The creatives behind new children’s ballet The Bomb
The RNZB is currently developing The Bomb, a new ballet for children. The production will make its debut at Soundings Theatre at Te Papa next month on 12–13 September.
Based on the award-winning children’s picture book written by Sacha Cotter and illustrated by Josh Morgan, The Bomb is a joyful story about being true to yourself. It follows a young boy determined to perfect the ultimate bomb (or manu) into the water.
The Bomb comes from the same acclaimed New Zealand author and illustrator team behind Dazzlehands, which the RNZB turned into a children’s ballet in 2024, and has now been seen by more than 16,000 people, from Whangārei all the way down to Queenstown.
We spoke with the creative team about the process of bringing The Bomb from page to stage.
The Bomb was commissioned with generous support from the Fehl Charitable Trust.
Lauren teaching tamariki at Te Papa Whanau Day, 2023. Photo: Stephen A’Court
Lauren Byrne | RNZB Education & Community Engagement Manager
What made you choose The Bomb as our next children’s ballet?
I loved how authentically Kiwi The Bomb is. There’s a beautiful journey in the story as we follow ‘The Kid’, and a meaningful message for tamariki to take away. The illustrations also have so much depth and detail that we can draw from to create a really rich world of characters and storytelling. And, of course, the song in the book really sold it for me!
How have has the development of these performances for children strengthened the Education programme?
These performances have become a valuable tool for the Education team, giving us a story and performance that we can build a wider programme around. Through workshops, digital resources and school engagement, we’re able to extend the experience beyond the theatre and create more meaningful opportunities for tamariki to connect with dance.
If you were in The Bomb, which character would you be and why?
Definitely Nan! Her love and protectiveness, the way she supports and nurtures ‘The Kid’, really resonates with me, it’s the way I feel about my nieces — and my baby boy! She’s also got a bit of a gangster side, which I can definitely relate to!
"Hear my song, see my lines, check my moves, they’re so fine. See him soar, see him fly, see him swooping through the sky... HE'S THE BOMB!"
From the book 'The Bomb'
Josh creating steps for the ‘She’ll Be Righter’, with Charlotte Willis and Breyah Takitimu, 2026. Photo: Dan Harris
Joshua Guillemot-Rodgerson | Choreographer
What is your creative process? What inspiration are you taking from the book?
I have read the book many, many times and written it out in both languages (English and Te Reo). Sacha’s text and Josh’s illustrations have so much life and energy and it’s my job to try and capture that. I also firmly believe that for a children’s show, and for comedic moments especially, that the synergy between the music and movement is vital. I try to draw on my tap dance upbringing to make the dancing rhythmic and riff off of what William has written.
What character are you most excited to bring to life with choreography?
The ‘She’ll Be Righter’ is a diver that is all energy and no finesse. She comes equipped with all the equipment you could need to stay afloat, everyone is a little worried for her safety, but she is jumping into that water at whatever cost. My main movement inspiration is thinking about a Back-Slap Thunderclap bomb. The music is extremely chaotic, I have never choreographed to anything like it, so it’s the blankest canvas for me. All our dancers are extremely finessed and so it’s going to be fun to use their strength and precision to create something electric that will look out of control even though they will be totally in control!
Dane Head and Joshua Douglas working in studio on The Bomb, 2026. Photo: Dan Harris
Can you tell us about some of the movement motifs used to build character?
Lauren and I visited the Z Manu World Championship qualifier round in Wellington earlier in the year, so a lot of the motifs come from the amazing time we had watching that and other water sports: swimming, diving, surfing and synchronised swimming. The Thinkers are synchronised swimmers, The Poser is the Johnny Bravo-esque guy doing weights at Venice Beach, The Champion Bomber has a surf-hero feel, and Nan was an ex-champion bomber herself.
If you were in The Bomb, what character would you be and why?
The Octopus! The Octopus gets to pump up the crowd, do a comedic Broadway-styled jazz solo, and it would just be so fun to pirouette around with tentacles flying everywhere!
Victoria’s headpieces ready for fittings at the RNZB Costume workroom, 2026. Photo: Luke Cooper
Victoria Gridley | Costume Designer
What is your creative process? What inspiration are you taking from the book?
I begin with reading the book and chatting to the author and illustrator to figure out what is in the story that really speaks to them. I found out that Nan is based on Sacha’s grandmother who was a trucker. So, I want to stay true to that image. There are a lot of lovely Tui influences in this book that I will pull into the designs for ‘The Kid’.
I love seeing how many extra little moments are surrounding the storyline that we can breathe into the world on stage.
The ‘She’ll Be Righter’ PVC tutu, designed and photographed by Victoria Gridley.
Bringing sea creatures to life must be a challenge and entirely different to classical ballet design?
It was a challenge! Most sea creatures swim horizontally like dolphins, seals and stingrays, but dancers generally dance vertically. Trying to adapt costumes to dancers was something I really struggled to get my head around. In the end the team agreed on one sea creature that would create a beautiful landscape for ‘The Kid’ to swim in that doesn’t overshadow them but also will visually be incredible on stage. I cannot wait to share it with you!
Are you using any unusual materials or techniques to create costumes?
This show has everything from PVC pipe, yellow stretch PVC/plastic, ball pit balls, a whole lot of crushed velvet and more. We have created fabric wigs to make everyone look like they belong in this cartoon world. They are incredibly light, washable and there is no need to restyle them like a wig.
If you were in The Bomb, what character would you be and why?
I would be the ‘She’ll Be Righter’. My job revolves around problem solving and my philosophy is that problems often just need a change of approach. The ‘She’ll Be Righter’ makes mistakes but continues on and makes the best of it – I really admire that!
William in a music studio, image sourced from Music NZ.
William Phillipson | Composer
Tell us about yourself!
I studied composition at Te Kōkī, the New Zealand School of Music, before working as an assistant to local composers and learning the craft firsthand. I spent several years working with acclaimed New Zealand composer Claire Cowan as her music editor and composer’s assistant across television and stage productions. Her scores for RNZB ballets including Hansel & Gretel and Cinderella were particularly inspiring. In 2023, I joined Shortland Street as the show’s composer, and since then I’ve written music for over 500 episodes.
I wrote the music for Dazzlehands, so The Bomb has felt a bit like a band getting back together!
What makes creating music for dance and for children challenging?
Writing for children is both a joy and an exciting challenge for me. My music often naturally falls under an ambient, cinematic, and a minimalist style, so to write music that is exciting, groovy, and full of whimsy I have to step outside my normal voice.
The music for the show is also very eclectic and jumps between different styles and genres. Some of the inspiration behind the music for The Bomb ranges from Surf Rock, to Breakcore, to a jazzy big band, and to all the way to Philip Glass inspired arpeggios. What fun!
Are you using any specific instruments or distinct melodies to identify characters in the story?
All of the main characters have their own musical material and styles of music.
One special instrument is a lap steel guitar I recently purchased, it has become part of The Kid’s internal world as he dreams of pulling off that perfect bomb.
There are a couple of incredible musicians that are also highlighted throughout the score. Listen out for the brilliant electric guitarist Jake Stokes playing some ripping surf rock shredding, and the amazing saxophone and clarinet player Joshua Buckler who plays some gorgeous intimate clarinet melodies, and some flaming saxophone solos
Anne-Lisa in the workshop, working on a prior project. Image provided by Anne-Lisa.
Anne-Lisa Noordover | Set Designer
Tell us about yourself!
Since graduating from Te Herenga Waka in 2017, I have worked in the theatre and film industry for almost 10 years. I started as a puppet designer, and from there I moved into set design. I’ve also worked in costume design and assisted lighting crews with pack ins and pack outs. Working across departments has helped me understand the bigger picture and appreciate the magic that’s possible when we raise each other up. I adore how space can tell a story, both visually and as an immersive experience you dissolve into. I’ve recently completed a Bachelor of Architecture and am excited to see how this feeds into my practice.
What are the challenges of set design for ballet?
Leaving enough vastness for large and ensemble movement to happen, while creating a world that effectively transforms the space. Josh Guillemot Rodgerson has been a joy to untangle these questions with and figure out how the set can be safe, practical, and playground-esque, while creating opportunities for the movement to interact with it, and give it breath.
How much inspiration have you taken from the book illustrations?
One of the great beauties of designing this show has been diving into the visual world Josh Morgan has created, which is so incredibly rich, whimsical, and stunning. A big part of the design process is figuring out what the world looks like. What/ who lives there. What are the colours, textures, and how do they tell this story. In terms of the relationship between the set and Josh’s illustrations, I tried to pinpoint the imagery that captures the core themes and emotions of this story and used that as the building blocks for the set.
Dazzlehands by the Royal New Zealand Ballet, at Soundings Theatre, Wellington, NZ, July 2024. Photo credit: Stephen A’Court.
Reflections on Dazzlehands
What did you learn from Dazzlehands?
I learnt that the most effective moments are when choreography, music, costume, set and lighting all line up together to make something bigger. When I feel a creative block I go back to the book, our initial brainstorm, an element of design, or focus on one instrument in the music. It can help me push past that wall, and it reminds me that we are all better as a team. – Joshua Guillemot-Rodgerson
I had a wonderful time designing and making Dazzlehands. It gave me an opportunity to go a little crazy with the silhouettes and textures to create these larger-than-life characters, and I really appreciated the trust I was given in bringing it to life. – Victoria Gridley
Dazzlehands was an outstanding success. It reinforced for me how important it is for our national ballet company to create opportunities for all tamariki to connect with dance. Dance is something that exists within all of us, and we have a platform to nurture that and bring joy to children who may never have experienced it before.
I learnt that when we take the time and energy to genuinely connect with tamariki in this way, we’re not just introducing them to dance in the moment, we’re helping to nurture the future of dance in Aotearoa. – Lauren Byrne
Sneak peek at the design's for The Bomb
