―In that sense, Manon, performed in March, was particularly impressive. It was a production that gave a real sense of how the dancers are steadily evolving towards the goal of 'expression that conveys the story', a principle that Artistic Director Yoshida has championed since taking up her post.

Yoshida: In Manon, each dancer engaged deeply with their own role and created their own drama. The presence of Mr. Robert Tewsley, whom we invited to work on the staging, was instrumental in this. With his deep understanding of the work and his own unique interpretation, he carefully delved into the nuances of the narrative and the characters' backgrounds, providing the dancers with a wealth of insights to help them develop their roles. Thanks to this, we were able to see them truly embodying their characters at every moment, and I looked forward to watching both the rehearsals and the performances each time.

―And the upcoming 2026/2027 season will open with the new production City Lights. This is a project with significant international impact, as it marks the world's first ballet adaptation of Charles Chaplin's film of the same title.

Yoshida: I feel that creating a ballet based on a world-renowned film classic at the New National Theatre Tokyo will be a great asset to the theatre. After all, as it is a film known to everyone, I was prepared for considerable difficulties in sorting out the rights issues, including obtaining permission to use the music; however, we have now secured formal authorisation from the Chaplin Office and the project is set to go ahead. City Lights is a so-called silent film, and the way it conveys the story through facial expressions and movement rather than words is something it shares with ballet. It's actually such a well-suited work that it's almost surprising it hasn't been adapted into a ballet before.

―The choreography is by Alastair Marriott. He is the choreographer who created the revised choreography for Giselle, directed by Ms. Yoshida, in 2022.

Yoshida: Mr. Marriott excels at creating works with a strong narrative. In this respect, he shares similarities with Will Tuckett, who was commissioned to create Macbeth and The Nutcracker; however, whilst Tuckett's approach is more theatrical, I get the impression that Marriott adopts a more dance-oriented approach.

Furthermore, Marriott knows the dancers of The National Ballet of Japan very well and is adept at devising casting that blends naturally into the narrative world he creates. In addition, Dick Bird, the set and costume designer with whom I collaborated on Giselle, and lighting designer Ellen Ruge are both outstanding artists. Ms. Ruge has stated, 'Precisely because it is City Lights, I want to be utterly meticulous about the lighting,' and I believe you can look forward not only to the dancing but also to the overall staging of the production.

The growth and rising expectations of the next generation of choreographers

―Next, in November, DANCE to the Future 2026 is a performance presenting works created through the 'NBJ Choreographic Group', a project within The National Ballet of Japan aimed at nurturing choreographers. I understand that a new work commissioned by the New National Theatre Tokyo from First Soloist Yoshito Kinoshita will also be staged on this occasion.

Yoshida: It has been about fifteen years since the 'NBJ Choreographic Group' was launched. I feel that reaching the stage where the theatre can commission works from dancers who have gained experience through this programme is a major achievement of the project.

Yoshito Kinoshita was also invited to 'International Draft Works', held at the Royal Opera House in the UK this past April. This is an international showcase that brings together short works by young and emerging choreographers from ballet companies around the world for performance. Mr. Kinoshita presented his duet Re:sonance (performed by Haruka Soutome and Ryosuke Morimoto), which was well received. During the event, he also took part in various programmes, including a workshop led by Wayne McGregor, and I believe this was a truly valuable and wonderful experience for him.

―Following in the footsteps of Tetsuo Kaikawa, Keigo Fukuda and Naoya Homan, who have previously been commissioned by the New National Theatre Tokyo, Yoshito Kinoshita is one of the dancers who has consistently presented choreographic works through the 'NBJ Choreographic Group'. Are there other dancers emerging who are as keen on choreography as they are?

Yoshida: To be honest, I can only hope that more will emerge in the future. The reality is that with performances coming thick and fast in a ballet company, it is not easy for dancers to devote sufficient energy to choreography. Creating choreography is by no means a simple task; even if a dancer has a desire to express something, it requires a different kind of ability to translate that into physical movement and shape it into a coherent work. Nevertheless, nurturing choreographers remains a vital challenge. I intend to provide as many opportunities as possible for dancers who wish to take on the challenge of choreography to create and present their work.

―In November and January, we will be staging a triumphant return to Japan with Giselle, which was so well received during last year's London performances.

Yoshida: We will perform twice in Fukuoka in November and three times in Hyogo in January.Giselle was a work that marked a major turning point for us. By taking that first step― having the courage to present a production we created ourselves to the world― we received high praise from the London audience. Even this year, we have continued to attract considerable attention, including winning the Stef Stefanou Award for Outstanding Company at the 26th National Dance Awards. Although we are still a young ballet company, having been founded less than thirty years ago, we intend to continue actively expanding our horizons through national tours and international engagements.

―Our annual The Nutcracker will be performed over the New Year period. This will be a revival of the new production by Will Tuckett, which premiered last season.

Yoshida: Partly because it was the premiere, we were fortunate enough to sell out all eighteen performances. I am aware that there were mixed reviews regarding the staging, and whilst I can understand both sides of the argument, I believe that the fact itself that it generated such discussion was of great significance. Looking back at history, there are many works which, although not necessarily receiving positive reviews at their premiere, were refined through repeated revivals and eventually came to be regarded as masterpieces. With the new production of The Nutcracker, there were some unexpected elements―such as Drosselmeyer's magic tricks being more authentic than anticipated, or the jelly costumes turning out to be surprisingly stiff and rigid (laughs)―but I believe it has become a fine production that both children and adults can enjoy. We shall continue to nurture this production with care so that it may be loved even more by our audiences in the future.

―In February, we have a double bill featuring La Sylphide, choreographed by Bournonville, and The Vertiginous Thrill of Exactitude, choreographed by Forsythe. How did the idea of combining these two productions―which could be described as polar opposites―come about?

Yoshida: Firstly, I wanted to stage La Sylphide for the first time in eleven years. When I considered what to pair it with to create a more compelling programme, The Vertiginous Thrill of Exactitude suddenly sprang to mind. Although these two works appear contrasting at first glance, they share the commonality that the fundamentals of classical ballet are of the utmost importance. Bournonville's La Sylphide remains faithful to the fundamentals to the very end, with restrained movement. Forsythe's The Vertiginous Thrill of Exactitude, on the other hand, expands movement from a foundation of precise technique. I hope the audience will be able to savour both the understated beauty and the explosive joy.

―It sounds as though both works will present a challenge for the dancers.

Yoshida: That's exactly right. We decided to stage La Sylphide because I wanted the younger dancers, in particular, to thoroughly learn the beauty of the classics, which tends to be overlooked in this day and age. On the other hand, The Vertiginous Thrill of Exactitude is a work that one can never fully perform unless one breaks out of one's shell. Whichever piece they tackle, the dancers will be forced to confront what they are currently lacking. I myself have experienced this first-hand in the past.

―Also in February, you will be staging a new work by the dancer and choreographer Kenta Kojiri. I understand the cast will include Rei Watanabe, Rena Narumi, Mr. Kojiri himself, and several dancers from the National Ballet of Japan.

Yoshida: I think performing alongside artists from outside the company will provide a refreshing stimulus for the dancers. Mr. Kojiri, who is also an adviser to the 'NBJ Choreographic Group', is a multi-talented choreographer, and has created a new work for us on this occasion.

The second half of the season is packed with major narrative ballets

―The second half of the season features a succession of major narrative ballets. First up in March is Darrell's The Tales of Hoffmann. Whilst the appearance of three heroines―Olympia, Antonia and Giulietta―is certainly part of the appeal, this is, above all, a production that demands a deep characterisation from the male dancer playing Hoffmann.

Yoshida: How do we convey the complexity of Hoffmann's character and the shadows in his life? It is a difficult role that can only be tackled by a dancer with a certain level of career experience and life experience. However, there is so much to be gained from playing Hoffmann, so I am keen for dancers taking on this role for the first time to rise to the challenge.

―Next up in May is Romeo and Juliet, choreographed by MacMillan.

Yoshida: His work demands that the dancers confront themselves thoroughly. I realised once again during last season's Manon that this is the essence of MacMillan's work. For example, Saho Shibayama and Shogo Hayami, who both took on the roles of Manon and Des Grieux for the first time, struggled with MacMillan's distinctive choreography but approached the rehearsals with an unprecedented level of commitment. After enduring immense hardship, the two of them seemed to grasp something, and in the performance they revealed a depth of expression unlike anything we had seen before. Working on MacMillan's pieces transforms the dancers. Having performed Manon before tackling Romeo and Juliet, the dancers are sure to deliver performances of even greater depth.

Furthermore, following on from Manon, we have once again been able to stage Romeo and Juliet using the full set and costume collection on loan from the Royal Ballet and Opera. There is an unshakeable power in the original production. Perhaps it is because the memory of the work, passed down over many years, is etched into it; a 'genuine gravitas' radiates from the entire stage, and the fact that the names of those who have danced the roles are inscribed on the back of the costumes also gives the dancers strength. We plan to invite Mr. Robert Tewsley to coach us again this time, so I hope the dancers will thoroughly enjoy bringing their roles to life.

―And in June, we have Don Quixote. It is a popular production and we look forward to seeing the energetic performances of our young dancers.

Yoshida: For this production, we plan to once again invite Julio Bocca―whom we invited as a guest coach for La Bayadère in 2024―to provide guidance. Mr. Bocca, who was a major star with the American Ballet Theatre, is a truly excellent teacher; last time, the male dancers in particular became visibly stronger. As he patiently explains even the finer points of difficult techniques, it seems to further boost the dancers' motivation. I hope we will be greatly inspired once again and be able to present an energetic production of Don Quixote.

―In July, we have Ballet for Children 2027 RYUUGUU- The Turtle Princess and in August, NNTT's new work commissioned from Ms. Kaori Ito, KENKA（Battle to be solved）. This brings the 2026/2027 season to a close.

Yoshida: As it is the summer holiday season, I would very much like children to feel free to pop along to the theatre. RYUUGUU, choreographed by Kaiji Moriyama, incorporates many delightful touches in its costumes and lighting, and is a production that is popular with adults too. Furthermore, Kaori Ito is a choreographer brimming with creative freedom; her production Robot, l'amour éternel, which was staged in THE PIT this season, was a truly stimulating work, so I have high hopes for this new piece as well.

As part of our initiatives to help children enjoy the arts, we are running or planning to run three programmes in 2026: the 'Ballet Mirai Seats', the 'New National Theatre Children's Theatre Programme' and the 'Keio Academy Programme'. All of these projects have been made possible thanks to the dedication and support of various companies. I would like to express my deepest gratitude once again.

―Incidentally, in March this year, it was announced that Artistic Director Yoshida had been reappointed. As you serve your third term, you will become the longest-serving Artistic Director of Ballet & Dance in the New National Theatre Tokyo's history.

Yoshida: It is difficult to judge whether it is actually a good thing for the same person to hold the post for such a long time. However, the few years following my appointment in 2020 were overshadowed by the COVID-19 pandemic, and there were many things that did not go as planned or that I was unable to attempt. Now, at last, I feel a sense of 'this is where it begins', so I am grateful for the decision to reappoint me.

We must devote even more effort than before to nurturing new talent, and I want our veteran dancers to make the most of this crucial period in their careers. I intend to continue learning myself as I engage closely with each individual dancer.

Interview and text by Sayako Abe

Note: Originally published in The Atre(June 2026) and partially updated to reflect current information.