Q&A with Kirby Selchow (Syb) & Hannah Thomson (Bylla)

Soloist Kirby Selchow and Artist Hannah Thompson brought to life the dynamic characters Syb and Bylla in our latest production – My Brilliant Career. Read about their unique insights to role, some of their favourite moments and more.

Introduce yourself and the character you are portraying

Hannah: Hi, I’m Hannah, I’m from Christchurch, and this is my third year in the company. I’m playing the role of Bylla, who is one half of Sybylla. If I had to describe Bylla in three words, I’d say she’s ambitious, wild, and raucous.

Kirby: My name is Kirby, I am a Soloist with the Royal New Zealand Ballet. I’m dancing the role of Syb, who is one the lead females in this ballet. Three words to describe her personality would be intelligent, ambitious and passionate.

How did you each approach understanding Syb and Bylla’s characters? What was your starting point in embodying them physically and emotionally?

Hannah: To understand Bylla, I started by tapping into emotions I’ve felt before, especially from when I was younger, times when I felt misunderstood, fiery, or like I had something to prove. Bylla lives in those heightened emotional spaces and once I connected with that internally everything started to come out physically without forcing it. It was less about creating a “character” and more about letting her take over through the body.

Kirby: When diving into a ballet like this you have to understand the story and the character essence of who you are portraying and what it is they are trying to say. For this we really had to tap into each other’s psyche in order to be the same person, but then also understand your more dominant side of the character; for example, Hannah is more overtly confident and shown as a bit careless, where as my side [Syb] is more wary of what people think and is more vulnerable.

Syb and Bylla have very different energies and paths. How did you each interpret those contrasts in your movement and stage presence?

Hannah: Syb and Bylla definitely have contrasting energies, Syb feels more internal, maybe more controlled or contemplative while Bylla is loud, impulsive, and unapologetic. What’s interesting is that different characters in the piece only seem to connect with one side of us, some only see Syb, some only see Bylla and that says a lot about what they’re drawn to or what they project onto us. Those shifting relationships really influence how the audience experiences our two sides, not just through choreography, but through who’s allowed to witness each version of us.

Is there a moment in the choreography where the relationship between Syb and Bylla shifts noticeably?

Hannah: Yes, one of the most noticeable shifts in the relationship between Syb and Bylla happens when we dance with Harry. Up until that point, there’s this ongoing tension between us, we exist as opposites. But when Harry enters, everything changes. He’s the one character who truly sees both sides of us, and because of that it’s like we’re finally allowed to be whole. In that section, our movement becomes more unified, there’s less resistance and more flow between us. It’s not that our differences disappear but they start to complement each other rather than clash. Dancing with Harry allows both Syb and Bylla to be fully present at the same time. It becomes less about contrast and more about coexistence.

How did you support each other throughout the rehearsal process, especially as one of you [Hannah] was stepping into a principal role for the first time?

Hannah: We really leaned on each other throughout the process, especially with this being my first time stepping into a principal role. There were definitely moments where I felt overwhelmed or unsure, but having that constant partnership and open communication made such a difference. There was a real sense of trust between us. If something wasn’t working, we could give honest feedback without judgment. And when things did click, we celebrated those moments together. It wasn’t just about learning choreography, it was about building this shared world between Syb and Bylla and that kind of connection only works when you feel supported and seen by the person next to you. Having that support allowed me to take risks and grow into the role, knowing I wasn’t doing it alone.

Kirby: It was really great working with Hannah, she is a very strong, determined and fearless person and actually helped me a lot throughout the process. We work really well together as I feel we dance quite similarly, and it’s always great to have someone like Hannah full of young bubbly vibes to work beside and also have a little banter together.

What was it like working with stager Jenny Tattersall and dramaturg Ed Kemp?

Kirby: Jenny was really great to work with. We learnt this ballet very quickly – she pushed us hard but believed in us the whole way through. It’s a challenging ballet; the two lead women are on stage the entire time and can’t drop character, which is hard to do. But once Ed came into the studio with us, he really draw out all of that storytelling and emotion.

At the RNZB we typically do not work with wigs – how has the experience been practicing and performing in a wig?

Hannah: I’m someone who’s genuinely terrible at hair, so the wig was definitely a bit daunting at first! It was something totally new for me and there were a few moments of panic in the early stages. But once I got used to the feel of it and how it moves, it actually became a really helpful part of getting into character. The wig added something physical that helped me transform into Bylla, it changed the way I held myself and even influenced how I moved. It ended up being less of a challenge and more of a tool to deepen the performance. Though I still wouldn’t trust myself with a hairpin!

Kirby: I have worn a few wigs in my time at RNZB so I love a wig. What I love about a wig is that when you put it on you are transported to that character and I am no longer myself as Kirby. I find having a wig helps me to be a different person and helped me become my character, Syb.

Are there any moments in the ballet that are particular favourites of yours?

Hannah: Two of my favourite moments in the ballet would be the lemon scene with Harry and the nightmare scene. I just love the lemon scene because I really connect to the cheeky side of Bylla, I was quite a cheeky kid growing up, so tapping into that playful, rebellious energy feels really natural for me. It’s such a fun, chaotic moment on stage, and I think the audience really feeds off that energy too. Then the nightmare scene is a complete shift. After living through Bylla’s entire journey, reaching that moment is like diving into a completely different emotional world. It’s the first time I’ve had to access that kind of raw intensity on stage and I love getting to throw myself into it.

Kirby: There are truly great moments in this ballet – especially all the trios with the character “Harry”, danced by Joshua Guillemot-Rodgerson, those scenes are beautiful moments we all shared together. I also enjoy the “freak out” sequence that Hannah and I perform towards the end of the ballet, right after we’ve slapped Harry across the face. It’s a point where the two women have a moment of utter freak out – the choreography is incredibly fast and yet so freeing, you kind of lose yourself in it and let go of control.

Hannah how does it feel to portray your first ever principal role?

Hannah: Portraying my first ever principal role has been such a surreal and rewarding experience. It’s something I’ve dreamed about for so long, and actually stepping into it has been deeply meaningful. There’s definitely been a learning curve, but I’ve loved the challenge. It’s pushed me in ways I’ve never been pushed before, and I feel like I’ve grown so much as both a dancer and a person. What’s made it even more special is feeling trusted in the role, like people believe in what I can bring to it. That’s been really empowering. More than anything, I’ve just felt incredibly grateful for the opportunity, and proud of how far I’ve come. It’s been intense, vulnerable, exciting, and completely unforgettable. I’ll carry this experience with me forever.

What/how were you feeling in the lead up to taking to the stage for your premiere?

Hannah: Honestly, I’m not a very nervous person, so in the lead-up to the premiere, I was mostly just excited. I couldn’t wait to get out there and give it a go. After all the rehearsals and hard work, it felt like I was ready to just live in the moment and enjoy it. Of course, there’s always a bit of adrenaline, but it was the good kind, the kind that fuels you rather than holds you back. I just wanted to be present, trust everything I’d worked on, and really soak in the experience of performing something that means so much to me.