Macbeth - Royal New Zealand Ballet
Regent Theatre, Dunedin
Friday, March 13
There is something about Shakespeare that transcends time and space.
His genius has lent itself to several ballets along with other theatre and creative performances over the many hundreds of years since they were written and first performed - take that Chalamet - and they all translate perfectly and will continue to translate over time periods, sometimes better, as if they could have been written today. They never seem to date in regards to human nature, and it’s surprising we have never learnt from the past. But is it though?
The opening performance for the Royal New Zealand Ballet’s 2026 season comes at a timely point in our lives and global politics. A poignant ballet as our current world and its turmoil unfolds; dreams and desire for ultimate power will always end in demise. Power plays, corruption and manipulation will never win.
This contemporary and at times confronting reimagined Macbeth, from choreographer Alice Topp, was outstanding and astounding. Ana Gallardo Lobaina and Brandon Reiners as our Macbeths were a formidable force. The ultimate power couple, yet they were each their ultimate undoing. This ballet was a mainly male-driven one, but Lobaina more than held her own. In fact she took charge of the narrative and the viewer was not sure if it was Macbeth or Lady Macbeth who was in control.
However, the Macbeths are not the only duo at play in this story: there are brothers-in-arms Macbeth and Banquo, performed by the always compelling Kihiro Kusukami - we love to see him perform - as well as the turbulent Macbeth and Duncan, portrayed in a deliciously deceptive and malevolent way by Laurynas Vejalis.
The witches who created this nightmare were fantastically and maniacally performed by Kirby Selchow - her cackle alone stole the scenes - Ruby Ryburn and Shaun James Kelly - not sure if we loved the ‘‘influencer’’ angle, but their tormenting control and coercion over Macbeth was beguiling. Rose Xu is another standout throughout all of her roles in this performance.
Topp’s choreography of this premiering work was bold, daring and utterly audacious, a little reminiscent of Mayerling, but in the best and most flattering way. This is what modern ballets should be. Artistic Director Ty King-Wall said this is the RNZB like we have never seen, so let’s hope this is the start of a new era for the company.
The imposing, industrial and metallic set design from Jon Buswell had beautiful subtle changes to introduce new scenes - the floor to ceiling panels that swivelled and the upper floor that floated down from the rigging made the absolute most of the stage without having to ‘‘move anything’’.
The costuming definitely screamed power and influence, but it was Lady Macbeth’s long line silk costumes that added the luscious and opulence that was needed to cut through all the grey suits; they brought the old-world glamour.
Mention, of course, must be made to the members of the New Zealand Symphony Orchestra who accompanied this production. Having this additional live aspect made this performance all the more special - and brought a levity to an otherwise overwhelming and heavy score.
The three competing pas de deux at the heart of this story create the perfect storm for the complete descent into madness, loss, heartbreak and utter destruction for and of Macbeth. However, it was all of his own making, so let this be a cautionary tale: you may want power, prestige and status, but what are you willing to pay for it?
