A Midsummer Night's Dream - Royal New Zealand Ballet

St James Theatre, Courtenay Place, Wellington

24/10/2024 - 27/10/2024

Isaac Theatre Royal, Christchurch

01/11/2024 - 03/11/2024

Regent Theatre, The Octagon, Dunedin

07/11/2024 - 07/11/2024

Regent On Broadway, Palmerston North

12/11/2024 - 12/10/2024

Aotea Centre at THE EDGE®, Auckland

05/11/2024 - 08/11/2024

Production Details


Created for the Royal New Zealand Ballet by Liam Scarlett

Royal New Zealand Ballet


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Images (please credit Stephen A’Court): 

With the sparkling Christmas season comes the return of the Royal New Zealand Ballet’s (RNZB) enchanting A Midsummer Night’s Dream. Following a spectacular premiere in 2015 with a subsequent international tour, and unseen outside Wellington for almost a decade, this whimsical ballet created for the RNZB by Liam Scarlett will captivate audiences once more, from 24 October to 14 December 2024.

RNZB principal partner Ryman Healthcare NZ CEO, Cheyne Chalmers, says, “It is an honour to celebrate our much-loved partnership with the Royal New Zealand Ballet as they bring the enchanting A Midsummer Night’s Dream to life.

“As we mark a decade of collaboration, our commitment to supporting the arts and the extraordinary talent of the Royal NZ Ballet remains steadfast. We are thrilled to be part of this magical production and eagerly anticipate the joy and inspiration it will bring to audiences across New Zealand.”

A Midsummer Night’s Dream became an overnight sensation with its debut met by full houses and critical acclaim. Tracy Grant Lord’s stunning set and costume designs, with Kendall Smith’s brilliant lighting, bring Shakespeare’s timeless characters and enchanted wood to life in a visually splendid performance that enchants audiences of all ages with glorious choreography, humour and Mendelssohn’s iconic music.

RNZB Soloist Shaun James Kelly says, “Being one of the original ‘Pucks’ in A Midsummer Night’s Dream in 2015 continues to be one of the highlights of my decade with the RNZB. Bringing this iconic character to life and hearing the laughs and gasps of the audience as the story unfolds is truly magical – it’s funny, quirky and unashamedly romantic. Flying across the stage, in the magical forest world, is pure delight for the dancers and audiences.”

RNZB Artistic Director Ty King-Wall says, “What a treat it is for us to be bringing our sparkling 2024 season to a close with A Midsummer Night’s Dream. There is so much to behold and to treasure in this production, for children and children at heart alike. Tracy Grant Lord’s set is a marvel that makes you want to jump up out of your seat and explore, and Liam Scarlett’s marvellously inventive, intricate and richly layered choreography brings this magical array of characters to life.”

The Ryman Healthcare Season of A Midsummer Night’s Dream will be conducted by the esteemed Hamish McKeich with performances in Wellington, Christchurch and Auckland featuring Orchestra Wellington, the Christchurch Symphony Orchestra, and the Auckland Philharmonia.

This Christmas, the RNZB brings this glittering ballet to stages across Aotearoa, offering a treat for audiences of all ages, and a perfect celebration of ballet, music, and theatrical wonder. Performances will take place in Wellington, Christchurch, Dunedin, Palmerston North, Napier, Rotorua, Auckland, and Takapuna.

A Midsummer Night’s Dream is a co-production with Queensland Ballet.


Created for the Royal New Zealand Ballet by Liam Scarlett,
Distinguished New Zealand designer Tracy Grant Lord
Lighting by Kendall Smith.

Artists of the Royal New Zealand Ballet

Orchestra Wellington also Auckland (Aotea Centre only) and Christchurch will be accompanied by live orchestra.

A co-production of the Royal New Zealand Ballet and Queensland Ballet. It was first performed in Wellington, New Zealand, on 20 August 2015.


Ballet , Dance ,


The performance is approximately 2 hours, including one 20-minute interval

Taonga of the Royal NZ Ballet’s repertoire

Review by Dr Ian Lochhead 04th Nov 2024

The Royal New Zealand Ballet’s production of Liam Scarlett’s A Midsummer Night’s Dream, now touring nationally for the first time since its initial season in 2015, is nothing less than pure theatrical magic from the first moment when Mendelssohn’s delicious score opens proceedings until the music dies away and the light fades on the reconciled fairy lovers, Titania and Oberon. Scheduled for a revival in 2020, that tour was subverted by Covid 19, making the current season particularly welcome.  For anyone who saw the original production and who might fear that it would be impossible to recreate the special magic conjured up by the original casts, such concerns are completely groundless, since although last night’s cast included none of the dancers who originally created their parts, the vital spirit of those first performances is totally present. This is a remarkable recreation of a very special ballet in all its shimmering beauty.

The genius of Shakespeare’s original play is that it allows the experience of love to be viewed from multiple angles within the framework of a witty and complex plot.  Scarlett’s genius is to have distilled the essence of the play and to have explored the multi-faceted nature of love through a succession of pas de deux and, inevitably, a pas de trois. From the opening we see the jealous love of Oberon and Titania as they vie for possession of the Changeling child, performed with warmth and spark by the commanding Oberon of Zacharie Dun and the sweetly determined Katherine Minor as Titania.  This is followed by the pas de deux for the established lovers, Kirby Selchow’s sincere Hermia and Calum Gray’s devoted Lysander, the first of the two couples lost in the enchanted wood.  The contrast with the indifferent Demetrius, smitten with the already commited Hermia, and the literally myopic Helena, who remains blind to the the lack of interest shown by the object of her devotion, could not be more telling.  Joshua Guillemont-Rodgerson and Ana Gallardo Lobaina strike sparks off one another, Lobaina in particular showing notable comedic flair as she is flung across the stage in a series of undignified rebuffs. 

Then there is the bluff, below the surface, love of the Rustics, bound together in youthful cammaraderie.  Love’s absurdity is explored in the witty yet painful display of affection between the exquisitly beautiful Titania and and the grotesque Bottom, with his ass’s head and hoofs for hands.  Jake Gisby is a marvel as Bottom, relishing every opportunity to embrace the object of his love and imbuing his pas de deux with Titania with real passion, in spite of the inevitable constraints of a challenging costume.  He is also fully in touch with Bottom’s more earthy side and full of wonder at the transformations he undergoes at the hands of Oberon.  There is also the opportunistic love of Puck, whose too liberal dispensing of magic juices sets the human lovers at odds with one another.  Puck is happy to find his kisses where he can among the fairy cohort that flit and glide through the magic wood. 

Before Oberon commands Puck to restore order the human lovers display love’s discords as as both Lysander and Demitrius assail the distraught Helena with their unwelcome rivalry.  This leads to a mad dash through the wood as fairies, lovers and Rustics join in a seemingly chaotic, but brilliantly timed, chase.  With order reestablished we witness love reconciled, as Oberon and Titania join in the heartfelt final duet that brings the ballet to a close.

All this action takes place within Tacey Grant Lord’s brilliantly evocative set of sloping ramps, hidden stairs, lofty eries and hidden bowers.  Lord’s costumes of shimmering colours and fantastic forms for the fairies contrast with the more earthy tones of the Rustics and the simpler camping attire of the human lovers, enhancing the sense of two cohorts of beings invisible to one another yet simultaneously inhabiting the stage. The magical atmosphere is enhanced by Kendall Smith’s lighting design which achieves the delicate balance necessary to evoke the nocturnal world while still providing sufficient illumination to make the action fully visible.

There is, quite simply, no weak link in this production; every component comes together in a superbly unified whole, supported by the Christchurch Symphony in top form, conducted by Hamish Mckeich, ever attentive to the needs of the dancers and the action on stage.  One has the sense that everyone involved has given of their very best to honour the creative brilliance of the late Liam Scarlett, whose memorial this production most certainly is.  The programme includes moving tributes to Scarlett by three of the original cast, Lucy Green, Tonia Looker and Bronte Kelly, and there was the added poignancy of attending this A Midsummer Night’s Dream on All Hallows Eve, the night before the feast day that honours the dead. There was also a particular appropriatenes of it taking place in Christchurch’s Theatre Royal, where the bard’s image looks down on the audience and his immortal characters frolic on the painted dome overhead.

This production of A Midsummer Night’s Dream is a taonga of the Royal New Zealand Ballet’s repertoire and we have had to wait too long for its revival.  It is one of those productions that deserves to be brought back to the stage on a regular basis, a signature work that the company now has the responsibility of preserving as it is handed on from one generation of dancers to the next. As long as this production lives, so long will the memory of Liam Scarlett endure.

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Definitely a bundle of fun

Review by Sebastien Sly 28th Oct 2024

As the year comes ever nearer to a close, the Royal New Zealand Ballet (RNZB) has one more trick up their sleeve in an exciting 2024 season of ballet and neoclassical works. A Midsummer Night’s Dream might not be the first Shakespearean piece to come to mind, but it is definitely a bundle of fun. First staged by George Balanchine in 1972, it has been readapted by the late Liam Scarlett and accompanied by breathtaking set and costume design by Tracy Grant Lord. The RNZB last performed this piece in 2021 during the beginnings of COVID-19 for a limited audience in the Opera House, Wellington, but the vibrant audience on opening night was a long way from the scattering of viewers back then.

Before the dancing even begins the audience is met with an exciting array of lighting tricks as we are introduced to the changeling and fairies, lit up in different areas of the ornately crafted set. Once fully lit, the stage becomes a home for the graceful and perfectly musical fairies in their tattered green and blue tutus, making way for Titania and Oberon, Ana Gallardo Lobaina and Joshua Guillemot-Rodgerson respectively, who strut like royalty towards the unsuspecting changeling.  A fight over the changeling ensues leaving Titania the lucky victor and Oberon in need of a cunning plan.

Cunning could not be better personified than by Puck who, upon awakening, nimbly traverses the stage with Oberon to scheme. Shaun James Kelly perfectly fits the role of Puck and he, along with Guillemot-Rodgerson, with their less conventional male partnering, set the stage for a strong yet quirky relationship. The rest of the cast soon emerges, Hermia, Mayu Tanigaito and Lysander, Kihiro Kusukami taking the spotlight with their effortless partnering while Helena, Kirby Selchow and Demetrius, Zacharie Dun made us laugh with their wild humour. The audience is further enthralled by the heavily folk dance-inspired Rustics. Bottom, Calum Gray, a particular stand-out as the fool of the group, subtly foreshadowing the donkey he would soon become. Oberon and Puck watch omnisciently from the bridge above as their plan comes to fruition, guffawing at the site of Bottom’s hip thrusts and Titania’s innuendos, all added to by the motif of the playful tuba from the orchestra. Guillemot-Rodgerson takes the spotlight with his acting, his facial expressions reading from all areas of the theatre as the audience joins in his humour. However, it is not all smooth sailing for the schemers, as Puck’s carelessness with the four lovers paves the way for a tricky second act.

As the curtains rise and the mist on stage subsides, James Kelly readies us for his onslaught of tricks as he swings down from above in mischievous fashion. Setting his new plan in motion he expertly mimes lassoing the lovers, bringing them bourree by bourree, closer together. It was at this point that Titania is released from her spell and, absolutely disgusted with her unconscious love, admits defeat to Oberon. The wedding march sounds and we are witness to expert choreographic work as each lover makes it up to the other, some excelling through witty acting and others through awe-inspiring partnering. The matchmaking is admirable and for a piece so focused on chemistry each dancer reproduces it with such authenticity and skill.

Upon reflection, a superficially simple story conveyed a lot more meaning than it appeared – the whole is greater than the sum of its parts. It highlights that love never does run smoothly and perhaps that love really is just a dream. We as an audience would not be able to enjoy a story like this with such amusement without the interpretative efforts and artistry of the people behind this artform. It was inspiring to see a full house of happy people, knowing how the arts have suffered in the past. The arts are not what sustain life but they are what we live for, and the RNZB have once again given many of us exactly that.

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Highly skilled choreographically 

Review by Lyne Pringle 27th Oct 2024

Fairies, lovers, rustics. Two co-existing realms – a bumbling oblivious party of hiker-campers and a mystical fairy grotto. Forces beyond control, manipulating and creating mayhem. Conflict and resolution. It’s all here in this opulent and skilful rendering of Shakespeare’s beloved masterpiece.
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Storytelling at its best

Review by Deirdre Tarrant 27th Oct 2024

A welcome return of one of the Royal New Zealand Ballet’s most wonderful productions. This is storytelling at its best and a lot of fun as well! The dancers all relish their roles and take us on a journey that twists earthly romance and meddlesome faerie people and their encounters in a magical forest glade. The opening night Wellington audience loved it. 

The curtain goes up and the set transports us with clever use of levels and spectacular lighting by Kendall Smith. Design and costumes by Tracy Grant Lord are outstanding and shimmer amongst the trees and vines. The story is kept true to its Shakespearean inspiration  and this meeting of mortals and the magical is well known but still surprises.

 Characters are well drawn with Oberon and Puck in control. The dancing is crisp and clear with technical challenges danced as if by magic – this is what classical ballet is all about and the company rise to the challenge in every way. There are many leads and they each excel – engineered by a  mercurial Puck ( Shaun James Kelly) and his autocratic master  Oberon (Joshua Guillemot- Rodgerson), an  exquisite Titania (Ana Gallardo Lobaina) rules as  Queen of a bevy of beautiful fairies.

The mortals out wandering the woods are a cleverly nuanced Hermia danced by Mayu Tanigaito and her suave Lysander( Kihiro Kusukami), persecuted Helena (Katy Selchow)  and her infatuated Demetrius (Zacharie Dun) and a great bunch of kiwi farmers named here  as the Rustics of Shakespeare’s original play.

The four caricatured lovers feel a little cliched and, seen in the world of today, use gestures at times that border on the  inappropriate? Nevertheless the tangle of their attractions is solved and has many entertaining sequences. The ballet romps  through the many misunderstandings engineered by Oberon and his apprentice Puck and stays true to the original  story as it resolves romances, unites partnerships and solves Titania’s infatuation with an ass.  Fairies flutter and frolic as  they dart in and out of the trees and the rambunctious rustics bring high spirited rhythm to their corps de ballet  ‘country style’ . Calum Gray as Bottom is gloriously  gangly.  

All this said, it is the choreography that is the star of this Midsummers Night’s Dream. Liam Scarlett’s talent is manifest in his creativity. His untimely death cut short a real talent and promising choreographic career. 

  Orchestra Wellington under the compelling baton of Hamish McKeich,  is a key part of the sucess of the night, playing Felix  Mendelssohn’s beautiful ballet score.  Scarlett uses the music in every move he choreographs with a real understanding  of dynamic and motif – his ballet dances the music! The steps fit the characters, the partnering shares phrases and echoes the emotional journey each dancer is taking. Puck is everywhere and his footwork is as mischievous as his muddling! 

The final pas de deux by Titania and Oberon soars with ethereal extensions and such command and positivity that we  leave the theatre smiling and feeling that all’s good with our world also. 

Wonderful theatre. Wonderful dancing. Thank you. Bravo to Director Tai King Wall and the entire team at our Royal New Zealand Ballet.

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