Directed by acclaimed New Zealand theatre-maker Benjamin Kilby-Henson, who earned widespread praise for last year’s dreamlike and deeply affecting production of Romeo & Juliet, this new interpretation dives headlong into Shakespeare’s exploration of power, obsession, paranoia and madness. Judging by everything we’ve learned, this is shaping up to be one of the year’s must-see theatrical events.

With rehearsals only recently wrapped, we had the opportunity to sit down with cast members Maaka Pohatu and Marianne Infante, who portray Lord and Lady Macduff, to discuss the ambitious production and the haunting new world Kilby-Henson has created.

Rather than placing Macbeth within a recognisable historical period, the production embraces an entirely original setting.

“It’s been described as an anachronistic world,” explained Pohatu. “It’s not set in any particular time period. There’s a shade of World War Two or Mad Max to the setting. Lots of found objects, lots of things that belong in different time periods that are scrounged and put together. Everyone lives underground because the world above has been blown to pieces—it’s warring and destroyed—so we all hunker down in the sewers. It’s easier to escape the madness above down there.”

For Infante, that distinctive environment becomes central to the emotional and psychological journey of Shakespeare’s characters.

“Ben is really finding a new definition of ecstasy and madness in the setting,” she said. “With us losing touch with nature—being deprived of sunlight and the natural elements—it raises questions about what happens when those who hold power are brought down to the same level as everyone else. What kind of madness does that create? That was one of the things that really spoke to me about this version.”

That dystopian vision naturally extends into the play’s supernatural elements, with both actors revealing that Kilby-Henson has leaned heavily into horror. They even likened aspects of the production’s atmosphere to Resident Evil, creating a uniquely unsettling interpretation of Shakespeare’s classic tragedy.

Despite this striking new aesthetic, the production remains firmly rooted in Shakespeare’s original language, something both actors say became one of the company’s greatest strengths throughout rehearsals.

“This cast and this creative team, under Ben’s leadership, have done a brilliant job of honouring the text,” said Pohatu. “He brought his whole Shakespeare library for us so we could really dig into the gold that’s in the writing.”
Infante agreed, adding that embracing Shakespeare’s language became an essential part of building the world.

“It’s really about going back to the elements of the language, the iambic pentameter and the breadth of the work. It’s such a rich resource. At the same time, the world we’ve imagined this story taking place in feels incredibly expansive.”

Both actors were equally enthusiastic about the production’s exploration of power, politics and social hierarchy. While Shakespeare originally wrote Macbeth in the aftermath of the Gunpowder Plot, they believe the themes resonate just as strongly in today’s increasingly fractured world, giving this production a striking contemporary relevance.

When discussing Lord and Lady Macduff, Pohatu and Infante also reflected on how their characters mirror, and contrast with, Lord and Lady Macbeth, portrayed by Mark Mitchison and Sara Wiseman.

Initially, Infante viewed the two couples as complete opposites, but that perspective gradually shifted during rehearsals.

“At the beginning I definitely saw them as complete opposites,” she explained. “But the deeper we got into the work, and as I watched Sara’s journey into Lady Macbeth, I realised they’re actually on the same spectrum—just at different points. Lady Macduff is fiercely protective of her relationship, her children and her family. That made me realise they’re both driven by love, but it manifests in completely different ways.”

Infante also revealed that becoming a mother profoundly influenced her portrayal of Lady Macduff.

“Honestly, I feel really privileged to have been given this role. I was about six months postpartum when I was cast to play a woman with two children facing unimaginable tragedy. Those feelings naturally became part of how I approached Lady Macduff. I think she almost senses that things won’t end well for her, and that creates a really fascinating moral complexity. Why do the loveliest flowers always get plucked first?”

As for what audiences should expect, Pohatu and Infante promised a production filled with raw emotion, genuine suspense and several unforgettable moments. They even teased that the show features its own version of a “Red Wedding” sequence—one that is sure to leave audiences stunned.

With its striking visual identity, horror-infused atmosphere and deeply human performances, Auckland Theatre Company’s Macbeth looks set to offer audiences a thrilling new way to experience one of Shakespeare’s greatest tragedies.

Macbeth runs from July 28 to August 22 at Auckland’s ASB Waterfront Theatre. Get your tickets here.

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A Work of Deep Emotion and Empathy

As the first-ever production of a play by a Niuean playwright, Sons of Vao marks a significant cultural milestone. Drawing deeply from his own life, Manusaute reflects on his upbringing, his relationship with his father, and the experiences that shaped him into the man he is today. Now, at fifty years of age, he confronts those memories through the lens of theatre, transforming deeply personal experiences into a moving act of reflection, healing, and acceptance. The result is nothing short of remarkable.

The production is elevated further through the co-direction of Anapela Polata’ivao, whose extraordinary work on Tinā demonstrated her remarkable gift for balancing emotional intimacy with cinematic scale. That same empathy is present throughout Sons of Vao, as she and Manusaute carefully unpack themes of love, grief, inherited trauma, forgiveness, and the enduring hope that time can bring healing. Together, they have crafted a production that constantly surprises its audience through inventive staging, evocative lighting, expressive choreography, and music that naturally intertwines with the drama to create a rich theatrical tapestry.

A Cast of Exceptional Performances

At the centre of the production stands Beulah Koale as the imposing patriarch Vao. Koale delivers an astonishing transformation, embodying a man who has crowned himself king of his household and rules with unwavering authority. There is undeniable charisma beneath Vao’s hardened exterior, but it exists alongside explosive anger, emotional repression, and an inability to express love in the way his family desperately needs. Koale wisely avoids portraying Vao as either hero or villain. Instead, he simply inhabits the contradictions of a deeply flawed man, creating a performance that is nuanced, uncomfortable, and utterly compelling.

Opposite him, Haanz Fa’avae-Jackson, Epine Bob Savea, and Brett Taefu deliver beautifully balanced performances as Vao’s sons, each carrying the emotional scars left by their father’s presence in different ways.

Fa’avae-Jackson’s To is the dreamer of the family—creative, emotionally open, and perhaps the son most profoundly affected by his father’s actions. Bob Savea’s Seki lives firmly within Vao’s shadow, internalising his father’s stoicism and volatility, while Brett Taefu’s Sau provides the family’s unpredictable spark, reacting instinctively to the pressures surrounding him. Together, the trio share a wonderful chemistry that effortlessly shifts between moments of laugh-out-loud comedy and deeply affecting emotional drama.

A Moving Celebration of Storytelling

Sons of Vao is theatre at its most intimate and human. It creates a space for an artist to examine his own life with honesty and vulnerability while inviting audiences to reflect on their own relationships, their own families, and the ways in which love is expressed—or withheld—across generations.

Rich with emotion, cultural identity, humour, and compassion, this is a production that lingers long after the curtain falls.

Sons of Vao is now playing at Auckland Theatre Company until 5 July, and stands as one of the company’s most affecting productions of the year.

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Written by celebrated playwright Suzie Miller, directed by Priscilla Jackman, and anchored by a sensational solo performance from Heather Mitchell, RBG: Of Many, One chronicles the life and legacy of Ruth Bader Ginsburg, one of the most influential legal minds of the modern era. The result is a smart, funny, deeply moving piece of theatre that proves both entertaining and thought-provoking in equal measure.

The Story Of A Trailblazer

For many, Ruth Bader Ginsburg became known as the “Notorious RBG” — a pop culture icon whose face launched a thousand memes. But before becoming a cultural phenomenon, Ginsburg was a pioneering lawyer and jurist who spent her life fighting for equality, fairness, and justice under the law.

Miller’s script explores Ginsburg’s extraordinary journey through three defining periods of her later life: her appointment to the United States Supreme Court in 1993, a reflective lunch with President Barack Obama in 2014, and her final years in 2018 as she considers her legacy and the future of the nation she served.

Moving seamlessly between these moments, the production charts the triumphs, challenges, and defining cases that shaped Ginsburg’s career. More importantly, it reveals the woman behind the public image, presenting an intimate portrait filled with intelligence, humour, determination, and heart.

Suzie Miller Brings The Law To Life

Having built an international reputation with productions such as Prima Facie, Miller once again demonstrates her remarkable ability to make legal themes engaging and emotionally resonant.

Rather than simply delivering a theatrical biography, RBG: Of Many, One examines how Ginsburg’s personal experiences informed her legal philosophy. Landmark cases such as Reed v. Reed, Frontiero v. Richardson, and Ledbetter v. Goodyear are woven throughout the narrative, allowing audiences to understand the significance of Ginsburg’s work and the impact it had on generations of women.

The production also tackles Ginsburg’s complex relationship with politics, exploring how a woman who fiercely believed in judicial independence found herself increasingly drawn into America’s political battleground. Throughout it all, Miller balances weighty subject matter with warmth, wit, and humanity, ensuring the play remains accessible and engaging.

Heather Mitchell Delivers A Masterclass

At the centre of the production stands Heather Mitchell, and her performance is simply extraordinary.

Carrying the entire production on her shoulders for 90 uninterrupted minutes, Mitchell commands the stage from the moment she appears. Her portrayal captures every facet of Ginsburg’s character, from ambitious young lawyer to revered Supreme Court Justice, while never losing sight of the humanity that made her such a beloved figure.

Mitchell moves effortlessly between drama and comedy, often drawing big laughs from the audience before pivoting into moments of genuine emotional power. Her physical transformation across the decades is especially impressive, with subtle changes in movement, posture, and voice creating a believable portrait of Ginsburg at different stages of her life.

Adding to the show’s charm is Mitchell’s direct engagement with the audience. Breaking the fourth wall on multiple occasions, she invites viewers into Ginsburg’s story, creating an atmosphere that feels both intimate and immersive.

A Must-See Theatrical Experience

Blending intelligence, humour, and heartfelt reflection, RBG: Of Many, One succeeds as both an entertaining evening of theatre and a thoughtful examination of one of history’s most influential legal figures.

Suzie Miller’s sharp script and Heather Mitchell’s remarkable performance combine to create a production that is insightful, inspiring, and thoroughly absorbing. Whether you’re familiar with Ruth Bader Ginsburg’s story or discovering it for the first time, this is a theatrical experience that leaves a lasting impression.

Thoughtful, engaging, and powered by a truly exceptional central performance, RBG: Of Many, One stands as one of Auckland Theatre Company’s most rewarding productions of the year.

RBG: Of Many, One is on for a limited season NOW at Auckland Waterfront Theatre.

Image: Auckland Theatre Company

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A Bold Theatrical Portrait of a Political Icon

Crafted by acclaimed playwright Fiona Samuels and directed with precision by Sophie Roberts, Helen Clark in Six Outfits presents a bold and striking portrait of Helen Clark. Structured as a two-woman show, the play unfolds through six defining fashion moments, blending political insight with sharp comedic timing.

The narrative introduces two versions of Clark: the ambitious young Helen, portrayed by Lauren Gibson, and the seasoned elder Helen, embodied by Jennifer Te Atamira Ward-Lealand. Together, they engage in a dynamic back-and-forth, charting Clark’s ascent through New Zealand’s political landscape; her determination to effect change, her resilience in the face of scrutiny, and her role in breaking glass ceilings.

Sharp Writing Meets Energetic Direction

Samuels’ script is whip-smart and consistently engaging, brimming with clever insights and comedic flair. The decision to anchor the narrative through Clark’s wardrobe proves a masterstroke, adding both visual dynamism and thematic depth. Each outfit becomes a marker of transformation; identity expressed through fabric, colour, and presence.

Roberts’ direction keeps the production moving at a lively pace, infusing the play with energy and spontaneity. There’s an infectious sense of fun throughout, with off-the-cuff humour and theatrical inventiveness ensuring the audience remains fully engaged from start to finish.

Two Performances, One Unified Voice

The production’s success rests firmly on its two leads, and both performers rise to the occasion with remarkable synergy. Ward-Lealand’s elder Clark serves as both narrator and conscience, guiding her younger self through the trials of political life. Her command of Clark’s distinctive voice, combined with impeccable comedic timing, creates a performance that feels both authoritative and warmly engaging.

Opposite her, Gibson delivers a standout turn as the younger Clark. Tasked with embodying the future Prime Minister’s evolution across decades, she brings a vibrant energy and emotional depth to the role. From early idealism to steely determination, Gibson captures Clark’s unwavering self-belief and dedication with striking clarity. Her performance grows in confidence and intensity, making her a true revelation on stage.

Together, Ward-Lealand and Gibson form a seamless partnership, their dual portrayal merging into a single, cohesive voice that captures the essence of Clark’s character.

More Than Comedy: A Conversation on Power and Perception

While Helen Clark in Six Outfits is undeniably sharp-tongued and entertaining, it also carries a deeper thematic weight. The play explores the broader political landscape, particularly the challenges faced by women in positions of power, and the scrutiny that often accompanies leadership.

It invites audiences to reflect on the qualities we value in those we elect, and the barriers that still exist within systems of power. Yet it does so with a lightness of touch; balancing thought-provoking commentary with humour and theatrical flair.

Final Verdict: A Stylish, Spirited Theatre Experience

Filled with energy, colour, and plenty of visual flair, Helen Clark in Six Outfits is a thoroughly enjoyable theatrical experience. It’s a production that delights as much as it provokes, anchored by two exceptional performances that bring its central figure vividly to life.

Smart, funny, and effortlessly engaging, this is a show that pulls you in and keeps you captivated; leaving you both entertained and with something to think about long after the curtain falls.

Helen Clark in Six Outfits is now playing at the ASB Waterfront Theatre.

Image: Auckland Theatre Company/Andi Crown

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Under the guidance of playwright Fiona Samuels and director Sophia Roberts, the production traces Clark’s journey from the charged atmosphere of student protests in the late 1960s and early 1970s through to her leadership of the Labour Party and her tenure as New Zealand’s 37th Prime Minister from 1999 to 2008. It’s a sweeping narrative, but one grounded in personal evolution as much as political transformation.

For Auckland Theatre Company, the decision to bring Clark’s story to the stage was both deliberate and deeply aligned with its mission. Creative Director Jonathan Bielski explains, “I commissioned this play because we are committed to backing our playwrights to write new stories about Aotearoa. I chose the subject of Helen Clark because she has led a big life. In the theatre, we should examine big lives… lives that laid a path, that changed the way we think and live. Clark is all of that and more.”

At its centre are two commanding performances. Jennifer Te Atamira Ward-Lealand embodies the elder Clark, while Lauren Gibson steps into her younger years. Together, they create a layered portrait of ambition, conviction, and resilience, reflecting the choices and motivations that defined Clark’s rise, and her determination to give voice to those often unheard.

Yet Helen Clark in Six Outfits refuses to be a conventional political retelling. Instead, Samuels finds a visually rich and thematically resonant entry point through Clark’s wardrobe. Known for its bold, unapologetic colour palette, her clothing becomes a narrative device in its own right. Gibson’s younger Clark moves through vintage corduroy jackets and bell-bottom jeans, while the now-iconic crimson power suit emerges as a defining symbol of leadership. Here, fashion is more than aesthetic: it’s identity, strategy, and statement, illustrating how image and authority intertwine.

Samuels describes the play’s creative spark with vivid clarity: “The piece of grit came to me as I researched the heck out of my subject. I was struck again and again by the astonishing barrage of criticism she copped while going about her business.” That criticism, she realised, became the story’s antagonistic force. After a period of creative gestation, the concept revealed itself: “It’s the clothes!”, a breakthrough that unlocked the dual structure of the play and its striking theatrical language.

That sense of becoming, of identity forged under scrutiny, is central to Samuels’ script. The production leans into a subtle meta-theatricality, blurring the boundaries between performance and politics, and asking where one ends and the other begins.

Beyond its stylistic flair, the play also aims to ignite meaningful conversation. It confronts the systemic barriers that have long shaped, and often limited, women’s pathways into leadership. At the same time, it celebrates Clark’s resilience in overcoming those constraints, emerging from an era where female leadership was too often dismissed as novelty rather than necessity.

With Helen Clark in Six Outfits, Auckland Theatre Company delivers more than a portrait of a political life; it presents a vivid, stylish, and thought-provoking meditation on power, perception, and the cost of carving out space at the top.

Helen Clark in Six Outfits runs at the ASB Waterfront Theatre from April 7 to April 26.

Image: Auckland Theatre Company/Rachel Sung

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A Story of Displacement, Identity, and Survival

Set during the summer of 1965, the narrative follows Hone, a man who relocates his whānau from the East Cape to the South Island in pursuit of opportunity. What unfolds over a beachside birthday hāngī—shared with their Pākehā neighbours, is a slow-burning unravelling. Cultural tensions simmer, buried truths rise, and the fragile threads holding this family together begin to strain.

Far from home and caught between worlds, The Homeland interrogates a powerful question: can identity endure when place is stripped away?

Lyrical Power and Haunting Vision

First conceived in 1995, Kouka’s work remains a deeply personal meditation on displacement and belonging. Now, in 2026, its resonance feels even sharper. The production’s lyrical cadence, echoing the emotional intensity of Tennessee Williams, blends poetic dialogue with surging emotional force.

Visually, the staging is nothing short of hypnotic. It shifts seamlessly between the dense timber landscapes of the South Island, the spiritual memory of the East Cape, and an ever-present ancestral realm. There’s a haunting sense that the past is never truly gone, that it walks alongside the living, guiding, warning, and, at times, confronting.

Like the cinematic humanism of Elia Kazan, this is theatre that cuts deep, an unflinching exploration of family, culture, and the cost of assimilation.

Performances That Burn Bright

At the centre of it all is Regan Taylor as Hone (or John, as he renames himself to navigate a Pākehā world). Taylor delivers a commanding, volcanic performance; equal parts restraint and eruption. His Hone is a man driven by duty, yet haunted by fear, and Taylor captures that internal fracture with gripping intensity. There’s a magnetic, almost Marlon Brando-esque presence in his work that anchors the entire production.

Opposite him, Erina Daniels shines as Sue/Wai te Atatū, bringing warmth, resilience, and quiet heartbreak to the role. Her performance builds to moments of profound emotional release, particularly in the second act, where her character’s optimism collides with devastating reality.

Supporting turns from Rongopai Tickell, Tioreore Ngatai-Mebourne, and Te Mihi Potae add further texture and emotional weight, each performance contributing to the play’s rich tapestry of voices.

Then there is Anatonio Te Maioha — an original cast member, whose presence as a guiding ancestral spirit imbues the production with immense mana. He is the soul of the piece, grounding its emotional and spiritual core with quiet authority.

Final Verdict: A Theatrical Experience That Lingers

Waiora Te Ūkaipō – The Homeland is not passive viewing; it’s an experience. A deeply felt, spiritually charged journey that explores heritage, identity, and the enduring pull of home. Kouka’s words land with thunderous impact, and this production ensures they echo long after the curtain falls.

As an opening salvo for 2026, Auckland Theatre Company has delivered something extraordinary: a production that doesn’t just honour a classic, but reclaims it; boldly, fiercely, and with unrelenting emotional truth.

Waiora Te Ūkaipō – The Homeland is playing now at Auckland Theatre Company. Get tickets here.

Image: Auckland Theatre Company

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A Voice That Speaks to Aotearoa

There are few authors who speak with the living voice of Aotearoa as clearly and poetically as Witi Ihimaera. His work has long articulated the essence of our collective experience: the landscapes we carry inside us, the weight of our histories and joys, and the powerful song of whakapapa. With Tiri: Te Araroa Woman Far Walking, Ihimaera again turns his gaze toward the foundational document of this nation, Te Tiriti o Waitangi, presenting it not as static history or a schoolroom lesson, but as a living, breathing and ongoing conversation.

This is not a retelling of events as they happened. This is memory, dream, aroha and reckoning, woven together through the life of Tiri Mahana, a 185-year-old matriarch born at the moment of the Treaty’s signing. Through her eyes, audiences witness the forging of a nation: its joys, its fractures, its hopes, and its ongoing responsibility to honour, to listen, to speak truly, and to carry forward what matters.

The play does not lecture. Instead, it invites. It asks. It opens space for reflection. What does Te Tiriti mean to us, right now? How does it guide the future we are shaping for the next generation? These are questions that linger long after the final curtain falls.

A Story Held in Light, Sound, and Breath

Director Katie Wolfe (Ngāti Mutunga, Ngāti Tama, Ngāti Toa Rangatira), whose visionary staging of The Haka Party Incident remains one of the defining moments of recent New Zealand theatre, brings an extraordinary clarity of purpose to Tiri. Working with translator Maioha Allen, the production unfolds in both Te Reo Māori and English, moving fluidly and confidently between the two, and offering audiences an experience rooted in the beauty and rhythm of our shared languages.

The staging is breathtaking in its simplicity. A near-bare stage, careful use of open space, and a palette of colour and illumination reminiscent of Rothko, layered, striking, dreamlike, creates a sense of ceremony and vision. Shadow and silhouette dance with bursts of full-bodied colour, conjuring both the natural landscapes of Aotearoa and the emotional resonances of memory. The result is a presentation that feels at times like a painting rising into motion, a wairua made visible.

The score, echoing like a heartbeat of land and people, supports this dream-space. Nothing overwhelms. Everything breathes. The production trusts its audience, and in doing so, earns their full engagement and presence.

Performances of Deep Connection

At the centre of Tiri are two remarkable and deeply felt performances from Miriama McDowell (Ngāti Hine, Ngāpuhi) and Nī Dekkers-Reihana (Ngāpuhi, Te Rarawa, Ngāti Porou). Working together with an almost symbiotic energy, the two performers create a single living portrait of Tiri Mahana—her youth, her age, her memories, her battles, her joys and her profound grief.

McDowell carries Tiri’s gravitas, wisdom and emotional weight: a life lived long and hard, marked by both fire and immense aroha. Dekkers-Reihana brings the spark of the young Tiri, with all her mischievousness, idealism and spark. Together, they hold the audience in the palm of their hands.

There is also playfulness here. There is laughter, cheek, tease and warmth, something that feels so true to Māori storytelling. Just as in life, the light sits beside the heavy. The audience is welcomed, spoken to directly, and included, not merely as observers, but as participants in the shared story unfolding before them. Tiri breaks the fourth wall not as a device, but as a natural continuation of the tikanga of gathering and storytelling.

A Work of Heart, Whakapapa and Future

What Tiri: Te Araroa Woman Far Walking achieves is no small feat. It is personal and political, mythic and grounded, historical and immediate. It honours the Treaty, but more importantly, it honours the people whose lives have been shaped by its promises; kept and broken.

This is storytelling not just for the mind, but for the wairua. It is stirring. It is emotional. It is necessary.

By the time the final moments of the play unfold, audiences are left with a sense not of closure, but of continuation. Tiri has lived her years. She has walked far. Now her story is carried forward by those watching. The path ahead is ours.

A Theatrical Taonga

In every sense, Tiri: Te Araroa Woman Far Walking is a taonga; a treasure of theatrical storytelling that honours our shared history while looking with hope and determination toward the future.

It’s a production that moves you, challenges you, and invites reflection long after the lights fade. The play’s fusion of artistry, intellect, and emotion is a powerful reminder of what New Zealand theatre can achieve when it dares to blend cultural authenticity with bold creative vision.

As Auckland Theatre Company’s final production of 2026, it’s an extraordinary way to close the year, a masterwork of imagination and mana that speaks directly to the heart of this land and its people.

Tiri: Te Araroa Woman Far Walking is now playing at Auckland Waterfront Theatre until Sunday, November 23. Don’t miss your chance to experience this stirring and unforgettable work of Aotearoa storytelling at its finest.

Image: ATC

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But the excitement has already shifted to the future: and what a future it is. Earlier this week, CEO and Artistic Director Jonathan Bielski offered an exclusive first look at Auckland Theatre Company’s 2026 season, and it’s shaping up to be one of the company’s boldest and most ambitious lineups yet.

The new year kicks off with a roaring encore as beloved New Zealand performer Cameron Rhodes returns to the stage for Murder on the Orient Express — ATC’s fastest-selling show of all time. This reprisal promises all the intrigue, wit, and cinematic energy that made it 2025’s standout hit.

Then, the tempo quickens as the 2026 season rolls out an extraordinary slate of productions; a line-up brimming with emotion, heritage, and imagination. The return of Hone Kouka’s Waiora Te Ūkaipō – The Homeland marks a moving 30th anniversary celebration for this landmark New Zealand play, staged for audiences in both Auckland and Wellington.

Fashion and politics collide in Fiona Samuel’s Helen Clark in Six Outfits, a sharp, witty exploration of one of New Zealand’s most iconic leaders, followed by the deeply affecting Sons of Vao from groundbreaking Niuean writer Vela Manusaute, promising an unflinching journey through family, identity, and legacy.

Fans of Shakespeare have plenty to celebrate too. After his hypnotic reimagining of Romeo & Juliet, director Benjamin Kilby-Henson reunites with acclaimed performers Mark Mitchinson and Sara Wiseman for a searing new take on Macbeth. Expect madness, melancholy, and blood-soaked poetry as the Bard’s darkest tragedy storms onto the ASB Waterfront Theatre stage.

Kilby-Henson is also turning up the volume later in the year with an electrifying new vision of Cabaret — a flamboyant, provocative, and lavish reimagining of the musical theatre classic that promises to be one of 2026’s unmissable events.

And in a true coup for New Zealand audiences, the smash-hit Australian production RBG: Of Many, One arrives direct from Sydney Theatre Company. Award-winning actress Heather Mitchell delivers a tour de force performance as Ruth Bader Ginsburg, and 33 other characters, in this intimate, commanding solo show that’s been wowing audiences across the Tasman.

Auckland Theatre Company is partnering with Auckland Live for both Cabaret and RBG: Of Many, One, with Bielski describing the collaboration as one that will “turbocharge the Company’s capabilities in 2026, expanding our season to seven productions.”

Daniel Clarke, Director of Performing Arts at Tātaki Auckland Unlimited, echoed that excitement, saying, “This collaboration reflects our shared commitment to ensuring Tāmaki Makaurau continues to thrive as a hub for world-class performing arts. From an internationally acclaimed production to a bold new staging of Cabaret, audiences can expect something truly extraordinary.”

Adding to the anticipation, 2026 marks a decade since the opening of the ASB Waterfront Theatre, a milestone Bielski describes as “an extraordinary platform where theatremakers can play and dream.” And with a line-up that celebrates both seasoned visionaries and daring new voices, ATC is ready to deliver a year that celebrates the full power of live performance.

2026 is set to be an extraordinary year to be a theatre fan. As Bielski notes, “Theatre is a place where artists can dream and play, and where audiences can see through the eyes of others.” With a season this rich in imagination, passion, and vision, Auckland Theatre Company’s 2026 is not just a celebration of the stage — it’s a love letter to the art of storytelling itself.

See the full lineup of Auckland Theatre Company’s 2026 season below:

Agatha Christie’s Murder on the Orient Express – Adapted for the stage by Ken Ludwig

February 7 – 22

One murder, eight suspects, and a wild ride that’s about to go off the rails. The classic that birthed an entire genre comes to the stage in the first show of the year. Cameron Rhodes (King Lear, North by Northwest) reprises his role as the inscrutable Hercule Poirot, an Agatha Christie’s iconic whodunnit, supported by a killer cast including Jennifer Ludlham and Mayen Mehta. The fastest selling show in Auckland Theatre Company’s history, audiences literally demanded to see it again.

Waiora Te Ūkaipo – The Homeland By Hone Kouka

March 6 – 22

Originally presented over 30 years ago at the Aotearoa New Zealand Festival of Arts, Wairoa is a significant play in our cultural history as the impact of colonisation and urbanisation during the mid-60’s is challenged within one family unit. As disharmony surfaces the whānau are confronted with decisions between life past and future.

Auckland Theatre Company will partner with the Aotearoa New Zealand Festival of Arts, Te Ahurei Toi o Tāmaki Auckland Arts Festival and Tawata Productions for the 30th anniversary of Waiora Te Ūkaipo – The Homeland this Autumn.

Helen Clark in Six Outfits By Fiona Samuel

April 7 – 26

The world premiere of Helen Clark in Six Outfits is a satirical, humorous play fashioned on the life of former Prime Minister, Helen Clark while the nation became equally fixated with her appearance and personal life during her rise as New Zealand’s first elected female Prime Minister during her term as one of the most powerful women on the political stage.

Commissioned by Auckland Theatre Company, to be directed by former-Silo Artistic Director Sophie Roberts, written by Fiona Samuel and starring the highly accomplished and brilliant, Jennifer Ward-Lealand Helen Clark in Six Outfits is a must see.

RBG: Of Many, One By Suzie Miller

May 20 -June 7

Presented by Auckland Theatre Company and Auckland Live.

Based on the life of US lawyer and former Associate Justice to the Supreme Court Ruth Bader Ginsburg, RBG: Of Many, One by Sydney Theatre Company comes direct to Auckland following a return season in Australia.

Ginsburg was a groundbreaker in the American judiciary and a fierce advocate for gender equality and reproductive rights. Her life is brought to the stage by Olivier Award-winning Australian playwright, Suzie Miller (Prima Facie) and played by the astonishing Heather Mitchell.

Sons of Vao By Vela Manusaute

June 18 – July 5

Sons of Vao by Vela Manusaute is a truly powerful and moving Pasifika play that centres on the lives of three brothers who revere their father but equally seek to escape his formidable influence. Sons of Vao is directed by the extraordinary actor/director, Anapela Polata’ivao and stars lauded actor Beulah Koale.

A world premiere, Vela Manusaute’s autobiographical Adam NZ Play Awards winning script will make you laugh, cry and cogitate all at once.

Macbeth by William Shakespeare

July 28 – August 16

Arguably one of William Shakespeare’s most famous and critically acclaimed tragedies, Macbeth is known for its exploration of ambition, evil and fate.

Following recent hit revivals on the West End and Broadway, this bold new production by director Benjamin Kilby-Henson (Romeo & Juliet, The Effect) brings Shakespeare’s potent words to blood-curdling life.

Starring a stellar cast including screen legend Mark Mitchinson as the tormented Macbeth alongside the splendid Sara Wiseman as the ambitious and manipulative Lady Macbeth, Macbeth is impossible to miss.

Cabaret – Book by Joe Masteroff, Music by John Kander and Lyrics by Fred Ebb

September 22 Sep – October 18

An Auckland Theatre Company and Auckland Live Production.

The world-renowned musical Cabaret has never been more apt to the times since its premiere 60 years ago than now. Produced in collaboration with Auckland Live and directed by Benjamin Kilby-Henson, the Emcee will be played by Matu Ngaropo who excelled as George Washington in Hamilton, together with Nomi Cohen who stars as Sally Bowles following her shining turn as Roxy Hart in the recent production of Chicago.

Packed with some of the greatest songs of the musical stage Cabaret closes the 2026 season in fabulously, decadent style.

Learn more about Auckland Theatre Company here and secure your 2026 Season Subscription here.

Image: Auckland Theatre Company

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This isn’t your high school Shakespeare. Think Shakespeare meets Saltburn; all opulence, obsession, and dangerous allure. Director Benjamin Kilby-Henson (The Effect, King Lear) reimagines the greatest love story of all time as a fast-paced, cinematic thriller, set against the wild freedom of the 1960s, a decade dripping with rebellion, liberation, and lethal romantic energy.

Here, love is a loaded gun, and when Romeo and Juliet collide? KABOOM.

Stepping into the iconic roles are Theo Dāvid (Shortland Street) and Phoebe McKellar (One Lane Bridge), two rising stars who bring smouldering intensity and youthful defiance to Shakespeare’s doomed lovers. Kilby-Henson describes their chemistry as “flint and gunpowder,” and the pair light up the stage with an irresistible mix of fragility, fire, and full-blown obsession.

And it’s not just the leads who bring the drama. This Romeo & Juliet boasts a powerhouse supporting cast, including Ryan Carter as the mercurial Mercutio, Jesme Fa’auuga as a deadly Tybalt, and Courtney Eggleton as a scene-stealing Nurse. Miriama McDowell brings soul and gravitas as Friar Lawrence, while Amanda Tito takes on multiple roles, including Death herslef, with haunting intensity.

This production is set to sizzle with modern energy. Composer Robin Kelly is set to deliver a haunting original score that pulses like a heartbeat, while designers Daniel Williams and Daniella Salazar cloak the stage in a Milan-meets-Mod aesthetic, with sleek tailoring, bold prints, high fashion, and smoky glamour. It’s the ‘60s, but make it tragic couture.

And make no mistake, while the look is luxe and the pace is electric, Romeo & Juliet will still deliver all the heartache, horror, and heady passion that made it a classic. Underneath the spectacle lies a story of forbidden love, fractured families, and how youthful idealism is too often swallowed whole by hate.

“This is Shakespeare’s ode to love of all kinds,” says Kilby-Henson. “Romantic love, sexual love, the love between friends and family, love through faith.” And in this production, every form of love is on full display—raw, risky, and sometimes ruinous.

With death lurking in every corner, and a summer heat that could burn the whole city down, Auckland Theatre Company’s production of Romeo & Juliet is set to deliver a theatrical fever dream you won’t soon forget. It’s sexy. It’s stylish. It’s Shakespeare with a knife in its back and roses in its teeth.

Tickets are on sale now at atc.co.nz.

Image: Auckland Theatre Company

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Adapting acclaimed playwright Ken Ludwig’s razor-sharp take on Christie’s original, Bosher transforms the stage into a cinematic fever dream of intrigue and glamour. From the moment the lights flash and a sultry noir-jazz score kicks in, you’re transported aboard the luxurious and deadly Orient Express, where the world’s most famous detective, Monsieur Hercule Poirot, is thrust into a murder investigation with eight suspicious passengers, each hiding secrets and sinister motives.

Bosher’s production is a masterclass in theatrical spectacle, mixing Hitchcockian tension with screwball wit and a relentless pace that keeps you hooked from the first clue to the final reveal. It’s stylish, fast, and absolutely intoxicating.

At the heart of this thrill ride is Cameron Rhodes, who slips effortlessly into the iconic role of Poirot. Suave, meticulous, and armed with a razor-sharp intellect, Rhodes commands the stage with a performance that is both playful and profound. His Poirot is equal parts dapper showman and forensic genius, and he doesn’t miss a beat, whether delivering a tightly coiled monologue or breaking into a cheeky bit of improvised charm. He is the anchor in this whirlwind of deceit, and his presence elevates every scene.

Surrounding Rhodes is a dream ensemble of New Zealand talent firing on all cylinders. Sophie Henderson brings smouldering mystique as Countess Andrenyi, while Mirabei Pease is grace and warmth as Mary Debanham. Bronwyn Ensor has audiences in stitches as the adorably awkward Greta Ohlsson, and Rima Te Wiata delivers a scene-stealing turn as the bold and unpredictable Helen Hubbard: a role packed with misdirection and mischief.

Together, this cast pulses with chemistry, delivering crackling dialogue and emotionally charged moments that make the stage feel alive and unpredictable. The design work is equally stunning: bold lighting, sleek sets, and noir-inspired staging create a visual language that feels as immersive as film. It’s theatre that feels like cinema, where every moment is stylised, punchy, and dripping with suspense.

Simply put, this is live theatre at its boldest and most captivating. Murder on the Orient Express is a thrilling, stylish, and wildly entertaining production that pulls you deep into its tangled web of lies and leaves you breathless by the final bow. It’s everything you want from a night out: mystery, glamour, and a damn good time.

Auckland Theatre Company’s Murder on the Orient Express runs until Saturday, May 10, before returning for a fresh new season in February 2026. Don’t miss your ticket to this first-class mystery—it’s one of the year’s most unmissable theatrical events.

Purchase your tickets here.

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