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The article offers information on brief profile of repetiteur Julie Lincoln. Topics discussed include responsibility for repertoire classes and the annual performance at The Royal Ballet School; separate rehearsals for the principal couples, while other companies schedule several couples together for the initial rehearsals; and producing the works of choreographer Kenneth MacMillan.

The article profiles the Compania Nacional de Danza del Ecuador (CNDE), Ecuador's national institution dedicated to contemporary dance. Information is provided on the history of CNDE, the appreciation for contemporary dance in Ecuador, and the choreography of CNDE's repertoire.

A calendar of events related ballet dancing in Great Britain is presented which includes the Birmingham Royal Ballet in England, English National Ballet in London Coliseum, and Moscow City Ballet at the Chichester Festival Theatre in England.

An interview with ballet director Manuel Legris at ballet company Vienna State Ballet, is presented. Topics discussed include the focus on reorganizing the company hierarchy, the working with two generations which are the mature and young dancers, and the focus on repertoire by bringing choreographers.

An interview with ballerina Lynn Seymour is presented. She asserts that her dramatic talent has grown from the demands of an early repertoire that needed a good deal of dramatic involvement. She reveals that looking for a new way to resolve a problem is a great part of the enjoyment of her as an artist. She claims that she danced with fantastic partners, and expresses that all of them have held a special place in her heart.

The article presents an interview with Aaron Watkin, director of Semperoper Ballet of Dresden, Germany. Topics discussed include his role as a director at the Ballet, his efforts to take up the directorship of the Ballet and focus of the company to gain an international reputation. Other topics include his views on repertoire, importance of tradition in dance and challenges of varied repertoire faced by his company, as of May 2014.

An interview with Bavarian State Ballet director Ivan Liska is presented. When asked regarding his role behind the "Very British?!" season, he says that he played the role as artistic director for the variety of the repertoire, not only for entertainment but also the audience's education. He states that he wants his dancers to be satisfied as artists and dance not only for themselves but for the art form. He stresses that John Neumeier was his mentor from being a dancer to director.

The article profiles former principal dancer Dianne Richards of the Festival Ballet in London, England, and her career in ballet. She was hooked up in ballet dancing by 1940, studying with ballet dancer Marjorie Sturman. She joined the Festival Ballet in 1951, when the company was touring in Sunderland. She mentioned that she is with the company for 18 years, and they had huge repertoire and huge audiences.

An interview with Fiona Chadwick, the former principal dancer of the Royal Ballet, is presented. She states that she began her ballet classes in Preston, England. She cites that "The Firebird" was her first major role. She expresses that dancing the ballets of choreographer Kenneth MacMillan has allowed her to explore some of the greatest works in the modern repertoire.

The article discusses the characteristics of the classical ballet companies throughout the world. The author described that there is no doubt the classical ballet companies are losing their distinctiveness, although they demonstrated apparent differences in style. He further asserted that his fear of the emerging homogeneity among these companies are primarily focused on repertoire, as well as the ballets which are performed in some areas from Copenhagen, Germany to Cape Town, South Africa.

The article reports on the dance performances of the Bolshoi Ballet at the Royal Carré Theatre in Amsterdam, Netherlands from July 16 to 27, 2008. The company's repertoire will consist of "Swan Lake," "The Bright Stream," and "Spartacus." In addition, Stardust Theatre B.V. will represent the company for the event.

The author reflects on the wider cultural reasons why ballet as an art is incapable of responding to the present world and the lack of new repertoire. He argues that a consequence of how creativity is managed in the world of ballet can be a driver, in which arts organization can be spectacularly bad at managing creativity. He believes that without a constant flow of new ideas and new products, a company will wither.