The Dutch National Ballet Lady Macbeth offers a fresh take on Shakespeare’s Macbeth, nearly 400 years after it was written. This dance version shifts the spotlight to Lady Macbeth herself, exploring her ambition, strength, and eventual downfall in a male-dominated world. Through her eyes, we see a woman struggling to claim space and power, only to be met with fear, betrayal, and loneliness. Emotion drives the entire piece.
For me, two things truly stood out: the music and the lead dancers. Peter Salem’s score was incredible — it carried the tension and emotion of the story from start to finish, blending classical and modern sounds seamlessly. I felt like it was the perfect fit for the story .The music felt like the heartbeat of the ballet. I only wish there was a recording so we could revisit it.
It is always a pleasure to watch Olga Smirnova dancing, and she was breath-taking as in the title role. Her performance was filled with raw emotion. She was very successful in expressing all the power and tragedies she has been through. Her journey from strength to fragility was striking — she went from commanding to almost doll-like in her vulnerability. The role demands more expression than movement, and she delivered with grace — from her dramatic arm gestures to her beautifully controlled lines and penchés. Timothy van Poucke gave a precise and intense performance as Macbeth. His strong presence and dynamic turns captured the power-hungry character well. Although there weren’t many pas de deux between Smirnova and van Poucke, their chemistry and timing on stage were impressive. Supporting roles by Floor Eimers as Lady Macduff and Joseph Massarelli as Banquo were also a pleasure to watch. Both danced with passion and technical precision, making their characters feel real and layered.
Overall, Lady Macbeth is a powerful adaptation that feels more like a theatrical drama than a traditional ballet. At times, it felt like watching a Nederlands Dans Theater piece — but with more narrative depth in the choreography. Choreographer Helen Pickett and dramaturge and director James Bonas focused on storytelling through emotion, with no breaks between scenes, creating a seamless and immersive experience. One highlight was the kitchen scene — a clever blend of sound and visuals that reminded me of The Green Table by Kurt Jooss (1932), also performed by the Dutch National Ballet in the past.
I left the theatre deeply moved by Lady Macbeth’s tragedy — and thoroughly impressed by the emotional depth and artistic quality of this production. Cicek Isiksel Sonmez 12th April 2025
Dutch National Ballet’s Lady Macbeth premiered on 5th April and continues until 22nd April
