The Royal New Zealand Ballet (RNZB) has announced a bold and emotionally charged 2026 season that will take audiences on a journey through ambition, legacy and fairytale splendour. From Alice Topp’s world premiere of Macbeth to the triumphant return of The Sleeping Beauty, the season reflects the company’s commitment to innovation, connection and artistic excellence.
The year opens in February with Macbeth, a daring new co-production with West Australian Ballet. Choreographed by internationally acclaimed Australian choreographer Alice Topp, the work reimagines Shakespeare’s tragedy within a volatile political and media world. “An epic story fuelled by political ambition, passion, desire for power and the burden of guilt, its potency endures,” says Topp. “Our Macbeth is set in a hierarchy-hungry, high-society city, where political storms, media frenzy and personal ambition collide.”
The production brings together an exceptional creative team including designer Jon Buswell and costume designer Aleisa Jelbart, with a new contemporary score performed live by musicians from the New Zealand Symphony Orchestra. “Macbeth is the Royal New Zealand Ballet as you’ve never seen us before,” says Artistic Director Ty King-Wall. “Alice is bringing a world of bloodshed, betrayal and intrigue to our stages in a cutting-edge production that showcases the incredible range of our dancers.”
In April, the RNZB turns its focus to younger audiences with Dazzlehands, a national tour inspired by Sacha Cotter and Josh Morgan’s beloved picture book. Filled with fun and heart, the production follows Pig and his farmyard friends on a rollicking adventure that celebrates creativity and courage, continuing the company’s mission to connect with communities across Aotearoa.
The Winter Season in July offers a profound reflection on heritage and progress, featuring three distinct works that honour artists past and present. At its centre is the New Zealand premiere of Sir Frederick Ashton’s Birthday Offering, originally created for Dame Margot Fonteyn and The Royal Ballet in 1956 and now part of the global Ashton Worldwide celebration. Joining it are Sarah Foster-Sproull’s Ultra Folly, a vivid exploration of isolation and human contact, and Andrea Schermoly’s Stand to Reason, a powerful tribute to the women who fought for suffrage in New Zealand.
The year concludes in grand style with the revival of Greg Horsman’s The Sleeping Beauty. Returning for the festive season in October, this much-loved classic will feature the enchanting designs of Gary Harris, magical elements by Wellington’s Wētā Workshop and Tchaikovsky’s sweeping score performed live. Horsman’s production drew more than 42,000 audience members during its 2011 premiere and promises to captivate once again with its lavish beauty and timeless romance.
“Our 2026 programme places innovation and creativity centre-stage,” says King-Wall. “From bold new commissions to timeless classics, everything we do is about sparking wonder and excitement for audiences of all ages.”
For full season details and ticket information, visit www.rnzb.org.nz.