Heavy Metal, No Tutus, in a New Macbeth Ballet

Alice Topp wanted to make Macbeth precisely because ballet had no established template for Shakespeare’s tragedy. That freedom let the choreographer and dancers explore the story together, without inherited steps dictating how it should look.

“

Creating a brand new ballet where there is no template for it meant that we could explore and discover and roam together.

The darkness of Macbeth attracted her as much as the creative challenge. Political ambition, psychological manipulation and violence drive the story, but Topp does not see Macbeth and Lady Macbeth as simple villains. “Macbeth and Lady Macbeth aren't just pure villains,” she says. “They have insecurities and self-doubt. They're nuanced like us all.”

Without Shakespeare’s words, the production has to communicate through bodies, sound and movement. Topp sees motion already embedded in the text, from horses’ hooves and ravens to knocking and owls. A lift can show Macbeth’s respect for Lady Macbeth, while her controlled balances and turns express her influence over him.

“

Macbeth and Lady Macbeth aren't just pure villains.

The new production also moves the action from medieval Scotland into the world of politicians and boardrooms. Topp first imagined the witches as reporters, then recast them as social media influencers. Macbeth becomes a politician, reflecting the idea that influencers can change outcomes rather than simply report events.

“

They have insecurities and self-doubt. They're nuanced like us all.

Macbeth, a co-production of the West Australian Ballet and Royal New Zealand Ballet, premiered in Wellington in February. It opens in Australia in Perth on Sept. 4. Topp, who grew up in Bendigo and began dancing at four, has also choreographed music videos for Megan Washington and Ben Folds.

“

We talked about the fact that influencers change outcomes rather than reporting on news and that relationship between politicians and social media.