Kate Kadow joined the RNZB in January 2018 and made her New Zealand debut in The Piano: the ballet, followed by solo roles in Balanchine’s Divertimento No. 15 and Kylián’s Sechs Tänze. Most recently, Kate performed the role of the Sugar Plum Fairy in Val Caniparoli’s production of The Nutcracker.

In 2019, Kate’s roles included the Flames of Paris pas de deux, Serenade by George Balanchine, Stand to Reason by Andrea Schermoly, Artifact II by William Forsythe and the Queen of the Dew Fairies in Loughlan Prior’s Hansel & Gretel.

Prior to coming to New Zealand, Kate was a principal dancer at State Street Ballet of Santa Barbara, California (2012 – 16), with highlights including Kitri in Don Quixote, the title role in William Soleau’s Firebird, The Shrew in Robert Sund’s Taming of the Shrew, The Sugar Plum Fairy in The Nutcracker, Tiger Lily in Alice in Wonderland and new works by Rodney Gustafson, Edgar Zendejas, Autumn Eckmann, Cassandra Newberry, and Peter Pucci.

Kate joined Barak Ballet in Los Angeles in 2016, performing world premiere works by company director Melissa Barak, including Dimitierre and Eos Chasma, and being featured on television and in music videos. In 2017 she was featured in new works by choreographers Andrea Shermoly, Nicolas Blanc and Robert Dekkers.

Kate has performed as a guest artist throughout the United States and internationally, highlights include the Alina Cojocaru, Johan Kobborg and Friends gala in Florida, the International Ballet Festival of Miami, Grand Rapids Ballet, and a 36 city tour of China where she performed the role of Beauty in Robert Sund’s Beauty and the Beast.

Florida-born, Kate began her training in Pennsylvania and attended the Kirov Academy in Washington DC on scholarship before finished her training with renowned Cuban coach Magaly Suarez in South Florida. At the age of 14, she performed alongside dancers from American Ballet Theatre at a Stiefel and Stars summer intensive, training under Ethan Stiefel, Gillian Murphy, Amanda McKerrow, and John Gardner.

Her earliest professional engagements were with Cuban Classical Ballet of Miami, touring internationally and performing roles including Gamzatti in La Bayadère, Medora in Le Corsaire, as well as Flames of Paris by Vainonen, Satanella by Mazilier, La Spectre de La Rose by Fokine, Giselle, Swan Lake and Alberto Alonso’s Carmen and with the New York-based Morphoses: The Wheeldon Company, working with choreographers Christopher Wheeldon, Alexei Ratmansky, and Tim Harbour.