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La Fille mal gardée

18 October 20259 June 2026

La Fille mal gardée

18 October 20259 June 2026

La Fille mal gardée

18 October 20259 June 2026
Main Stage
Ballet and dance

A ballet of pure sunshine.

Dozens of dancers dressed in colourful striped clothing and bonnets dance around a maypole, holding on to the red, green and white ribbons that flow down from the top of the pole. A ballet dancer wearing a pink and white corseted dress, white tights and ballet slippers stands on a wooden barrel, holding on to the pole. The stage background is set with painted rural scenery of trees and haystacks.  

Escape to the countryside with Frederick Ashton’s ballet about a capricious girl who hopes to marry her love. Brimming with humour and choreographic invention, La Fille mal gardée is the perfect ballet for all the family. 

Running time
This performance lasts approximately 2 hours and 15 minutes, including one interval
Approximate running times:
Guidance
Suitable for all, subject to House rules
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Exceptional philanthropic support from 

Royal Ballet and Opera Principal Julia Rausing Trust 

Generous philanthropic support from 

Sir Lloyd and Lady Dorfman OBE, Charles Holloway OBE, The Jean Sainsbury Royal Opera House Fund, Doug and Ceri King, Lindsay and Sarah Tomlinson, The La Fille Mal Gardée Production Syndicate and Royal Ballet and Opera Friends 

The 2025/26 Royal Ballet Season is generously supported by

Aud Jebsen 

Part of ASHTON WORLDWIDE

the Frederick Ashton Foundation’s international festival 2024-28

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The Wayward Daughter

The stage of The Royal Opera House is set for a performance of La Fille mal gardée. The scenery looks as though it has been painted in an Impressionist style and shows trees in a forest, hay bales and a bright blue sky with blurred blue clouds. In the centre of the stage several dancers of The Royal Ballet stand around a maypole, other dancers are in the foreground observing. The dancers wear rural-style corset dresses and pointe shoes. At the front of the maypole

Lise is the only daughter of Widow Simone, the owner of a prosperous farm. She is in love with the young farmer Colas, but her mother has higher ambitions for her, hoping to marry her off to Alain, the son of the wealthy proprietor Thomas. Desperate to marry Colas rather than Alain, Lise contrives to outwit her mother’s plans.  

Background

A love letter to the English countryside  

When La Fille mal gardée premiered in Covent Garden on 28 January 1960, it instantly won all hearts. Inspired by Jean Dauberval’s French ballet, Ashton’s version combines exuberant good humour and an affectionate portrayal of village life. The Royal Ballet’s Founder Choreographer, Ashton hoped to capture the ‘leafy pastoral of perpetual sunshine...the suspended stillness of a Constable landscape of my beloved Suffolk, luminous and calm’. Osbert Lancaster’s colourful designs bring the charm of the countryside to life.  

Ashton’s choreographic brilliance  

Testament to Ashton’s boundless creative invention, the ballet is constructed like a brilliantly complex piece of clockwork with technically demanding choreography that stretches the world’s best dancers. Ashton made full use of the technical talents of his original cast – Nadia Nerina and David Blair – and this is reflected in the virtuosity of much of the ballet’s choreography: multiple pirouettes, grand lifts and fleet footwork. Highlights include the pas de ruban (ribbon dance), where Lise and Colas dance together, their bodies intertwined by a ribbon – a symbol of their tender love. In order to evoke the bliss of the rustic countryside, Ashton also included elements of national folk dance – from maypole dancing to a Lancashire clog dance for Widow Simone.

Cast and Creatives

Cast
The cast of this production may vary depending on performance date. Go to cast and dates to see these.
See cast and dates
Creatives
Choreography

Frederick Ashton

Arranged and Orchestrated by

John Lanchbery

Lighting designer

John B. Read

Reviews

The Arts Desk
The Guardian
Independent
The Stage
Bachtrack

Access

There is lift access and step-free routes to over 100 seats in the Stalls Circle, Balcony and Amphitheatre. There are 10 steps or fewer to some seats in the Stalls Circle, Balcony, Amphitheatre and the Donald Gordon Grand Tier. All seats in the Orchestra stalls are accessed by 9 steps or more. A handheld bell is rung by Front of House staff to signal guests to take their seats before a performance. The bell is loud and can be startling. The bell is rung approximately ten minutes before the show starts and at each interval.  

We have an assistive listening system available to use.

Upcoming accessible performances:

There will be an Audio Described performance with a Touch Tour on 18 October and 5 November 2025. Touch Tours must be booked by contacting boxoffice@roh.org.uk for tickets.

There will be a Captioned performance on 11 November 2025.

Join our Access Scheme for priority access performance tickets and to personalise your account for your access requirements.

See our Accessibility page for more information on access at the Royal Opera House.

Close up of a worker applying clear sparkly rhinestones to a point shoe in the Royal Opera House ballet shoe workroom.

Pointe Shoe Appeal

Every season, The Royal Ballet dance through more than 6,000 pairs of pointe shoes—but that’s just the starts of what our dancers wear throughout the year. 

With shoes in every style and colour, our footwear team works year-round to ensure that every dancer has the perfect fit, allowing them to step confidently onto the stage night after night. Help them perform to the best of their ability by making a donation to our Pointe Shoe Appeal.

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