有力量的舞蹈，美得令人心痛”。

Eager to begin his life anew after the brutality of combat, World War II Army veteran Jerry Mulligan chooses newly-liberated Paris as the place to make a name for himself as a painter. With the assistance of fellow ex-pat Milo Davenport, a wealthy American with a past she wishes to forget, Jerry’s life becomes complicated when he meets Lise, a young Parisian shop girl with her own secret. Soon it becomes clear that Jerry’s friends-Adam, a Jewish American composer, and Henri, a Parisian aristocrat - also vie for Lise’s love. This romantic tangle can only be untied through the miracle of dance set to some of the greatest music and lyrics ever written. A classic American film about young souls in Paris has been reimagined for the Broadway stage of the 21st century.

The new musical, inspired by the life of Michael Jackson, will feature a book by two-time Pulitzer Prize winner Lynn Nottage and a score made up of some of the best-loved, top-selling songs in recording history. Tony Award winner Christopher Wheeldon will direct and choreograph.
Performances begin July 6, 2020.

The new musical, inspired by the life of Michael Jackson, will feature a book by two-time Pulitzer Prize winner Lynn Nottage and a score made up of some of the best-loved, top-selling songs in recording history. Tony Award winner Christopher Wheeldon will direct and choreograph.
Performances begin July 6, 2020.

The new musical, inspired by the life of Michael Jackson, will feature a book by two-time Pulitzer Prize winner Lynn Nottage and a score made up of some of the best-loved, top-selling songs in recording history. Tony Award winner Christopher Wheeldon will direct and choreograph.
Performances begin July 6, 2020.

Act I
Cinderella, a young woman whose domineering stepmother forces her to act as a servant in her own home, helps her stepmother and two stepsisters to prepare for the Spring Ball, at which it is rumoured that the Prince will choose his bride-to-be. As the two stepsisters work together to produce a new shawl, they get into an argument over who will wear it, and end up tearing it in two through their bickering. The pair storm off, while the step-mother orders Cinderella to clear up the remnants and finish her chores, as her father returns home from business. Since her father's remarriage, Cinderella has had to sleep by the kitchen fireplace, leaving her nothing to wear but rags covered in ashes. Her father has never moved past the grief of his first wife's death, and though he is concerned for his only daughter Cinderella, he is just as much under the stepmother's control as Cinderella herself is. Their brief peace is interrupted, however, as the stepmother and the two stepsisters reenter and begin ordering them about. During supper, a beggar woman turns up, asking for shelter. The two stepisters and the stepmother try to chase her off, but Cinderella offers her a place by the kitchen fire and an old pair of slippers. The beggar thanks her for her kindness and departs, leaving the preparations for the ball to resume. After choosing dresses and a quick dancing lesson, the family finally sets off for the night with the father reluctantly in tow, leaving Cinderella behind.
Although lonely at first, she cheers herself up by dancing with her broom, imagining the Prince himself has asked her for a dance. She is surprised, however, when the old beggar woman appears out of nowhere, wishing to return the slippers with her thanks. To Cinderella's amazement, the shoes have been transformed into dancing slippers of glass. The old beggar woman throws off her disguise and reveals herself as Cinderella's fairy godmother, come to grant her wish of going to the ball. Summoning the fairies of Spring, Summer, Autumn and Winter for assistance, she turns Cinderella's rags into a beautiful dress, a pumpkin and mice into a carriage and horses, and grasshoppers and dragonflies into a retinue of footmen. As she is about to leave, however, the fairy godmother warns her that the magic will only last until midnight, at which time the spell will break, and everything will revert to its original form. Only the glass slippers will remain as a gift for her kindness. She then summons twelve dwarfs, who will appear to repeat her message if she has not left by midnight. With this warning in mind, Cinderella departs for the ball.
Act II
The Spring Ball is in full swing, with guests arriving from all over the kingdom and beyond to dance and pay respect to the Prince. The two stepsisters attempt to win favour with the royal court by showing off their dancing skills, but have less than successful results, much to their mother's dismay. The Prince then joins the celebrations, but finding state events such as the Spring Ball dull, and being reluctant to enter a marriage without love, he declines any offers for a dance, particularly in the case of the obnoxious step-sisters.
At this point, Cinderella arrives at the palace, transformed beyond recognition into a beautifully dressed princess. The Prince, along with everyone else, is entranced by her beauty and charm, and for the first time, he asks for a dance. As the evening passes, the two become inseparable; Cinderella quickly becomes beloved by the entire court for her graciousness and charm, while the Prince is unusually enthusiastic and cheery in her company. When refreshments are served, he gives her the honour of taking one of three oranges, a delicacy imported to the kingdom from a far-off land. Cinderella offers the other two oranges to her two stepsisters, who are so flattered by the attention that they do not recognize the beautiful stranger as their stepsister Cinderella. The Prince takes Cinderella out to the royal gardens for an evening walk, where they dance and proclaim the love blossoming between them.
As they return to the ballroom for the next waltz, Cinderella has completely forgotten about the time in her happiness. However, at the first stroke of midnight, the twelve dwarfs spring from the great palace clock and remind Cinderella of her fairy godmother's warning. Terrified of being unmasked as a lowly servant in rags, she flees from the ballroom to the astonishment of the other guests. Though the Prince pursues her, she vanishes into the night moments before the spell breaks, losing one of her glass slippers in her haste and panic. The Prince is heartbroken at the thought of losing his love so soon after discovering her, but upon finding the lost slipper, he vows not to rest until he is once again reunited with her.
Act III
The morning after the ball, the Prince summons every shoemaker in the kingdom, in order to find out who the slipper was made for. However, none of them claim to have crafted the shoe, or sold it to anybody recently, and he concludes that the princess must be from a foreign land. His desperate search brings him first to the Mediterranean, then to the Orient, and lands further beyond. After travelling across the world and meeting various beautiful princesses with no success, the Prince begins to search his own kingdom, trying the slipper on every maiden who attended the ball.
Back at Cinderella's home, love has allowed the Prince to defy the laws of time and space; though she is only awakening the morning after the ball, he has already traveled the world and back again in search of his lost love. Upon waking, Cinderella initially believes that the events of the previous night were only a dream. As she relives some of the dances of the ball, she discovers the remaining glass slipper and realizes that it was all true. At breakfast, the two stepsisters reminisce about the ball, and argue about who made the greater impression on the Prince at the ball. Their fighting is interrupted when the father and the stepmother hurry in with the news that the Prince is on his way to their house, desperately trying a glass slipper on every girl he encounters. Upon his arrival, he tries the slipper on the two stepsisters, to no avail. The stepmother, however, demands to be given a chance and tries to force her foot into the shoe, ordering Cinderella to help her. As she bends down to assist, the remaining slipper falls from her pocket and the Prince finally recognizes Cinderella for who she is. As Cinderella successfully tries on both glass slippers, her stepfamily beg for her forgiveness, which she happily bestows upon them. Overjoyed to have rediscovered each other, Cinderella and the Prince are then transported away to a secret garden by the fairy godmother, where they confess their love for one another and are happily married.

King Leontes, possessed by a mad jealousy, believes his pregnant wife Hermione to be having an affair with his childhood friend King Polixenes. He orders that the baby, Perdita, be abandoned. Hermione and their young son die of distress and Leontes is overcome with remorse. Perdita is discovered by a shepherd. She grows up and falls in love with Florizel, son of Polixenes. They flee Polixenes, who is consumed with fury at his son’s love for a commoner, and seek shelter with Leontes. Perdita is recognized. Hermione, who did not die but went into hiding, returns and the family is reunited.

A modern Mexican classic of magic realism provides the basis for The Royal Ballet’s new full-length work, reuniting Artistic Associate Christopher Wheeldon with the creative team who transformed Alice’s Adventures in Wonderland and The Winter’s Tale into dance, composer Joby Talbot and designer Bob Crowley. Journey into Laura Esquivel’s captivating family saga where the central character’s emotions spill out through cooking to influence everyone around her in startling and dramatic ways. In this co-production with American Ballet Theatre, Mexican conductor Alondra de la Parra acts as musical consultant for Talbot’s newly commissioned score, with Wheeldon working closely with Esquivel to reshape her richly layered story as an entertaining and engrossing new ballet.

Lewis Carroll's ever-popular story provides the basis for Christopher Wheeldon's spectacular new work, starring Royal Ballet Principal Lauren Cuthbertson. Captivating designs by Bob Crowley, an engaging and passionate score by Joby Talbot, and Wheeldon's breathtaking choreography combine to produce in the words of The Times 'spectacular family entertainment brought to life with enormous theatrical verve.'

Lewis Carroll's ever-popular story provides the basis for Christopher Wheeldon's spectacular new work, starring Royal Ballet Principal Lauren Cuthbertson. Captivating designs by Bob Crowley, an engaging and passionate score by Joby Talbot, and Wheeldon's breathtaking choreography combine to produce in the words of The Times 'spectacular family entertainment brought to life with enormous theatrical verve.'