In the history of dance, there are only a handful of productions that translate Shakespeare’s story of tragic love into compelling ballet form. John Cranko’s majestic version is one of them. His Romeo and Juliet premiered in 1962, the year The Australian Ballet was founded, and generations of our dancers have grown up with the production and gone on to shine in its many dream roles.

An artist who effortlessly fused dance and drama, Cranko richly evokes the grandeur of the Capulets’ ball, the fierce clashes of the rival families and the brief, luminous flare of young love. His choreography seems to flow spontaneously out of Sergei Prokofiev’s score, which has proven itself as immortal as Shakespeare’s play. As clearly as words could, the music lays out the progress of the story, evoking swordplay, ecstasy, murder and the looming approach of the lovers’ fate.

Jürgen Rose’s dramatically resonant design captures the pageantry of medieval Verona, contrasting the heavy splendour of the aristocratic elder generation with the billowing fabrics of the young lovers’ carefree abandon.

Cranko’s Romeo and Juliet binds artists and audiences in a profound emotional experience that will linger long after the curtain falls.


Wednesday 30 November, 7pm
Joan Sutherland Theatre
Sydney Opera House

Members Pre-Sale

Wednesday 5 October, 11am

General Sale

Wednesday 12 October, 11am


$46 to $125*

“As an audience member, the most touching aspect of Romeo and Juliet is the unfolding of the story in front of your very eyes. I have danced performances of Romeo where the audience was with us in every scene; they become a part of the ballet. I lost myself through expressions of love, elation, vengeance and ultimately death; and the audience left the performance as heartbroken as the characters on stage.”

— David Hallberg, Artistic Director of The Australian Ballet

* All prices include a booking fee. A $5 handling fee will be charged per transaction for all sales conducted over the phone.

If you are a Member of The Ballet Society Victoria or The Ballet Society South Australia, we would be delighted for you to join us at this event. Please contact your state for details of how to book with us at the Member price.

The Ballet Society Victoria
(03) 9669 2591

The Ballet Society South Australia
0478 034 579

If you require wheelchair or accessible seating, please contact the office directly on (02) 9252 7322 to book.

“These violent delights have violent ends …”

– William Shakespeare


Choreography John Cranko
Composer Sergei Prokofiev
Guest Repetiteur and Stager Yseult Lendvai
Costume and Set Design Jürgen Rose
Lighting Design Jon Buswell
Guest Repetiteur Mark Kay

With Opera Australia Orchestra and Orchestra Victoria


The Romeo and Juliet Final Dress Rehearsal is going ahead with capacity in line with current NSW Government restrictions. This capacity may change.

All sales are subject to The Ballet Society NSW Terms and Conditions 

Ticket allocation for Dress Rehearsals is provided by The Australian Ballet and begins at Row N in the Stalls.

You must a hold a current membership with The Ballet Society to book tickets at the member price.

If you selected to receive a credit for any performances or events that were cancelled in 2020/2021, you can use this credit to book for this performance. To book using your credit or check your current balance, please call the office on (02) 9252 7322.

Physical tickets are no longer being issued. Prior to the performance, a digital ticket from The Australian Ballet will be sent to the email address provided at the time of booking.

For information about what the Sydney Opera House is doing to ensure patron safety at events like the Romeo and Juliet Dress Rehearsal, please click here.


What is a Dress Rehearsal?

A Dress Rehearsal provides a small window into the world of creating a performance and gives an impression of the final production. It is part of the creative process of getting an event ready for a season and may be stopped at any time by a member of the Creative team. The Artistic Director or other members of the Creative team may interrupt the rehearsal to speak to dancers or musicians, and some part of the performance may be repeated. You will experience first-hand the meticulous standards of all performers.

The Creative team may, at their discretion, determine a Dress Rehearsal is no longer open to the public and we may be asked to leave the auditorium. As such, there is no guarantee that a full performance will be seen during a Dress Rehearsal.

The exact timing of the Dress Rehearsal is subject to change dependent on the requirements of the Creative team.

 Can I applaud?

An attentive audience can applaud at appropriate moments.

If the rehearsal is stopped by members of the Creative team, please remain quiet so that performers are not distracted and can receive clear instruction from the team.

Please remain quiet throughout the rehearsal, including the period used by Creative time to go over sections of music, dance, lighting, scene changes or other aspects of the production which need adjustment.

Where will I sit and when can I leave?

The Australian Ballet makes limited seats available to certain groups. The Ballet Society, New South Wales allocation typically begins at Row N of the Stalls.

Similar rules for general performances apply to a dress rehearsal. The use of mobile phones is prohibited during the Dress Rehearsal – including photography, flashlights and other functionality. All devices should be switched completely off.

You must remain seated until give the signal to leave by either the Stage Manager or the Artistic Director. At no time should you leave the auditorium until the house lights have been switched on.

Latecomers will not be admitted until a break in the program. If you must leave early, leave at interval.

Become a Member of The Ballet Society New South Wales to be among the first to purchase tickets for Dress Rehearsals.


Ty King-Wall retires

Ty King-Wall retires

Much-loved Australian Ballet principal dancer Ty King-Wall is retiring from the Company when Anna Karenina finishes in Sydney.

Ty began dancing aged seven in his native New Zealand. He joined the Australian Ballet in 2006 and rose quickly through the ranks to be made a soloist in 2010, senior artist in 2011 and principal artist in 2013. When he suffered a chronic back injury at the age of 27, he questioned if he would ever dance again.

“To be able to perform a principal role in a full-length ballet is incredibly demanding. I’m still able to achieve that, but it’s becoming harder and harder. I can see the point where I won’t be able to do it, and it’s like an oncoming train, to reference Anna Karenina. I wanted to stop before I was over the other side of that.”

Ty also sites fatherhood as a key reason he’s decided to hang up his ballet shoes. He and wife Amber Scott, also a principal dancer with the Company, have two children: Bonnie, three, and Marion, who was born six weeks ago.

Ty and Amber plan to launch a coaching residency and clinic later this year in Melbourne, offering one-on-one classes for upcoming dancers.

Ty is currently dancing the role of Vronsky in the much anticipated production of Anna Karenina, with his last performance on April 23.

Telstra Ballet Dancer Awards

Telstra Ballet Dancer Awards

During the curtain call for the opening night of The Australian Ballet’s Sydney season of Anna Karenina, David Hallberg announced the winners of the The Telstra Ballet Dancer Awards.

Soloist Rina Nemoto took out the $25,000 Telstra Rising Star Award, in recognition of her exceptional talent outstanding achievements and bright future, while corps de ballet dancer Lilly Maskery was awarded the Telstra People’s Choice Award.

Rina was born in Tokyo, Japan, and began dancing at the age of three. When she was 15, she travelled to Paris for two years of classical ballet training with Daini Kudo and Dominique Khalfouni. In 2009, she was awarded a Prix de Lausanne scholarship and joined The Royal Ballet as an apprentice dancer. In 2011, she joined The Australian Ballet, where she was promoted to coryphée in 2016 and to soloist in 2018.

Lilly was born and raised in Auckland, New Zealand. She began dance classes at the age of three, training at the Philippa Campbell School of Ballet and then The Australian Ballet School. She joined The Australian Ballet in 2020.

The winner of the Telstra Ballet Dancer Awards are based on their contributions both on and off the stage. The Rising Star Award is chosen by a panel of judges, while the People’s Choice Award is chosen by a public vote. This year more than 170,000 people voted.

About Rina and Lilly, Hallberg said: “In my short time as Artistic Director of this company I have watched both Rina and Lilly grow as artists, showing that the combination of individuality and hard work truly do pay off. I know this recognition will surely give them the deserved spotlight for them to shine in. I would also like to take this moment to thank Telstra for supporting The Australian Ballet and the talent that they spotlight. It is encouraging for all of us here to know we are aligned in nurturing the talent within The Australian Ballet.”

The other nominees were corps de ballet dancers Adam Elmes and Thomas Gannon, and coryphée Lucien Xu.

Meet the New Dancers

Meet the New Dancers

Meet the New Dancers is back!

We are thrilled to invite our Friends to Meet the New Dancers after two years.

Please join us and be introduced to the 20 very special dancers who have been invited to dance with the Company in 2020, 2021 and 2022.

A member of The Australian Ballet staff will host an informative Q&A with a dancer representing each year, including Belle Urwin, a former FAB Australian Ballet School Scholarship recipient, and Hugo Dumapit, whose mother is a long-term Friends member.

With Sydney Harbour as our backdrop, enjoy champagne and canapes in the iconic Sydney Opera House Northern Foyer, and celebrate our future dancers of The Australian Ballet.

Tickets for Meet the New Dancers are available 11am Thursday 24 March.
Due to catering requirements, please RSVP no later Monday 18 April.  Don’t miss out!


Proof of full COVID-19 vaccination or valid medical exemption will be required for anyone over the age of sixteen to attend this event. 

Callum Linnane promotion

Callum Linnane promotion

During the curtain call of the opening night of Anna Karenina in Melbourne, David Hallberg announced the promotion of Callum Linnane from Senior to Principal Artist. 

About Callum’s promotion David said ‘When hard work, focus and passion come together, it can be an undeniable combination. This is what Callum embodies as a dancer and I am thrilled that he has been named Principal Artist of The Australian Ballet. I cannot wait for audiences to see Callum soar to new heights as he embarks on the ascent of a true artist.’

Linnane was accepted into The Australian Ballet School in 2008 and graduated dux with honours. He joined The Australian Ballet in 2015; he was promoted to coryphée in 2017 to soloist in 2018 and to senior artist in 2021.

Congratulations Callum!