The Metropolitan Opera’s upcoming production of Verdi’s "Macbeth," set to premiere in October, will feature traditional Georgian dance for the first time in the company’s history, adding a strikingly physical and martial element to the staging. Directed by Louisa Proske in her Met debut, the opera begins and ends amid scenes of war, which the creative team sought to portray through dynamic, realistic fight choreography.

To achieve this, Proske enlisted action director Ran Arthur Braun, also new to the Met. Braun brought in dancers from Pesevbi, a Brooklyn-based Georgian cultural center and dance company, to perform vigorous folk dances rooted in centuries-old traditions. Known for their athletic leaps, rapid turns, and intricate swordplay, these dances embody the spirit and history of Georgia’s mountainous regions.

Dancers such as Davit Bakhturidze, George Goderdzishvili, and Data Darakhvelidze, all in their early twenties, have trained extensively in these demanding forms since childhood. Their expertise includes styles like Khevsuruli—a martial dance featuring sword and shield combat performed at the opera’s warlike bookends—and Kazbeguri, an exuberant dance with high jumps and energetic foot stomping showcased during the banquet scene.

The performance’s choreography is notable for its physical intensity and precision. Dancers leap from tables, engage in full-contact sword fighting with steel weapons, and execute fast-spinning movements on their knees. Despite protective kneepads, injuries are common, underscoring the grueling nature of the rehearsals and performances. The dancers attribute recovery to traditional methods such as saunas and cold plunges.

Proske described the moment she first witnessed the Georgian troupe as astonishing, with even seasoned Met dance staff left in awe of the speed, energy, and skill on display. Braun emphasized the desire to present violence not merely as conflict but as a theatrical language integral to the opera’s narrative, enhancing the dramatic impact of the civil wars portrayed in "Macbeth."

The inclusion of Georgian dance, unconventional in Shakespearean opera, required careful adaptation to Verdi’s music. The choreographers worked to mesh the vigorous, martial style with the existing score, respecting its constraints while maximizing the dancers’ physicality within brief dance sequences.

For the dancers, performing at the Met represents a significant milestone. Goderdzishvili, who has personal ties to Georgia’s history and culture, spoke of the profound connection he feels to his ancestors when donning traditional costumes and bringing this heritage to an international stage.

The production will be livestreamed worldwide as part of The Met: Live in HD series, making this blend of operatic drama and Georgian folk tradition accessible to a broad audience. It remains a distinctive example of how traditional cultural expressions can be integrated into modern opera to deepen storytelling and visual impact.