Shakespeare’s Macbeth is a morality tale replete with intrigue, passion and violence which stands as a warning about the effects of vanity and the thirst for power. In 2026 the Royal New Zealand Ballet brings a fresh and exciting version of the play to the stage which is mesmerising and provocative.
Set in the ‘now’ with over-the-top influencers instead of witches, cellphones, and a stark grey industrial set this Macbeth is very different to the usual Elizabethan recreations.
In this retelling, Macbeth is a strong and influential member of a ruling political party who is denied the chance to be president by the incumbent Duncan. This obviously enrages him, and so, in cahoots with Lady Macbeth, he does away with Duncan and manipulates his way into the top job. In seizing power he must then maintain it which inevitably leads to yet more murder and his downfall.
Despite its modern touches and without the dialogue of course, this Macbeth follows the original story quite faithfully. It is a testament to the nature of storytelling and a very well performed and choreographed show that movement and gestures with the occasional word or scream thrown in can tell a tale so vividly.
Alice Topp’s choreography was edgy, modern, and deeply emotional as exemplified by the captivating leading couple. Branden Reiner’s Mabeth was strong, passionate and masculine which paired wonderfully with the graceful and stylish Ana Gallardo Lobaina as the confident yet vulnerable Lady Macbeth. When they first come together at home, the lady freshly bathed, the man angry and seeking solace, their dance was romantic, yet with a hint of something darker. As the story progressed their interactions grew less charming and more violent. It was pure genius.
Musically this ballet was quite different. Christopher Gordon cleverly wove a complex mixture of styles and instruments which suited every moment. Discordant themes for the influencers; strings for the intimate moments between the eponymous leading man and his wife; jazz for celebrations; and gloriously energised rock for conflict and triumphs.
The aesthetics of the ballet were simply stunning. The set, as mentioned earlier had a hard, grey industrial look the only colour being reserved for a dining room which was bedecked with bright red drapes and red table cloth. Similarly the superbly tailored costumes designed by Aleisa Jelbart were mostly grey and white – a uniform of sorts, and later party goers were in black evening wear. The only true colour in the costumes belonged to the influencers which provided a stark contrast to the conformity of the politicos. When Lady Macbeth first dances with her husband she is in a gorgeous yet simple and sheer dress that seemed to float about her.
It was an ambitious move shifting the story to contemporary times yet in doing so it provided a stark reminder that the pursuit of absolute power leads to chaos and misery. The real tragedy of Macbeth is that we have never learned that lesson and the Royal New Zealand Ballet’s interpretation of this moral is just stunning.
MACBETH
Wellington: 25-28 Feb 2026, St James Theatre
Auckland: 4-7 March 2026 Kiri Te Kanawa Theatre, Aotea Centre
Dunedin: 13-14 March 2026, The Regent
Christchurch: 18-21 March 2026, Isaac Theatre Royal
Bookings and information
