Sarah Lamb

Based on the true story of the death of Crown Prince Rudolf and his young mistress Mary Vetsera in 1889, Steven McRae and Sarah Lamb take on these challenging roles in a dark and intense ballet. Crown Prince Rudolf of Austria-Hungary is emotionally unstable and haunted by his obsession with death. He is forced to marry Princess Stephanie. Soon afterwards, his former lover, Marie Larisch, introduces him to a new mistress, Mary Vetsera, a young woman who shares his morbid fascination.

Christopher Wheeldon's Within the Golden Hour is based around seven couples separating and intermingling, to music by Vivaldi and Ezio Bosso and lit with the rich colours suggested by sunset. In Flight Pattern, Crystal Pite combines Górecki's haunting “Symphony of Sorrowful Songs” with a large dance ensemble to create a poignant and passionate reflection on migration. Between them, Medusa is new work inspired by the Greek myth, created for The Royal Ballet by the acclaimed choreographer Sidi Larbi Cherkaoui, which juxtaposes Purcell arias with an electronic score by Olga Wojciechowska.

With atmospheric music by Joby Talbot and powerful designs by Bob Crowley, The Winter’s Tale is a masterful modern narrative ballet. The story follows the destruction of a marriage through consuming jealousy, the abandonment of a child and a seemingly hopeless love. Yet, through remorse and regret – and after a seemingly miraculous return to life – the ending is one of forgiveness and reconciliation. The Winter's Tale received ecstatic praise at its premiere for its intelligent, distinctive and emotionally powerful story, told through exquisite dance. It is now widely judged to be a modern ballet classic.

Manon’s brother Lescaut is offering her to the highest bidder when she meets Des Grieux and falls in love. They elope to Paris, but when Monsieur G.M. offers Manon a life of luxury as his mistress she can’t resist.

The Royal Ballet celebrates the centenary of Leonard Bernsteins birth with this all-Bernstein collection. The Companys three associate choreographers respond to the varied styles of Bernsteins music in ballets that are lyrical, beautiful, exuberant and moving. Wayne McGregors Yugen is set to Chichester Psalms. In The Age of Anxiety Liam Scarlett responds to Bernsteins eclectic Second Symphony, itself a response to W.H. Auden's poem. Corybantic Games by Christopher Wheeldon responds to the Serenade after Platos Symposium.

Now celebrating its 50th year, George Balanchine’s sparkling ballet still shines with all the brilliance of the gemstones that inspired it.

The first revival of Wayne McGregor’s critically acclaimed ballet triptych to music by Max Richter, inspired by the works of Virginia Woolf.

Dreams of Giverny is a modern day ghost story told through the art of classical ballet and set in the gardens of Impressionist painter Claude Monet in Giverny, France. This short tells the tale of a young woman who upon reflection at the beauty of Monet’s water lily pond, slips into a daydream where she finds herself wearing pointe shoes and able to dance exquisitely. During this reverie she encounters a ghost like girl who guides her through the gardens, encouraging her to express her joy at the wonder of such a place through dance. By the end of their journey we are left to ponder whether this was in fact a dream or a magical ghostly encounter?

Kenneth MacMillan’s passionate choreography for Romeo and Juliet shows The Royal Ballet at its dramatic finest. Sergey Prokofiev’s famously evocative score is the driver for some of the most ardent pas de deux and powerful set pieces in ballet history. The vibrant crowd scenes with magnificent designs by Nicholas Georgiadis vividly recreate the color and bustle of 16th-century Verona in this Royal Ballet classic. “Yasmine Naghdi and Matthew Ball will hug their first Romeo and Juliet their whole lives. What a dream debut for these two youngsters…” (The Spectator) “Kenneth MacMillan was a consummate storyteller, and in Romeo and Juliet he came as close to perfection as it’s possible to get.” (Culture Whisper) “From the quarrelling townsfolk to the stately ball guests, this is a Romeo packed with life, the whole company caught up in the ballet’s unfolding tragedy.” (The Independent)

The story follows the destruction of a marriage through consuming jealousy, the abandonment of a child and a seemingly hopeless love. Yet, through remorse and regret – and after a statue comes miraculously to life – the ending is one of forgiveness and reconciliation. Wheeldon continues his highly successful collaboration with designer Bob Crowley and composer Joby Talbot, the team behind Alice, in one of the highlights of The Royal Ballet Season.