In October 2025, Melbourne will become the epicenter of Australasian dance as fourteen of the region’s most vibrant dance companies and choreographers converge for DanceX, a dynamic festival curated by David Hallberg, Artistic Director of The Australian Ballet. Running from October 8–19 at Arts Centre Melbourne’s Playhouse, Fairfax Studio, and Showroom Theatres, DanceX 2025 will showcase the extraordinary diversity of dance, from classical ballet to contemporary and First Nations works.
Originally launched in 2022 as a post-pandemic initiative to reunite the dance community, DanceX’s overwhelming success established it as a vital platform for Australasian artistry. This year’s return promises audiences an unparalleled opportunity to experience the depth and creativity of the region’s dance scene in one curated program.
David Hallberg describes DanceX as a testament to the region’s creative spirit: “DanceX is a bold celebration of the extraordinary creativity that defines our dance community. It brings together a broad spectrum of dance across Australia and New Zealand, from First Nations to contemporary, classical, independent, and institutional. The companies and artists represented this year are only a small example of the rich community that defines the dance world around us.”
Over two weeks, the festival will present a diverse array of performances, from intimate solos to large-scale ensemble works and interdisciplinary creations, featuring artists like The Australian Ballet, Royal New Zealand Ballet, Bangarra Dance Theatre, West Australian Ballet, Stephanie Lake Company, Restless Dance Theatre, Dancenorth, NT Dance Company, Jenni Large, Lucy Guerin, Timothy Harbour, Melanie Lane, Jayden Lewis Wall, and Melissa Pham.
In Week 1 the Playhouse and Fairfax Studio host diverse performances. Royal New Zealand Ballet’s Te Ao Mārama, created by Moss Te Ururangi Patterson for their 70th anniversary, draws on haka and Māori culture, debuting internationally with powerful male dancers. Restless Dance Theatre’s Seeing Through Darkness, inspired by Georges Rouault’s paintings, explores vulnerability through inclusive dance, music, and visuals. The Australian Ballet and The Australian Ballet School perform Balanchine’s Allegro Brillante; a lively ballet set to Tchaikovsky’s Piano Concerto No. 3. Lucy Guerin’s Ground Control, also by The Australian Ballet, balances ballet’s lightness and tension. Dancenorth’s Wayfinder (Excerpt) blends dance, music, and art to celebrate connection. In the Fairfax Studio, Jenni Large’s Wet Hard Long subverts femininity with daring feats in 8-inch heels, while Jayden Lewis Wall and Melissa Pham’s Flesh Vessel explores bodily communication through precise movement.
Week 2 sustains the energy across all venues. Bangarra Dance Theatre’s Yuldea (Excerpts) by Frances Rings honors the Aṉangu people, depicting their desert connection and 1917 industrial clash. NT Dance Company’s The Other Side of Me, led by Gary Lang, traces an Aboriginal man’s spirit journey, exploring identity in a duet co-produced with Northumbria University. Stephanie Lake Company’s Auto Cannibal in the Playhouse reuses choreographic ideas with sharp, energetic movement. West Australian Ballet’s Extension to Boom, choreographed by George Williamson, abstracts Bryce Dessner’s Two Pianos into a dynamic exploration for six couples. The Australian Ballet premieres Timothy Harbour’s innovative new work. In the Showroom Theatre, Melanie Lane’s Dream Swamp captivates young audiences (ages 4–10) with a surreal, shape-shifting fantasy world.
“I’m incredibly proud to be bringing DanceX back in 2025,” Hallberg says. “It is both a showcase and a statement, reaffirming the importance of dance in our cultural landscape and celebrating the artists who are shaping its future.”
DanceX tickets are on sale now.
