In Alice Topp’s Macbeth, Duncan is a president, Macbeth a rising political figure and Shakespeare’s witches a trio of social media influencers, manipulating events from within a world of boardrooms, political ambition and public scrutiny.
The full-length contemporary ballet will receive its Australian premiere with West Australian Ballet at His Majesty’s Theatre, Perth, on 4 September. A co-production with Royal New Zealand Ballet, it premiered in Wellington in February before touring New Zealand.
“Despite being centuries old, the themes in Macbeth are just as potent and relevant as ever,” Topp said.
“Setting it in the turbulent world of politics and media influence felt like fertile ground to explore this spiralling psychological drama fuelled by ambition, betrayal and manipulation. It feels current and highly relatable in times of great instability globally.”
The project began in 2020, when Topp and her long-time collaborator, set and lighting designer Jon Buswell, decided to create their first full-length narrative ballet together. In an interview with Royal New Zealand Ballet, Topp traced her interest in the play from studying it at school through to seeing interpretations including Punchdrunk’s immersive Sleep No More in New York.
Her adaptation transfers the action from medieval Scotland to a contemporary political class. Macbeth is a rising political star whose ambitions are encouraged by the Influencers. After winning the party leadership, he discovers that President Duncan intends to install his son Malcolm as successor. Lady Macbeth convinces her husband to murder Duncan and seize the presidency for himself.
The production’s movement language also draws directly from Shakespeare’s text. Lady Macbeth’s compulsive hand-washing remains, while Macbeth adopts a related gesture that gradually develops into a digital swiping motion as his fixation with media coverage intensifies.
Christopher Gordon has composed an original score of unusual scale. Eight musicians from West Australian Symphony Orchestra will perform live alongside a recorded component featuring 126 musicians from around the world. Its musical references extend from 1940s big band and 1970s funk to progressive rock and electronic dance music.
The creative team also includes costume designer Aleisa Jelbart and dramaturg Ruth Little, with Buswell responsible for both set and lighting. Jessica Gethin is principal conductor, with Joel Bass also conducting.
West Australian Ballet Artistic Director Leanne Stojmenov said the production’s cinematic quality was apparent when she first encountered the work.
“The first time I saw Alice’s Macbeth take shape, it unfolded like a movie I was a part of,” Stojmenov said.
“I understood immediately the power of this production and how deeply it will resonate with audiences today. It’s exactly the kind of bold, ambitious work that belongs here.”
Macbeth follows Topp’s Butterfly Effect, which premiered with West Australian Ballet in 2025.
Macbeth runs from 4 to 19 September at His Majesty’s Theatre, Perth, accompanied live by musicians from West Australian Symphony Orchestra. The production is recommended for audiences aged 16 and over.
Tickets and further information are available from West Australian Ballet.